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All original songs fully cleared and available for remix.

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LAST EXIT IN NEW YORK
Whatever route you take there are signs all around pointing you in the right direction – you just have to take notice. Singer-songwriter Esteban Rivera did. One summer morning in 2013 Rivera trekked from New York to Jersey for a concert celebrating Colombian Independence Day. At the border there was a sign that said he was approaching the last exit in New York. And suddenly it hit him – “I immediately knew that was the name I was looking for,” he explains. The rock band that morphed out of his solo project finally had a moniker, one that would suit the band for years to come. And with their forthcoming EP, Trentmont, Rivera and co. discovered something else: the last exit in New York was actually a highway to something bigger.
Bigger meaning the band is on course to establishing a solid reputation in their current home base of Colombia. In 2015 their song "Take Two" hit #1 on the VivaColombiaTop100 charts. They've also been invited to perform in London and Madrid – a long way from the Empire State where the band conceptualized a couple years prior.
In the beginning it was just Rivera. He recorded a batch of songs in 2013 dubbed The Bedroom Collection, which was exactly that – a handful of raw tracks captured in his studio apartment. This laid the groundwork for LEINY and helped him assemble a full band. The group began performing around NYC and released their second EP, produced by Al Hemberger (Rihanna, Christina Aguilera), titled Take Two. But when scheduling conflicts got in the way Rivera was forced to embark on a different path.
In 2015 he relocated from New York to Colombia where things immediately took off. There, Last Exit In New York solidified its lineup with guitarist Martin Rodriguez, bassist Luis Montilla and drummer William Ospina – and together they've braided their array of influences into their impending new EP Trentmont.
Trentmont combines LEINY's love for bands like Foo Fighters and The Strokes with catchy indie melodies. It's hard rock doused in Colombian flair. The first single, “I Can't Call You Mine,” was produced by Alejandro Lozano – and if it's an indicator of anything, it's that Last Exit In New York is cruising on the right interstate.
“We're a band that represents the freedom of doing what you truly want with your life. It's movement towards the reality you want to live in and not accepting anything less. It is demonstrating to the world that what they want is possible when they take action and inch closer and closer never quitting on themselves.”


“I don’t do ‘covers,’ I reinterpret songs.  If I can’t put my own spin on something, I won’t do it...”
Without question, popular performer Frank Shiner (winner of two L.A. Music Critic Awards) has demonstrated his finely-honed ability to put his own unique stamp on classic material previously recorded by others via his sophomore album, LONELY TOWN, LONELY STREET.  Turning in stellar performances on songs popularized by such artists as The Rascals, Brook Benton, Sam & Dave, Elton John and Bill Withers, Frank has created a tour-de-force collection of twelve songs from the songbooks of legendary writers such as Randy Newman, Doc Pomus, Isaac Hayes & David Porter and Tony Joe White among others. 
“I decided to do ‘blue-eyed soul’ for my second album,” explains the New York resident, "I’ve always been intrigued by and loved the genre which has really morphed into including artists like my heroes Hall & Oates, Amy Winehouse and others..”
Indeed, with his latest album, Frank can most assuredly add his name to the list of bona fide ‘blue-eyed soul’ purveyors thanks to his passionate reading of the songs on the album.
The process of selecting material for LONELY TOWN, LONELY STREET began with Frank collaborating with A&R veteran Mitchell Cohen with whom he worked on his critically-acclaimed 2015 debut album, “The Real Me.”  Says Frank, “I was looking for material that spoke to me on every level – musically, emotionally and from a storytelling standpoint.  We finally got down to eleven songs and then my producer Jay Newland (a 10-time Grammy winner known for his work with Norah Jones and Gregory Porter) suggested “Rainy Night In Georgia.”  That was the last song to record and it’s become one of my absolute favorites on the album.”
Shiner’s own story as a performer is atypical: after nearly two decades away from working as an entertainer – “I paid my dues, I fulfilled responsibility as a father, husband, a friend, as a business person and put everything on back burner” – Frank returned to singing following his wife Suzanne’s battle with cancer in 2009. 
Frank briefly began studying law before switching to acting, training in classics by Shakespeare and Moliere and moving to New York, where he would go on to appear in over sixty theatre and television productions and meet “the love of my life” Suzanne, who he married within two years after arriving in New York.
In 2014, with the release of “The Real Me,” produced by award-winner Gary Katz, Frank reignited the passion for music he had never lost.  “Feels Like Home,” a Randy Newman reinterpretation, gained considerable airplay in and around the New York area as the premier single from the album on Bakerson Records (distributed by Universal Music Group) as did “Driving Home For Christmas,” issued ahead of his debut CD in December 2013, with proceeds going to St. Jude Children’s Hospital in honor of his late father.
Out in October 2016, Frank’s potent reading of another yuletide classic, “Please Come Home For Christmas,” is a prelude to the March 2017 release of LONELY TOWN, LONELY STREET, which showcases Frank’s artistry as an interpreter of material delivered with heart and from the soul. “I like to think I stayed true to every one of the songs. I’m a trained Shakespearean actor so I need to have a special focus on the lyrics.
Asked about how LONELY TOWN, LONELY STREET fits into his career path, Frank Shiner smiles: “I don’t think I have a ‘career objective’ as such.  I’m loving every second of what I’m doing now and if this album goes somewhere, well, that’s the cherry on top of the sundae …but I’ve already got the sundae!  The greatest compliment I get is when audience members tell me they can see the total bliss and joy I have onstage. The minute I lose that, it’s time to stop.”  With the release of an album made with love and delivered with true authenticity and passion, that won’t be anytime soon.
David Nathan
September 2016

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