Terra Cognita is a new jazz fusion album by composer and musician Michael J. McEvoy of Ramsgate, UK. It is described as "a meditative tribute to the beauty and power of nature, a reflective journey through sound and a musical prayer to the natural world."

Even without any background materials, it's clear McEvoy is highly talented and accomplished. Thus it's not surprising to learn that he's also an Emmy-winning composer with multiple film, TV and pop music credits. The Peabody Award-winning documentary "The Jazz Ambassadors" and Richard Linklater’s "Me and Orson Welles" are just a couple of his credits. Among the artists he's worked with are Soul II Soul, James Taylor Quartet, Mark Morrison, Sting, The Bee Gees and Melissa Etheridge.

The players include McEvoy (piano/guitars/viola/percussion), Airto Moreira (percussion/ambient sound), Miles Bould & Dan Gresson (percussion), Mark McEvoy & Sarah Tilley (violins), Jan Hendrickse (flutes) and Jane Fenton (cello). I was set to bestow high praise on McEvoy's guitarist both for his style and his tasteful interactions with the keys, before learning it's actually McEvoy playing both! McEvoy is classically trained on viola and piano, self-taught on guitar and bass, and was mentored by music heavyweights like drummer/percussionist Reebop Kwaku Baah, Steve Winwood, Jazzie B (Soul ll Soul) and composers Joseph Horowitz and Mike Gibbs.

My jazz tastes tend toward the popular and even predictable (with a few "Free Jazz" outliers), but McEvoy designs his music for listeners who enjoy a more mellow, ambient style of jazz, but with a sophistication in the writing and performance; thus, I'll approach this album as an average listener and not an expert. For example, I suspected I was getting a Miles Davis vibe in spots, and apparently the internet agrees with me!

"No Other World" begins with an evocative piano riff that seems to approach itself from back to front. The main melodic overlay feels like slowly cascading water, soon joined by tasteful guitar and surrounded by diverse percussion. At points there's the illusion that somebody is doubling the guitar parts with voice. "Rise" is a track that reminds me of the various suites (piano with flute, violin, etc) by Claude Bolling, very popular in the 70's (interestingly, the late Bolling was also a film composer!). There's elliptical melodies here that evoke Grand Wazoo Frank Zappa, or easygoing sections like Vince Guaraldi. All the players join in, creating an ever-changing track with exciting tempo and tonal changes.

"Sol Lamente" is noted to be a special performance by percussionist Kajal Verma. There's definitely a great variety of beats here, plus flutes by Jan Hendrickse with a tone that compares favorably with the masterful Rampal. McEvoy also plays Spanish guitar and backs up his piano with an interesting plucked-string sound. A shorter but amazing track! "Winter Meditation" leans into the album concept, beginning with dry winds and stark piano notes. The instrumentation mirrors the cycles of the natural world, with Jane Fenton's cello interacting beautifully with Jan Hendrickse’s flutes and McEvoy’s understated piano. I was taken by the deep strings and choir, romantic in the best way. Not quite a movie soundtrack, it's more like a movie in sound unto itself, and closes with wind and distant wing flaps. Parts of this track recall "Sketches of Spain" by Miles.

"Breathe into Blue" mixes Windham Hill minimalism with Aaron Copland grandeur. McEvoy is described as "utilizing subtle shifts in harmony to evoke a sense of deep, unhurried breathing." I'll note that the background ambient sounds resemble both sea waves and literal breathing, leading into a Keith Jarrett-like piano improvisation. What was just suggested in the previous track becomes literal with "Oceanna" featuring beach waves and a deep, tonal wind. Subtle standouts are the bass, the percussion and McEvoy's bird-like guitar figures. At almost nine minutes, this track is pretty much a concluding epic, with lots of room and space to explore McEvoy's themes.

This is album is not only a great listen, but will also help EarthPercent.org with 50% of its sales. Beautiful!

HMS Beckett’s greyhound / fern / swallowtail / apple tree is so delicate that even a forceful strum might disturb its equilibrium. Its whispered vocals, lightly picked guitars, and spacious arrangements recall the private worlds of early Sufjan Stevens and the Microphones, but without the ruptures that make some of those records feel unstable. HMS Beckett favors sustained melancholy over confrontation, creating music that settles into reflection and rarely attempts to break the spell.

“summons” begins with loose guitar and a haze of fuzzy white noise that is not quite dissonant enough to provide a strong contrast. The vocals arrive with a solemn, theatrical weight, establishing the emotional register that carries through much of the record. It is a patient slow burn, eventually opening into a more intense and musically complex arrangement. Honestly, I wanted that passage to last longer because I loved the groove. “Swanning” moves even closer, pairing intimate, nearly whispered vocals with graceful guitar picking. “Atlantis City” follows with instrumentation that feels softer and more fragile still, as if the song might disappear when handled too firmly. These tracks are carefully constructed and consistently pretty. Their shared restraint can make them difficult to distinguish from one another, but it also creates a very cohesive experience.

The meditative picking on “Summer field” has a particularly gentle quality. I really liked the vocals on “Flamborough Head,” as well as the drums that eventually enter and give the song some welcome definition. Its closing dissonance is one of the album’s more compelling decisions. After so much cleanliness and calm, those rougher tones suggest a conflict the rest of the record often keeps out of view.

At 21 minutes, “greyhound / fern / swallowtail / apple tree, will anyone remember the dew?, the wheel, Love made a garden” occupies a substantial portion of the album. It expands the same vocabulary of whispered voices, sentimental phrasing, and subdued instrumentation without moving far beyond the atmosphere established by the shorter songs. Everything is lovely, mournful, and designed to press familiar emotional and nostalgic buttons. Yet over such a long stretch, I found myself waiting for an interruption: a surge of volume, a damaged texture, or some resistance to all that careful beauty. “Gaia [reprise]” offers a modest change through the warm, rounded sound of its bongos, which I enjoyed. It is a fairly simple but nice closer.

The album shares qualities with the quieter work of Sufjan Stevens, the Microphones, Bright Eyes, and Iron & Wine, particularly in its closeness and vulnerability. What it largely avoids is friction. There is no significant crescendo, no turn toward abrasion, and little sense that the songs are wrestling with their sadness. Instead, the vocals remain hushed, the guitars sometimes seem barely touched, and each arrangement tries to hold the listener in the same contemplative state.

​There is some lovely guitar work here, along with well-executed singing and several moments that reward close listening. It is also impressive how connected the songs feel in tone and mood. I need to be in a specific mood for music this soft and meditative, especially when an entire release remains within such a narrow emotional range. Still, its patience, vulnerability, and careful attention to atmosphere give it a quiet appeal. Listeners drawn to the most intimate sides of Sufjan Stevens, the Microphones, Bright Eyes, and Iron & Wine may find plenty to love here. Take a listen.

Rock history functions as a common language on The Project’s debut album, This Is Not a Test. The record moves between oversized ’80s choruses, ’90s alternative rock, and early 2000s pop punk, favoring familiar pleasures over reinvention. Its methods are traditional, but the musicians play with enough conviction to keep the material from feeling like a simple nostalgia exercise.

Built around songwriter and guitarist James “Jimmy” Davis, The Project operates as a flexible collaboration rather than a conventional band. Musicians connected to Lit, Face to Face, Eagles of Death Metal, BulletBoys, and Stephen Pearcy’s Ratt move through the album, giving Davis a seasoned cast capable of handling its shifts in style. The lineups may change, but the songs remain grounded in direct arrangements, prominent guitars, and an obvious affection for a big chorus.

To my ears, opener “Best Days” combines pop punk and alternative rock with a pronounced ’80s streak. The band works within the boundaries of a standard rock setup, without many decorative flourishes, but the performance is sharp and the chorus lands. During the bridge, the vocal takes on a theatrical quality that reminds me a little of Ozzy Osbourne.

“Death of Me” leans further into early 2000s pop punk while retaining the weight of ’90s alternative rock. Dennis Hill’s raw delivery cuts through the dense three guitar arrangement, while Kevin Baldes and Jimmy DeAnda keep the song moving with a firm rhythmic foundation. Davis, Scott Shiflett, and Erik Ferentinos give the track plenty of grit without burying its bright, immediate hook. The ’80s influence becomes even clearer on “What’s It Gonna Take,” featuring Mykele Hill, particularly in its vocals and power ballad scale.

“Hope” felt motivational to me, while “No Hard Feelings” loosens the album’s posture with a playful performance that is simply fun to hear. “All I Ever Needed” settles into a great groove reminiscent of the Strokes, and “Top of the World” returns to the record’s ’80s side with another large, memorable hook. I became more impressed as the album progressed, especially when it closed with the killer “Hold Tight.”

​This Is Not a Test takes many of its moves from the rock 101 playbook. The structures are straightforward, and the band rarely complicates an idea that can be carried by a strong riff or chorus. That simplicity works because of the delivery. The different strains of nostalgic rock are blended with care, and the musicians understand how to make a familiar hook connect. The Project may draw heavily from the past, but it uses those influences to build a solid collection of new songs that sound focused, confident, and genuinely enjoyable. Take a listen.

Some bands arrive with a thesis; Red Bird arrives with the sound of four people plugging in and finding the song together. Their music belongs to the enduring tradition of independent guitar rock, shaped in small rooms through loud amplifiers and recordings that leave the edges intact. Across this collection, the band favors jangling guitars, uncomplicated rhythms, and melodies that emerge naturally. The results are modest but inviting, animated by the sense that these songs might change shape once Red Bird gets them in front of a crowd.

Red Bird operates in the same general territory as Clap Your Hands Say Yeah, The Shins, and The Decemberists. The songs combine an unguarded vocal delivery with clear melodic hooks and choruses suited to a crowded room. The arrangements leave plenty of air around the instruments, allowing the band’s personality to emerge through small shifts in tone and timing.

Opener “Domino” carries the easy momentum of a midafternoon festival set. Clean guitars trace a warm, cyclical groove while the bass and steady four beat keep the track moving at an unhurried pace. The vocal is loose and slightly weathered; it reminded me at times of J Mascis, particularly in the way the melody seems to sag agreeably against the instrumentation. “You watched it surrender / The evenings awry / There’s nowhere to turn to / But I’ll be by your side,” the singer offers, pairing disorientation with a plainspoken promise of companionship.

“Arcana” is built around jangling chords, an economical beat, and melodies that settle in almost imperceptibly. “Red Needle” takes a more playful route, and I was especially drawn to its guitar work, which gives the song a sly, restless character. “The Follies” benefits from a carefully shaped arrangement while preserving the band’s casual touch. “Ratcatcher” leans into the communal pleasure of a chorus made for a crowded room.

Red Bird reminded me of the kind of band I might have stumbled across at the Empty Bottle in the 2010s, arriving without much advance notice and leaving behind a handful of songs I wanted to hear again. The performances retain the roominess and minor imperfections of a live set. Technical complexity is not the focus here. These songs succeed through the interaction between familiar materials and the band’s instinctive delivery. I think listeners drawn to melodic, idiosyncratic indie rock will find an easy point of entry.

Red Bird still has room to sharpen its identity beyond those reference points, but the foundation is persuasive. The recordings’ homespun texture suits the music and captures a band held together by genuine chemistry. I’m curious to hear how Red Bird develops  and I look forward to whatever comes next.

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It's always exciting when you watch a band's video and realize you've actually been to the places you're seeing. In the case of Melinda Joy & Son of Cormack's Out of the Blue video, the location is the rugged coast of Southwest Ireland. I haven't been too many places but I have been there!

Melinda Joy is actually a singer-songwriter from Washington, DC. Her husband is George McCormack (performing as Son of Cormack) who has strong Irish roots, grew up in England and now lives in Austin with Melinda and their daughter, though Melinda also commutes to Mexico and Iceland. McCormack succinctly describes himself as "Irish boy, English voice, living in the States.” 

The song Out of the Blue began as a poem by Melinda that was inspired by "the rugged coast of Southwest Ireland and a touch of romance." Melinda and George then collaborated on the music and the visuals.  Their intent was for the video to "explore the uncertainty of new love, how landscapes spark the imagination, and the longing for the shape of a new life, more wild and free.” The footage was shot in West Cork, Kerry, Wicklow and Dublin, with shooting and editing by Juro Kosec.

First, the song. It's a pop-rock single based on acoustic guitar and keys, with the couple trading lines back and forth somewhat like Johnny and June Carter Cash. Similarly, Joy has a joyous, sweet alto while McCormack has the crustier bass parts, similar to Glen Hansard (who we sadly just lost). The "out of the blue" choruses are supercharged with crunch guitar and heavier drums. I love the line "My body boarded the plane / but my heart's with you." 

The video, as you might imagine, is essentially an Irish travelogue showing a couple in love at the center. The locations (including awesome cliffside beaches, the Irish Stonehenge and a city street) and just as amazing as you'd expect. However, I have to say that the "distressed video" overlays are overused. That effect does break up the footage in interesting ways, but after a while it's like you're watching films salvaged from a bombed-out attic. The Irish sites are stunning and you just want to enjoy them as they are. I would say the same for the rapid editing, as I hit pause more than once to catch what I just saw. 

Overall it's a nice package and works both with the visuals and without!

CMD.EXE approaches the future as a vast musical archive, drawing from industrial rock, electronic music, metal, and cinematic science fiction. Red Giant Protocol considers artificial intelligence, mortality, collective consciousness, and the possibility that humanity may be a transitional form of intelligence. Although the album is presented as a continuous transmission, its fourteen songs often feel like distinct broadcasts connected by a shared set of ideas.

Following love.language.model, CMD.EXE increases the scale and intensity of its production. Industrial rhythms sit alongside atmospheric synths, cyberpunk textures, and tightly controlled guitars. Several vocalists appear across the album, each occupying a subtly uncanny register. I could not determine whether this quality came from how the voices were generated, how they were processed, or some combination of the two. The effect suits the album’s subject matter, giving the performances a deliberate sense of distance from ordinary human expression.

“Consciousness in the Void” opens with the sheen of electronic music with a hint of 80's metal before settling into a steady 4/4 beat surrounded by synth effects and metallic guitar. Once its central elements are established, the song remains committed to them, favoring consistency over dramatic changes in tempo or atmosphere. “Signal Burst,” by comparison, introduces such a different vocal and production style that it could almost belong to another project. Its carefully shaped surfaces demonstrate how thoroughly CMD.EXE adapts its sound to each composition.

That flexibility becomes one of the album’s defining features. “Beautiful Prison” recalls Nine Inch Nails and Linkin Park, with a stronger electronic foundation and vocals shaped to fit the arrangement. “E.V.A.01” brings Evanescence to mind, though its rigid timing and quantized edges give it a more mechanical character. An unidentified vocalist appears on “Ghost Process,” which sounds assembled from distant musical memories, while “Madam E.V.A” shifts direction again and the brooding “Organum Spatii Sacri” moves toward cinematic score music. Some tracks feel naturally paired, while others occupy distinctly different aesthetic territory.

As Red Giant Protocol progressed, I increasingly felt as though I were listening to a carefully curated mixtape of sorts. The shifts in genre, production, and vocal identity are pronounced, giving each track its own character. While the album’s themes provide a common vocabulary, many of the songs remain islands unto themselves although some songs sound similar too. For some listeners, that variety may be part of the appeal, particularly on a record concerned with unstable identities and emerging forms of consciousness.

I have been producing music and working with bands and artists in studios since the 90s, and much has changed in both the tools and assumptions behind recording. Red Giant Protocol reflects that transformation, particularly in its polished surfaces and uncertain boundary between human expression and digital construction. Listeners drawn to Nine Inch Nails, Linkin Park, or Evanescence may find recognizable elements here, but CMD.EXE combines those references with a broader range of genres and production styles. The result is an ambitious album whose variety invites listeners to decide whether its many musical identities strengthen the larger transmission.

Malkotron is the artist name for William Allison Stults, a solo progressive rock artist based in Houston, Texas. Even in the age of one-man digital bands, the fact that Stults created this hour-plus prog masterwork all by himself is mind blowing. The album is called No Paradise and clearly references many of our past Art Rock masters.

Malkotron has been recording and releasing since 2013, with its primary influences being Pink Floyd (mainly Rick Wright and David Gilmour for the guitar solos) and Marillion (for the lush keyboard and synth textures) along with Van der Graaf Generator, The Moody Blues and Nine Inch Nails. The acoustic song sections have a folk connection to Simon & Garfunkel,
Jackson C. Frank and Bon Iver.

No Paradise is a concept album but without an explicit narrative, working instead to capture the experiences and feelings of depression: "Helplessness, alienation, rage and the fleeting nature of hope are all confronted head-on. How does one recognize hitting bottom? How can a seemingly endless cycle be broken? And ultimately, what is the reason for holding on?" This is an ambitious hour-seven of music; at least the first couple times I was able to float away without contemplating loss of hope or other heavy themes, though they are certainly present.

"Woeful Dusk" has a long, quiet intro (and even seagulls) like the Yes epic "The Gates of Delirium." With single piano notes and backward-sounding synths, Stults presents the first bits of lead guitar, with an overall effect like the opening of Pink Floyd's "Wish You Were Here." This leads without pause into "Sleep is Free" and the first lead vocals, which are matter-of-fact but also gently melodic in a lower range. Musically the track blossoms with a full arsenal of sounds, including great-sounding drums, hypnotic keys and tasty Gilmour-like guitar. As the track continues it also evokes the Genesis masterwork "Selling England By The Pound."

"Lost and Found" is kind of a George Harrison title with a Harrison-like acoustic intro, backed by an orchestra of synths. The track itself plays like an amalgam of Beatle fans Supertramp and ELO, with an overlay of Keith Emerson or Rick Wakeman synths. This is the most energetic and creatively diverse track thus far and should really delight hardcore prog fans, feeling like its own album at 15 minutes! The acoustic-based "Dusty Beams of Light" is an interesting combination of the Beatles and Simon and Garfunkel, with some of the arranging genius of Brian Wilson. The vocals here are carefully harmonized and way impressive!

"Maybe God Forgot" is a lush acoustic-and-strings track with a homegrown vocal like Lou Barlow. The playing here is eerily perfect, with a dissonant ending designed to crawl up the base of your spine. "Cogs Grinding Bones" feels a bit like a "SMiLE" outtake before settling into more of a side two "Wish You Were Here" evocation. Stults provides some spooky spoken-word among scary birds of prey and lots of diverse percussion. "Another Day" ends the album in a similar way to the opening, with repeated piano chords backing voice samples (a very cool effect) before a final, confident and very lengthy lead vocal atop a jazz-influenced arrangement. 

This is the kind of album that requires as much attention to listening as it did to create, in order to get the full benefit. But even a passive listen will bring much pleasure, especially for prog fans. Quite excellent!

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Maximalism can turn private anxiety into spectacle, making one person’s buried stress sound large enough to fill an arena. On “Father Asphyxia,” Pick Up Goliath piles orchestral grandeur, buzzing electronics, metal guitars, and electronic sounding percussion into a dense portrait of parental responsibility. The scale suits the subject, though the song’s determination to communicate emotional weight sometimes leaves little room for subtlety.

Producer, songwriter, and multi instrumentalist Sam George has used the rollout of Salt & Static to examine the coping mechanisms that can quietly reshape a man’s identity. The forthcoming six track EP has already touched on depression, addiction, grief, and failed emotional communication. Its fifth and penultimate single focuses on fatherhood, particularly the way becoming a provider, protector, and constant source of stability can push a man’s own needs out of view. It is part of a broader cultural conversation about the psychological strain of caregiving, recently given mainstream attention by films such as If I Had Legs I’d Kick You. Here, love and devotion coexist with mounting responsibility and a slow erosion of self.

The opening resembles the portentous score of a fantasy or science fiction epic, the kind of music that might accompany a wide shot in Dune or The Lord of the Rings. Its seriousness is immediate, while George’s delivery sits somewhere between singing and spoken word. Buzzing synths and electronic sounding percussion gradually crowd the arrangement before the song makes an abrupt turn toward metal, driven by quantized drums that sounded very precise and mechanical. The vocals are catchy and melodic.

Structurally, “Father Asphyxia” moves through something like a verse and chorus before abandoning the usual cycle and pressing onward towards a heavy section like a more electronic sounding version of System of a Down and Rage Against the Machine. During its most intense passage, the vocal changes so dramatically that it sounds like a different singer ( a little like Zack de la Rocha) has taken over, only for the familiar voice to return afterward. I’m not entirely how this was achieved. As an engineer myself, this sounded like something that was meticulously arranged  with an attention to detail that is impressive. I can't say this song sounds like a bunch of musician performing live but the production work feels vital to the song.

George is clearly pursuing maximal impact on this ambitious song, and nearly every part of the track is engineered to reinforce its gravity. There is a lot happening, all of it intense and delivered in a way to capture your attention. Have a listen.

On KISS KISS CUT CUT, VHS PANTY RIOT approaches the sound of a 1980s slasher with an obvious affection for horror cinema and electronic music. The UK darksynth artist’s debut EP is vivid, energetic, and impressively produced, using gleaming synths, distorted bass, and enormous drums to give its retro influences a contemporary scale. Its darker elements tend to appear in short bursts rather than define the entire record, but the contrast gives the EP a playful personality.

“You’re Pretty When You Panic” establishes its cinematic character almost immediately, then erupts with the force of a metal band preparing to begin an album. Instead of turning into a rock song, however, it continues stacking electronic parts until the track becomes poppier and more buoyant than I expected. A few ominous sections darken the mood, but they never take full control. For most of its runtime, the song plays like an upbeat dance track interrupted by brief moments of tension.

“I Smile You Scream” is even busier. Its wide, gleaming synths bring early M83 to mind, while the dense arrangement shows how much VHS PANTY RIOT can fit into a track while keeping each element clear. The production is impressive, though the song is much brighter than its title suggests. Its scale and melodic focus place it closer to polished electronic pop than the grim atmosphere of a traditional horror score.

“Heaven Sent Me a Psycho” pushes that brightness toward chiptune, with rapid electronic figures giving the track an almost arcade like energy. The title track raises the intensity further, filling its arrangement with pounding percussion and competing synth lines. “Getaways Look Good on You” closes the EP with some of its most appealing synth work and maintains the record’s emphasis on momentum.

​Everything here feels quantized and locked firmly to the grid. That precision is clearly intentional. Every impact lands exactly where it should, and every layer occupies its assigned space. As a horror fan, I noticed plenty of genre references, but they often felt like accents rather than the EP’s central source of dread. Despite its slasher imagery and occasional flashes of abrasion, KISS KISS CUT CUT mostly struck me as a collection of exceptionally well produced EDM tracks with some darker passages worked into the arrangements. Either way, I really enjoyed it.

Last week I reviewed a single played in the retro style of the garage bands I've been hearing on the Tom Hanks station Boss Radio. Folly of Three's new EP titled Folly of Three makes me think I crossed timelines and literally woke up in 1966!

Folly of Three are based in Holyoke, Massachusetts, part of a growing movement that captures the rock and psychedelic sounds from the mid-60's. I've tried my hand at that sound and let me tell you, it is not easy! It's not just a matter of tracking normally and then using a cassette-distortion plugin. These guys record on actual cassettes (and there's a tape recorder on the cassette J-card) but there's also something about the mic placement and arrangements that make these feel 100% authentic. They also recorded at "Cosmo Factory" which is a massive warehouse in Holyoke and not the studio Creedence used!

The band says their "jangle rock with driving bass lines" has been compared to The Clean, Guided by Voices, The Brian Jonestown Massacre and The Animals. The members are Ben Strohler (guitar), Steve Kalicki (bass) and Luis Fieldman (drums). Clearly some members also sing. Despite the live, mic-hanging-from-the-ceiling quality of these recordings, there's at least a couple overdubs. They write their songs while warming up before practice, giving them a highly organic and spontaneous feel. When not recording they're an active local live band, touring Richmond Virginia and Baltimore Maryland. 


"Sherri's Gone" is a great example of the driving bass lines the band mentioned, providing the glue for the wild trebly guitar figures and ragged two-part harmony vocals. Though the main chords pretty much stay the same, the underlying bass melody makes subtle key shifts, providing a sneaky kind of progression. Where the chorus should hit, the whole band does a stop-time section on the four main notes of the melody. The conclusion settles on a chiming guitar motif that totally nails the landing. A lot going on here for a minute and forty!

"Sleepwalker" is an immediate surprise as the main guitar theme is close to George Harrison's "What Is Life." There's a note here that Alex Ramsdell wrote the lyrics to Sleepwalker "and played drums on all songs." The drums are great, and this song in particular has an awesome multi-tiered arrangement that totally fills out that main riff. There's even a hint of stereo in the vocals toward the end. "Folly Theme" is an instrumental that could easily be the backing track to an early Doors song like "The End."

"Lunar" continues the band's tendency for each track to sound like a different band. This one has the slightly out of tune jangle of the Velvet Underground's "Femme Fatale," with the addition of a sleepy yet seductive slide guitar. "Uncle Bobby" ends the collection by bringing in a Hammond organ. Hammonds or Farfisas were absolutely essential in the 60's, and being the guy who hauled one to shows was almost as prized as the guy with the full drum kit. This is the sound Elvis Costello chose to start his career with and it still works. Combine this with another twangy, tipsy guitar riff and fun doubled-lead vocals and you've got a killer conclusion. 

This album is "Name Your Price" on Bandcamp so I grabbed one right away. You literally can't go wrong!

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