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April 24, Thursday

Anthony Gomes


Wayne Dean &

The Bailouts

May 2, Friday

Moreland & Arbuckle


May 8, Thursday

Damon Fowler

& "What's in the box?"

Music Review: Written by Sara Wiseman: For the Enquirer


May 15, Thursday

Fairway Jam hosted by

Roger Girke Blues Organ Trio

May 16, Friday

Mike Zito

June 7, Saturday 8-11pm

Bob Margolin

June 18, Wednesday


Albert Castiglia


July 13, Sunday 2pm

JP Soars

July 24, Thutrsday 7pm

Sean Chambers

Aug 31, Sunday

Chris Duarte


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Written by Graham Wood Drout










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May 8, Thursday

Damon Fowler will perform on April 12. / Photo by Bob Hakins

Written by Sara Wiseman;For the Enquirer

“Sounds of Home” by Damon Fowler Group: The opening track for the Damon Fowler Group’s sixth album bleeds.

Listeners can really feel the blues aspect of this Americana band. Throughout the album, “Sounds of Home,” lead singer and guitarist, Fowler, delivers catchy riffs and attention grabbing solos.

This is the third solo album Fowler has completed with record label Blind Pig. He also contributes to blues group Southern Hospitality.

Fowler is the star of all the songs with his squealing, lively instrument. By the finale of some songs such as “Thought I Had It All,” his guitar slider is likely red hot from all of the action. This track sounds like a relaxed version of blues rock sensation The Black Keys’ “Next Girl.”

Fowler’s guitar does most of the singing and moaning throughout the release. Paired with Fowler’s laid-back vocals, it feels as if you’re listening in on a casual sit-down with someone obliged to share their music with company.

Resembling blues legend R.L. Burnside, Fowler sounds like an experienced Southern country boy with a healthy serving of stories to tell. The group’s rhythms keep the slower songs plugging along and knees bobbing.

Original songs on “Sounds of Home” were primarily written by Fowler, musical partner Ed Wright and Louisiana blues musician Tab Benoit. Benoit also served as a producer for this album.

“Sounds of Home” is also complete with two notable covers: Elvis Costello’s “Alison” and Johnny Winter’s “TV Mama.”

The title track brings up the pace a little bit with a bass line best suited for a ‘70s funk rock song. This track, along with a few others, reminds listeners that the Damon Fowler Group is capable of blending genres.

“Old Fools, Bar Stools, and Me” is all country and “I Shall Not Be Moved” has Fowler preaching gospel. Southern rock, rhythm and blues, country and a touch of soul come together to piece together this mosaic.




June 18, Wednesday

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Rock ‘n’ roll is a conveyor belt. Every year, another bright young thing, famous for a finger-snap, then forgotten forever. Albert Castiglia has walked a different path. As the man who once sang, “The road to riches is playing guitar, that’s why I’m living inside my car”, he’s spent two decades climbing the greasy pole and paying dues with interest. Now, Solid Ground is payback. 
Released in February 2014 as Albert’s debut album for Ruf Records, Solid Ground will let the global blues-rock scene discover what the hardcore fans have known from the start. Namely, that here is an artist who sings from the gut, shoots guitar licks from the hip and writes songs that articulate your hopes, fears and heartaches. “Solid Ground is my best album to date,” says the 44-year-old bandleader, simply. “I put more time, love, blood, sweat and tears into this recording than any of the others, and it shows. I love every song on it and I’m sure there’ll be something for everyone to like.”
He’s right. Recorded at Fat Rabbit Studios in Glen Ridge, New Jersey, this album isn’t just solid, it’s special. There are plenty of thrills in the musical execution, with Albert leading the line on vocals and guitar, backed by the crack team of Matt Schuler (bass/vocals), Bob Amsel (drums), Jeremy Baum (B3/piano/wurlitzer), Lou Bevere (guitar/vocals) and Debbie Davies (guitar/vocals) – plus Dave Gross on multi-instrumentation and production. Ultimately, though, the real stars of the sessions are Solid Ground’s 14 songs.    
Lighting the album’s fuse, Triflin’ hits listeners with Albert’s soulful fretwork, while his vocal spins tales of a life both bitter and sweet (“We all have our share of problems, damn near every day…”). Woman trouble is a recurring theme, whether it’s on the defiant bounce of Keep You Around Too Long or the shattered slow-blues of Have You No Shame (“I saw you last night under them parking-lot lights, wrapped up in someone else’s arms…”). But alongside personal issues, there are also songs plugged into the wider social context, as Albert implores us to seize the day – or, as he puts it, Put Some Stank On It – and bemoans the war-torn modern world on Love One Another (“It seems like hate is on the rise, it’s enough to bring tears to my eyes…”).
A shape-shifting artist with an eclectic vision, Albert’s songwriting is equally convincing on the Latin-tinged instrumental Little Havana Blues (Arroz Con Mango) as the sunny strum of Celebration, and even when he takes on the Stones’ mighty Sway, he prises it out of Mick and Keef’s grasp. He’s just as magnetic when he strips it back on the sparse acoustic slide-blues of Hard Time. “I was born in a broke-down Chevy,” he sings. “Now I feel like it’s on me heavy. I was raised in a dirty junkyard, my only friend was this guitar...”.
That might be bending the truth, but Albert’s path has certainly been colourful. Born August 12, 1969, in New York, he was a product of that city’s great melting-pot community, the son of a Cuban mother and Italian father. At five, the family moved to Miami, Florida, and when the twelve-year-old Albert took his first guitar lesson, a spark was lit that couldn’t be snuffed out.
Even so, bills needed paying, and although he made his professional debut in 1990 with Miami Blues Authority (and was later named ‘Best Blues Guitarist’ by that city’s alt-music magazine, New Times), Albert juggled early gigging with his day job as a social services investigator. Regardless, word spread, and Albert truly arrived on the international radar after Buddy Guy’s iconic harp-blower, Junior Wells, heard the young bluesman sing and invited him into the solo band for several world tours. The gig was a shop-window, and though Wells sadly died in 1998, Albert stayed busy, joining the great Atlanta vocalist Sandra Hall for national tours in the late-’90s, and holding his own in onstage jams with everyone from Pinetop Perkins to John Primer. 
For a lesser talent with lesser momentum, that role as sideman and gun-for-hire might have been enough. Right from the start, though, Albert had a creative itch that only a solo career and a songwriting carte blanche could scratch. So it began, with 2002’s Burn opening his account, followed by 2006’s A Stone’s Throw, 2010’s Keepin On and 2012’s Living The Dream. 
Each new release was a step up, hammering home Albert’s reputation and ensuring there was plenty of classy material to fuel his increasingly well-attended live shows. Now, in 2014, comes Solid Ground. Surfing on the buzz from press and public, supported by a major touring campaign and bolstered by Ruf’s marketing muscle, this album is the game-changer and the giant leap. You can keep your bright young things and your overnight success stories. Albert Castiglia is a talent built to last.  

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