Paul Maged

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Music Review: Paul Maged – ‘The Glass River’ Delivers Incisive Social Commentary

The Glass River is the title of Paul Maged’s latest release, a collection of six pop and alt-rock tunes covering such topics as climate change, relationships, guns, and corporations.

Maged attended the Boston Conservatory, followed by the American Musical & Dramatic Academy in New York. He’s appeared in a variety of films, including Bobby G. Can’t Swim, and his song “Falling Down” was featured on MTV’s Think Again: Sex Myths Revealed.

“Gunz 4 Hire” is a fulminating punk-flavored tune written after the 2016 Orlando shooting. The opening guitar riffs exude dark energy and a visceral impact. You know right away this song is going to be dynamic. And it is. The chorus carries an echo of Talking Heads that works well. “Corporate Hell” emanates a British progressive essence combined with a bit of garage rock. The lyrics decapitate the corporate culture, as Maged’s voice takes on a Freddie Mercury tang.

“Choices” rides a Beatles-crossed-with-Kinks tune. Lots of piano and an ebullient proximity give the song a jaunty feel. The title track features a driving piano and a potent rhythm that changes tempo, adding to the declarative effect of the song, which pertains to perceiving the truth in the mirror of water’s reflection.

“For The Sea” offers a melancholic ballad about the rise of global oceans subsequent to climate change. The tune is mellifluous and the lyrics are poignant, but for some reason putting the two together gives the song a disjointed feel, as if the lyrics came first, thus molding the shape of the music. “Life Goes By Prelude” begins with an elegant, evocative piano flowing into a progressive tune that’s short and pithy.

The best song on the EP is “Gunz 4 Hire” because of its raw punk-like energy. The other songs are innovative, especially the lyrics, which range from somberly serious to side splittingly funny.

The Glass River is better than passable, with sparkles of latent excellence. The harmonics flow well, providing musical support for the primary focus of the songs – the socio-cultural commentary of the lyrics.

Monoblogue Music

If there’s one thing to say about Paul Maged in a non-musical sense, it would be his shrewd marketing ability. Why have one post here about his latest album when he can release it as a trilogy of EPs and make it three, spaced over a period of months?

All kidding aside, the extended timeframe of his release is evident in his body of work: in this case, the five songs (and one prelude, presumably for a song to be featured on the future third portion of the trilogy) have what I’ve come to regard as a classic Paul Maged sound: most reminiscent of Billy Joel, but not completely derivative of that musical subgenre.

What sticks out to me about “The Glass River.” though, is a sort of (barely) controlled anger and passion about the world today, taken from a perspective well left of the political center. As someone looking at it from the political polar opposite, I look at it this way: I lived through the 1980s, when most popular music stood in varying degrees of opposition to the policies (real and imagined) of President Reagan that I supported as a much younger man. To me, good music is still good music – I don’t have to agree with the message or intent. So I can listen to Gunz 4 Hire and enjoy the frenetic, hard rock pace of a straight-ahead song with fun tempo changes that, in a more musically attuned world, would find a place on the rock charts.

On the other hand, the piano-driven Corporate Hell (The Legend of Tooly McDouche) truly is what it is. If you’re wondering about Tooly McDouche, you’ll pick it up when you watch the video. (Maged claims this is a “first hand account” of working in corporate America – I just hope the end segment isn’t part of that reality.)

After that strong opening, the EP slows down with the final three full-length songs. Choices is a more adult contemporary song that would almost qualify as a power ballad. On the other hand, The Glass River (The Ballad of Alan & Jane) is less of a ballad and more of a good story song with biting commentary on the strained status of relationships. (The Alan and Jane in question, though, are Paul’s parents, which makes this an even better song.)

The undercurrent of politics returns in the last full-length song, For The Sea. (See what I did there?) It has the same feel and passion to it as the remake of Like A Stone from the first part of the trilogy I reviewed at the tail end of last year. It’s the last full-length song because the sixth and final track, Life Goes By (Prelude) is, indeed, a 68-second sample of a track that I presume will be on part three. Life Goes By will be a solid addition, based on the taste of it we get.

(And again, we see the marketing expertise: who else would use a song as a cliffhanger for the next part? “Always leave ’em wanting more.”)

I don’t know what else I will hear between now and then, but if Paul can follow this up in part three he may have another winner on his hands come the end of the year. But I’ll let you be the judge (if you don’t mind the corporate influence of Spotify) and listen for yourself. Paul Maged may be the hardest working marketer in show biz right now, but he can back it up with good music.


Paul Maged Returns With Latest EP, The Glass River Now Available

Paul Maged is no newbie to these pages. We have been supporting his work for quite some time. Paul is back with the second installment of his EP trilogy, The Glass River.

Fueled with socially aware lyrical substance, unapologetic rock and roll and plenty of punk attitude, The Glass River tackles issues such as mass shootings, the nasty underbelly of corporate America, man-made climate changes and the more personal topic of love and relationships.

Expanding on his tasty blend of alternative, punk-esque, pop rockin’ elements, Paul continues delivering consistently strong songs packed full of memorable melodies, hard hitting rhythms, and just the right amount of in-your-face attitude.

From uptempo sonic assaults to mellowed out, emotive piano ballads, Paul never ceases to capture listeners’ attention with his distinct blend of well crafted songs and intelligent, poetic, thought-provoking lyrical content.

Paul also manages to consistently deliver engaging visual content with each release.


I didn't think I could laugh as hard as I have when listening to an Alternative Modern Rock album. Hear Paul Maged's independent release, 'The Glass River' below.

The best storytellers are people who have lived a well-rounded life. They are travelled and understand various cultures. And most importantly, they know how to read people, the room, and crowds. Luckily, for Paul Maged, he is one of those special people. He performed as a comic through the Tri-State area. The singer has appeared in many independent films—including ‘Bobby G Can’t Swim—which won a festival award.

Comedians are essential to pop culture because they help us digest the things happening around us and in the world. With experience in standup comedy, Paul Maged’s tongue-in-cheek approach to songwriting makes sense. All of the album tracks incorporate that sarcasm, but ‘Gunz 4 Hire’ and ‘Corporate Hell’ are the more obvious selections. As the country faces and tackles gun violence, at first, I thought ‘Gunz 4 Hire’, for the times, might have been too much. It isn’t. It’s right on time. It mentions our growing list of mass shootings—heartbreaking.

The melody on ‘Corporate Hell’ is my personal favourite. As described in the release notes, it is ‘a no holds barred, first-hand account of working in Corporate America that sarcastically exposes its soulless underbelly.’

On a separate account, I think if Paul Maged wanted to use his voice in another genre, he would be able to carry an intense note. The light airiness of his voice tells me so. Check out the New York City-based musician’s latest offering. Although it is funny, to me, it has a deeper meaning. I hope you’re able to catch what he intended about climate change, human warfare, religion and today’s evolving society.


Paul Maged certainly has a lot on his mind. His latest album, The Glass River, flows a musical and theatrical presence, especially on tracks like “Choices.”

Maged sings with a blend of happiness, sadness, and forever-questioning ramble. The bridge towards the end of the track is great, with the drums building with a slow-churned rhythm.

Now, if you’re looking for Liam Lynch absurd crossed with a slight touch of late Phil Collin’s vocals, “Corporate Hell” might be your jam. It reminds me a lot of the hellish musical sequence from “The Book of Mormon,” but with a twinge of Meatloaf over of Trey Parker and Matt Stone’s full on stylish parody. The telephone dialogue at the middle of the song is hilarious though, along with the chaotic bellow of a laughter Maged belts just near the end of the track is great fun.

Props to the video as well. The nutsack phone gag was fire, all courtesy Shahbaz Ali and even Maged himself. The videos help sell the songs for sure and even add a level of character to the antics of Maged’s lyrics.

With a style that’s wickedly whacky but also diverse musically, Paul Maged is a talent and one of the first standout artists I’ve heard this year.


The Big Takeover

New York singer-songwriter Paul Maged has recently released the second installment in an ambitious, planned trilogy of EPs. Titled The Glass River, the songs on it are far more political and socially conscious than his previous release, and there’s a real sense of urgency to the production. Many of the songs are venomously political in their messages, and the most direct and successful of these is “Gunz 4 Hire,” an impassioned, angry attack on the NRA and a desperate plea for gun reform.

Maged’s rapid fire lyrics occasionally make it difficult to make out exactly what he’s preaching, but the emotion and fire remain obvious. “Corporate Hell” is about exactly what you think, and follows faithful in its criticisms of tedious middle class careerism descended from the lyricism of The Kinks and The Jam; while others like “Choices” and “The Glass River” are more personal to Maged. It’ll be interesting to see if he will continue this trajectory with an entirely political EP to finish off the trilogy, but the project has already resulted in some of the most potent music in Maged’s career.

Sputnik Music

Review Summary: A very accomplished outing from a singer/songwriter who obviously prefers Green Day and REM to Simon and Garfunkel.

How can you be a socially conscious singer/songwriter and a punk at the same time" Actually, that should be easy. Before punk got identified exclusively with the Oi Oi crowd, mohawk hairstyle and pins it actually WAS in many ways socially conscious music and not exclusive to one, two three, four shouts and spitting back and forth.

But then, what if you mix punk energy, grunge sound akin to Pearl Jam for example, astute singer/songwriters like Andy Pratt and new wave era Elvis Costello (an astute singer/songwriter in his own right. On the evidence of Glass River, his new EP, you get Bostonian Paul Maged.

So how do you get to the point of creating, to quote Cream, such a “Strange Brew”" Well, you study music at the Boston Conservatory and then the American Musical & Dramatic Academy in New York. That gets you a chance to start forming that brew on two albums and another EP and to couple such a musical concoction with socially conscious lyrics you act in a number of independent movies and do stand-up comedy.

And Maged tackles almost anything, from title-telling “Corporate Hell” to climate change in “For The Sea”. He doesn’t miss the personal relationship theme that is usually associated with singer/songwriters, like in the opener “Choices”. But what is most impressive about this EP is the level of musical diversity Maged pulls off without making it a messy mixture.

The opener “Guns For Hire” is an extra sophisticated version of Green Day sound, while “Corporate Hell” musically sounds like Costello jamming with Ben Folds backed by Pearl Jam’s rhythm section. “Choices” only on its surface might take you to the singer/songwriter territory, sounding like something directly out of Andy Pratt’s book,.The title track that follows, also subtitled “The Ballad of Alan & Jane, on the other hand, is R.E.M. in all their moods, Maged’s voice getting quite close to Stipe’s. Probably the reason behind a double billing.“For The Sea” gets us back to Pratt or even Meatloaf in a ballad mood, while the closer “Life Goes To Prelude” could serve as a brief musical ode to Springsteen.

Describing all that on paper could sound a bit too disparate, but Maged was able to pull everything together with some deep-thinking lyrics and above all exquisite singing and musicianship with excellent production from Sean Gill of The Passengerz. An excellent EP that demands detailed research into his previous work.

Alternative Nation

Paul Maged’s Light Years Away Is A Fun Treat For Green Day & Weezer Fans

For fans of Green Day, Queens of the Stone age and a healthy serving of straight up, loose and fun rock & roll, Light Years Away, the new album from singer-songwriter Paul Maged is a must listen. When you listen to Light Years Away, you cannot deny Maged’s superior knack for writing catchy, driving rock anthems. For those familiar with his work, this comes as no surprise. The song “Image” from his previous album, Diamonds & Demons landed him a spot as a finalist in alternative rock category in the 2014 Great American Songwriting Contest.

There comes a time when listening to Light Years Away that you’re so entranced in the melodies, so in synch with the rhythm section that it’s less of a listening experience and more of a full body one. Through the album’s seven tracks, there’s hardly a dull moment; in fact, you’re left wishing there was more. The title track encapsulates what Paul Maged does best: Rock!

The song’s opening guitar riff brings you back to the days of Weezer’s Blue Album. The guitars crunch and sustain without sacrificing any of the high end. Every note of every chord counts- no note left behind. The verse melody shines and soars. The backbeat of the song bounces, playfully keeping the warm guitars pulsating just enough to keep your head nodding. The use of doubled-vocals enriches the already strong melody, demanding you to sing along. Maged mentions the “push and pull of gravity” in the songs chorus but is the execution of the push and pull of the song’s dynamics that really make it pop.

The album’s standout track is the opener, “PC Police.” The track is a great throwback to Clash-era rock with an almost modern Jello Biafra style, rapid fire delivery. “The PC Police are Coming After Me.” In today’s day and age, can you think of a better, tongue-in-cheek lyrical reference. With the manic vocals and edgy, 90’s alternative rock arrangement, Maged struck gold on this one. It’s the kind of melody that the film Inception based its basis on. It gets in your head. It grows. And grows. Until you can’t get rid of it. When you combine that with our world today, you have all the makings of a hit on your hands. This is a song that deserves to be spun on alternative rock stations. It doesn’t reinvent the wheel. It just spins the wheel in a new, modern direction.

Light Years Away recognizes its influences and does them justice without merely ripping them off. Rock music is at its best when it’s fun. Everything doesn’t need contain grandiose themes and overarching narratives to leave their mark. Sometimes you just want good, solid, fun rock & roll. Bombastic drums, loud guitars and melodies you wish you were clever enough to craft. That’s what you get here!

Paul Maged is based in New York City. Sean Gil of The Passengerz handled the production on Light Years Away. You can check him out on social media, Youtube, Soundcloud and his website.


NYC Artist, Paul Maged, has delivered a collection of tracks that carry the potential to be jukebox classics with profoundly rich production and musical flexibility throughout his latest release, ‘Light Years Away’. Strumming smoothly into the first track, “PC Police”, Paul Maged coincidentally emits a vocal prowess that is akin to Sting and The Police back in their ‘Ghost in the Machine’ days as he lyrically explores a cunning spin on the current societal disconnect between law enforcement and individuals leading their everyday lives.

“Moment of Strength” is the second track in which keyboard techniques and the tricks up Paul’s sleeve come to light over a lyrically fluid delivery highlighting the bewitching sense of freedom that he feels through gathering the inner knowing that he has jolted out of slumber and joined the land of the living in his own idiosyncratic and peculiar way.

Paul is a student of life throughout the third track, “Light Years Away”, which blazes an instrumental fire through fear while lyrically practicing widespread acceptance of radical ideas while humanity’s wheels.

“Ashley Jane” is the fourth track which slows it down with a Southern feel that is empowering, poetic and pure as Paul lyrically attempts to pull out the inner divinity of the woman that he desires while reminding her that she is the golden ticket that grants him the desires of his heart.

The fifth track, “Half Moon”, is an acoustic treasure chest that lyrically performs autopsies on Paul’s inner nonsense to gain a clearer understanding of manic episodes, mood swings and fluctuations in thought that externally create a sea of self-created destruction.

“Like a Stone” is the sixth track that is a dialed down and ethereal remake of Audioslave’s 2002 classic that is a soulfully delicate ode and celebration of the life of Chris Cornell.

Closing out with “Moment of Strength (Reprise)”, Paul concludes with repetition that serves as an affirmation and the lyrical acknowledgement that life is a series of ups and downs that remind you to remain teachable and open to every moment which in turn is the route to take to reach a prodigious level of thought and perception.

If you’re a fan of artists such as Billy Joel, Eric Clapton and Phil Collins, then do yourself a favor and check out what Paul Maged has to offer within his discography over at Apple Music.

New Sick Music

Paul Maged is very open when it comes to his influences — a broad spectrum of artists that includes Muse, Billy Joel, and Mumford & Sons — and the diversity is reflected in his multi-faceted and genre-explorative music. Though there is no shortage of pop-punk rapid-fire vocals, the tone of the songs on Light Years Away have the ability to shift from satirical and upbeat to heavy and haunting.

Light Years Away kicks off with a song that is as satirical as its name suggests. “PC Police” has driving guitar lines and a strong sense of melody that carries forward into tracks like “Moment of Strength” and “Half Moon”. “Moment of Strength” uses this doubly, with the two-hitter hooks on both the verses and the chorus (a triple hit if you count the haunting melody that comes with the words “Nothing changes at all”; repeated as a reprise on the final track). “Ashley Jane” is a stark shift to folk-pop that retains those fast-paced lyrics. There is no doubt Maged is an artist with a lot to say.

In a powerful tribute to Chris Cornell, Paul Maged takes on Audioslave’s  “Like a Stone” and gives it a delicate touch, opening with a piano line and moving carefully throughout. Maged pulls well from his influences, but shines when he creates something huge and uniquely emotional. “Half Moon” is the highlight of the album and uses perfect timing to grow something from acoustically haunting to a full-on alt-rock track bound to stir up emotions.

From comedy to mournful tribute, Light Years Away has a little bit of everything that, like most great contemporary art, pulls from a little bit of everywhere.

East Cost Rocker

Paul Maged Album, ‘Light Years Away’ is Diverse and Ahead of Its Time

Singer-songwriter Paul Maged says he’s influenced by Green Day and Pearl Jam, but to the experienced ear you can clearly hear a mix of many of yesteryear’s musicians in his work. And it’s good stuff.

His new album, Light Years Away blends the best of many of the musicians of today and yesterday.  It’s a diverse piece of work.  The range goes from punk to power pop anthems to country rock and it’s an amazing achievement. “PC Police” is a fun song that illustrates how we all feel about being hassled with rules;  “Moment of Strength” is inspiring, the title track “Light Years Away” comes from strength, “Ashley Jane” shows off Maged’s diversity and ability to sound like James Taylor and Seals and Croft. “Half Moon” is a somber and haunting guitar piece, “Like a Stone” is a tribute to Chris Cornell and it’s a downer but then death isn’t a happy subject. The album is bookended with reprise of Moment of Strength. His first album, Diamonds and Demons, showed Maged’s chops as a songwriter and perhaps this record was released to show his voice. Because Maged’s songs are great but it’s his voice that’s the star of the show here on this album.

While he has assembled an interesting album that clearly shows his ability, he’s so diverse, be fits into no single category.  Is he trying to get a sync licensing deal perhaps?  Well with the range of creativity it would not be surprising. The work is commercial in an acceptable way.  This is a musician that clearly loves his subjects, loves his work and loves life in general.


Monoblogue Music

monoblogue music: “The Wild” (single) by Paul Maged

Back in 2014, the first year I did monoblogue music, you may recall that Paul Maged’s release “Diamonds & Demons” was my pick for the best album I reviewed during that year. When I did the review I noted, “(T)his is perhaps the best example of straight-ahead rock and roll I’ve come across.”

So when I got word that Maged had put out a new single last week, I was pleased to get the opportunity to take a listen. In “Diamonds & Demons” Paul had a nice share of songs that were somewhat harder and edgier, and this is the path he’s chosen on “The Wild.” As Maged writes, it’s a single that “bridges his last album and his forthcoming album.” Assuming this is so, we may not have to wait a very long time for the new music: according to a Tweet Maged put out on February 20, he is working on the eighth song for the album, a tune he described as “quite Beatlesque.”

So what did I think of “The Wild”? Yes, it’s very edgy and it does rock out. I think some may quibble that he oversings it just a little bit, but bear in mind that he describes the song as one “in which he dives in head first to explore the mind and the brain at the exact moment we lose control; the state of anger and despair we reach when we lose command of reasonable thought.” In that context, being a little frenetic is good and I’m sure he will tone it down for the ballads and pop-rockers he will surely feature on his forthcoming release, whenever it comes out.

Because Paul put out a music video simultaneous with the release of the single you don’t have to take my word for it but you can listen for yourself.

Obscure Sound

Paul Maged’s previous album, Diamonds & Demons, was a successfully nostalgic take on accessible alt-rock, inspired by influences like Pearl Jam, R.E.M., and Elvis Costello, all while exploring a “wide range of concepts, social issues and universal themes such as climate change, human warfare, religion and today’s ever evolving society.” Album highlight “Look At Me” was featured back in 2014, when the album released, and stood out for its infectious piano and guitar-driven alt-rock approach. While hardly a stylistic revolution, it showed Maged as a quality songwriter with plenty to say.

New track “The Wild” shows many of the same strengths, with an even more refined and ferociously intense touch; riding initially on a minimalist guitar-and-kick-drum beginning, it quickly ascends into a distortion-friendly rocker with theatrical vocals that remind fondly of both Ozzy Osbourne and Josh Homme at points. The track in general has a style reminiscent of Queens of the Stone Age, alternating between grumbling verses and a fiercely infectious chorus with a sturdy distortion-heavy backbone. It’s the most impressive effort I’ve heard from Maged yet.

Man Unleashed: Paul Maged is Back With a “Wild” New Single

Back in 2014, I told you about Paul Maged, a socially conscious rocker with an edge and a bone to pick. His new single, “The Wild,” kicks it up a big ol’ notch and finds Maged at a loss, exploring the moment when a human loses the ability to reason and lets rage and emotion take over. Maged as the narrator takes on a sort of Dr. Jekyll and Mr. Hyde persona — someone who knows he’s completely out of control but can do nothing about it. And, to be honest, it doesn’t really sound like he wants to. 

From your average rocker, the track would be enough of a head trip, but from someone like Maged who has a history of striving to raise social awareness and shove a mirror in front of the populus’ face, it’s obvious that it’s coming from a deep, dark place. Hopefully the whole world takes heed — who knows what Maged will do next.


monoblogue music: “Diamonds & Demons” by Paul Maged

November 1, 2014 · Posted in Music Reviews 

Out of all the music I’ve reviewed in the several months I’ve been regularly reviewing albums, this is perhaps the best example of straight-ahead rock and roll I’ve come across. There aren’t a lot of studio tricks, thumping bass and drums, or any of the other fluff which seems to define rock these days. “Diamonds & Demons” is pretty much simple and no-frills for most of its 16 songs, a number which clocks the collection in at about an hour.

Based out of the New York area, at certain times Maged’s vocals and the fact he plays piano and keyboard throughout the album can elicit thoughts of another New York-based piano man named Billy Joel. But this compilation is much more guitar-based, with keyboards playing a secondary role.

To use an example of this, here is the leadoff song and first single, Look At Me. The video has Maged simply as singer, with a slightly different backup band than the group credited on the album. Featured in the video is Maged’s touring band, if you will, called The Strangers.

Overall, the song has a great hook, witty vocals, and plenty of appeal. It could be on your local rock station tomorrow and many would want more. Images, Last Days, and the title track also share many of those same characteristics, with overdubbed background vocals adding a different touch on Images and I’m Okay, while Paul gets a little more political on the third track, Cause & Effect. So where is peace anyway? (It’s on the 45-second outro, which I believe was added at the end of the last track.)

The first six songs are a sextet of hook-heavy rockers throughout but track seven, Blind Faith, starts in a different direction as the keyboards take over on the intro, returning in different form on the bridge and resuming for the closing bars. It’s just enough variety to make the listener perk up, and smooths the transition so that Annastasia, with its added accordion, isn’t as jarring. After all, life is what you do with it, as Paul sings.

Maged gets a little bit of an attitude on Human Warfare, one of the hardest rockers on the album. It’s tempered a little with some slower sections but as a whole it’s quite heavy, just like the next song Love & Loss In The Western World. The latter slows down briefly in the middle, but cranks back up in time.

Toward the end we get more of a musical grab bag. Lyrically My Dear Love is quite well-constructed, but may have worked better in the acoustic manner in which it began. It would be interesting to hear an unplugged version to match up with the lyrics better, much as the piano-based Somber Song was done. I’m Gone is the one which comes closest to the sound exhibited on the album’s opening half-dozen songs.

One thing I gleaned from reading up on Maged’s band is that there were originally going to be 14 songs on the CD, but last summer “a new punk rocker has been born” which I’m guessing was Not Complicated. The sixteenth song, properly described by Maged as a “bittersweet ballad,” turned out to be the closing track 64th & 1st.

With 16 songs, there’s always at least one which doesn’t work that well. Going for the tropical vibe on Paradise Island makes it the weakest link as the parrothead trend is somewhat played out. But Maged limits the damage to just that one song, making the collection one worth having.

It’s getting to the time of year where annual Top 10 lists begin to be created. Since I don’t have monoblogue music every week (and only started in March) ten may be a little much, but certainly a top five is in order. And unless something comes and blows me away in the last two months, I would put this album squarely in that top five. Despite a couple weaknesses, this is the type of album which could push Maged and his band from being a local New York City act to at least a good regional status. All they need is the wherewithal to make a tour of it and hit some clubs along the East Coast, and the music can do the rest.

While I had access to a private review copy, those who want to check out a few sample tracks can go to Maged’s website and listen to four songs. That way you don’t quite have to just take my word for it; instead you can listen for yourself.



Diamond and Demons by Paul Maged

Diamonds and Demons courtesy of Independent Music Promotions

Diamonds and Demons courtesy of Independent Music Promotions

Paul Maged is straight out of the gate rock and roll. He reminds me of a hard rocking Billy Joel and Bruce Springsteen. He’s ballad moments are reminiscent of early Joel and Springsteen but if you really listen you’ll hear parts of Blind Melon, Soundgarden, and Stone Temple Pilots.

“Diamonds & Demons” was released on September 23, 2014 and lends a focus on a vast range of humanitarian concepts such as our rapidly evolving culture relating to religion and society, climate change, controversial social issues, and war.

He’s songs are from the heart and soul. Bold, aggressive, wide open, and throw it in your face reality describes what you find in this album.

These songs are about a journey. “Look At Me” is about greed and selfishness in today’s society and how it effects us all. Riveting, edgy and fast driving. The music is rockin and the lyrics are realistic. The music makes you want to move and the lyrics will wake you up to both sides of life.

“Diamonds and Demons” makes us look at ourselves in an entirely different way. I love the way Maged takes the music and can express exactly what each and every one of us has experienced at some point in our lives.

Maged pulls on real life situations to express the real life issues we face every day. He takes the hard stuff, the tough stuff and turns it into a musical sound bite that challenges us to face up to what society is doing to itself. He takes the personal side of tragedy and turns it into a inspiration to overcome.

Blending this emotional expression with a passion to wake up the world he uses his magnetic energy to take rock and roll all the way to the next level, the outer stratosphere.

Inspired by artists such as Elvis Costello, Pearl Jame, Springsteen and Billy Joel, Maged is magical. “Blind Faith” is one of my favorites. It opens with a beautiful piano rift and then bursts into a heart pounding full rock out explosion. It speaks of birth to death and how society tempts us to live by others rules. We loose ourselves. It brings about doubt and loneliness when we sell out ourselves for something of blind faith. Beautiful.

Paul Maged courtesy of Independent Music Promotions

Paul Maged courtesy of Independent Music Promotions

Please check out Paul Maged at the following sites and jump on board with this new album. You’ll love it.

Music video links:


ALBUM REVIEW: Paul Maged, ‘Diamonds and Demons’

on October 29, 2014 at 7:56 am

A lot of singer/songwriters pen songs with a conscience. But, unless they’re Bruce Springsteen, rarely do those tunes mix catchiness and a playful vibe with a biting edge and in-your-face social commentary. NYC’s Paul Maged, however, manages to achieve that tall order, rightfully earning his name a place next to Springsteen’s when describing his music.

Maged’s sophomore effort, Diamonds and Demons, navigates through climate change, human warfare, and religion, while never losing its rock ‘n’ roll soul. Though it feels raw in its production, that treatment lends itself both to Maged’s lyrics and his voice, that of a sometimes-actor/comedian. In lead single “Look at Me,” Maged takes on the younger generation’s apathetic disconnection and name-checks Wall Street (pretty appropriate when considering that Diamonds and Demons was in its infancy during the massive Occupy protests in 2011).

On the album’s titular track, Maged incorporates some good ol’ hard-driving rock, while the album’s other 16 tracks fluctuate between spiritual psychedelia (“Images”), power ballads (“I’m Gone”), and downright beautiful and soulful (“Annastasia”). Though it hits a few rough patches, Maged’s powerful voice is the glue that holds the album together and creates a cohesive package that any fan of modern rock can appreciate.

If you’re looking for mindless, synth-saturated, indie rock or power pop, this isn’t the album for you. If you are, however, bored to tears over that exact sound, then good news! Fresh, invigorating and even educational, Diamonds and Demons breathes new life into what some said was a dead genre. But, Paul Maged proves rock ‘n’ roll isn’t dead; it just needed a reason to get out of bed in the morning.


Just last week, New York-based singer-songwriter Paul Maged released his sophomore LP, entitled Diamonds & Demons. With a wide array of influences including everyone from Billy Joel and Jimi Hendrix to Green Day and Pearl Jam, Maged’s newest is unsurprisingly diverse in sound and structure.

We had the chance to speak with Maged for a bit and discussed his newest album, the important concepts it covers, and how his interest in music began at a young age. Follow us through the break below and get an in depth look into the mind and career of Paul Maged.

How long has music been a major part of your life? What first inspired you to get involved with it and how did you get your start?

Music has been part of my life as far back as I can recall. I remember listening to old Billy Joel albums and being so moved by his music that I began writing my own songs when I was around 8-10 years old. I would write lyrics and have the melodies for them in my head. There was one of his songs which was very obscure and I learned it and sang it back to my mother claiming I wrote it. She thought I was a child prodigy [laughs]. Around that time, my dad bought me a tiny two-octave Casio keyboard so I could begin creating the melodies around the lyrics. Those were somewhat the formative stages of songwriting for me. I recently found some of the lyrics that I wrote and I was actually surprised that they weren’t terrible. Then during high school my father got me into the Boston Conservatory of Music for private vocal lessons with a popular local opera singer. That really gave me the foundation and technique for singing and breathing the proper way.

And along the way, who would you say have been some of your most important influences that have helped shape your sound and style?

There’s so many. Growing up my dad turned me onto soul/R&B music; Sam Cooke, The Drifters, Motown, and I fell in love with that sound. Then my own explorations took me to Zep, The Beatles and Jimi. Then I went through my singer-songwriter phase of worshipping Billy Joel and Elvis Costello and then into my grunge phase which I think I’m still lost in — [laughs] — of Pearl Jam and Soundgarden. Green Day is also a big influence for me. They can go from writing theatrical melodies with well thought out stories to straight up 3-chord punk, which I love. R.E.M. is another big one for me. Current bands have influenced me too. I love The Shins, Band Of Horses, old Strokes and early Killers.

I hear everything from classic rock to bits of punk throughout the new record which the influences you mentioned would certainly account for. Are these styles that you purposefully set out to display when writing this new album or do these sounds just kind of organically develop as you create?

That’s a great question. I’d say it was a mixture of both. I love so many styles of music but overall I was trying to make a really good modern rock record and was feeling very grungy and punky throughout much of the process [laughs]. There were times when I said, “Okay, I’m ready for a real rocker now and I want that grunge feel” (“Images” and “Human Warfare”). At one point I wanted to take a step back and write a total singer-songwriter type song and I wrote “Annastasia.” Other times it would come out organically like with “Look At Me.” That started out with more of an R&B vibe but then I kept hearing that cool riff and it morphed into a classic rock sounding tune.

How would you describe Diamonds & Demons compared to your previous works?

Far more evolved in every way shape and form from my first album. The production. My first album has some good songs but it was produced by a nut job who would half-ass it. You would only get a couple of vocal takes. During those takes most of the time he wasn’t even in the room. He was out smoking cigs or shooting the shit. Vocals weren’t properly fixed, drums sucked, the musicians weren’t consistent and there was very little collaborative effort with the producer. It’s hard for me to even listen to it now after this one, from a production standpoint.

Diamonds & Demons is a professional album. It’s produced by multi-platinum producer Sean Gill who is a pleasure to work with. He is a musician and songwriter himself and will go the extra mile all the time for the artist. It was a stark contrast from my prior album and one that created a very positive recording experience.

From a songwriting perspective, I really tried to challenge myself. Each song I forced myself to try something different outside of my comfort zone–let go of all inhibitions–and I think it shows in the writing of the words and the music. It is a more mature piece of work.

You have some pretty important themes and messages that you explore throughout the album lyrically. Can you explain that a bit and where these ideas and convictions stem from?

Well, like most people I watch and listen and see what’s going on in the world and a lot of things bother me. Killing sprees, new wars, climate change, greed, political gridlock, religious extremists and the list goes on. These are issues I become passionate about and I feel compelled to discuss them through my music.

On a broad scale, the root of what I want, and I think what most people want, is peace in the world and a happy and healthy planet, but we certainly aren’t going in that direction. I believe the more that people bring the issues that they are passionate about into the open, the more chance we have of progress and change. We need individual thinking not the following of the herd.

World leaders need to step up and do something about climate change. It is real and it is science-based. Politicians and those whose extreme religious views block their ability to side with logic and science, are the ones to be afraid of. They are the ones that will stand in the way of progress and our planet will pay the price, as it obviously already is.

Though there are a handful of songs on the album about social issues, the larger part of the record is just about living an everyday life and the emotional struggles we endure as we navigate through our own individual journeys. Growing up, getting older, loss of loved ones, being nostalgic for another time, sadness, wanting to get away from life for a while, finding true love. This to me is what my album is about. Humanity, finding oneself, soul searching, regrets, love and death. I think it’s something everyone can relate to. It’s about finding our way as individuals and as a planet.

There’s a lot of instrumentation going on throughout the release. Do you play all the instruments or did you have anyone else helping out with that aspect?

I play keyboard and piano on the record. Ari Friedman plays all the amazing guitar parts, including electric, acoustic and bass. We tried to bring back the guitar solo which you don’t really hear much in music anymore and Ari did an awesome job creating some sick solos. Marc Hoffman is on the drums and he created some really kick-ass and complex drum parts.

What do you feel you bring to the table that’s going to catch listeners’ attention and make them want to care about this record?

A strong opinion on themes that people care about and are passionate about. I also just really wanted to make a good old-fashioned rock album. It’s a dying breed in this watered down pop and hip-hop culture. I grew up on rock and it’s who I am and I’m proud of the fact that this album rocks. It has honest and thought-provoking lyrics, catchy melodies and powerful vocals. The musicians on the record and the production are both stellar. It has something for everyone. There’s even a pop song with an R&B vibe and a reggae-inspired chorus (“Paradise Island”) so it’s not all rock [laughs].

Do you have any touring plans in support of the release?

For now local gigs in the New York area.

With the album completed and set for release, what have you been working on since finishing it up? Any new plans already in motion?

I have recently started writing new music that will hopefully make up my third album and I’m curious to see where the music is going to take me. I’m looking to really explore different dynamics within my music, getting into more mood driven and atmospheric pieces.

Overall, what do you hope to accomplish with this project? Any major goals that you’ve set for yourself as a musician?

A ‘Best Rock Album’ nomination at next year’s Grammys? Or not. I seriously just want to be creating new music. It’s the process of creating that is gratifying to me personally and to continue to grow as an artist. I have poured my heart and soul into this album for over 4 years and am very proud of it. I have now put it out there into the ethers of the internet which is scary and exciting at the same time. Whatever path it takes me on…


On Soundcloud, Colleenstracks is delighted with the opening line of “Look at Me”: “Good morning miss sunshine who are you gonna walk on today haha☺.” I’m with Colleen, Paul Maged is a hell of a wordsmith and he’s nailed that bitch to the T. We all know that bitch, right.

On Maged’s latest record Diamonds & Demons, he embeds a sense of humor in his sharp observation of the world. From rampant narcissism to war, Maged’s voice is the Roger Daltrey (the streamlined Tommy version) of now…if he had the wicked wit of Keith Moon and the evangelism of Elvis Costello.

The whole of Diamonds & Demons is craftily light considering the weight of the messaging. Maged can deliver some heavy thoughts while keeping it catchy as is noted on “Last Days” and “Human Warfare” or “My Dear Love.”

Being able to make your audience think while playing air guitar on their bloody mary glass. That’s a gift.

Diamonds & Demons is the follow up of Maged’s In My Time, a thoughtful and compelling debut. On this record, Maged’s sound has matured in the best possible way. He continues his special skill of thinking out loud with us, pondering the silly to the sublime, loneliness to the effective use of rage.

You’d think Maged would look like the road-weary musician, fitfully jaded from his journey, weathered in just the right way like the perfect vintage store leather jacket. But, surprisingly, these tunes are pouring out of a young man’s soul, the musical version of Ron Livingston, brothers from another mother sharing an acid wit.

Like a lot of the new artists, Maged’s music defies categorization. A singer-songwriter, sure. But there’s the punk tones, the rock thrang and and an anthem conveyor belt always at the ready. This is what makes modern music so good these days. Fuck the genre. Embrace the music.

So you can either think along with Maged’s lyrics or simply absorb the meaning through the melodies, head banging or cocktail aloft, absorbing your favorite acid rain sunset. It’s your choice.


Paul Maged – Diamonds & Demons


There is an uncompromising snicker and sneer to Paul Maged’s voice that reminds me of a healthy cross between Elvis Costello and a pissed off Billy Joel. The music itself carries a whip crack urgency that is not unlike Pearl Jam at their most raw. Charged with political stance and thought, Paul Maged second album titled Diamonds & Demons is in your face and carries some strong personal opinions that one might do well to prick an ear to.

To some it may seem that the New York native is taking himself too seriously, but I’m not necessarily of that mind. I think he definitely has some ideas about the change he’d like to see in the world but he’s not hammering it into your skull without a sense of humour present on the other hand. Sure the music sometimes rips and the lyrics are pointed in the direction of social ills, evolution, and the need for change, but I don’t feel the least bit preached at. These are the things he feels passionate about and kudos to him for laying it out bare naked and raw.

Maged, a well seasoned musician who has studied at the Boston conservatory for music and has a rich background in stage and theatrical work brings passion to his craft while his band keeps the pace, laying into their instruments with the ragged glory of care free reckless rock abandon.

“Look At Me” opens perfectly and spreads like a house on fire while Maged wastes no time standing with a hand held high in a fist while the other hits the guitar strings hard.

“Last Days” has a great intro leading into a tune that teeters the edge between The Who and Pearl Jam territory, while “Annastasia” shows off another side of Maged. With its prog-folk-rock sweetness tapping into his inner Gentle Giant/Jethro Tull, Paul Maged again proves that he’s no one trick pony and has as many layers as he has ideas to share.

Maged is a surprising musician who doesn’t rely too heavily on his influences to get the point across, instead using them to bolster his own unique take on scrappy punk, 70’s prog rock, and modern day alternative.

I look forward to seeing this young musician continue to grow and expand into even greater territory.