The Good Guys

The Good Guys are Coming!

The Good Guys

I’m writing today announce my latest and most ambitious rock n roll project called The Good Guys. We are planning to release this album by the end of 2019 and recording for this has gotten underway at Paul Smith‘s state-of-the-art Eight Days a Week recording studio in Northumberland, PA.

In fact, I celebrated my 50th birthday on December 10th by doing an incredibly productive recording session with Paul along with drummer Ron Simasek, vocalist Mycenea Worley, guitarist Phil Brosius, multi-instrumentalist Bret Alexander and my son, audio engineer Jake Albano. Some of you may know Phil from his extensive work with many local bands and Mycenea, an award winning singer-songwriter and current member of the group The Pleiades. You may also remember Bret, Paul and Ron as long time members of the internationally acclaimed rock group The Badlees and current members of the rock group Gentlemen East. So I am incredibly humbled to have this posse of top-notch musicians and production team with over a century of combined experience at all levels of the music industry.

The Good Guys will be the fourth overall album of original music under the name Sinclair Soul. The Journey was completed in early 2017 and released in June of that year. Last winter we recorded a second album, Reflections of Relevance and released it this past March of 2018. Then over the summer we produced and released the third album, Nine Fine Lines.

This new album will feature quality songs of an interpersonal nature with topics ranging from the serious and somber to the joyful and fun. I’ve written these songs over the past year and have been performing them acoustically throughout 2018 and now, with the addition of the quality musicians and vocalists, these songs will grow sonically to include entertaining and rewarding elements of vast musical genres such as blues, folk, country, jazz, and of course, rock n roll.

You can read more on The Good Guys project at

All of the previous work I’ve done has been 100% self funded, but with this new and ambitious The Good Guys project, I have launched my first ever crowd funding campaign through Patreon. With this, I’m asking for a very modest monthly contribution in exchange for exclusive content that is not available anywhere else. I’ve set up three basic tiers with each progressively giving access to more exclusive content.

  • The most modest $3 “Tin” tier includes an archived video of live performances of songs not seen before on video, many of which are cover tunes of songs I may have only performed once or twice, so these are fun little gems.
  • The middle tier is “Copper” at $5 per month and includes the aforementioned video series plus a second video series of special, storytelling and behind-the-scenes videos as we make this new music and/or reflect back on previous original songs.
  • The current top tier is “Bronze” at $7 per month and the level at which I encourage you to contribute. This includes the previous two video series along with digital copies of the first three Sinclair Soul albums. Starting in January 2019, these will be released one per month to Bronze level patrons and, along with the music, will include additional digital material such as artwork and promos.

Thank you for your time and consideration and have a Happy New Year.

Ric Albano


My Own Personal Edsel


Sometimes when you’re just just a little too close to something, it’s hard to recognize that thing for what it actually is. This is the case. not just for tangible things, but intangible things as well, like works of art.

I’ve been a musician for most of my life, since I was in high school. I’ve been writing songs on a consistent basis since about 1987 or so, and from the beginning I’ve been putting those songs down in some form of recording. Through the late 1980s and into the mid-1990s, I wrote hundreds of songs and recorded them at home on a Fostex four-track cassette recorder. Then, I took a break from music for quite a while, about seven or eight years. In 2003, I decided to buy a new four-track recorder so I could revisit some of my old master tapes and, with the advent of modern digital software, I thought it might be an opportune time to try to refine some of those old recordings and see if I can make something out of them. Unfortunately, this was not possible as they were done in an amateur fashion and no amount of new technology could reverse-engineer the sound quality of the original recordings. They were drenched in nostalgia, but they didn’t have a lot of commercial viability.

So I came up with a crazy idea – why not start from scratch and make new music, I mean a real album! I made this decision in about 2004 and before I went out and recorded in an actual recording studio, I decided to give it one more try at home, making music the way used to. So with some new digital software and computer hardware, I resurrected my old fashioned way of recording – with keyboards, electronic drums and bass guitar. I made a 14 song demo of new material written over that long span of my “retirement” and decided to send it out to some local recording studios. I named this demo “Imaginary Lines” after a loose concept I was working on at the time, thinking I would perhaps create a “concept album” of related songs. Ultimately, very few of those concept songs were retained and I did not stay true to the concept, opting to just make the best album from the best possible songs. So even though the name stuck, the “Imaginary Lines” concept was pretty much blown up from the beginning.

After weighing options for many different studios I decided on Saturation Acres, which was then located outside of Danville, Pennsylvania at the time. The studio was owned by two former members of the rock group The Badlees and, even though this was a bit of a drive to get to the studio, they seem like the most professional and I was very familiar with their past work. So in April 2005 I entered a professional studio as a musician for the first time. Some of the those initial recordings were pure magic, sounding unbelievably good due to the methods they used which I had never practiced before – click tracks, professional drumming, great guitar leads, pitch, rhythm, dynamics, timbre, and texture of the sound. I was very happy with the results I got out of those initial recordings from 2005. In October of that year I released what was meant to be the first of the trilogy of albums cleverly, entitled Imaginary Lines One. Those nine songs on that initial album still we made some of the finest recordings I’ve ever made.

The plan was to record an album each year starting with that first one in 2005, obviously with the second one in 2006. However, here’s where things started to go a little bit awry. After the success for recording of Imaginary Lines One, I spent a lot of time writing music for a follow up but I didn’t have the luxury of cherry picking the best songs from a long prepared demo tape. So everything was pretty much new, as I didn’t want to use any of the songs that had been left off of Imaginary Lines One and wanted to make another album that was of equal quality to that debut. I wrote a lot of songs in 2006 but that was also the year we bought our current house. This was the first of several issues that would arise with the Imaginary Lines project. In 2007, I got back to the studio to record but I was running short on money and short on time. I gave myself a hard deadline to finish it by the end of that calendar year and hence, I ended up releasing a truncated album and I didn’t add any overdubbed guitars it was a very raw strip down collection of songs with piano bass and drums basically and of course lead vocals and I thought this was like a nice counterpart to the rich production of Imaginary Lines One.

So here comes Imaginary Lines II and it’s little more than a dud and I was I didn’t have the enthusiasm to promote this one that I had for the first one. Also, I was increasingly worried that I wouldn’t be able to come up with a third album that would meet the quality of the first or even the second. So, right around this time I decided to change the overall strategy and focus everything into one large compilation album. This would give me an opportunity to fully complete Imaginary Lines II as well as not worry about making a stand-alone third “album” but just adding the best available tracks. So that’s what I did with Imaginary Lines 33, a triple length, two CD album with 33 total tracks. The first disc began with the eight new (“Imaginary Lines 3”) tracks followed by the nine from Imaginary Lines One verbatim and in the original 2005 running order. The second disc included an updated version of Imaginary Lines II as originally envisioned, 16 songs fully produced. I intended to get this all done by 2008 but ultimately it took another year and this international release took place on September 9, 2009.

And so it was that I carried out this new plan with Imaginary Lines 33 and, when released in September 2009, it was more of a relief than a joyous type of feeling of accomplishment. By the end, I was burned out and just wanted to get it done. At the time of its release I was also on another band called Animal Society and we were getting ready to release our own initial album, which we all decided would be something completely different from the Imaginary Lines project. All three of us in that band wrote to an extent and I was relegated to basically sticking to my duties as bass player lead vocalist, trying to give the other two on equal time. We entered the studio in early 2010 and recorded a solid set of songs that I mixed together as an album, but unfortunately we never released it prior to breaking up and I basically commenced a second long break from making music

But I never really stopped writing songs and started conceptualizing plans to make one more album under the name Sinclair Soul name, a name I had used jokingly as an alter-ego throughout my career. There was an issue with the marketing and branding side of things when I coined the term “Imaginary Lines” in 2004 and by the time Imaginary Lines 33 was completed in 2009, a Hollywood based photography company by the same name had pretty much cornered the market on that name in entertainment. So I decided for the final time to coin a name for my musical act (I was never comfortable using my real name), and the (then planned) one and only Sinclair Soul album was to have the grand finale-like name of One More Rock Left to Roll. This was basically to be my retirement album and I wrote plenty of music for it, about 20 songs. I started performing the songs live around 2013 and began plans to record soon after but but that never happened as I faced issues with getting the thing off the ground.

Then something happened in 2016 when, on a whim I decided to buy an acoustic guitar. It had been a long time since I’d been a guitar player and for the entirety of the Imaginary Lines project I was strictly keyboards and bass. But I did buy an acoustic in the summer of 2016 and, unbeknownst to me, this would set things in motion to really get to Sinclair Soul project off the ground. I wrote three acoustic songs in late 2016 early 2017 and planned to record them as a sort of EP. In Spring 2017, I entered the studio for first time in seven years with plans of just recording the three songs.

However, I had so much fun recording that I decided to go a step further and take some of the better Imaginary Lines songs and update them by adding a new guitar lead here, maybe a new piano there, to make each different than they were on the original Imaginary Lines 33. I also turned over mixing and mastering for the first time, giving these songs to a fresh set of ears which proved very beneficial sonically. In the end, I added four new versions songs of classic songs to the three newly composed acoustic songs to forge the unplanned but pleasantly surprising album of The Journey, released in the summer of 2017. Within a year, I decided to do it over again with the same kind of formula for the second Sinclair Soul album, Reflections of Relevance, released in March 2018.

So, here I go with my trilogy idea again as I decide to create one more Sinclair Soul album made solely of updated Imaginary Lines songs – nine more songs to form Nine Fine Lines to coincide with the ninth anniversary of Imaginary Lines 33 with release on September 9, 2018. I re-did each of them, re-named one of them and everything on this new album has either new vocals or new lyrics or a combination of both. This album was mixed by my son Jake Albano, a new audio engineer who I hope to work with many times in the future.

“…and so it Goes curtains on the shell my own personal Edsel is now gone!”

The final line on the final song of Nine Fine Lines says it all; “my own personal Edsel is now gone” Basically, I’m declaring the end of the Imaginary Lines project once and for all. I affectionately call this “my own personal Edsel” because I think that is a good allegory. Obviously, it signifies a huge bust of something once thought to be innovative and great. On the other hand, it also signifies something that’s a little bit special, perhaps a little bit before it’s time little and odd but beautiful in its own way. Today, Edsels are collectors items. They were considered a major bust in 1959 but they are unique in the sense that they persisted some 50 years later.

So that’s basically what Imaginary Lines within the Sinclair Soul canon, with about 20 songs brought forward in full or part to be included in the first three Sinclair Soul albums and will be from this day forward be the official versions of those compositions. The remaining 13 songs, not brought forward to Sinclair Soul, have been gathered and released on a digital-only album called Imaginary Lines 13, available on Bandcamp, with each song pretty much fossilized for posterity as the same as they were in 2009.

This moment obviously marks a big turning point in the music career of myself and the Sinclair Soul project going forward. From now on, all the music will be new and original and a whole new album’s worth of music is already written and is currently being rehearsed with recording starting in December of this year (2018). No breaks this time. It’s simply on with the music!

It has been fun reflecting back on Imaginary Lines but now the final chapter of that project has been written.

~ Ric Albano

Baring My “Soul” on a Saturday Night

Sinclair SoulIt has been five years since I’d done this and I had sworn it off many times before. I tried doing it during several fits and starts in the early 1990s, but none of those worked. Through the years I was convinced to do it for various causes, once even in a chemotherapy unit to cheer up the patients, but none of those times worked out as planned. But this past Saturday night (08/24/13) I gave it one more shot.

I performed my music solo, without support, without a net, at the Cornerstone Coffeehouse in Camp Hill, PA. Now, for most this may not seem like a big deal, after all the Cornerstone always has solo performers playing on the weekends. But for me this was truly an event. It was a sort of mission and redemption wrapped in one. Long ago, I concluded that my musical talents lie in composing and not performing, although I have been involved in scores of rock bands and have played every major position on the field – lead vocal, guitar, bass, keyboards, drums. However, being a bit of a control freak, bands have always felt limiting and the urge to do it alone has persisted despite the consistent disasters when attempted.

What brought me out this time was the fact that I have composed a whole bunch of new songs but have not had the time nor resources to record it. I had spent five years on my previous recording project, a 33-song double CD international release called Imaginary Lines 33 , in 2009. I was also involved with a band and we recorded an album in 2010 that never got released because of internal disagreements. At that time I was pretty sure I was retired from all things music. But that pesky muse kept bothering me, and soon new song ideas started to form. I came up with the idea of “One More Rock to Roll” as an upfront declaration that this would be my last go-round. I also brought back the fictional “Sinclair Soul”, an alias I had used for years when writing articles as well as on some music projects.

The music was written on piano but had rich arrangements for several guitars and other rock instruments. I was eager to enlist many of the fine musicians I had worked with over the years as well as find a “front man” to handle the dynamic vocals, but as of mid 2013 I had not had any luck getting the recording process started. So I inquired about playing my songs solo on piano at the Cornerstone, a website client of mine and a much better alternative to performing at a bar room or any other “noisy” situation.

So, after all this background, how did the gig itself go?

In one sense it was quite a disappointment. Many of the folks I invited did not show up and I didn’t quite get the capacity crowd I had hoped for. Also, I made some really air-headed mistakes on some of the cover songs I performed (the songs which I , ironically, walked into the gig without performance worries).

However, in a larger sense Saturday’s gig was a tremendous success. I performed 14 brand new “Sinclair Soul” songs (including one so new that it doesn’t yet have a name) and each went off without a hitch. None of these songs had every been performed live for anyone except my dog and these were obviously my main focal point on Saturday’s gig. The dozen or so cover songs and three old Imaginary Lines tunes were really just there to fill up the two hour commitment.

Also, the crowd that was there was tremendous in quality if not quantity. For the first time ever, I performed music with my wife, all three sons, and mother in the audience. The rest of the audience gave me a warm reception, even if many only sat in for a song or two while they enjoyed a coffee, beverage, or ice cream cone. There was a woman in the audience who knitted throughout the first set and gave me the resultant winter hat when she was completed. There was also a tremendously talented musician in the audience named Suzi Brown who stayed for the whole gig and gave a compliment at the end and, of course, the Cornerstone staff was gracious and helpful.

Although I was hoping to perform everything perfectly and fill the place up, it didn’t quite work that way. But getting the new songs out there after all this time kind of made them real entities and not just figments of my imagination, which makes this past Saturday a very special occasion indeed.