Buckle up and prepare for liftoff: Soaring Through Psychedelic Skies with Lee Gallagher’s “The Falcon Ate the Flower,” his third album with The Hallelujah, is a sonic spaceship ready to propel you through galaxies of inventive prog rock and kaleidoscopic psychedelia. The opening track, “Planes,” sets the tone with nimble guitar riffs dancing alongside spacey synth lines, evoking the freewheeling spirit of late ’60s San Francisco. Gallagher’s vocals, reminiscent of a raspy Steve Marriott and a yearning early Neil Young, hint at anxieties amidst the cosmic exploration, setting the stage for a mesmerizing blend of rock’s raw energy and introspective folk-tinged ballads. The Falcon Ate the Flower solidifies Lee Gallagher’s position in roots music circles as a truly unique talent, drawing inspiration from the past in his own distinctive way.
Gallagher isn’t alone on this interstellar journey. Joining him are The Hallelujah’s tight rhythm section and the legendary Scarlet Rivera, whose violin adds a layer of melancholic beauty to tracks like the sublime “Peregrine Fly.” Recorded live in the studio, the album crackles with the electricity of their musical camaraderie. Each note feels spontaneous, each groove a conversation between instruments, drawing inspiration from one another like seasoned explorers sharing stories under a celestial map.
Among the rock’s swagger, “Baby, I’m There” emerges as a swaying sing-along, its infectious hook echoing the carefree spirit of Tom Petty’s “Wildflowers” era. Then there’s “Half Lit (The Future’s Ours),” a bluesy lament inspired by California’s wildfires amidst the pandemic’s chaos. Gallagher’s harmonica wails alongside Jason Soda’s Skynyrd-worthy guitar solo, painting a picture of smoky skies and smoldering resolve.
Gallagher’s vocal prowess is a revelation. He effortlessly shifts from a gravelly rasp to a vulnerable whisper, his vibrato painting emotional landscapes like brushstrokes on a starry canvas. Lighter numbers like “Something Better” showcase his range, as he narrates escapades with a sly grin, channeling the unhinged spirit of mid-70s Neil Young with a sardonic twist.
“The Falcon Ate the Flower” is more than just an album; it’s a testament to Lee Gallagher’s unique place in the musical cosmos. He draws inspiration from the past, not to mimic, but to reimagine, bending genres and expectations like a cosmic cartographer charting uncharted territories. This is music for stargazers and dreamers, for those who yearn to break free from the mundane and soar through the endless possibilities of sound. So, climb aboard The Falcon and let Gallagher guide you on a journey unlike any other.– Jason Felton