Live Review: The Machine at the Park Theatre

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photo by Luca DePalo

by Luca DePalo, Contributing Blogger

The Machine

Park Theatre, Cranston, RI

May 2, 2026

These days, as we face the gradual fading of the classic rock era, more and more tribute groups are popping up, not just across the country but around the world. With legendary acts like Led Zeppelin and The Beatles long gone from the concert circuit, fans of all ages still crave the experience of hearing those iconic songs performed live, and that’s exactly where tribute bands like The Machine come in.

photo by Luca DePalo

The New York-based quartet formed in 1988 (almost 40 years ago!!) and has built a worldwide reputation of being one of the most authentic and dedicated Pink Floyd tribute acts in the United States. Unlike many tribute acts that come and go, The Machine has managed to hold both quality and consistency, where instead of simply playing the songs, they aim to recreate the atmosphere, sound, and emotional depth of Pink Floyd’s live performances. In addition, groups like “Brit Floyd” and “The Australian Pink Floyd Show” tour the world with a dozen members, while The Machine perfectly pays tribute by having four incredible musicians, which I personally feel is perfect.

photo by Luca DePalo

As the show began and the venue’s lights began to dim down, the iconic stage screen, (known as Mr. Screen) immediately lit up blue, before slowly kicking into my favorite Floyd track, the 13-minute “Shine On You Crazy Diamond (Parts I-V).” The song, which was written in dedication to founding Floyd member Syd Barrett, felt like the perfect opener to begin a long evening of hits.

The following tracks included “Breathe (In the Air),” “Time,” “The Happiest Days of Our Lives,” the crowd “Another Brick in the Wall, Part 2,” the bass-driven “Hey You,” and the cowbell-driven “Pigs (Three Different Ones),” before The Machine left the stage for a quick intermission. The set had also included the songs “Fat Old Sun” and “One Slip,” which (even though I had not heard them before) felt necessary to please the die-hard fans who wanted the deep cuts.

photo by Luca DePalo

One detail that became obvious after every track was the fact that the band was not afraid to improvise on every song. Whether it be an extended outro, a quick solo, or just a moment of spotlight, each member contributed to every track, and allowed for a perfect tribute to when Pink Floyd would tour together as a 4-piece.

During intermission, it felt like the perfect moment to just look around the venue, appreciate the atmosphere, and just love the vibe of the room. For me, concerts have always been a place of positivity, almost an escape from the outside world, where everybody unites to celebrate one thing: Music!

The band soon returned back to the stage to enter right back into the time portal for more iconic hits: “Have a Cigar,” my favorite “Young Lust,” “Money,” “Wish You Were Here,” “Comfortably Numb,” and the notable exception of the deeper cuts “High Hopes,” “Echoes, Part 1,” “What Shall We Do Now,” and “Empty Spaces.”

photo by Luca DePalo

The Machine is currently led by founding member Tahrah Cohen, whose musicianship was on full display throughout the night without ever feeling overdone. The band was additionally co-founded by bassist and lead vocalist Joe Pascarell, who sadly passed away in 2022, though his presence still felt true during the performance. His influence seemed to carry through in both the song selection and the band’s overall approach to honoring Pink Floyd’s legacy.

The current lineup also includes the incredibly talented guitarist and vocalist Ryan Ball, who perfectly stepped into the role of David Gilmour with impressive tone, matching many of the subtle tones, phrasing, and emotional details found in the original recordings. On bass and vocals, the newest member, Chris DeAngelis, provided a steady foundation, locking in tightly with the rest of the band and helping drive the rhythm section. Finally, the lineup is completed with keyboardist Scott Chasolen, who has performed with the group for over fifteen years, masterfully recreating the sounds of Floyd’s Richard Wright, with his own energy and improvisation skills.

As always, it is a pleasure of mine to go see these iconic tribute bands play across New England, and I can’t wait to review some more shows in the upcoming months! Keep supporting live music!

Night Ranger at the Bally’s Event Center

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photo by Luca DePalo

by Luca DePalo, Contributing Blogger

Night Ranger

Bally’s Event Center, Lincoln, RI

May 8, 2026

There’s nothing like the vibe of a Friday night concert, and that can especially be said after last weekend’s show in Lincoln, Rhode Island, from Night Ranger. The band performed a sold-out 90-minute performance and proved how they can still “Rock In America.”

This being my second time seeing the band, and the first time seeing them headline, I came into the show with a huge sense of excitement. Some people come to the show expecting a solid night out — a few singalongs to “Sister Christian,” maybe a few graying mullets headbanging politely, and a sitting crowd. But what we got on Saturday was something way wilder. Something loud, tight, and genuinely moving at times. It wasn’t just a band doing their greatest hits; this was five guys giving it all, as if they had something to prove.

photo by Luca DePalo

The event center at Bally’s Lincoln Casino isn’t what you’d call a massive venue. It’s kind of intimate, very widespread, and the floor has an extremely colorful carpet, but the room is almost too lengthy for a concert. There’s no elevation as the sections go further back, so it’s just a flat floor that feels less like a concert venue and more like a business conference room. Thankfully for this show, I got to sit within the first few rows, but ran up to the front of the stage, or as some may call the “pit” area, when the bands intro song “Fight For Your Right” began.

Blue lights, golden walls, maybe even the smell of spilled beer and sharp cologne. But the vibe? Electrical. Just pure, sweaty rock proximity. And as for the crowd, it was a beautiful mess. You had diehards in vintage tour shirts, older couples head banging in their seats, a surprising amount of kids, and a handful of millennials. There was something very touching about seeing three generations shouting the lyrics to a song like “Don’t Tell Me You Love Me,” as if we were all at a church gathering.

Night Ranger didn’t start off the show like many bands do. As the lights of red, white and blue lit up each member, the band kicked into one of their huge hits, “(You Can Still) Rock in America.” If there were any doubts about whether they still brought it after 44 years, all thoughts were gone in the first 30 seconds. Lead guitarist Brad Gillis came out swinging, with his guitar screaming like it was possessed. That man didn’t just play notes; he acted the notes, and moved around the stage like a guy who just turned 40, rather than someone with grandkids.

photo by Luca DePalo

Brad may be the most underrated guitarist in the entire classic rock genre. Seriously, the way he manipulates his famed Floyd Rose, the sheer control he has, and just his nonstop energy. His solos during songs like “Sentimental Street” and “Goodbye” showed the monster he was and still is!

Then there was Keri Kelli on the rhythm guitar. Keri is the newest member of the band, although he has been with them since 2014, and replaces original guitarist Jeff Watson, whose legendary eight-finger tapping solos were perfectly played with originality and a mix of his own style. After years of touring and recording with so many ’80s hard rock artists like Stephen Pearcy of Ratt, L.A. Guns, Warrant, Pretty Boy Floyd, and even Alice Cooper, Keri brings the perfect energy to the band. And let’s not forget Jack Blades! He was everywhere on the stage. Leaning into the crowd, shouting out names, joking with people in the front row. His vocals were spot-on, exactly like the album. Gritty in the right places and sweet when it needed to be. And I can’t forget to mention, the man never stopped smiling, he was genuinely having the time of his life up there.

One key moment of the night was when the band performed an incredible version of the famed “Crazy Train,” in tribute to Ozzy Osbourne. Brad Gillis toured with Ozzy in 1982, replacing legendary guitarist Randy Rhoads after his tragic passing on the Diary of a Madman tour.

photo by Luca DePalo

And boy, the crowd wasn’t ready for this one; Jack Blades shouted in his microphone “Hey Brad, do you think these guys deserve a Damn Yankees song? I think they deserve a Damn Yankees song, so let’s do it baby,” before kicking into the songs “Coming of Age” and “High Enough.” Unfortunately, Damn Yankees have not played a full performance in decades, although there have been very few one-off performances over the years. But on this night, just hearing the intro to “Coming Of Age” made the whole crowd go, “Ohhhhhh my god…” It was magical. Totally unexpected and totally earned.

The pacing of the show was incredible. Right when things got nostalgic and emotional with “When You Close Your Eyes,” they slammed right into “Don’t Tell Me You Love Me” with enough force to knock the crowd down. You could feel the rhythm section driving like a mustang. No —— (frills), just thunder and sweat.

With Eric Levy on keys, he quietly stayed the glue of the whole set. Not flashy, not over-the-top, but essential for that 80’s sound. His intro on “Sister Christian” had this almost cinematic quality, like you were watching the credits roll on a movie you didn’t want to end.

photo by Luca DePalo

Of course, Kelly Keagy is still pulling double duty behind the kit and on vocals. When he stepped out front for “Sister Christian,” time kind of froze. It was a moment that you could feel it in your bones. That song’s been covered, parodied, and memed to death. But when Kelly sang it — raw, unfiltered — it was different; it was like hearing it for the first time all over again.

One thing I’m sure many didn’t plan for was getting a little choked up during “Sister Christian.” Sure, it’s rock and roll, not a local therapy session. But man, when Kelly and the gang started it out, it felt like a tribute to everybody in the crowd and everybody we’ve all lost over the years. Maybe you thought of a family member, maybe you thought of Ozzy Osbourne’s passing, or maybe you just thought back to your childhood (some probably thought about their couch at home).

When the crowd took over the famed chorus, you could feel it. A big, messy, beautiful wave of voices crashing together. Nobody cared how they sounded. Everybody was different. Whether they were on their feet, had their arms in the air, or just head-banged in their seat, no one checked their phones and no one headed for the exits. It was joyful chaos that combined to create magic.

photo by Luca DePalo

Here’s the thing: Some bands pack a setlist full of obscure deep cuts to prove something. Night Ranger? They know what we came for, and they delivered.

And when the show was finally over, the band stayed onstage a little longer to appreciate the fans who came out to the show, they truly took their time. Brad, Jack, and Keri threw out many picks. Kelly tossed several drumsticks into the crowd, including his drumming gloves, Jack high fived everybody within the first few rows, and Eric prayed in thankfulness. It felt sincere. It felt like goodbye and “We’ll see you next time.”

You may be asking, was it really worth it? Let me put it like this. I’ve been to some incredible shows in my life. Louder ones. Flashier ones with pyrotechnics and more energy. But I haven’t walked out of a venue smiling like that in a long, long, long time. There was something really special about a band that knows exactly who they are, how they are, and what they are to the fans. They weren’t trying to chase current trends. And they don’t try to act like it’s ’82. Night Ranger just showed up, played their asses off for 90 minutes, and reminded the sold out crowd that rock and roll is more than music.

Night Ranger may not be known as the biggest band in ’80s rock anymore, but on May 8th in a small town in Rhode Island, they were rock ‘n roll superstars, at least for one night. I’ll be sure to see them next time they come to New England!!

Single Review: Flash Bangs – “Hide Away”

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photo courtesy of Cameron Carpenter on behalf of the Flash Bangs

Single Review of Flash Bangs: “Hide Away”

For those of you who enjoy power pop, have I got a song for you! Power pop is a style that was huge in the days of top 40 radio with its guitar-driven, hook-laden, broad-appeal style securing several spots on each week’s hit music charts. Fans might just call it rock ‘n roll without assigning it a subgenre, but a well-written and well-performed song in this subgenre, with its big, bright sound, energetic rhythms, and catchy beat, is almost impossible not to enjoy.

photo courtesy of Cameron Carpenter on behalf of the Flash Bangs

Well, with “Hide Away,” the Flash Bangs have delivered a great addition to this perpetually engaging subgenre. Launched as a side project of George Westerholm (George Westerholm And The Wild Wild Cats), James Clark (The James Clark Institute), and Sean Ryan (Mr. Miyagi), this Toronto-based trio’s 2025 debut self-titled EP opens with the single, “Hide Away.”

On “Hide Away,” the wryness of Westerholm’s vocals and the rough-edged nature of his vocals combine well with Clark’s sometimes-steady, sometimes-aggressive drumming and the nifty touches yet steadiness of Ryan’s bass work to deliver a timeless rock song that’ll bring you energy and smile every time you hear it, all the way through its final instrumental crash then fade-out. “Hide Away” also sports an old-school, throwback-style music video, which you might enjoy watching on YouTube.

Album Review: Sam Bergquist – Devils & Doves

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photo courtesy of Broken Jukebox Media

Backstory

I was planning to review Sam Bergquist‘s outstanding 2025 release, Racing Down the Valley, but just as it rose high enough in my review queue to start to get occasional listens while I worked, an advance of Sam’s 2026 album, Devils & Doves, landed in my inbox, so I dropped it into the queue in place of Racing Down the Valley; with my long review queue, this happens sometimes. Anyway, if Devils & Doves sounds cool to you after you read the review, be sure to also check out Sam’s previous releases, because I was psyched about potentially reviewing the previous album, too!

Album Review of Sam Bergquist: Devils & Doves

image courtesy of Broken Jukebox Media

Sam Bergquist is a singer-songwriter with a memorable storyteller’s voice, well-suited to the twangy-folk songs he writes. His most recent collection of expertly-penned numbers, Devils & Doves, was released just a couple months ago, on March 13th. Sam’s voice is wonderfully identifiable, part country, part folk, full of world-worn gravel and an emotional connection to his songs that rides palpably on the surface of each word he sings. The songs are generally in the range of what you could call a knee-slapping tempo, though obviously varied, and you’re free not to slap yourself anywhere to the rhythm of the music if you don’t want to.

The tempo of album-opener “Envy Blues” is at least as much a head-bobbing number as it is a knee-slapper, but mostly it’s just engaging, clever, and catchy. And Sam’s voice is so emotive it feels as if he’s revealing secrets when he’s really just singing clever lyrics, like “Envy, envy. I’ll be you and you be me. I hear it all the time, I want what’s yours, you want what’s mine.” Of course, the song suggests a cure for the “Envy Blues,” but I’ll suggest listening to the song to hear it for yourself. Nonetheless, it’s a fine example of the clever and insightful lyrics you’ll find on Devils & Doves.

photo courtesy of Broken Jukebox Media

“Smoke,” next, has an underlying California laid-back rock style behind clever guitar-picking and a funky, jerky-rhythmic pop vibe. It flows into “Landfill,” which is more smooth, soft, and free-flowing beneath Bergquist’s character-filled, emotive lead vocal.

“In a Box” drifts even mellower, with sparse instrumentation, particularly during the opening, setting the tone. I wouldn’t be surprised to hear this sort of thought-filled musing from a man sitting in a bayou with a guitar.

Before the album gets too mellow, though, Bergquist brings back the energy, with a bluesy guitar line supporting the semi-rocking, folk-flavored tempo of “The Rifle and the Dove.” The song evolves into a mellow vocal and guitar semi-jam at the end, then fades out neatly.

“Louisiana Lightning” puts into music the mellow, jangly musing of a veteran, and just as “In a Box” had a bayou feel to me, this song has a bayou in the lyrics – “the water’s rising on the bayou” – in a way that’s indicative of the cohesion of this record.

photo courtesy of Broken Jukebox Media

“Redwood Tree,” next, lifts both the tempo and the mood, as its playful, plucky energy – plus well-placed harmony vocals from Georgia Bowder Newton – ensure a pleasant experience, even if you’re not entirely sure what you’re listening to, though it’s apparently an ode to a redwood tree from an appreciative soul.

“Song on the Wind” is a pure Americana-folk number, with a little twang and rich instrumentation sitting atop this straightforward singer-songwriter tune, though nothing’s completely straightforward with Bergquist, as his “woooo-hoooo” vocal transition is unexpected but still wholly representative of the hint of quirkiness he brings to his songs, that je ne sais quoi that makes a song easily identifiable as a Sam Bergquist number, once you’ve become familiar with his style, even if it’s hard to explain why.

Penultimate track “Goin’ Out Walkin'” works some technology into a downhome, this-is-my-vibe kinda tune. Its increase in energy, then, serves as a nice lead-in to the album-ender, “New Day,” a song that helps close the listener’s Devils & Doves experience with a smile.

Beginning to end, Devils & Doves is engaging, though as you become familiar with the songwriting talents of Sam Bergquist, it’s not at all surprising. If you’re into folky Americana, quirkily identifiable yet comfortably familiar vocals, or clever songwriting, this is an album you should check out!

photo courtesy of Broken Jukebox Media

Looking Ahead

Devils & Doves serves as a great calling card for Sam Bergquist, as was true of his previous recordings; it’s clear he’s the sort of artist who’ll stage a memorable live performance. So be sure to check the “Shows” page of Bergquist’s website periodically to see when he’ll be playing near you.

Currently, his site lists a pair of upcoming gigs in Somerville, MA, a show at a personal favorite venue in Maynard, MA, and a house concert in Arlington, VA. Now, if you’ve never been to a house concert, in my experience, they’ve been dependably some of the most fun venues in which to experience a performance, so my DC-area readers should try to get out to this event. Of course, if I can get out of work in time for Sam’s show on July 22nd, you’ll see me, perhaps knee-slappin’ even, at Sanctuary in Maynard.

 

Album Review: The Ghouls – Handle With Care

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photo by Kira Emery; photo courtesy of Knyvet

Album Review of The Ghouls: Handle With Care

Handle With Care is the debut album from The Ghouls. It’s a raw and frequently raucous romp.

The band won the 2024 Rock & Roll Rumble and were named Rock Artist of the Year at the 2024 Boston Music Awards. In 2025, The Ghouls were again nominated in the Rock Artist of the Year category, with the Handle With Care album and the song “Lovestruck” nominated in the Album of the Year and Song of the Year categories, respectively. George Danahy (lead vocals, guitar), Peter Trainor (guitar), Jacob Babcock (bass), and Bryce Maher (drums) have taken the Boston-area music scene by storm, and deservedly so.

cover art by Peter Trainor; image courtesy of Knyvet

Handle With Care‘s opening track, “Pocket of Gold,” makes a stellar first impression, kicking off immediately with a raucous, raw, garage rock throwback energy, with just a hint of Jimmy Eat World-ish, catchy pop-punk sensibility, wrapped in a cynical but highly energetic romp of a song that I guarantee would have The Rat (Boston’s infamous Rathskeller) jumping and hopping back in its late ’80s/early ’90s era. The Ghouls are absolutely the sort of band I’d have expected to see there, though I’d be exiting the show commenting “Wow, this band is so much more memorable than the bands we usually see at The Rat. Eh, it happens sometimes; that’s why we keep going back.”

But I digress. The energy continues with song two, “Garfield,” as does the hookiness. There’s just so much barely-controlled (or perhaps not-so-controlled) frenetic energy on the this album’s first two songs. Wow!

As song three, “Lovestruck,” begins, you’ll find yourself thinking “OK, I was expecting the melancholy at some point, and here it is.” Well, sort of. The song’s intro deceives a little, as once it kicks in it’s a little peppier, though not at all energetic like the first two tracks. Still, it’s light, pleasant, with a subtle rhythmic hook and an on-brand low-fi, short guitar bridge whose musicality slightly obscures its lyrics’ introspective, oh-so-familiar indecisiveness.

“Hellbound” brings back the energy, with a heavy rhythm and offbeat edginess that serve as the song’s original flourish. “For You,” then, backtracks to the band’s airier, rawly light, introspective stylish alter ego, replete with anguished wails in the vocals.

“Scopophobia” falls somewhere between its two preceding tracks, lowkey for the first minute before bursting forth with a bit more energy, though in this rare case clearly restrained. Vocally it’s comparatively steady and temperate, mostly (for The Ghouls; not for almost anyone else), and there’s even an ’80s New Wave-ish recurring segment. Somehow, though, the song’s antiestablishment complaintancy sneaks up on you, and the last minute or so channels bands like Green Day with a vibe of full-on-noise-driven disdain. The path this track takes, it’s almost more of a composition than just a song in the typical sense, but it’s a well-designed, fun journey.

“Reach for the Sky” returns to the slow-tempo anguish. Honestly, you need a few of these respites from the unabashed energy of the rest of the tracks on the record, and only in that sense can you really call it a respite, as this and The Ghouls’ other similar songs are certainly complicated enough to keep the mind engaged, and they’re not exactly thematically relaxing. But yeah, if appreciates song sequencing, you’re gonna enjoy the various tracks’ placement on this record, with “Reach for the Sky” being a prime example.

Penultimate number “Game” is as pop as a full-on garage rock band gets. The first minute’s music bed is just light distorted guitar, helping focus attention on the semi-detachedly emotional, raw vocals. Even the more heavily instrumented parts of this record are of more a pop-rock caliber than at a garagey-alt-rock level, keeping focus on the song’s cool melody and tempo, and lyrics like the clever “I guess that’s why they call it ghosting, ’cause I feel the haunts” and the late-song repeat of “You can’t stop screaming. I’m up here dreaming. You’re gonna make me go find someone else.” The song then closes with a power build and a nifty guitar riff because, you know, this is a f*ckin’ rock band. If we’re judging by desire for repeat listens, then this probably ranks alongside “Pocket of Gold” and “Garfield,” for me at least, as must-adds to my personal playlist.

Having said that, the band closes with another contender, “Goodbye,” which is both raucous and tightly tuneful, replete with that “piss off, we’re rocking here” attitude at the core of many of the very best garage rock bands, as well as that of the song’s first-person subject, who seems blissfully unaware that his story is supposed to be a cautionary tale.

All in all, Handle With Care is a helluva rock and roll disc. If you like rock, pop-rock, garage-rock, guitars, the edgier pop-punk, or more mainstream-friendly old-school punk, The Ghouls and their award-nominated collection are a must-listen.

Single Review: Wilson Mercy – “Piece of Your Heart”

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image courtesy of Ki Talent Collective

Single Review of Wilson Mercy: “Piece of Your Heart”

Do you like energetic, seemingly-danceable pop music with a steady, catchy beat, engaging background musical flourishes, and top-shelf lead vocals? Of course you do. We all do. Upon first impression, Wilson Mercy‘s “Piece of Your Heart” seems like it’s dancefloor-ready, but the beat isn’t really fast enough to be suited to that purpose. Rather, it’s the sort of song that’ll quickly have you nodding rhythmically to the beat when you’re out in a club (but not on the dancefloor). And tapping your hands on the steering wheel when driving, well-suited to radio-play. (But hey, if you’ve got cool songs like this on your personal playlist, who needs the radio?) Or on the seat in front of you when on public transit. (So be careful in that situation.) I imagine over time you’ll learn the lead vocal line, but initially you’ll be able to sing along with the background vocals like “I, I, I wanna” and leave the lead to Wilson, whose voice is smooth but with an insistent edge, a necessary component for catchy pop music of this ilk.

This song has been pitched to me as “alternative pop,” but it’s no more alternative than someone like Rick Astley would have been back in his, with the only exception being that there was a lot more pop music on the radio back then. In that sense, I suppose, most old-school-style pop music is alternative. But hey, this is right-down-the-middle pop music for folks who appreciate catchy songs, engaging drum-driven rhythms, strong vocals, and well-written songs. Basically, most music fans. So check it out!

More Wilson Mercy

“Piece of Your Heart” was appeared on Wilson Mercy’s summer 2025 album, Digital Litter. To keep up with the latest from Wilson, be sure to follow him on Instagram or TikTok.

Single Review: Buddy Guy – “How Blues Is That”

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single cover photo by Lyndon French; image courtesy of Blind Raccoon

Single Review of Buddy Guy: “How Blues Is That” (feat. Joe Walsh)

Last summer, blues legend Buddy Guy dropped a brand new album, Ain’t Done with the Blues, on his 89th birthday. Ahead of the album’s release date, it was preceded by one of its singles, “How Blues Is That.” “How Blues Is That” is an instant blues classic, at least for any one who gets to hear it. The song itself was a cowrite of songwriters Richard Fleming and Grammy-winner Tom Hambridge. On this kickass performance, Buddy Guy’s powerful, emotive blues vocal wails are interspersed with dancing keywork work and the blistering, distorted, rockin’ blues axework of Rock and Roll Hall of Fame fretmaster Joe Walsh. If this song isn’t an instant all-time favorite, you don’t have a blue bone in your body. Blues fans (and music fans in general) should hear this song! And I haven’t listened to any of the rest of the album yet, but this tune is a strong initial calling card for it!

 

EP Review: John Gerard – Close to the Sun

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photo by Emily Joy Ashman; photo courtesy of John Gerard

EP Review of John Gerard: Close to the Sun

Close to the Sun is a 2-song EP released by Boston-based John Gerard. John’s electric guitar-driven singer-songwriter sensibility is the sort that could appeal to folk, pop, and rock fans alike, providing a broad swath of potential fans from which to draw.

John’s guitar picking and strumming is relatively barebones on the title track, “Close to the Sun,” and even the supporting sound bed is sparse, highlighting his emotional, somewhat anguished rock-style vocal wails, particularly prominent whenever the song’s energy peaks. It’s a song that’s a source of slight inspiration; it seems to acknowledge the listeners exhaustion while helping encourage “the strength to carry on.”

cover photo by Liz McGee; image courtesy of John Gerard

Second track (B side?) “Fold” builds upon the style, sound, and message of the first track. It’s still a slow-tempoed, introspective number, but the energy peaks more energetically than the title track did, and the song’s lyrical message and vocal delivery are more insistent and determined, as embodied the the song’s lyric “all the strength I’ll ever need has always been inside of me.”

More Recently

The two cool songs on John Gerard’s Close to the Sun EP are a strong introduction to his enjoyable, broad-appeal musical stylings, but they’re no longer John’s most recent releases, and his newer tracks show other sides of his song-delivery skills, so they’re worth digging into if you want a broader picture of this talented singer-songwriter. Last fall, John released a sentimental strummer entitled “New England,” and early this year, he dropped a single entitled “Drag Racing,” which is a nifty Mellencamp-ish nostalgic number.

Single Review: Jon Chesbro – “Choices”

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photo by PostFix Media/Zach Haberern; photo courtesy of Knyvet

Single Review of Jon Chesbro: “Choices”

Maine singer-songwriter Jon Chesbro released “Choices” last spring, but as I always say, if you haven’t heard it, it’s new to you. And lucky you because you get to enjoy this kickass, kinda psychedelic and spacey, introspective guitar-pop song with fresh ears.

cover photo by PostFix Media/Zach Haberern; image courtesy of Knyvet

“Choices” soars and crashes, while the vocals are inward-looking and self-examining, stylistically a little sonically detached and echoey. The tempo plods relatively slowly, but that almost feels like a slow build that sets the stage for a soaring musical liftoff during the song’s final one-third. In any case, it’s a really cool listen, enjoyable for multiple consecutive spins, if you’re so inclined.

On “Choices,” Chesbro (vocals, guitar) is joined by Robert Countie (bass), Akiba Davis (keyboards, organ), and Don Schweihofer (drums).

photo by PostFix Media/Zach Haberern; photo courtesy of Knyvet

More Recently

Since the release of “Choices,” Chesbro has dropped “One Last Dance” and “One Last Dance (Acoustic Version)” on Spotify, and earlier this year, Jon dropped a 5-song EP, Parts Bin Vol. 1, on Bandcamp.

Looking Ahead

To keep up with the latest from Jon Chesbro, follow his social media accounts at Facebook, Instagram, or YouTube.

Album Review: Sean Harrison – Ghastly Love (and Other Dubious Tales)

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photo by Denis Sayer; photo courtesy of CDA Publicity & Marketing

Album Review of Sean Harrison: Ghastly Love (and Other Dubious Tales)

Sean Harrison has one of those voices. It’s the rich, expressive voice of a modern folk troubadour. Most of all, he’s a storyteller. His lyrics are deep and thoughtfully-constructed, occasionally (OK, frequently) clever and humorous. He delivers his stories in the form of singing, mostly, but also as spoken word, when appropriate. There’s a hint of country, but at the folk storytelling end of that genre’s stylistic spectrum. And the arrangements are varied to fit the song subjects.

Sean kicks things off with an especially clever song, “Good Cover Story,” that’s a bit of a blues-folk blend with an old-school art-pop-rock beat and a noir vibe befitting its slick lyrics and crime-based subject matter. It’s a moderately energetic song that’s one of the album’s more likely tracks to reach broad appeal well beyond the record’s core audience. In other words, especially if this album doesn’t sound like it’s in your wheelhouse, maybe at least give “Good Cover Story” a listen.

“Home Where I’m Loved,” next up, is a mellow anthem for those whose home lives are a source of strength and blessing, particularly those like the songwriter whose pasts may have been a bit more scandalous.

image courtesy of CDA Publicity & Marketing

Speaking of scandalous, the next song, the title track, “Ghastly Love.” It’s the sort of song you might imagine Gomez singing to and with Morticia, flamboyantly, full-throated, imaginative, and fun.

“3 Part Strategy,” next, has a rock ‘n roll edge to it, full of energy, accompanied by bluesy distorted guitarwork, all leading to the periodical reveal of Sean’s 3-part strategy: “Get shit done!”

“Ghost of the Old Wire Road” slowly things down, going mostly spoken-word in this storytelling number, telling the story of the Old Wire Road. The song is an enthralling listen, and the topic is an interesting Wikipedia read. If you listen to the song first, you’ll recognize much of the road’s story.

Sean brings back the energy with the raucous “Black Beer,” a twangy country-rocker that’s given a memorable edge thanks to Sean’s matter-of-fact vocal delivery style, as storytelling on rockers like this as it is on the folkier-rhythmed numbers.

The uptempo, truly silly “Doggy Dog World” follows, delivering a musical ray of sunshine and catchy vocals; it’ll get stuck in your head and have you seeing the world through the wonder of a child’s eyes for days after just a few listens.

As much fun as this album is, mostly at least, it really does end on a downer, a 7-minute lightly musical examination of the awareness that the brain lives slightly longer than the body, examining a human’s “Final Thoughts.” It’s delivered a little whimsically and thoughtfully – an interesting listen – but man, the topic is serious and heavy.

As a whole, Sean Harrison’s Ghastly Love (and Other Dubious Tales) is a cool, often fun collection of songs that you really do need to hear. The guy’s a very talented true original, and you’ll find some new favorites when you give this record a listen.