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FINAL CUT REVIEWS & CHICANERY: JULY 2010-FEBRUARY 2011 P
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Jim Price
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 Post Posted: Sunday Feb 13, 2011 
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FINAL CUT REVIEWS & CHICANERY: JULY 2010 - FEBRUARY 2011 Part 1

It's been a while since I unleashed one of these on you. No commentaries this time around, I just want to purge the glut of CD reviews that has been backing up on me since last summer. So without further ado, here's Part One of a crapload of CD reviews...

THE NIGHTHAWKS – LAST TRAIN TO BLUESVILLE (Rip Bang Records) Washington, D.C. blues legends The Nighthawks put away the electric instruments and amplifiers on their latest album, Last Train to Bluesville, enabling listeners to experience a stripped-down side of the group. The Nighthawks recorded the disc live at B.B. King’s Bluesville channel on Sirius/XM Studios in the nation’s capitol. In this unplugged, acoustic setting; guitarist Paul Bell plays a National Steel resonator guitar, bassist Johnny Castle thumps out the bottom end on a Clavenger upright bass, Pete Ragusa (in his final recording as a Nighthawk) uses brushes on a snare drum, and singer Mark Wenner wails on custom Hohner harmonicas. The Nighthawks swing, sway, and give a robust workout to ten blues-geared classics, several which have appeared on the group’s previous plugged-in albums. The group sets the playful tone early on Lieber & Stoller’s Big Joe Turner-popularized “The Chicken and the Hawk (Up Up and Away),” led by Wenner’s spirited growl and busy harmonica accents. Castle demonstrates his own capable blues howl on Bo Diddley’s “You Don’t Love Me” and Chuck Berry’s “Thirty Days.” The Nighthawks also give vigorous treatments to three Muddy Waters numbers; “Nineteen Years Old,” “Can’t Be Satisfied” and the disc-closer “Rollin’ and Tumblin,’” as well as James Brown’s “I’ll Go Crazy.” The group slows it down twice, on Slim Harpo’s “Rainin’ In My Heart” and Sonny Boy Williamson’s “Mighty Long Time.” The performances are hearty and lively yet reverent; and given the live setting of this recording, unblemished and clean. The Nighthawks sound like they enjoyed every minute of this session, and performed these selections with abundant enthusiasm and respect. Last Train to Bluesville presents a different flavor of The Nighthawks, and in the process reveals a lighter side of their personality and genuine love for playing the blues. (The CD can be obtained through The Nighthawks’ website, www.thenighthawks.com.)

THE EMBALMED – WHAT WOULD JUDAS DO (no label) On their discography to date, Johnstown-based heavy metal artisans The Embalmed have recreationally towed the fine lines between good, evil, heaven and hell atop their terse brand of sonic brutality. The group parlays that exploration into a scathing concept album on their latest disc, What Would Judas Do. Using barbarous, volatile metal as their canvas, the group crafts compelling melodies while exploring how Judas-styled treachery and betrayal thrive in the current day, through leaders and hypocrites who hide behind and manipulate Christianity to advance corrupt agendas. Lyrically, The Embalmed’s mastery of wordplays has never been better, as they cleverly weave irony, metaphor and simile into fast-firing prosecutions; attacking their subject matter on a variety of levels over the disc’s 11 tracks. The savage disc-opening assault, “Crooked Path,” depicts temptation as the first step toward the dark side; a theme developed further on “Year of the Jackal,” before the entrancingly dark and hook-laden “Heaven Below” portrays the eventual fall from grace resulting from that temptation. The title track “What Would Judas Do” recalls how a bribe sealed Judas’ fate in history, and how that tradition of treachery lives 2,000 years later. How that treachery manifests in today’s society and government is brutally explored on “Grave Depression,” the caustic “Pledge of Extremists…God Less America” and the disc-closer “Deathlehem” with its stoner rock-styled finale. The group decries corrupt “self-appointed ministers preying on the sinisters” on the pummel-fest “Amen,” while an update of “Barbed Wire Morgue” (from the group’s 2000 CD Hooked on Demonics) states that choices and actions ultimately determine on which side of the fence souls end up. The performances are heated, with sibling guitarists/vocalists Chad and Jason Straw, bassist Greg Hatch and drummer Darren Byer constantly stirring the pot with breakneck Slayer-esque speed-metal passages, weighty gothic-styled brooding that would make Type O Negative’s Peter Steele proud, and leviathan crunch that never yields ground or intensity. The Straw brothers’ guitar riffs and leads are searing and captivating; and both brothers’ distinct vocal styles are feral and forceful, yet clear and understandable. Produced by the band, What Would Judas Do throttles on all cylinders; the guitars roar and snarl, the rhythms pound brutally, and the vocals are sharp and up front, enabling listeners to comprehend the group’s evangels clearly. Attention to details such as vocal cadences and guitar tones indelibly stamps The Embalmed's signature on the set, and ties the album together into a cohesive whole. Delivering harsh music for harsh times, The Embalmed’s What Would Judas Do is provocative, thinking man’s heavy metal that raises this group’s bar high. In short, this is a metal masterpiece. (The CD can be obtained through The Embalmed’s Myspace website, www.myspace.com/theembalmed.)

TOP DEAD CENTER – 40 DOWN (no label) Top Dead Center roared to life early last year, featuring four seasoned vets from the 814 punk-rocking community. Their debut CD, 40 Down, offers ten tracks of rip-roaring, punk-driven rock about blue-collar survival in western Pennsylvania. Guitarists/singers Wax and Gig, bassist/singer Tanish and drummer One Take Tony generate a hard-driving sound rooted in the traditions of early Social Distortion and Bad Religion; with gritty vocals, gang-shout choruses, crashing rhythms, and simple, hook-laden melodies that are short, sweet and to the point. Lyrically, Top Dead Center focuses on the struggles of living, working and rocking over 40 Down’s 10 tracks. The fast-firing title track “40 Down” lifts a bottle after surviving to the end of another work week, while the opening charge “Broken Bottles” touts lifting that bottle to chase the frustrations of another day. “Worker’s Creed” expresses frustration with government handouts and political doublespeak, while “Breadline” expresses the workingman’s struggles of paying bills and staying afloat. “It’s Done Though” comes to grips with aging and growing up, while the disc-closer “Distant” moves forward and leaves the past behind. Top Dead Center performs their song material with purpose and conviction; displaying tightly-wound, efficient execution and a brisk, action-packed pace. Recorded and mastered by Rik Golden at Golden Studios, 40 Down sounds lean, mean, sharp-edged and full. Top Dead Center’s blend of simple melodies, aggressive arrangements and relatable blue-collar themes makes 40 Down a strong, bracing debut worth checking out. (The CD can be obtained at shows or through Top Dead Center’s Myspace website, www.myspace.com/topdeadcenterpa.)

(kāj) – COLD SILENCE (Shady Lady Records) On their third CD overall, Cold Silence, Alle-Kiski area foursome (kāj) (the phonetic pronunciation of “cage,” what they first wanted to name the band) sharpens and focuses their melody-geared, hard-rocking sound. The prominent flavor over the disc’s nine tracks is surging, hard-hitting rock rooted in the ‘90s tradition of Alice In Chains, Soundgarden and Tool; featuring engaging melodies, powerful arrangements, and two- and three-part vocal harmonies. Frontman Walter Wright provides a focused, emotion-wrought delivery throughout the disc, running the gamut from subdued and contemplative singing to explosive and angry roaring. Curt Costanzo shapes the songs with alluring riffs, meaty chords and precision soloing; while bassist Kris Righi and drummer Eric Anthony anchors them with broad, thundering rhythms. Throughout the disc, (kāj) explores cerebral themes of coming to grips with emotions, relationship aftermaths, reality and spirituality. Setting the album’s tone, the powerful “Down” triumphs above change and adversity in life; while the forceful “Rise Up” with its aggressive gang shouts defiantly rages against adversity from within. Scaling an escalating chord progression, “The Walls” ponders rebounding from a broken relationship; while the progressive and introspective Tool-like title track “Cold Silence” confronts bottled-up emotions. The group shows a milder side as well, offering the acoustic ballad “About You” and closing with the acoustic-fueled melodic rocker (and Pittsburgh radio hit) “Before I Can Breathe.” The production by (kāj) and Billy Rossi gives the album’s aggressive moments teeth and rigidity without overpowering the melodies, instrumental detail and vocal harmonies. The result is a sharp and full-sounding disc; (kāj) ups the ante on Cold Silence as their successful fusion of melody, musical smarts and firepower yields a stirring and impressive listen. [The CD can be obtained through (kāj)’s website, www.kajmusic.com.]

ROYAL BENSON – (long)Drive (no label) A collaboration of musicians from State College, Pittsburgh and Harrisburg, Royal Benson takes listeners on a bright and diverse musical journey on their debut album, (long)Drive. Over the disc’s dozen tracks, Royal Benson mixes funk, rock and jazz flavors into a tasty stew of sounds recalling the pop fusion adventures of Steely Dan, Dave Matthews Band and more. Built around clever and catchy melodies, Royal Benson’s sophisticated arrangements allow Adam Tarin’s keys, Michael Fortunato’s saxophone and flute, and Matt Fern’s guitar to shine individually; while working in tandem to surround, shape and accent each song. Drummer Jordan Thompson and bassist Tim Myers underscore and drive the songs with precise, busy, multi-tempo rhythms. The song variety ranges from mild-mannered, pleasant exercises like the disc-opener “Red Maple,” the flute-accented “Ohio,” the uplifting “Look Around” and the piano-driven disc-closer “Turning Table”; to feistier and funkier excursions like “Game,” “What She Gets,” “Grind” (carried over from Fern’s, Fortunato’s and Thompson’s previous band, Cootie Brown) and “Worth All the Time.” The piano-powered “Partner in Crime” takes on a more lighthearted and playful tone, and Royal Benson exhibits leisurely improvisation on the jazz/pop-driven tandem of “(short)Drive” and “(long)Drive.” The performances are strong and tasteful throughout the disc, with spirited instrumental execution delivered with gusto, topped with Tarin’s and Fern’s smooth, clear and soulful voices. Produced by the band and Jason Shaffer at After 7 Studios in Mechanicsburg, (long)Drive pays attention to sonic detail even in its mildest moments, with tight arrangements that leave no empty spaces. The mix is clear and balanced, allowing each instrument and voice to shine. Mixing melody, texture and dazzling musicianship, Royal Benson’s (long)Drive provides a scenic sonic journey well worth undertaking. This is a stunning debut, and one of the best discs to emerge from the area music scene this year. (To obtain the CD, visit Royal Benson’s website, www.royalbensonmusic.com.)

THE HOPE FALLACY – BRINGIN’ IT HOME (no label) Altoona-based quintet The Hope Fallacy introduces a busy, melody-based pop-punk sound on their six-song debut disc, Bringin’ It Home. Singer/guitarist Adam Pielmeyer, singer/bassist Eric McCrum, guitarists Adam Mueller and Evan Fredo, and drummer Trey Carruthers craft catchy, multi-tiered melodies with never a dull moment. The songs often feature tempo and chord shifts, varying electric and acoustic flavors, and abundant layered vocals and chorus harmonies to fill and flesh things out. These detailed melodies carry lyrical themes of the ins and outs of youthful love, and triumphs and tragedies experienced along the way. The opening pair of songs deal with relationships gone sour; the boisterous “Behind Closed Doors” gives a cheating love interest the bum’s rush, while “Over and Out” offers post-mortem on another sour ending. Featuring guest singer Courtney Moyer, “Up All Night” ponders a relationship at a crossroads, while “Caroline Street” yearns to turn up the heat. The most powerful song on the disc is “Dear Jesi,” a moving memorial ode to Jessalyn Jade “Jesi” Reilly, Carruthers’ girlfriend of 7 years, who tragically died in a January 2008 auto accident. Again featuring guest singer Moyer, the song builds to a climactic montage of various friends and family members offering their thoughts and remembrances of Reilly, before ending in a huge wall of layered vocal choruses. The performances are lively and confident, as each member of The Hope Fallacy plays for broke with feverish intensity. The production by Kory Gable gives the songs a crispness and slick, radio-ready sheen. Bringin’ It Home is an impressive calling card; an action-packed set that should give first-time listeners a full scope of what The Hope Fallacy is all about. (The CD can be obtained through the group’s Myspace website, www.myspace.com/thehopefallacy.)

JT BLUES – CHASE AWAY YOUR BLUES (no label) During a career that has spanned more than 30 years, Bellefonte native John “JT Blues” Thompson lived and made music in southern musical hotbeds such as Baton Rouge and Atlanta, before returning home in 2001 and becoming a staple of the Happy Valley music scene. Thompson’s first solo recording, Chase Away Your Blues, is a total solo effort. Thompson sings and plays keys; performing a rollicking variety of barrelhouse, ragtime, piano blues and boogie-woogie over the disc’s nine tracks. Performed on the same piano Thompson first learned to play on (which is pictured on the disc cover), the brief opening interlude “Pat’s Café” sets the album’s tone as a tribute to his southern and boogie-woogie influences. Much of the disc’s mood is upbeat; including the happy sentiments of the title track “Chase Away Your Blues,” a spirited remake of Paul Byrd’s “Sugar Free,” Thompson’s heartfelt tribute to his “Southern Belle,” the playful “Chicken Bone” and the closing instrumental piano romp “Murphee’s Boogie.” Thompson endures workplace blues on “The Boss Told Me,” and addresses the Gulf of Mexico oil spill and petroleum dependency on the sullen “Cold Firey Lake.” Thompson’s performances are enthusiastic and robust, conveying the obvious joy he had in creating the music. His ivory-tickling talents constantly shine, and his variety of conventional, electric piano and organ tones keeps things fresh throughout the disc. Recorded at Phydeau’s Place in Bellefonte, the disc sounds crisp, clean and to the point; allowing Thompson’s talents and personality to fully shine. Chase Away Your Blues will do exactly what the title suggests, as “JT Blues” makes the keys his playground and provides lighthearted, juke joint-flavored fun. (The CD can be obtained through Thompson’s website, www.jtblues.com.)

ROY HANDY & THE MOONSHOT – (I’M GONNA BE) YOUR BEST FRIEND (Bituminous Records) Cambria County native Gerry Stanek’s eventful career to date has included stints with two national recording acts (The Lost and Outcry) and several regional bands, plus achieving widespread notoriety during the 2008 presidential race with his lighthearted country ode “I’m In Love with a Girl Named Sarah Palin.” Adopting the alter-ego Roy Handy, Stanek now focuses his attention on rocking the youngster demographic with Roy Handy & the Moonshot’s debut disc, (I’m Gonna Be) Your Best Friend. Displaying a punchy garage rock style that channels early British Invasion flavors with a touch of Tom Petty, Roy Handy & the Moonshot explores the nooks and crannies of the childhood mind over the disc’s dozen tracks, providing fun and upbeat results along the way. Coloring utensils are celebrated on the Who-flavored “Crayon Man,” foot coverings are downplayed on the country rock-geared “Socks Are Overrated,” and favorite kid cuisines are savored on the boisterous odes “Hotdog” and “Pancakes.” Man’s best friend states his case on the bluesy opener “I Am a Dog,” while the house feline prepares for liftoff on the playful and imaginative “Space Kitty.” The album slows down briefly on the calmer and reassuring “Sometimes You Need to Be Cuddled.” Stanek’s lyrics are simple and relatable to reach the targeted youth audience, but clever and witty enough to connect with adult listeners as well. The performances are vigorous and enthusiastic, and the album’s basic production keeps things simple so the song themes connect full flush with young ears. Roy Handy & the Moonshot’s (I’m Gonna Be) Your Best Friend is friendly and playful enough to engage kids, yet witty and smart enough to reach the inner kid of most adult listeners as well. A fun album. (The CD can be obtained through Roy Handy and the Moonshot’s website, http://royhandyandthemoonshot.com/.)

HAROLD TADDY – JOVANA’S BELLS (no label) Harold Taddy’s musical journey thus far has included involvement with Rochester, New York-based art-rockers The Pax Cecilia, his ongoing band project Heavy Radio, and a solo career. Now based in State College, Taddy gives listeners an intimate, autobiographical and artistic vision on his CD Jovana’s Bells. Named after, inspired by and dedicated to his daughter, Jovana’s Bells offers an eclectic and poetic portrayal of Taddy’s life and thoughts following his daughter’s birth. Recorded in analog at Saxon Recording in Rochester, the album features a wide range of sonic textures, as Taddy indulges his artistry and explores his emotions over the disc’s nine tracks; often assisted by The Pax Cecilia’s Kent Wilson on piano, cello and shakubachi (flute). Selling his themes with a tender and delicate singing style, Taddy crafts an engaging melody as he ponders the superficial side of romance on the disc-opener “Romantic Seducer,” and sings a sensitive devotion to his daughter on the uplifting “Canada’s Niagara.” On “Rouge,” Taddy backs and duets with guest singer Beth Navah M. along a minimalist acoustic arrangement and progressing melody. “Mirrors” offers a stark contrast, with Taddy’s siren-like vocal immersed in a reverb-laden soundscape of spacey synth and cello effects. The ethereal “Funeral March” documents the end to a romance, guided by dark piano and string tones. Perhaps the most profound numbers are “Bus,” Taddy’s autobiographical depiction of finding sanity and solace in central Pennsylvania; and the disc-closer “Self Portrait,” an expose of self-realization and hope that plays along a minimal backdrop of piano and feedback before trailing off into a cacophony of the latter. Taddy and engineer David Anderson pay attention to sonic detail, often using minimal arrangements to achieve maximum moodiness and emotional impact. Available with four different cover artwork designs by Cecilia Ebitz, Jovana’s Bells offers a revealing and poignant listen, as Harold Taddy exposes his inner emotions, inspirations and creativity. (The CD can be obtained through Harold Taddy’s Myspace website, www.myspace.com/heaveyradio.)

THE SERVELLO FAMILY – WISE MEN STILL SEEK HIM (no label) The Servello Family has been creating and performing music in the Altoona area for over a dozen years; specializing in gospel, oldies and family-geared music. Their second Christmas album and seventh recording overall, Wise Men Still Seek Him features a dozen multi-flavored songs for the holiday season. Jack Servello arranges all songs, plays all instruments and sings, accompanied by wife Barb on vocals during most of the tracks. Jack begins and ends the disc a cappella, opening with a solo rendition of “O Come O Come Emmanuel” and closing with a bonus track solo read of “Auld Lang Syne.” In between, the Servellos offer a rocking version of “O Little Town of Bethlehem,” a swing-driven rendition of “What Child Is This,” and a lightly funky spin on “Go Tell It on the Mountain.” They also cleverly incorporate a Dave Brubeck “Take Five” riff and rhythm to propel “God Rest Ye Merry Gentlemen,” provide a gentle acoustic read of “I Heard the Bells on Christmas Day” and an ethereal spin on “Mary Did You Know.” Son Richie Servello sings and plays drums on a heavier-rocking edition of “Little Drummer Boy,” accompanied by a percussion loop borrowed from a Michael Jackson number. Two original compositions are also included; the doo-wop-flavored title track “Wise Men Still Seek Him,” and the rural-toned “Stand Back and Marvel at the Cross,” a collaboration between Jack and Lock Haven’s Bill Dann. The performances are bright, as The Servello Family displays smooth voices, supported by abundant harmonies and vocal layering. The arrangements emphasize vocals, sometimes at the expense of the orchestration, which comes up fainter in the mix. As Christmas albums go, Wise Men Still Seek Him is reverent, joyful and often clever; and The Servello Family provides a pleasant yuletide listening experience. (The CD can be purchased through the group’s website, www.servellofamily.com.)

FOURTH RIVER – THE CROW THAT PECKED YOU (no label) Named after a mythical underground waterway beneath Pittsburgh’s other three rivers, Fourth River generates a free-flowing cascade of fun grooves on their first full-length CD, The Crow That Pecked You. With each member contributing vocals; guitarist Pete Belski, keyboardist/sax player Aaron Bennett, bassist Bill Smith, drummer Keith Ruffing and percussionist (and Bellwood native) Pat Stehley craft funky, jam-flavored arrangements over the disc’s 11 tracks. Rooted in the traditions of jam-rock pioneers like Phish and the Grateful Dead, Fourth River peppers their loose, catchy melodies with frequent instrumental interaction and improvisation; providing constant musical action that keeps the listening experience fresh. Most of the songs ride along funky rhythms, but explore different avenues along the way; “Lemonade” incorporates a Herbie Hancock-styled funk/jazz flavor, “Gotta Get Inside Now Blues” ventures into Little Feat southern-fried funk terrain, and the instrumental “Columbian Coffee” evolves into a driving Allman Brothers-geared jam. Fourth River also generates a slinky organ-driven groove on “The Time That We Get,” blends a folksy acoustic flavor with a sense of humor on “Forgotten Camera,” and shows a tender side on the ballad “Ellys Song.” The performances are colorful and fun, as guitars and keys play constant nip and tuck with one another as they ride atop lively and busy rhythms. Engineered and produced by Smith, the disc sounds crisp and lets the performances do the talking with minimal studio touches along the way. The Crow That Pecked You will peck ears with its edgy, eclectic grooves; as Fourth River provides a flowing, invigorating sonic journey worth checking out. (The CD can be obtained through Fourth River’s Myspace website, www.myspace.com/fourthriver.)

SM² – STRANGE SYMMETRY (no label) Two years ago, while performing in support of her latest solo CD Fearless, Middletown-based singer, songwriter and guitarist Sherri Mullen started performing with her son, Shane, as a duet. The pair’s performing and songwriting chemistry clicked, and the duo dubbed themselves SM² (“S-M-squared”) last fall, before proceeding to record an album. The result of that recording, Strange Symmetry, bridges generational and musical gaps over 15 tracks. Mom and son present a diverse range of sounds, spanning acoustic and electric rock, folk, blues, reggae and more; while tackling a variety of lyrical themes dealing with individuality, generational division and reconciliation, and life’s idiosyncrasies. Throughout the disc, both Mullens’ voices soar, intertwine and envelop each melody, with frequent detailed harmonies and vocal layers coloring and fleshing out the songs. Bassist Doug Stockton and drummer Kevin Hagan add punch to the numbers with their solid rhythms, with guest percussionist Ray Rossi and guitarist Dave Kelly adding additional accents along the way. SM² displays their folk-rock chops on the disc-opener “Don’t Judge Me,” offers a reggae slant on the observational life study “Are We Having Fun Yet,” and leans country on “Disenchanted.” The pair rocks harder on “Sweet Sleep” and the defiant “No Apology,” dabbles in blues on “Matter’s Just Energy” and the story ode “Jessie and Daisy,” toys with tropical flavors on “Love You Till the Sunrise” and “The Music,” and generates a tango flavor on the caution-to-the-wind-themed “Wreckless.” Perhaps the centerpiece of the album, though, is the serious-toned “While I Learn,” a stern reflection on atonement and lessons learned that builds along an intensifying arrangement. The performances are moving and enthusiastic, as both mother and son sink soul and purpose into their music, and their chemistry clicks throughout the disc. Producer Jason Rubal keeps the sound busy, with both Mullens’ voices front and center; the arrangements build and wane to support and accent each melody and mood. SM²’s Strange Symmetry is a fun listening adventure, as Sherri and Shane Mullen merge their distinct musical worlds into a vibrant symmetry all their own. (The CD can be obtained through SM²’s website, www.sm2music.com.)

THE FEENS – THE FEENS (no label) Headquartered near Reading, The Feens champion an era when guitar solos, experimentation and improvisation ruled the rock music climate. They channel this vein of early ‘70s hard rock influences into their own distinctive and powerful style on their self-titled debut CD. Singer and rhythm guitarist Mike Narvaez, lead guitarist Zach Ernst, bassist J. McCabe and drummer Matt Liptak mine their rock from the same rich vein first charted by pioneering forces like Led Zeppelin, Deep Purple, Black Sabbath, Budgie and early Montrose over the album’s nine tracks. The songs are driving, busy and catchy; riding dynamic, multi-pronged arrangements that never stay still for long. Psychedelic tones permeate the heavy blues-rock of the disc-opening “Space Van,” while a Hendrix-like psychedelic flavor surrounds “Shiva.” Busy rhythms drive the crunching rock of “Find Another Love,” the Deep Purple-ish “Strange,” the instrumental “Motorcycle Soup” and the disc-closer “Nebula.” The Feens slow it down on the acoustic-toned “8 Years,” but rev up the engines on the faster-paced “Everything In Between.” The Feens play for keeps on this album; the performances are enthusiastic, and the solos and instrumental work are charged and precise. Produced by the band and Dan McKinney, The Feens sounds balanced and powerful, with the drums and bass given thunder and force, and the guitars ample muscle and teeth. Fans of classic early ‘70s era guitar rock will find plenty to celebrate on this debut, as The Feens bare their teeth and combine chops, melody and crunch into an exciting, riveting set. (To obtain, visit The Feens’ Myspace website, www.myspace.com/thefeenspa.)

ADAM BLESSING – VOICES, TIMES AND PLACES (EBS Records) Adam Blessing offers a picturesque musical snapshot of his world and personality on his sophomore CD, Voices, Times and Places. Over the disc’s ten songs, the Elizabethtown-based singer/songwriter crafts personable, pleasant melodies with clever, digestible lyrics; and brings them to life with basic acoustic-rooted arrangements. Blessing’s base sound is punchy folk and folk-rock, flavored with blues, jazz, funk and tropical flourishes. His song themes are topical and interesting; Blessing ponders a curious life situation on the upbeat opening track “Secret,” celebrates his current life on “Best Years,” and puts worries on the backburner on the calypso/doo-wop-flavored “Lotta Life.” He also explores a historical side to a favorite vacation destination on the tropical-toned “Ocracoke,” and crafts a witty but slightly morbid ocean warning singalong on the playful “No. 9.” There are tender moments as well; including the heartening love song “You Are the One,” the bluesy and soulful “A Lot to Lose,” the tender string-enhanced ballad “I’ll Never Stop (Loving You)” and the disc-closing lullaby “Don’t Wake Early.” Blessing sells his song material with a sturdy, dynamic voice and soulful singing style. Additional instrumentation such as drums, hand percussion, keys, strings and brass lightly surrounds and fleshes out the songs, further elevating the moods of each. The production by Blessing, Jim Ebersole and Joe Scarcia is clean and clear, offering just enough instrumental and studio touches to serve the songs while keeping the sound simple and uncluttered. Voices, Times and Places is a cordial, uplifting listen; as Adam Blessing’s blend of acoustic simplicity and thoughtful lyrics should keep listeners captivated and pleased from start to end. (The CD can be obtained through Adam Blessing’s Myspace website, www.myspace.com/adamblessingmusic.)

JOY IKE – RUMORS (no label) Pittsburgh’s Joy Ike is a singer, songwriter, pianist and thinker. All of these attributes join forces to provide a compelling listen on her sophomore album, Rumors. Over the disc’s ten tracks, Ike combines elements of pop, folk, soul, jazz and gospel; weaving intricate melodies while offering thoughtful wordplays about life, humanity, spirituality and the search for truth. Ike contemplates her own spiritual path on “Like A Picture,” ponders truth and life’s meaning on the intensifying “Give Me Truth,” and resolves that we’ll never uncover all the answers on the disc-closer “Power.” She celebrates individuality and pursuing one’s own path on “Nomad,” and pursuing and achieving goals on “Plans.” Ike realizes the need for others on “Untitled,” and laments greed and selfishness on “Eat It All Up.” And the uplifting “How She Floats” and the somber title track “Rumors” both offer hope in their lyrical themes of weathering life’s storms and staying the course. Ike’s clear and expressive voice and deep piano tones are front and center throughout the album, with bassist/guitarist Jason Rafalak, percussionist Chris Massa, the Freya String Quartet and others supporting, coloring and accenting the songs’ moods. Produced by Ike, the arrangements of Rumors are stripped down, basic and uncluttered; allowing the essence of her voice and messages to sink in and achieve full effect. Joy Ike does some in-depth soul-searching on Rumors, and her findings provide food for thought about life for everybody to consider. (The CD can be obtained through Joy Ike’s website, www.joyike.com.)

KILMAINE SAINTS – THE GOOD, THE PLAID, AND THE UGLY (no label) Hailing from Mechanicsburg in County Cumberland, Kilmaine Saints get their Irish (and Scotch) up on their rowdy debut CD, The Good, The Plaid, and The Ugly. Eight members strong, these Saints celebrate Irish and Scottish musical tradition with a hard-rocking wallop over the disc’s dozen tracks, mixing amped-up traditional numbers with original compositions. The group sets the tone early, as a reverent bagpipe treatment of “Amazing Grace” ushers in their boisterous statement of purpose “The Saints Are Up!” The Saints often tell stories in their songs; paying homage to the Irish who came to America on the folk-driven “My Island,” and recalling the hardships Irish immigrants faced in the new land on the angry-toned “Painting Paradise Square.” Another traditional-flavored rocking original, “Gold and Guns (Will Get the Job Done),” remembers Ireland’s often bloody history at the hands of British invaders. The Saints also craft a tongue-in-cheek drinking ode in “Farewell, Self Esteem,” a violent sea shanty in “Ten Fathoms Deep,” and document a bar gig on the witty and hilarious “Póg Mo Thóin” (Gaelic for “kiss my a**”). The group also gives rowdy treatments to such traditional Irish favorites as “Whiskey in the Jar,” “Wearing of the Green” and “The Leaving of Liverpool.” The performances are exciting, led by Irish native Brendan Power’s hearty howl, and colored by a vast instrumental support cast that includes rocking drumbeats and bass work, electric and acoustic guitars, Highland bagpipes, fiddle, banjo, accordions, bohdráns, marching snare drums and more. Recorded and engineered by Jason Shaffer at After 7 Studios in Mechanicsburg, this CD sounds big, full and punchy; with all the rock and traditional instruments given full voice in the mix. The Good, The Plaid, and The Ugly packs a strong, Irish-rocking wallop, as Kilmaine Saints give Celtic-flavored rock a swift kick in the posterior for an invigorating listen. An excellent album! (The CD can be obtained through the group’s website, www.kilmainesaints.com.)

PAN.A.CE.A – BARE BONES (no label) Wilkes-Barre foursome Pan.a.ce.a reveals a different side of their musical personality on Bare Bones, an eight-song, acoustic-geared set. Six of the songs are unplugged adaptations of previously-released songs, as chosen by fans during a contest earlier this year. Stripped down to their bare essences; “Too Little Too Late,” “I Never” and “Someday” still rock, while allowing the strengths of their respective hooks to shine even more clearly. Pan.a.ce.a gives a tender acoustic reworking to the ballad “Hold On,” with guitarist Paul Young’s mandolin giving the song a folksy flavor. Conversely, guest Nyke Van Wyke’s string accompaniment gives “No More Secrets” a stern mood, with Matt Jaffin’s aggressive bass line meaning business; while “Divine” receives a low-fi record turntable-styled treatment. Pan.a.ce.a introduces a new song, “Don’t Walk Away,” highlighted by a crisp hook and singer Tim Farley’s soaring voice; and the group finishes the set with a gentle acoustic update of U2’s “All I Want Is You.” The performances are exciting and sincere, as the group sinks as much heart into the acoustic presentations as they did the original electric versions. The production by the group and Bret Alexander largely allows the stripped-down performances to speak for themselves with minimal finishing touches or gloss. Pan.a.ce.a’s knack for catchy song hooks is further revealed on Bare Bones, as their stripped-down arrangements expose more of the group’s melodic strength and depth. (The CD can be obtained through Pan.a.ce.a’s website, www.panacearock.com.)

LOVEHATETHING – THE DISCO KILLER (no label) Surfacing from the Chambersburg vicinity in 2009, LoveHateThing introduces a fresh, powerful, melodic and variable modern rock sound on their ten-song debut disc, The Disco Killer. Guitarist/singer Sean Clever, bassist/singer Ryan Eshleman and drummer Matthew Cole generate a collective sound often rooted in ‘90s-styled rock and grunge, featuring innovative riffs and catchy melodies. Each song shows a different angle with varying arrangements and sonic detail. The opening number “How You Remain” is a classic-styled, hook-driven anthem; “Sweet Distraction” and “DIS” explore Cure-like alt-pop terrain. Songs like “Ecstacy” and “Sore Sight for Blind Eyes” channel Nirvana and Alice In Chains flavors; while “Blacklisted” and “Relish” recall Smashing Pumpkins-styled art-grunge. At LoveHateThing’s heaviest, “Exit Game” taps Deftones/Filter-like agitation, while “Sex on the Brain” captures the caustic recklessness of Nirvana and Mad Season. The performances are charged and inspired, and LoveHateThing sinks ample passion and purpose into their compositions. Recorded and engineered by Heirosonic’s Jarred Cannon, The Disco Killer sounds thunderous and full, and allows LoveHateThing’s jagged edges and acid burn to achieve full abrasion. LoveHateThing wears their ‘90s influences well on The Disco Killer, successfully incorporating them into their own distinctive, alluring and hard-rocking style and sound. (The CD can be obtained through the group’s website, www.lovehatethingband.com.)

NANCY MICCIULLA – THE ONE TO SHINE (no label) Philadelphia native (and Indiana University of Pennsylvania alumnus) Nancy Micciulla reveals and realizes her musical world on her debut CD, The One to Shine. Playing acoustic guitar and singing, Micciulla explores folk, pop, rock, blues and country stylings through the album’s eleven tracks; with engineers Bob Freed, Rich Bomberowich and several other musicians helping to color and bring her compositions to full fruition. Micciulla’s poetic lyrics expound on her own personality, desires and relationship intricacies and issues. Reflection and contemplation in the aftermath of ended relationships are the themes of the disc-opener “Passenger Seat” and “Come Back to Me,” while “House Down” is a plea to hold one together. She seeks rays of hope on the country-tinged “Wildflowers” and the piano-laced gospel/R&B ode “Wait.” Micciulla explores the complexities of her own personality on the bluesy “Lift Every Stone” and the upbeat and jazz-toned “Crazy.” West Coast reflections and reminiscences surface on the banjo- and mandolin-colored “California” and the simple guitar/vocal folk of “San Diego.” Micciulla brings these songs to life with her expressive, lively singing style, frequently shifting her tones from calm and passive to busy and passionate. The minimal arrangements and gentle touches of piano, drums and layered vocal harmonies smoothly accent the moods of Micciulla’s compositions, and the production is clean and uncluttered. The One to Shine offers the sound of an artist revealing and defining her musical world; and positions Nancy Micciulla as one to shine as listeners enter and discover that world. (The CD can be obtained through Nancy Micciulla’s website, www.nancymicciulla.com.)

A CRUCIFYING FEELING – FROM DUST TO LIFE (Angry Squid Records) It doesn’t take a deep listen into A Crucifying Feeling’s debut CD, From Dust to Life, to uncover the group’s biggest influences; ‘90s grunge, and specifically, Nevermind/In Utero-era Nirvana. The Philadelphia-based foursome channels Kurt Cobain-styled acid and angst through the disc’s ten tracks. Displaying a vocal style that runs the gamut from melancholy detachment to bristling anguish and anger, lead singer/guitarist Paris Kalamaras uses this ‘90s-toned terrain to air lyrical anxieties about relationships, deceptions, life’s struggles and adversities; flanked by lead guitarist Dave Rock, bassist George Wright and drummer Mario Fiuza. The Nirvana-like vibe kicks in immediately, as A Crucifying Feeling resemble scentless apprentices on the explosive disc opener “Faking Bliss,” with Kalamaras raging against fake people. Subsequent rockers like “The Pumpkin Method,” “Unhappy” and “Strapped” sound like teen spirit; and the group roars toward punk-driven nirvana on “Without A Heart” and the disc closer “Warfarin.” “Enema” taps the Nirvana acoustic rock flavor of “Come As You Are;” while Kalamaras taps ‘90s-styled melancholy on the acoustic-geared ballads “Mature Sunflower” and “Struggling Artist,” the latter effectively colored with stringed accompaniment. Beneath the obvious Nirvana comparisons, the melodies on From Dust to Life are catchy and effective; and the group’s inspired, robust performances give these songs electricity and urgency. Co-produced and mixed by Kalamaras and Greg Carozza, the disc sounds appropriately jagged on the aggressive tracks, and balanced and full throughout. ‘Nevermind’ that A Crucifying Feeling unapologetically wears its influences on its sleeve on From Dust to Life; they do it well, and set a bracing ‘90s-styled foundation to expand and grow from. (The CD can be obtained through the group’s Myspace web site, www.myspace.com/acrucifyingfeeling.)

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Jim Price
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 Post Posted: Friday May 27, 2011 
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