ALBUM REVIEW: Lee Gallagher Carves a Unique Niche on ‘The Falcon Ate the Flower’

“Planes,” the opening track on The Falcon Ate the Flower, Lee Gallagher’s third album with his band The Hallelujah, musically exists somewhere between inventive prog rock and a psychedelic jam worthy of the late ‘60s San Francisco scene. Piano lines dance around aggressive, yet nimble guitar while spaced-out synth sounds float through the mix. All the while, Gallagher, in a voice that echoes Steve Marriott and early Neil Young, sings cautiously of impending dread. Such a juxtaposition sets up a mesmerizing mix of fully immersive rock and folk-leaning singer-songwriter introspection throughout the album.

Backing him as The Hallelujah this time are Steven Mertens on bass, Jonny Niemann on keyboards, and Will Scott on drums. Jason Soda returns as producer, and his guitar work shines throughout The Falcon Ate the Flower. In a surprising move, the legendary Scarlet Rivera adds her violin on several songs, most notably on the sublime “Peregrine Fly.” The tracks were recorded “live from the floor,” and that musical camaraderie is apparent as the musicians lean into each note, each groove, as they feed off each other for inspiration.

Among the rockers, “Baby, I’m There” is a swaying sing-along with a strong hook worthy of Wildflowers-era Tom Petty. Then there’s “Half Lit (The Future’s Ours).” Inspired by a scene Gallagher noticed during the wildfires that engulfed California at the beginning of the pandemic, it chugs along on a bluesy groove, featuring a Skynyrd-worthy guitar solo from Soda and some burning harmonica by Gallagher.

Gallagher’s voice is worthy of study. It can rise to a natural, arresting rasp, and then back down to a vulnerable cry underscored by an impressive, clear vibrato, most noticeable on the lighter numbers. But it’s the longer, exploratory jams that stick with you on The Falcon Ate the Flower. Gallagher attacks “Every Little Sound” with the vigor of Roger Waters at his most paranoid as Soda strangles every ounce of feeling possible from six strings. On “Something Better,” Gallagher “just took some reds to sing the blues” as he details his skipping out, humming along to something better while he’s doing it. Along the way, he conjures prime, unhinged mid-’70s Neil Young as he repeats “I thought those boots were made for walking” with building intensity.

The Falcon Ate the Flower continues Lee Gallagher’s ascension in roots music circles as a truly singular talent who reaches back for inspiration but does so in his own unique way.

Lee Gallagher and the Hallelujah’s The Falcon Ate the Flower is out Nov. 3 on Clean Livin’ Records.