Tag Archives: Eric Harabadian

Album Review: Will Hawkins – Cartas No Enviadas

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photo courtesy of Will Hawkins

by Eric Harabadian, Contributing Blogger

Album Review of Will Hawkins: Cartas No Enviadas (Fastback Records)

Will Hawkins is a Los Angeles-based singer-songwriter who is best known as the frontman for the band Nine Mile Station. That band’s debut 2023 album BAZAR received many accolades from the music cognoscenti for its lyrical songs, vivid storytelling, and dynamic production.

With this new solo release Cartas No Enviadas (Unsent Letters), there is that same creative spark and territory mined in his previous, lauded band context. Actually, the album title suggests each song as a note or message, yet to be delivered to the subject or receiver in question. Hence, the album, in total, almost plays like variations on a theme or concept.

image courtesy of Will Hawkins

“What Your Words Say” opens the album loud and proud, with a declarative and plaintive urging to a significant other, stating it’s time to get out of each other’s way and lay it on the line. There’s an honesty and passion in Hawkins’ delivery that really seals the deal here in terms of pure emotional connection. “As Good As it Gets” follows and features great hooks and a memorable chorus. The song is a reflection on life and how one places themselves in the world. Dan Nachimson’s brilliant piano playing really illuminates the sentiments here.

“C’Mon Now” is sort of an open-hearted song. Hawkins’ dynamic and unvarnished words cry out for someone to be transparent. Musically, there is a smooth mid-section shift from odd rhythms to an uptempo break. The song really builds to a stunning crescendo that’s very effective. “Messy” is a cover of British pop star Lola Young, and Hawkins takes the angst and swagger of the original to another level. Session man, indie artist and producer extraordinaire Fernando Perdomo provides the surrounding ambience of the track via minimal keys, drums, and spacey guitar.

photo courtesy of Will Hawkins

“New Friends” is a cover of David Poe and brings out some of Hawkins’ east coast Springsteen-type roots. It’s upbeat, with a great hook. And Lainey White’s swirling violin even suggests a Dylan-meets-Mellencamp vibe. The Colin Hay nugget “Waiting For My Real Life to Begin” gets a thoughtful and pensive reading here. Phil Parlapiano is the pianist on this track, and his decorative and prominent accompaniment adds gorgeous luster to this treatise on living in the moment and appreciating what’s happening in the now.

“California” talks about the wanderlust and desires of a young man seeking the bright lights and fame of Hollywood. Gerald Menke’s pedal steel guitar gives the song an early Jackson Browne and the Eagles kind of feel. “Anything” is a tune from Hawkins’ formative years in NYC. Recorded live at The Baggot Inn, it’s a nice original ballad that drifts into jamming in sections. It’s a nice stretch out for the band. The album concludes with a dedication to Hawkins’ father entitled “May the Road Rise to Meet You.” It’s a traditional Scottish proverb that is lovingly detailed, including the artist’s own bagpipe playing in the fade-out.

Will Hawkins is a talented and multi-faceted musician and producer who presents a contemporary Americana and West Coast sound that is timeless. His songwriting is reflective of CSN&Y and all the greats to arise from the classic Laurel Canyon period of the ’60s and early ’70s. But he is also on the cutting edge with modern troubadours like Dawes, Jason Isbell and others. Hawkins is an artist to keep on your radar.

Album Review: The Far Out – Greetings from The Far Out

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photo by Jackie Vlahos; photo courtesy of Knyvet

by Eric Harabadian, Contributing Blogger

Album Review of The Far Out: Greetings from The Far Out

Boston’s award-winning funk/pop trailblazers The Far Out essentially developed their act during the downturn years of the global pandemic. But this vibrant and vivacious sextet has been friends for several years before that. Ellie Dolan (trumpet, vocals), Ryan Fremont-Smith (bass, vocals, saxophone), Olivia Lowe (guitar, flute, vocals), Drew Phillips (drums), Colin Senechal (saxophone, guitar) and Henry Zagarella (keyboards, vocals) comprise the crew that oozes with clever arrangements and unbridled talent.

artwork by Olivia and Ezra Lowe; image courtesy of Knyvet

On the path of some well-received singles, this eclectic and danceable outfit caught the attention of the New England Music Awards. In 2024 The Far Out were honored as the “New Act of the Year” and, assuredly, a band with a bright future and a lot of promise.

“Infectious” is a word that, perhaps, gets overused a lot when one talks about musical acts and performers that exude a ton of energy and attitude. But that is exactly what you get when you take on this album in its entirety. From track to track, The Far Out creates an aural experience that works on a number of levels: emotionally, physically, spiritually and, even, intellectually. Their songs will get you on the dance floor, but you’ll also be engaged by the clever wordplay and snappy arrangements.

photo by Jackie Vlahos; photo courtesy of Knyvet

Eight songs in total; they explode in a colorful array of personality and charm. “Need a Win” opens the album and answers that call, with a bouncy and uplifting beat. Fremont-Smith’s intrepid bass lines grab you from the get-go. “Funkadelic Gas” is not only a great title but locks in a killer groove framed by some of the tastiest horn charts this side of Average White Band. “Lazy Lover” is a bit of a departure that features a punchy feel and some great gnarly crunch on the guitar. “Laurel” follows and is one of the catchy singles that first caught this reviewer’s attention prior to the release of this album. The lead vocals are bright and clear, with smart nuanced breaks and classic-sounding horn accents. “Putt Strut” is a somewhat humorous tune, with some overt golf references and cheeky lyrics a la British prog rockers Caravan. “Long Weekend” is a great sentiment that offers more of a laid back pace. But that sets the stage for the Motown-like “Packed To Go.” This one is straight up R&B, with a grooving breakdown from Phillips. For the finale, they display their jazzy side on the provocatively titled “See Red (You’re Dead).”

photo by Jackie Vlahos; photo courtesy of Knyvet

Perhaps keyboardist and vocalist Zagarella typifies The Far Out’s goals and state of mind: “I hope that you can hear our camaraderie through the music. These songs are built on the foundation of strong friendships. And while that’s easy to see when we play live, I would love for people to hear it at home too!”

RIYL: Parliament Funkadelic, Average White Band, Earth Wind & Fire, Swing Out Sister, Squeeze, and Brand New Heavies.

Looking Ahead

Per the “Shows” page on The Far Out’s website, you can catch them in Massachusetts, Vermont, Rhode Island, New Jersey, and Connecticut between now and mid-September. Be sure to check the band’s website to see when and where they’ll be performing near you.

Album Review: Bees Deluxe – Smash Hits

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image courtesy of Bees Deluxe

by Eric Harabadian, Contributing Blogger

Album Review of Bees Deluxe: Smash Hits

The term “acid blues” gets bandied about in the description of this fine Boston-based east coast act. However, I don’t know if that tells the whole story. While they do possess a quirky psychedelic playfulness in their approach to lyrics and some sonic experimentation, they can be pretty no-nonsense, straight-ahead players as well.

This somewhat faceless British-American amalgam lays down some classic slow and pensive blues on the opening Fenton Robinson standard “Somebody Loan Me a Dime.” This tune spotlights smoking guitar and a plaintive, heartfelt vocal that will tug at your soul. And they keep that vibe going a little longer on the lyrically cryptic “When is Yesterday.” Cool electric piano and screaming guitar is only trumped by a smooth harmonica fadeout. “King of Bad Luck” is a recommended radio track for its authentic blues demeanor and subtle use of space. Everyone enjoys a novelty song from time to time, and these guys are not ones to shy away from a little humor. Beer drinkers of the world unite and enjoy the lyrical sentiments of “Beer.” You’ve gotta love a line like “I want you, but I need a beer!” It’s a weird juxtaposition of lighthearted revelry and Robben Ford-like guitar prowess.

photo courtesy of Bees Deluxe

They slip some instrumentals in here, too, like “Blues for the Decline of Western Civilization.” There’s this jazzy Wes Montgomery-flavored octave thing happening that blends with a mid-section acoustic guitar lead. It’s a really tasteful and well-orchestrated musical departure from your standard blues fare. “Nitro” follows and is a cute little song, with the line, “You filled me up with nitroglycerin… You lit my fuse and blew me up!” It’s an odd and quirky premise supported by a reggae-like rhythm and lively horns in the chorus.

Another curiously titled piece is the piano-driven instrumental “How to Play 96 Tears.” It really has nothing remotely related to the Question Mark and the Mysterians classic, but it’s an intriguing roadside attraction to further throw convention out the window. “Bad Influence” boasts the line “you got ways to make me do what you want.” The Mark Knopfler/Dire Straits like finger-picking of the guitar fuels the coercive sentiment of this curious jam, requiring further scrutiny. A blues song that was popularized in the rock world back in the day was one done by the J. Geils Band called “Homework.” This Otis Rush classic is unearthed here, with open, inviting grooves and tight drum fills. It just feels really good, and the teen love angst expressed in the song comes off very well.

“Kidnap” is another weird and wonderful track that sounds like an outtake from Steely Dan’s Gaucho album. Its laid back syncopation and cool rubato drum fills are a startling surprise. “Crank Part Two” is some cool, somewhat experimental, funk, as “I Wouldn’t Treat a Dog” and “Gee Whiz” wind things down with equally pseudo-funky backbeats and loose open jams.

Bees Deluxe have been wowing crowds, as they say, from “Maine to Miami.” And critics have noted their Zappa-like wit, Steve Ray Vaughn-flavored passion and penchant for jazzy textures and engaging interplay. You can’t really put your finger on what they actually are, other than an unorthodox blues band that likes to have fun and slyly break the rules.

Album Review: Mama Said – Change in the Weather

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photo courtesy of Mama Said

by Eric Harabadian, Contributing Blogger

Album Review of Mama Said: Change in the Weather

Mama Said is a female fronted rock outfit from the San Francisco Bay/Napa Valley, California area. The core members are Jennifer Knight and Latifa Reeves on vocals and Derek Bromley on lead guitar. The studio musicians who assisted the band on the album were Steve Fekete (America), Marc Slutsky (Adam Ant), and Jim McGorman. For their burgeoning live schedule, their touring players include Darren Schauer (drums), Ben Guerard (rhythm guitar), and Nik Blankenship (bass).

image courtesy of Mama Said

They formed in 2019 and barely had their musical wheels in motion when 2020 and the pandemic shutdown brought everything to a screeching halt. However, you can’t keep a good band down, and that’s when they decided to dig their heels in and really hone in on their songwriting, playing, and production skills.

Change in the Weather brings a lot of influences and sonic textures to the table, with a late ‘70s/early ‘80s approach that is informed by ‘90s sensibilities, as well. Co-written and produced by multi-faceted singer-songwriter/collaborator Jim McGorman (The Goo Goo Dolls, Paul Stanley, Cher, David Lee Roth, Weezer, Avril Lavigne, etc.), Mama Said’s debut album is a collection of original songs packed with positive energy, uplifting lyrics, and a unified melodic focus.

photo courtesy of Mama Said

Every tune here connects as a single. They all work together as an album, but each song has a slightly different flavor and will appeal to various sensibilities of the audience in different ways. For instance, opening tracks like the title track and “The Needle” grab you from the outset, with crunchy guitars and heavily syncopated rhythms. “Diamonds & Cigarettes” really highlights the front-line harmonies and recalls the craftsmanship and oeuvre of The Motels or Pat Benatar. “My Kind of Crazy” features great pop hooks and a catchy feel.

There is also a tasteful use of dynamics and ambience in the execution of the guitar textures. “Gimme” is another sound once again, with a subtle funk-like feel underpinning the groove. “Itch” brings back a little more rock ‘n roll, as does the big pocket vibe of “Feel Good Revolution.”

photo by Mitchell Glotzer; photo courtesy of Mama Said

“Everybody” closes out the album with a rousing chorus of “Hang on until we get there!” It appears to be a song about inclusion and bringing folks together in some form of harmony. There is a cool breakdown here with percussion and vocals that further ignites the passion behind the song’s positive and inspirational intent.

Mama Said is a really strong act and has an impressive roster of live credits, including opening for – and performing at events featuring – The War & Treaty, Mike Campbell (Tom Petty, Fleetwood Mac), Lizzo, Duran Duran, Red Hot Chili Peppers, and Sheryl Crow. The band braintrust of Bromley, Reeves and Knight are a thrilling combo that is proudly carrying the torch of “real” rock ‘n roll into the modern age. While they draw from sonics of the past, they come by it honestly and embrace these songs with a vengeance and respect that can’t be denied.

EP Review: Derek Smith & The Cosmic Vultures – Temporary Circus: Act I

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photo by Gia Smith; photo courtesy of Knyvet

by Eric Harabadian, Contributing Blogger

EP Review of Derek Smith and The Cosmic Vultures: Temporary Circus: Act 1

Derek Smith is a prolific and award-winning singer-songwriter and guitarist from Boston that has recorded a startling number of album releases and singles as a solo artist as well as a member of The Cosmic Vultures. He is joined on this current EP release by Justin Lopes (piano/organ), Michael Strakus (guitars), Steve Constantino (bass), Dalton DeLima (drums) and Jonathan Chesko (orchestration/production).

This EP is a follow-up to the highly successful album Opus. This latest project is meant to be the first in a series, with proposed subsequent acts dealing with modern society, its challenges, and hopes for the future. In Smith’s estimation, life is a “temporary circus” and, despite all its hardships, this too will pass.

cover design by Derek Smith; image courtesy of Knyvet

The five songs contained here have a central acoustic-based focus that draws on a number of key influences – everything from jazz-pop and folk to world beat and psych elements. “Temporary Circus” has a distinctive, relaxed approach built on a bed of Latin rhythms. The acoustic flamenco-type leads lend themselves to classic pop like latter day Tommy James, The Rascals, and even Tommy Bolin’s solo work. “Strange Life” creates this aural imagery that is spacey and envelops the listener. The combination of acoustic guitar, percussion, and orchestral textures hints at a Moody Blues-like aesthetic. There is a slight shift in genre with the country feel of “The Puppets of Hypocrisy.” But it keeps up with the conceptual theme of the overall project. There are very clear notes of folk and pop here, as well. “Some Girls” speaks to the power of women in our society, which is driven home via exquisite harmonies and choral vocals. It’s also kind of new age-sounding, further exemplified by Lopes’ jazzy George Winston-like piano. “Indie Darling” could be almost auto-biographical and sounds like an amalgam of New Radicals, Todd Rundgren, America, Duncan Sheik, and even early Daryl Hall & John Oates.

For music fans who like their rock and pop with a tad more sophistication and depth, Derek Smith and The Cosmic Vultures are sure to satisfy and resonate with you for some time to come.

Album Review: Edoardo Liberati “Synthetics” Trio – Turning Point

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Edoardo Liberati

photo by Pino Donato; photo courtesy of Edoardo Liberati

by Eric Harabadian, Contributing Blogger

Album Review of Edoardo Liberati “Synthetics” Trio: Turning Point (Wow Records)

Edoardo Liberati is an Italian jazz guitarist extraordinaire who works in a variety of musical mediums. He is an accomplished composer who wrote seven of the nine tunes on this freewheeling and free-flowing trio date. He is joined by Dario Piccioni on double bass and Riccardo Marchese on drums.

Edoardo Liberati "Synthetics" Trio – Turning Point album cover

album cover photo by Pino Donato; photo courtesy of Edoardo Liberati

Stylistically, Liberati is influenced by a mix of classic and modern masters of jazz and improvisational guitar. Everyone from John Scofield and George Benson to Julian Lage and Kenny Burrell seem to rise to the surface when this young burgeoning talent hits the strings.

Upon the first listen to this album, perhaps the trio’s strongest suit is their ability to listen and play off one another. There is simpatico in their relationship where they are tight in their ideas, rapport, and connectivity. These are all the qualities that should be the goals of any successful band. And this group has it in spades. Liberati may be the leader, but they are the “Synthetics” Trio and are a fully functioning unit in every sense of the word.

Edoardo Liberati

photo by Roberto Ceccaroni; photo courtesy of Edoardo Liberati

“Dear Jane” begins the album, with a sweet and delicate melody that sounds like a love letter to someone special. There is plenty of air and space in the way the notes and solos are placed that it allows the listener to truly absorb and take in the enormous beauty this tune has to offer. Overall, the tune has a lilting quality that recalls some of Pat Metheny’s early work. Liberati’s acoustic work is superb and blends nicely, with the light cymbal and snare interplay from Marchese and Piccioni’s bass solo.

“Porcelain” is a rare and surprising addition to the roster. It is a deep cut from Red Hot Chili Peppers’ Californication album, and it gets a respectful and slightly re-harmonized treatment here. Liberati is faithful to the contemplative quality of the song. He pays great attention to each phrase and note within the verse. Both the guitar and bass work in concert and focus on sustain and ambience. The result comes off like a very hip lullaby.

Edoardo Liberati

photo by Pino Donato; photo courtesy of Edoardo Liberati

“One For Uncle John” is dedicated to one of the young guitarist’s heroes, the aforementioned John Scofield. It’s a smooth slice of modern bop, with an asymmetrical feel that bobs and weaves via the subtle rock steady inertia of Piccioni and Marchese’s interplay. Liberati also alters his tone slightly and emits a mild growl and bite to his chords and single note lines.

The stylistic diversity continues on the tune “Apnea.” It’s got a waltz-like time signature and has a very open vibe, not unlike some of John McLaughlin’s Mahavishnu Orchestra or early solo material. The mid-section features beautiful and energetic support from the bass and drums as Liberati works subtle volume swell-induced soundscapes into the mix. It’s a dreamy head trip of a journey.

The trio goes for a traditional jazz feel, with the title track, “Turning Point.” Upon the first downbeat, what captures your ear right away is Marchese’s lithe snare brush work. He delicately stirs it up and lays the groundwork for Liberati’s wonderful Pat Martino-like lyricism. Once that’s established, Liberati takes the first solo, which features a deft and thoroughly engaging blend of modal flourishes and dazzling intervallic leaps. When he passes the solo baton to Piccioni he provides ample space, with open chords and light anchor notes.

Edoardo Liberati

photo by Roberto Ceccaroni; photo courtesy of Edoardo Liberati

Inspired by the great George Benson, Liberati performs a solo guitar version of the Hoagy Carmichael classic “Stardust.” It’s a lovely and serene adaptation that finds the ambitious axe man weaving in and out of the traditional structure of the song, yet retaining its integrity along the way. “Another Story” tells another tale in regard to the “Synthetics” Trio. Seemingly built on some atonal-like chord changes , a musical dialogue is created between, first guitar and drums, and then guitar and bass. They each trade solos back and forth. As the tune builds, so does the intensity of the interplay. It’s probably one of the more “out there” tunes on the album.

Again, within the context of the trio setting, Liberati leads this group through folk and country-type waters on the track “Small House.” The guitarist goes acoustic here and, even, takes on a gypsy Django Reinhart-like quality in his phrasing and tone. Marchese employs the brushes while Piccioni digs in, with a muscular edge. It almost kind of bookends the album, with that touch of lightness found in “Dear Jane.”

Edoardo Liberati

photo by Roberto Ceccaroni; photo courtesy of Edoardo Liberati

They conclude, with the lively and uptempo “Round Town.” There is a decidedly gritty veneer to the guitarist’s tone. It’s a tad brighter and the chords sharper, as the melody ascends and descends at a moderately brisk pace. The drums and bass follow in kind, and the tune crescendos in a no holds barred vamp.

Edoardo Liberati “Synthetics” Trio is doing some amazing things in the name of modern jazz and improvisational music. They can take contemporary rock/pop or traditional fare and craft it to suit their collective and expansive vision. Liberati and company deserve all the accolades they have received thus far. They are truly taking instrumental music into exciting new directions.

Where to Follow Edoardo

You can find Edoardo online at his website. You can also stay up-to-date with his latest goings-on by following him on Facebook or Instagram.

Album Review: Sado-Domestics – Camouflage: Stories by T.J. Gerlach

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Sado-Domestics band photo

photo courtesy of the Sado-Domestics

by Eric Harabadian, Contributing Blogger

Album Review of Sado-Domestics – Camouflage: Stories by T.J. Gerlach

Sado-Domestics – Camouflage: Stories by T.J. Gerlach album cover

image courtesy of the Sado-Domestics

Sado-Domestics are a Boston-based collective of singer-songwriters and instrumentalists that draw from heavy folk, blues, pop, rock and Americana roots. Chris Gleason and Lucy Martinez lead the charge vocally and composition-wise. They are joined by Jimmy Ryan on mandolin, Eric Royer on pedal steel, Jim Gray on bass, and Jeff Allison on drums.

The band has a series of releases out, with their latest being based on fictional short stories by author T.J. Gerlach. All the songs on this album were inspired by Gerlach’s process of “die-cut” word play. The author would take significant words from various other authors’ books he admired and create his original nuggets of fiction derived from snippets of borrowed words. Hence, Gleason and Martinez employed that same approach to the songs. The result creates a world that resides somewhere between the literal and the impressionistic.

Sado-Domestics

photo courtesy of the Sado-Domestics

The dozen songs here feature the exquisite harmonies of Gleason and Martinez where the stories are right up front and the band totally supports the message in subtle and nuanced reflection. Songs like “Dusk” and “Shale” run the emotional and musical gamut from ambient, tuneful and melodic to a slow burning country feel, with Royer’s tasty pedal steel work running throughout.

Martinez simply shines on the song “Hands.” It features a crisp and brisk mid-tempo rock feel. “Shades” ushers in brilliant harmonies from Martinez and Gleason. Ryan’s mandolin and all the other elements converge to give this one a decidedly Celtic and bluegrass intent. “Phantom Punch” sounds like it could be an outtake from a latter day Byrds or Little Feat record.

Sado-Domestics

photo courtesy of the Sado-Domestics

Other tracks that seem to jump out and emotionally grab you in multiple ways are the dreamy ambience of “Corridor,” the traditional country lilt of “Deep Blue,” the melodic alternative and sparse rhythms coupled with angelic vocals that define “Photographs,” the lackluster Tom Waits-like “Everyone is From the Past,” and the slightly experimental and eerie, yet melodic “Apocalypse.”

Camouflage is a great listen and should appeal to fans that appreciate all facets of Americana music and its offshoots. But, lyrically, it differs from other albums in the Sado-Domestics’ catalog in that they base all their concepts on Gerlach’s somewhat unorthodox methods to storytelling. However, kudos go to the brain-trust of Gleason and Martinez.  As primary songwriters they chose to go off script in a fresh and creative direction. Some of the songs may seem obtuse or obscure, but they are so worth the emotional investment.

More Recently

Since the release of Camouflage, the Sado-Domestics have released three more singles – “Big Cat,” “Good Day,” and “Chancer” – which can all be found on the “Music” page of the band’s website.

Sado-Domestics band photo

photo by Jenny Jarrad; photo courtesy of the Sado-Domestics

Looking Ahead

You can find several upcoming performances on the “Shows” page of the Sado-Domestics’ website. (Notice that you should click “Next” at the bottom of the list of shows to see additional dates.) There are several shows listed above and beyond the “Second Sundays” shows at the Square Root in Roslindale, MA.

Live Review: The Santana Project at the Sterling Coffeehouse

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The Santana Project live performance photo

photo by Eric Harabadian

by Eric Harabadian, Contributing Blogger

The Santana Project

Sterling Coffeehouse, Sterling Heights, MI

February 20, 2025

The Sterling Coffeehouse at the Sterling Heights Community Center recently hosted an event featuring, arguably, one of the premier Santana tribute bands in the country. The Santana Project is a Detroit-based ensemble that uncannily and dutifully recreates the sound and feel of the original Santana band in all its incarnations.

The Santana Project live performance photo

photo by Eric Harabadian

The Santana Project consists of T.J. McGloughlin (lead vocals), Monte Porenta (keyboards), Bill Hanna and Greg Gdaniec (guitars/backing vocals), Henry “Hank” Tomlinson (bass), Ernesto Villarreal (percussion), Enrique “Kito” Pardo (percussion), and Gino Maisano (drums).

The band accurately captures that infectious spirit of classic rock that is timeless and spans many generations. In addition to the Santana catalog, the octet also delves into related jam-oriented fare like Cream’s “Sunshine of Your Love,” “In Memory of Elizabeth Reed” by The Allman Brothers, and The Zombies’ “She’s Not There.” They kicked off the night with one of the early Santana hits, “Everybody’s Everything.” It’s a rousing song, steeped in R&B, and filled out nicely by Porenta’s horn-like keyboard embellishments.

It was an evening featuring two sets that gave the audience more than they could ask for. Songs like “Evil Ways,” “No One to Depend On,” and “Smooth” were real crowd-pleasers. “Europa”( Earth’s Cry Heaven’s Smile)” and “All I Ever Wanted” really showcased both guitarists and ran the gamut from pensive and somewhat jazzy to raucous abandon.

The Santana Project live performance photo

photo by Eric Harabadian

Each member of The Santana Project is a committed and accomplished pro. Porenta creates an orchestral mix within the band via his bank of modified organs and pianos. His ability to add specific textures on a dime to support a guitar tone, in particular, is very tasteful. And now that TSP has two lead and rhythm guitarists on the front line they can cover all the nuances of the Santana studio recordings to a tee. Lead vocalist McGloughlin has a substantial range and really shined on standards like “Black Magic Woman” and latter day gems like “Stand Up.” And, let’s face it, you’ve got to bring it if you’re a member of the percussion and rhythm section. This unit did not disappoint! Pardo manned a number of timbales and congas, along with Villarreal, who handled conga and shakers. These guys provided the platform on which many of the tunes were built. The drums and bass ebbed and flowed within that foundation, and that’s the secret sauce that, along with the twin guitar attack, makes them one of Michigan’s – if not the nation’s – finest tribute bands on the current scene.

The Santana Project live performance photo

photo by Eric Harabadian

For more information on upcoming gigs and events please go to www.facebook.com/thesantanaproject/.

Album Review: Sunny Bleau & The Moons – Passion & Regrets

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Sunny Bleau & the Moons

photo courtesy of Sunny Bleau & the Moons

by Eric Harabadian, Contributing Blogger

Album Review of Sunny Bleau & The Moons: Passion & Regrets (Endless Blues Records)

Michigan-based singer-songwriter Kelly Brock (aka “Sunny Bleau”) has been garnering a steady fanbase in the blues world for her captivating blend of original songs and tasty covers. The 2025 Michigan Music Award nominees tap into the essence of traditional and classic blues, rock and soulful styles, with self-assured grace and an independent spirit.

Sunny Bleau & the Moons – Passion & Regrets album cover

image courtesy of Sunny Bleau & the Moons

On this latest Sunny Bleau and the Moons release, Sunny Bleau is joined by band co-founder and head Moon, Nicholas Cocco (guitars), Jeff Jenson (guitars), Keirsi Joli (harmonica and backing vocals), Bill Ruffino (bass), James Cunningham (drums), Rick Steff (keyboards), and Dr. Peter Stephenson (Hammond SKX). They are produced by the great Mick Kolassa, who assembled the studio band and gave the session an authentic and true blue mix of vintage and contemporary luster.

“Two Glasses of Whiskey on Ice” sounds nice! Kick back and let master storyteller Ms. Bleau regale you with a tale about an older woman who has a romantic encounter with a Beale Street musician. It’s a sexy and seductive tune where Cocco’s well-placed licks never overpower but make a nice bed on which this dramatic little yarn unfolds. Sunny puts the listener at the front of the action as if you are watching a movie. When she describes the details in this woman preparing for a night of, hopefully, passion with the musician of her affection, you feel the anticipation right along with her.

Sunny Bleau

Sunny Bleau; photo courtesy of Sunny Bleau & the Moons

“You Better Put the Coffee On” is a slow blues that has a bump and (coffee) grind feel. Sunny doesn’t wanna be taken for granted by her man and knows about some of the shady stuff he’s been up to. But, in no uncertain terms, the biggest offense he can commit, besides having a woman on the side, is not brewing that pot of coffee before leaving the house. The song has a tongue-in-cheek vibe that features some tasty solos from Joli and Cocco.

“Low-Down-Middle-Aged-Blues” is all about the passage of time, as a person of a certain age evaluates their life thus far. It is a song originally conceived by the Detroit keyboardist Dr. Peter Stephenson, based on his award-winning composition “Helpless Blues.” His New Orleans-like piano work coupled with Sunny’s Bessie Smith-influenced phrasing brings a traditional authenticity to the mix that is relevant and timeless.

“Peacock Strut” explores a young man with an eye for the ladies. Again, Sunny seems to have a read on these types of things. And she ain’t falling one bit for what kind of jive the young man is putting down. It’s a relaxed, laid-back number, with some clean, Roy Buchanan-type leads and interplay with Jenson.

Nic Cocco

Nic Cocco; photo courtesy of Sunny Bleau & the Moons

Female empowerment is the name of the game for Sunny Bleau. And that shines through to the fore on “S-H-E-E-E-W-O-M-A-N.” She’s lawdy, she’s bawdy and don’t take no mess! And to drive that message home you’ve got some hellacious harmonica riffing from Joli and a twin guitar attack from Cocco and Jenson. Their call and response here is exceptional and really sells the tune.

“Why Don’t You Do Right?” is an old standard originally recorded by Lil Green in 1941. Peggy Lee also had a hit with it, and Sunny’s delivery bears the blonde chanteuse’s seductive style. This swings in all the right places and is just a nice, easy and carefree ride. Cocco and Steff have a stellar interactive guitar and Wurlitzer exchange that embodies the authentic period in which it was written.

“Waitin’ on a Man” comes from a first-person perspective but really could be a composite of many women’s takes on relationships. It’s all about the trials and tribulations of being with a man who is, perhaps, not on the same commitment level as you. Fear not, ladies, for Sunny gives you her tips and experience accompanied by Steff’s jazzy and country-flavored piano work.

Sunny Bleau & the Moons logo

image courtesy of Sunny Bleau & the Moons

“You Put Me Out” uses a lot of harsh comparisons like “washing grease off your hand” or “crushing me like a cigarette” to depict being dismissed in a one-sided relationship. It’s a slow burn of a tune that bristles with Sunny’s emotive vocals and, again, Steff’s top notch keyboard skills.

“Deep Regretful Blues” is as much a Sunny song as it is a Nicholas Cocco tour de force. Cocco really opens up here on some taut blues rhythms and incisive and gritty guitar work. The rhythm section of Ruffino and Cunningham really cooks in a low and understated manner.

The finale “Memphis Bound (It is Well with My Soul)” lays down a dirge-like path, with its tribute to the elder blues men and women of Memphis blues that have paved the way for folks like Sunny Bleau and the Moons. Toward the coda of the song, Sunny surprisingly picks up the tempo in a gospel-fueled fervor where she, in call and response vocals with Joli, delivers the final line, “When I die I won’t be going to heaven… ‘cause Beale Street is hallowed ground.”

Passion & Regrets is almost like a concept album in the way each song seems to observe and attempt to define various aspects of love, relationships and, of course, music. Sunny seems to put it all on the table for her audience. And Cocco and company back her in an ego-less and first call professional style. RIYL: Bonnie Raitt, Eric Clapton and Marcy Levy, Patsy Cline, Joanne Shaw Taylor, and Etta James. Sunny Bleau & The Moons are keeping those classic and vintage blues fires burning, with a contemporary edge.

Single Review: Jen Kearney – “Long Division”

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by Eric Harabadian, Contributing Blogger

Single Review of Jen Kearney: “Long Division”

Jen Kearney is a singer-songwriter from Boston, Massachusetts that represents the very best of what that job description signifies. She’s got a vocal style that’s full-bodied and steeped in character. And her storytelling chops and facile lyrics are off the charts.

Jen Kearney
photo by Caroline Alden; photo courtesy of Jen Kearney

The jazzy, soul-influenced chanteuse has a series of independent releases under her belt. She has also opened for some of the biggest names in rock, pop, blues and R&B, including Daryl Hall, Maceo Parker, Los Lobos, John Mayall & The Bluesbreakers, and The Derek Trucks Band.

Her latest single is a sly and perceptive treatise on the state of our country and its place in the world. “Long Division” hits you immediately with questions about the have and have-nots, with: “Who gets the water, who gets the sky? I see you calculating, tapping into everyone’s well until they’re all dry.” With each verse, the stakes rise higher as she delves into areas of left and right wing views, Middle East conflicts, and even a jab at the current pseudo American president Elon Musk. But, amid all the past and present social chaos Kearney so aptly describes, there is power in her resolute phrase: “Maybe we’re on to you!”

The song’s strong socio-political stance is wrapped nicely in a blanket of funky conga-fueled rhythms, horns and ambient guitar. Kearney delivers her cogent and essential message, with all the gravitas and style of a Nina Simone, Diana Krall, or Amy Winehouse.

Keep Jen Kearney on your radar, as she is a sparkly jewel and a musical north star.

Publisher’s Note: Jen’s single, “Long Division,” will be released on March 21st. Click here and follow the link to pre-save on Spotify. Also, for those of you in the Boston area, Jen will be performing at The Burren in Somerville on March 21st, as well. Tickets to that single release event can be purchased here.