In addition to flawlessly executing George Harrison’s unique guitar and vocal parts, Paul acts as Sgt. Peppers’ techno-mastermind. An electronics genius who works by day in the aerospace industry, Paul designed and built the studio where the band rehearses and records, and tackles the technical challenges that inevitably accompany so ambitious a project.

Paul learned much about the music business from his father, who’s also a professional musician. Throughout school he won many awards for arranging/ composition while attending musical state champion schools, playing in Jazz, Show and symphonic bands. By his early 20’s, Paul was a master of the technically-demanding, “shred” guitar styles of the 80’s which allowed him to play with many “household” names in all genres of music. Interestingly, Paul notes that the tasteful restraint, complex phrasing and “deceptive simplicity” of Harrison’s guitar style are ulimately more difficul to pull off than most of the guitar gymnastics he was so adept at performing.

But he has risen to the challenge.

Before forming Sgt. Peppers, Paul portrayed Harrison in South Louisiana Beatles Tribute, Penny Lane. They toured extensively in the southeast as well as performing at “Beatlefest” in England (where he played Hamburg’s Indra club with Tony Sheridan, Liverpool’s Cavern club, and other Beatles “haunts”). Always striving to raise the bar, Paul formed Sgt. Peppers with Walter Gonzales (aka Penny Lane’s John Lennon) in order to attempt truly live performances of the material which the Beatles recorded but never performed.

Accomplishing this required all of Paul’s formidable technical saavy, as he devised means of incorporating multiple guitar synthesizers and digital modelling technology into an instance of “the best Beatles concert that never was.” In live performance, in fact, he plays the technology like a second instrument; if you watch him closely during a performance, you’ll see Paul deftly tapdancing over a five-foot-wide pedalboard crammed with home-enhanced electronics, as he wrings from his guitar not only George Harrison’s pristine tone and imitable licks, but also an ever-morphing, virtual orchestra of strings, sitars, brass, harpsichords and sound effects, often several at one time.