About Telamor, Tom says, "While I've had years of experience performing live, I'm not interested in being famous. With Telamor I try to keep a very low profile. I'm just trying to make a small contribution to the great tradition of pop rock music. My influences range from Robert Johnson to The Weeknd. If you listen closely, in between you'll hear Hank Williams, Chuck Berry, Otis Redding, the Stones, David Bowie, the New York Dolls, Nirvana, even Taylor Swift--pretty much anyone who wrote a great song and sang it with conviction.

"Working with Warren Babson is a great privilege. Basically, it's my job to deliver to Warren a big box of parts. It's his job to take the parts that he wants and assemble them into a great track. We aim to make classic three-minute pop songs that hit you in the gut and reach you emotionally. My lyrics are simple and direct, just like my guitar riffs and our beats.

"While the songs are simple, the recordings can be quite complex, with a full band sound including multiple guitars, piano, background vocals, percussion, plus the bass and drums. It's all played live in the studio--no sampling or quantizing. If you listen carefully you might hear slight fluctuations in tempo in various instruments. That's because we're going for that live band sound, not a processed synthetic sound. Telamor means real rock and real emotion."

REVIEW in THE NOISE Music New England
This is subtitled, “Four Iconic Rollings Stones Tracks Re-Imagined.” Tom Hauck, the solo mastermind behind this project, brings an interesting twist to these well-worn Stones tracks. “Sympathy for the Devil” features an ominous electronic drone vibe like the gates of some North African hell yawning wide open. “Satisfaction” is a low-key take, as though Buddy Holly’s hiccuping vocals were combined with Bryan Ferry’s vocal stylings. There’s also a faintly mechanistic approach to the track not wholly unlike Devo’s celebrated cover. “Happy” is presented with a soulful and more melodic approach which is by far the most radical, and memorable, departure from the original. “Undercover of the Night” is taken as a ballad rather than an anthem and has its own mysterious vibe. Overall, this project is an intriguing set of interpretations; but one which reveals more about Telamor than The Rolling Stones. (Francis DiMenno)