[Jim Price]

FINAL CUT CD REVIEWS & CHICANERY: SEPTEMBER/OCTOBER 2006

(better late than never...)

FIRST…SOME SOAPBOXING

Because I feel like doing some good old-fashioned bitching…

WHY NOT HERE!?

As a native of Altoona who did not choose to run off to greener pastures after graduating high school and college, I have come to appreciate the community that I live in and the benefits of living here. And there are benefits to living here. The pay scale around here is lower, yes, but so is the relative cost of living compared to bigger cities in other parts of the state and nation. This town is big enough to have many of the amenities of city living, such as shopping districts and a decent highway system, and the basic essentials for survival within a short drive from my home. But it is also small enough to avoid much of the congestion, hustle and bustle of big city living. Although imported drug-related crime has increased over the past year or so, this town is still safer than a lot of areas; and if you look at the big picture, we’re not alone as far as escalating crime rates – even smaller towns around us have their share of crime problems any more.

No town is perfect, and Altoona certainly is not. But I decided to stay here and make my living here, and I don’t regret it. It has worked out for me, and I’m content with my choice.

If there is one nagging thing that does bother me about this town, though, it is the stubbornness of civic leaders and many citizens to move forward and progress. Altoona has always had a reputation of being behind the times, and attitudes are slow to change. Anyone who wants to change things in this town always faces an uphill battle cutting through antiquated attitudes, red tape and bureaucracy. Still, some of us stubbornly keep plugging on, in the hopes that persistence may someday pay off and some aspects of life in this town can move forward. But it is an uphill climb.

Case in point…While doing my monthly Pennsylvania Musician delivery duties and listening to a local radio talk program in my car recently, I heard the program host cite a survey by the Altoona Youth Commission of local junior high-age teenagers regarding their thoughts and perceptions about the Altoona area, good and bad. The majority of the surveyed youngsters said they didn’t expect to live in Altoona after they finished with school; citing low-paying jobs, blight and decay, and lack of cultural events and things to do locally. I thought these were all valid points, and problems that have been pretty obvious to many area residents over the years. To my surprise and dismay, though, the show host proceeded to dispute all of these concerns, portraying these youthful opinions as nonsensical and trivial.

All three of the concerns cited by the teen survey have merit, and actually tie together with one another into the bigger picture of Altoona and why it is perceived as stagnant and not moving forward. Jobs are generally low paying in this part of the world, compared to other areas. Altoona gets plenty of retail jobs, which are mostly just over minimum wage. But what of career employment and jobs that can support a family? Ever since the once prominent industry in this town, the railroad, started going into decline a few decades ago, this part of the world has sorely needed new industries to step in to replace it, especially to provide good-paying jobs to make people want to remain in the area. But industry doesn’t haphazardly pick new areas to locate and relocate into; it does careful research into markets before making selections on where to set up shop. Among the criteria many businesses and industries consider in making their decisions are quality-of-life concerns. What can an area provide to employees of a prospective business? Does an area have infrastructure to support growth and jobs if industry moves in? Does the town have a good image, or is it decaying and falling apart? Is there a lot of bureaucracy and red tape that business owners have to wallow through in order to locate here? And what is available in the way of cultural activities and things to do and see?

Altoona seems to shoot itself in the foot regarding many of these issues. If a business wants to locate into downtown Altoona, for example, zoning laws, taxes, fees and other red tape issues quickly make that process a major headache. Altoona has had a blighted property problem for quite a while, but legal issues and red tape often get in the way of cleaning up blighted properties or tearing down run-down houses and buildings, making them bait for bored arsonists. And while there are a few major cultural and entertainment options locally, such as Altoona Curve baseball and Altoona Community Theatre; amusement taxes, noise ordinances and draconian laws and attitudes keep this town from living up to its potential as a place where culture can grow and flourish. And those events we do get are usually geared towards the older population; Altoona certainly is not a major concert hub.

Look at other areas, even towns relatively close-by. Johnstown, for example, has major events that happen in its downtown area every year, such as Folkfest, Thunder In the Valley and Polkafest. State College has the Central Pennsylvania Festival of the Arts. Williamsport and Indiana both bring in several major concert events every year to their local theatre venues (Williamsport’s Community Arts Center and Indiana’s Fisher Auditorium; why can’t Altoona’s Mishler Theatre or Jaffa Shrine bring in the occasional rock concert?). Towns like Ebensburg and Bedford bring thousands of people into their downtowns every fall with popular fall festival events. And in a recent example, near the end of October I attended an all day concert event, Downtown Live, in downtown Hagerstown, Maryland – a day of quality live popular music that brought together a whole community and packed a cross section of humanity into that city’s downtown for a good day of music and togetherness. What does Altoona have that compares to any of that? Nothing that brings anybody into downtown, other than perhaps the Blair County Arts Foundation Friday evening jazz concerts during the summer months. The new “Roar in the Mountains” motorcycle rally event has the potential to grow into something big for this town, but based at least on the inaugural event this past September, will have to undergo some growing pains to reach that point. Altoona has no real festival-caliber events other than several amusement-park based events at Lakemont and Delgrosso’s Parks outside the city limits, and the Blair County Arts Festival at Penn State Altoona (which is weakly attended nowadays compared to the years when it took place in downtown Altoona). And considering the aforementioned increasing crime problems locally, what better way to get people to unite and look out for one another than to have some major cultural events locally to pull the local populace together?

What the kids said in the survey is true. For this town to keep young people working here, and to draw in new business and industry, it needs to be forward thinking and take steps to improve the quality of life for people and industry to want to move to and stay here; instead of appeasing the dying retirement population and remaining afraid of change and progress. As I see it, Altoona still has great potential. It just needs more people with vision in charge, that aren’t afraid to take chances and steps to move things forward.

FINALLY…A NETWORK TELEVISION SHOW WORTH WATCHING

People often ask me how I can find the time to go see all the live bands and musicians that I do. One obvious answer: I rarely watch nighttime television. I gave up on the vast wasteland that is network television a long time ago. I don’t do reality television. I don’t do sitcoms. I don’t do crime dramas. I’m into very little that network television has to offer, and what little television I do watch is limited to news, sports (mainly during football season), sci-fi television show reruns and the occasional action movie I come across during the occasional late night channel surf.

However, ever since 9/11, we usually keep the television on at Q94 in the event of any breaking news stories. I have gotten somewhat hooked on one daytime soap (The Guiding Light); but during this past summer saw some trailers for what might be a ray of light in an otherwise dismal network television landscape. The trailers showed a compelling image of a youngster staring off into the horizon as a mushroom cloud surfaces in the distance. The show: the new CBS drama series Jericho. As a fan of fictional doomsday and apocalyptic scenarios (after all, my favorite movies of all time are the Mad Max trilogy), I decided to give this show a try and see what it was all about.

I’m glad I did. In the first episodes I have seen so far, I have been impressed. This show is intelligent and thought out, with a compelling plot, intrigue, somewhat interesting characters and a scenario that – given the current headlines about terrorism and North Korea testing nuclear weapons – makes you think. Jericho is set in the small town of Jericho, Kansas, where everything is normal until a nuclear mushroom cloud appears on the horizon – apparently Denver getting vaporized. Immediately, life in Jericho turns into chaos, as the townspeople struggle to survive, find family members, and with phone and broadcast communication silenced, gather information about what has actually happened.

What I like most about this drama is that we know only marginally more about what is going on than the show's characters, and we learn what is happening as they do. Was America attacked by another superpower, or was the nuclear blast a terrorist attack? Are there invaders on American soil? Are we at war? Gradually, some information about the situation begins to surface – we learn that Atlanta also got nuked, and as the mysterious former St. Louis cop Hawkins deciphers some faint Morse code signal off the hospital radio, we learn that San Diego, Chicago, Philadelphia and a few other U.S. cities apparently were hit as well.

What also intrigues me about Jericho thus far is some of the imagery – the scene of the little boy on the rooftop looking on in shock as the mushroom cloud lights up the horizon; on a subsequent episode, the main character, Jake, as he brings his car to a halt on a highway, and gets out – stopped because a passenger jet used the highway as a landing strip. And then as the camera shows Jake looking at the jet, Jake sees past the jet to see a second passenger jet in the distance that tried to land, but is broken up and burning on the same highway. And in the latest episode (the fifth one, 10/18), the closing scene of the ground rumbling, and the townsfolk running outside to see missiles ascending into the sky above; apparently our retaliatory strike.

The show also so far has presented a few ethical questions and situations. When fuel for the hospital's generator is running out, should power be used to keep an infant alive, or to keep a radiation burn victim alive, who can give the townspeople valuable information about what is happening? Does a grocery store owner stock her shelves with food items taken from a freight train, stopped and abandoned after it struck an automobile outside of town?

Again, I'm intrigued by what I'm seeing on Jericho thus far, and will be tuned in each week (actually recording it on the VCR) to see how this whole plot unfolds. I'm keeping my fingers crossed, too – because usually when a network television show is intelligent and makes you think, it usually flops in the ratings and rarely lasts past one season. So I'll enjoy this one while I can.

AND NOW…SOME NATIONAL AND LOCAL CD REVIEWS

BOB DYLAN – MODERN TIMES (Columbia) By now, what else can be said that hasn't already been said and documented about Bob Dylan? A folk-rock pioneer and icon. A charismatic performer. A sagely songwriter, commentator and philosopher. Dylan changed the landscape of popular music forever through his long career and extensive body of work. And yet he still ignites a spark. On his latest studio album, Modern Times, Dylan has percolated his various musical indulgences, lifetime lessons and experiences into a timeless set of sounds unquestionably his own. Through the album's ten tracks, Dylan touches on themes of women, love, spirituality, war, mortality, society, life in general and more; along a musical backdrop that bounces between folk, rockabilly, jazz, blues, roots music and more. Listening to Dylan's latest lyrical musings is like listening to one's father or grandfather offering sagely wisdom while leafing through the daily newspaper on the back porch. Dylan is fired up on the rowdy rockabilly album opener "Thunder on the Mountain," as he ponders troubled modern times, the coming day of reckoning, and where his own soul stands in relation to both. On the gentle shuffle "Spirit On The Water," Dylan defies his sweetheart to keep up with him in spite of his years and experience. Several times on the album, Dylan borrows and retells musical stories, spinning them from obvious sources and giving them his own new chapters. One example is "Rollin' and Tumblin,'" where Dylan borrows Muddy Waters' original vehicle to muse about temptation and where it leads. Another is "The Levee's Gonna Break," tapping the same 1920's Memphis Minnie source song that informed Led Zeppelin's "When The Levee Breaks;" Dylan reworks the song into his own study of doom and renewal. Dylan's production captures his tradition and essence, warts and all. His voice is what it is; raspy, nasal, sometimes clear, sometimes muttered, sometimes rushed, and all culminating in his own unique cadence. His band is seasoned and spontaneous, comfortably executing on the fly to enhance whatever mood and vibe the master is trying to convey at the given moment. This is a relaxed, at ease album. And it should be; Bob Dylan long ago reached the point where he doesn't need to conform to modern times; they conform to him. And that is what comes through most on Modern Times; Dylan doing it his own way without heeding current trends or convention, and ultimately still making music that matters. Repeated listens reveal that Modern Times isn't just an album; it is an education from a wise master, philosopher, poet and storyteller.

BOB SEGER – FACE THE PROMISE (Capitol) Bob Seger is a rock legend who has reached that point in his career where he calls his own shots, and releases albums when he is damned good and ready. Eleven years since his last studio album, his latest, Face The Promise, is Seger, now damned good and ready. If there is any surprise upon listening to this album’s dozen tracks, it might be that Seger sounds just like he has never been away, simply picking up where he left off with renewed conviction and swagger. Seger sounds confident and reinvigorated on the album’s opening track and second single, “Wreck This Heart,” as hearty a rocker as he has ever put out. As the album moves forth, Seger’s hardest rocking tracks all offer common sense statements; the title track “Face the Promise” ponders taking the leap of faith towards a better life, “Are You” regards keeping ambition and greed in check, “Simplicity” lauds sticking to life’s fundamentals, and “Between” addresses staying the course and not getting caught up in the rat race. In the best Seger tradition, there are deep and folksy ballads as well; “No More” and “Won’t Stop” both offer wisdom about accountability and facing the truth; while Seger’s duet with country star Patty Loveless, “The Answer’s In the Question,” and the album-closer “The Long Goodbye,” both deal with trust and honesty. And old-school Bob Seger meets new-school Kid Rock in a rowdy country ode to drinking, Vince Gill’s “Real Mean Bottle.” As Seger returns with conviction and a sense of purpose here, he made this as a solo album without the Silver Bullet Band, instead recording the album in Nashville with studio hired guns and producing it himself. As such, the album comes across as Seger knowing what he wants to say and how to say it; and it sounds heartfelt, warm and sincere. Face The Promise offers the sound of an artist who still embraces the promise of what is out there on the horizon, but who has learned enough lessons through his life and career to know how to cautiously proceed towards that promise. At age 61, Bob Seger sounds as steady, poised and like a rock as he has ever sounded on an album, and this is his strongest collection of new tunes since his popularity peak in the 70’s and early 80’s.

HALESTORM – ONE AND DONE (Atlantic) In advance of their eventual studio album to be released in 2007, Halestorm’s first major label release is a five-song live concert calling card, One And Done. Recorded during a performance at Philadelphia’s Grape Street Pub in August of last year, One And Done introduces listeners to Halestorm’s raw firepower and tenacity. For longtime Halestorm fans, this is a far cry from the more gentle brother/sister/dad edition of the group that first surfaced in 1997. Founding members and siblings Lzzy Hale on vocals and guitar and Arejay Hale on drums, along with guitarist Joe Hottinger and bassist Josh Smith, hammer out stern, thunderous and proud hard modern rock; rooted in the classic, melody-geared traditions of Heart and Led Zeppelin, but topped with an agitated and bone-jarring edge consistent with today’s modern rock styles. Lzzy Hale’s vocal acrobatics constantly grab the spotlight, from her powerful and high-flying solo introduction into the opening assault “It’s Not You,” to her constantly shifting vocal tones on the bristling “The Hand,” to her maniacal rawness on the closing blues-rooted track “Takes My Life.” Although the prevailing flavors of this sampler are heavy and aggressive, Halestorm throws a curve on “Blue Eyes,” a romping, pop-textured rocker displaying layered chorus harmonies. Veteran producer David Ivory lets Halestorm bring their full frontal assault here; raw, scathing and in your face, without gloss or polish. Listeners hear the pure essence of the current edition of Halestorm; thunderous and aggressive, yet melodic and accessible. One and Done introduces listeners to Halestorm’s firepower and poise, and provides a convincing appetizer before the group serves up their major label studio debut main course next year.

PETER FRAMPTON – FINGERPRINTS (A&M/New Door Records) As a boy growing up in England, Peter Frampton's earliest musical influences were instrumental bands like the Ventures and the Shadows, as well as various popular jazz, blues and classical guitarists. On his latest album, Fingerprints, Frampton achieves one of his lifelong dreams of recording an all-instrumental album in the spirit of his early influences, in the process returning to his roots. Through Fingerprints' fourteen tracks, we hear Frampton exploring various musical terrains, from blues to Latin to jazz to rock and more; several times assisted by some well-known guests. One of the obvious highlights of the album is Frampton's read of Soundgarden's 90's classic "Black Hole Sun" - complete with his trademark guitar talkbox effects - with help from Pearl Jam's Mike McCready and Matt Cameron; they also perform on the rocking Frampton original composition "Blowing Smoke." Frampton also collaborates with two of his influences, Shadows members Hank Marvin and Brian Bennett, on the tranquil "My Cup of Tea." Warren Haynes helps Frampton explore his blues roots on "Blooze;" Charlie Watts and Bill Wyman help funk things up on "Cornerstones;" and Nashville pedal steel player Paul Franklin assists on Frampton's Americana music exploration "Double Nickels." Frampton delves into Latin textures on "Ida Y Vuelta," samples modern sounds on the playful "Grab A Chicken (Put It Back)," and crafts early jazz stylings on the album closer "Souvenirs De Nos Pères." Fingerprints reveals Peter Frampton's fluency on a variety of styles and sounds. His guitar playing is clean and tasteful, as he uses several electric and acoustic guitars to craft the album's diverse textures. The production by Frampton and George Kennedy emphasizes his shining guitar work, with the sidemen and guests complementing and accenting each of the album's various flavors. Fingerprints isn't about to vault Peter Frampton back to the career heights he enjoyed during the Frampton Comes Alive glory years of the 70's; but as an artistic statement, the album presents a comprehensive milestone of where this performer came from and what has shaped his musical scope. Fans of tasty guitar work, as well as Frampton fans eager to learn more about what has made him tick over the years, will find this a rewarding and interesting listen.

JERRY LEE LEWIS – LAST MAN STANDING: THE DUETS (Shangri-La Entertainment) A half-century ago, the founding fathers of rock and roll – Jerry Lee Lewis, Elvis Presley, Carl Perkins, Roy Orbison and Johnny Cash – recorded at Sam Phillips' legendary Sun Records in Memphis. Now, the rest are gone; and just rounding the age corner into his 70's, Lewis is the last man standing – thus the title of his first studio album in a dozen years. Recorded over the course of the past five years, Last Man Standing pairs Lewis with a long list of legendary names from the rock'n'roll, blues and country music worlds. What becomes clear shortly into listening to this album is that this is Jerry Lee Lewis' show, even though he is doing music created by his guests or other artists. Lewis' voice and piano sound as boisterous now as they did fifty years ago, and are clearly the driving forces on these tunes, with his guests along for the ride and cheering him on. On the opening track, Lewis turns Led Zeppelin's "Rock and Roll" into a rollicking 50's era party, with guest Jimmy Page happy to contribute his guitar work in the support role to The Killer's adaptation. This sets the stage for much of the rest of the album; Bruce Springsteen cheers Lewis along on his reworking of "Pink Cadillac," and John Fogerty takes the backseat as Lewis turns "Travelin' Band" into a piano-fueled rip-roaring joyride. Lewis also gets rowdy with Ringo Starr on Chuck Berry's "Sweet Little 16," and he and Little Richard tear it up on the Beatles' "I Saw Her Standing There." Old school meets new school, as The Killer schools Kid Rock in a gospel revival rendition of the Rolling Stones' "Honky Tonk Women." The Glimmer Twins themselves are part of this party; Mick Jagger and Ronnie Wood team with Lewis on Jagger's country ballad "Evening Gown," while Keith Richards takes the vocal high road alongside Lewis on the equally rural "That Kind of Fool." In the same neighborhood age-wise, country legends Merle Haggard, George Jones, Willie Nelson and Kris Kristofferson, as well as blues legends B.B. King and Buddy Guy, all sound happy to be celebrating life and survival with Lewis on their respective duets. Rounding out the album are Lewis' various-flavored duets with Neil Young, Rod Stewart, Toby Keith, Eric Clapton, Delaney Bramlett and Don Henley. The performances sound spirited and fun, and it's easy to tell that these guests are enjoying their respective times spent with this rock and roll legend. Ultimately, Last Man Standing: The Duets isn't just a celebration of Jerry Lee Lewis' longevity; it is also a celebration of rock and roll's longevity itself, and the role that Lewis played in inspiring the decades of artists who came after him.

DEF LEPPARD – YEAH! (Mercury) The five current members of Def Leppard grew up hearing early 70's British rock at the period when it began to fuse with pop and theatrics to become glam rock. British television shows like Top of the Pops, and radio stations such as England's Radio One and Radio Luxembourg, exposed the future members of Def Leppard to emerging glam icons like David Bowie, Marc Bolan, The Sweet, Mott the Hoople, Roxy Music and more. Def Leppard revisits that era of music and celebrates their roots on their new album of remakes, Yeah! Through the album's fourteen tracks, we hear Def Leppard bringing to new life a number of their favorite British 'lost classics,' as the group avoided targeting big hits or songs already redone by other artists. The group sounds rejuvenated on boisterous updates of T. Rex's "20th Century Boy," which opens the album; The Sweet's "Hell Raiser," featuring a guest appearance from The Darkness' Justin Hawkins; and Mott The Hoople's "The Golden Age of Rock'n'Roll." Def Leppard was also partly inspired by British blues rock, which they celebrate with muscular reads of Free's "Little Bit Of Love" and Faces' "Stay With Me;" the latter featuring guitarist Phil Collen delivering his best scratchy Rod Stewart howl. Def Leppard sticks closer to the vest of the original versions on other remakes; capturing more of the original mood of David Essex's "Rock On" before rocking the song's homestretch, and emulating the styles of ELO's "10538 Overture" and Badfinger's "No Matter What" while infusing their own distinct signature into those numbers. Thin Lizzy provided an early prototype to Def Leppard's twin-guitar attack; the group honors that fact with a convincingly powerful romp through the Thin Lizzy deep cut "Don't Believe A Word." On the remainder of the album, Def Leppard resets numbers from David Bowie, Blondie, Roxy Music, The Kinks, and South African artist John Kongos. Produced by the band, Yeah! sounds more spontaneous and stripped down than Def Leppard's last few studio releases, and the album's prevailing mood is of a group getting back to being a rock band instead of crafting tedious studio hits. Just as Aerosmith rediscovered their bite when they celebrated their blues roots on Honkin' On Bobo, Def Leppard returns to the bare and rocking basics on Yeah!, as they reconnect with music that made them first want to pick up their instruments to begin with. This is a fun album that gives listeners insight on what first inspired Def Leppard, and also refocuses attention on the early 70's British music scene and its impact on much of the so-called 'hair band' rock that emerged in the 80's.

GRANTHAM ROAD – PARADE (Susquehanna Entertainment) Named after a thoroughfare in singer/guitarist Flint Ziegler's hometown of Mechanicsburg, Grantham Road first formed in 2001. In 2003, the first edition of the group dissolved, and Ziegler and drummer Steve Geyer formed the current edition of the group with bassist Jason Shaffer. On their latest album, Parade, Grantham Road defines their current sound as rock rooted in roots. The group crafts catchy and effective blue-collar rock melodies around a foundation that taps country, folk and blues roots; resulting in polished American rock and roll not far removed from the musical neighborhoods of Hootie & the Blowfish, Gin Blossoms and The Badlees. The latter comparison is not a coincidence, as former Badlees guitarist/singer Jeff Feltenberger produced the album and Badlees collaborator Mike Naydock contributed one song, the album closer "They Fell Out A Window." Grantham Road maintains a steady consistency throughout the album's eleven songs, with muscular rhythms supporting Ziegler's gritty baritone voice. Guest Chris Novak's keyboard tones and Wayne Supergenius guitarist John Fritchey help flesh out the sound along the way. Among the songs are the gradually escalating title number "Parade;" punchier numbers such as the driving "Shallow," "Faster Than You" and "Stranger;" and brisk midtempo rockers like "Wide Awake" and "I Won't Fight." The group also gives a hard, edgy read to Neil Young's "Love Is a Rose," given a touch of rural finesse by guest Craig Cady's banjo; and they bolster a song from their earlier incarnation, "Martin Myers." Grantham Road is able to successfully merge melody, rocking edge and roots without ever drifting too far off center. Jeff Feltenberger's production is never too complex, enabling the group's roots-anchored melodies to carry the day, with just enough nuances and embellishments to accent the sound where needed. The result is a strong, likable and consistent album; from a band showing renewed focus. On Parade, Grantham Road redefines their musical turf as rootsy, melodic and punchy rock, and successfully finds a happy middle ground between edge and twang. (For information on obtaining the album, visit the group's website, www.granthamroad.com.)

KIWI BAND – TOO HOT FOR PEPE (Icy Ratz Records) Downingtown's Kiwi Band is one of those groups whose collective sound defies pigeonholing or categorization. Over their first two discs, Fuzzy and Tangy and Tunnel Hill, the group has blended everything from light funk and soul to reggae, modern rock, and even kazoo-driven novelty tunes. On the group's third studio disc, Too Hot For Pepe, Kiwi Band again doesn't dwell in any singular place musically, instead showing proficiency in creating catchy sounds in several styles. Still the creative nucleus of singer, guitarist and keyboardist Ed Artz and singer and bassist LaShawn Kendrick; Kiwi Band raises the bar and crafts some of their strongest compositions yet. The opening pair of songs, the Ed-fronted "Dedicate" and the LaShawn-sung "Only Love," are both tasty and soulful, reminiscent of classic 70's Philly soul. The driving funk-rocker "Reap What You Sow" is a message song about accountability, while the slow and creeping "Focus" offers an introspective inspection. The group delivers tasty rock'n'soul on "Fly Into the Night," dabbles in a blues-rooted rock sound on "Fountain," offers a slight country twang on the homey "Chopping Onions," and displays a more acidic modern rock edge on "Rise Up." And Kiwi Band taps into an 80's new wave-styled sound on the lighthearted album closer "Question." The overall songwriting is stronger, and the arrangements are fuller and busier than past Kiwi efforts. Several hired guns help flesh out the sound, including Van Morrison producer/engineer Daoud Shaw on drums and former Bon Jovi associate Bill Grabowski on acoustic guitar. Produced by Ed and LaShawn, Too Hot For Pepe sounds tighter and more focused, with more emphasis on harmonies, interaction between the different musical elements and mood. Too Hot For Pepe is a further step in the development of Kiwi Band, and this group's most consistent and rewarding set to date. (The disc can be obtained through the group's website, www.kiwiband.com.)

JUST MEGAN – BLUE AVENUE (no label) Just Megan is the stage name alter ego of aspiring young Punxsutawney-based singer, songwriter and musician Megan Carlson. On Just Megan's debut CD, Blue Avenue, Megan explores her musical world; creating a tapestry that weaves together elements of blues, folk, modern rock and pop. Besides writing and composing the songs; Megan sings, plays some lead, rhythm guitar, and keys, plus produces the album. Megan creates folksy tones on the opening track "Not Here" and "All You Have Left," and delves into blues flavors on the title song "Blue Avenue" and "No Sense to Me." Megan also explores modern pop textures on the songs "Little Flight," "That's So Me" and "I Don't Know You;" psychedelic tones on "Never Too Far;" rocks out with a Pat Benatar-like fervor on "Wrecking Ball;" and gets stern and spiteful on "My Nemesis." Megan's voice displays some range and sultriness as she sings of relationships, affairs of the heart, her emotions, self-reflections and more. In her first full-fledged recording effort, Megan experiments with a variety of arrangements here, ranging from simple and straightforward to layered and more complex; the sound never stays in one place for too long. Some results work better than others; Megan's voice comes off a little too processed in spots, and some moments, like "That's So Me," sound more cluttered and busier than they need to be. But ultimately, Blue Avenue displays the charm and innocence of a young performer exploring her musical world and creativity. Just Megan does just fine, and Blue Avenue is a respectable first offering and building block upon which Megan Carlson can learn and grow from. (The CD can be obtained at shows or by visiting Megan's website, www.justmegan.net.)

MIDNIGHT RODEO – SATURDAY NIGHT (no label) Bedford County quintet Midnight Rodeo formed a decade ago, and since then has steadily kept crowds happy throughout southwestern Pennsylvania, Maryland and West Virginia with their mixture of modern country and classic rock sounds. Along the way, singer Rick Zimmerman Jr., guitarist Mark Diehl, keyboardist Terry Feathers, bassist Roy Corle and drummer Dana Corle have developed their own library of original songs, resulting in two albums thus far. Their latest album, Saturday Night, showcases the group's variety of sounds, sharp musicianship and vocals, and relatable, easy-to-digest lyrics. They offer feisty blue-collar rocking honky tonk on the title song "Saturday Night" and "Rodeo Girls," show a knack for Eagles/.38 Special-flavored country rock on ".44 Caliber Love," and get rowdy on the country/disco/rock stomp "Get Down." The group generates a playful country vibe on "What Comes Around (Goes Around), creates a Jimmy Buffett-like tropical flavor on "Get Away," and taps gospel roots with the uplifting Terry-fronted album-finisher "Glory Bound." Midnight Rodeo shows a milder side on "A Mother's Love," and a flair for ballads on the love song "You're In My Life" and the reminiscent "I'm There." The band sounds steady and consistent throughout the album, with Mark's guitar and Terry's keys tastefully mingling and complementing one another along the Corle brothers' strong rhythmic foundation. Rick's voice sells his words with a bright, rangeful voice that can comfortably shift from tender to rowdy. Recorded and produced by the band at their Gar-Age Studios, Saturday Night sounds clean and clear, simple and balanced; allowing the essence of the group's overall sound to shine through. Saturday Night offers the sound of a seasoned band that knows and enjoys their musical turf. This album will give listeners a strong representation of what this band is capable of on any given Saturday night, and should please fans from both country and rock persuasions. (The CD can be obtained at shows or by visiting the group's website, www.midnight.rodeo.20m.com.)

LOCAL METAL MELTDOWN:

PIVOT – PIVOT (no label) Since 2001, Johnstown's Pivot has grown a sizable regional fan base with an incendiary live show and a passionate, hard-hitting brand of metal-edged music. On their self-titled five song debut CD, Pivot introduces their sound and defines their parameters; with guitarist Jay Snyder, bassist Mike Wozniak and drummer Jason Kirchner crafting detailed Tool-like rhythms and dynamics, and incorporating outbursts of all-out agitation and aggression. Providing the finishing touch and distinctive signature to Pivot's sound is the passionate presentation of singer Mark Lux, who combines enigmatic subtlety with bristling emotional intensity. Each of the disc's five songs is distinct and stands on its own. The opening track, "Redefine," is ultimately a hopeful song about finding inner strength and determination, riding on a prominent choppy, echoing riff. "River Entrance" gradually elevates its intensity into a full-blown thunderstorm, as Mark lyrically examines themes of cleansing and redemption. The agitated and enraged tantrum "Mud" expresses frustration and aggravation with life's clutter and distractions, while "Y" erupts to life along another escalating, Tool-like arrangement. The finale, "Moore," is a brooding, slow-building prayer to a fallen friend; as Mark Lux's delivery soars into an impassioned plea for guidance. Pivot's arrangements work, drawing the listener's attention in as the songs build to their powerful climaxes and resolutions. Mixed and engineered by Jason Kirchner in studio locations in Windber and Summerhill, this CD sounds clear, edgy and full, with the guitars sounding acidic and the rhythms pounding and thunderous. Mark Lux sounds clear in the mix, with his full-throttled delivery on top but not overpowering. Pivot gives a good overall introduction to what this dynamic band is all about, and should satisfy and win new converts into Pivot's growing fan base. (The CD can be obtained at Pivot's shows, or by visiting the group's website, www.pivotonline.com.)

CHOKING FAITH – THRU THE ASHES (Heartless Mockery Records) Shortly after surfacing with a three-song sampler in 2003, rising area metal force Choking Faith imploded and vanished from local stages for a year and a half. The group re-emerged in early 2005 with a new line-up; featuring founding members Jason Mittan on vocals and Dan Miller on guitar, plus (now former) Silver Sunday bassist Steve Seymore and drummer Joe Richards. Choking Faith's new CD, Thru The Ashes, reintroduces the group's brand of scathing, brute-force heavy metal. Miller, Richards and Seymore lay down the rampaging and menacing backdrop for Mittan's powerful, monstrous and anguished vocal roar. Through the CD's five songs, Choking Faith paints dark pictures as they explore themes including violence, societal ills, suicide, salvation and more. The group revisits a song from the earlier EP, "Porno Tongue," to open the disc; this updated version is streamlined and more brutal in its depiction of sexual aggression and its violent outcome. Suicide Switch frontman Cheeze contributes backing vocals on the next two songs; the rampaging piledriver "Wait" and the driving and thunderous "Oblivion," both dealing with themes of lives gone awry and driven to the edge. Appropriately fast and furious, "The Trainwreck of Life" offers commentary on a society that reaps what it sows. Choking Faith throws a curve and explores new territory on the title song epic, "Thru The Ashes," which closes the disc. With shadowy verse interludes alternating with all-out, full-tilt choruses, the song explores themes of regret and atonement; with the voice of Mittan's sister, Michelle Santora, providing melodic counterpoint to his volatile and tortured howls. Choking Faith's sonic assault is savage and go-for-broke; instrumentally, the group keeps it continually explosive and brutal, while vocally, Mittan sells his terse, pointed messages with convincing intensity and purpose. Recorded at FaceOff Muzik in Altoona, and engineered and mixed by Matt Winrick, Thru The Ashes sounds appropriately raw and forceful, with Miller's guitar sounding jagged and caustic, the rhythm section brutal and powerful, and Mittan's voice up front and in your face. Thru The Ashes is an impressive comeback CD for Choking Faith; it's not for the faint of heart, but fans of full-bodied, intense, go-for-broke metal will get ample headbang for the buck here. (The CD can be purchased at the group's shows or through their website, www.myspace.com/chokingfaith1.)

SECOND OFFENSE – SEVEN (Heartless Mockery Records) Altoona's Second Offense ups the ante across the board on their second studio offering, Seven. Seven is actually a concept album about the Seven Deadly Sins; comprised of seven songs, each titled and dealing with one of the sins – gluttony, greed, sloth, wrath, vanity, lust and envy. Second Offense steps up the brutality, intensity and aggression on Seven's all-out metalcore. Wally Fiedor's drum work constantly pummels with the concussive force of an armored tank division; his punishment is especially lethal on the disc's closing track, "Envy." Meanwhile, Jes Mattern's bass lines malevolently rumble and creep along, swirling and filling in at the foundation of the sound. Brian Faychak's guitar riffs snarl, roar, slash and hack with forceful, violent intensity. All three of these instrumental components effectively construct the harsh and uncompromising backdrops for frontman Myke Long, who steps up his game in his delivery. Myke sounds angrier and more ferocious, and he sells his analytical studies of the mindsets of the Seven Deadly Sins with convincing and confident aggression, clarity, angst and passion. The songwriting and composition are an improvement over the group's Suffer Through Dishonesty debut; these tunes have better-defined plots and direction, and Myke's lyrics are more pointed and focused. Recorded at Altoona's FaceOff Muzik Studios and engineered and mixed by Matt Winrick, Seven sounds appropriately crisp and razor sharp. The components of Second Offense's attack sound appropriately jagged, brash and thunderous, yet balanced; with timely samples, electronics and studio effects fleshing out the presentation to enhance its maximum impact. Second Offense doesn't just step up the brashness and brutality quotients on Seven, but also offers detail, finesse and thought-provoking lyrics and theme. The results are convincingly bristling, powerful, angry and clever. Seven isn't for the faint of heart, but for fans of metal and hardcore, this disc dishes out quality punishment and aggression. Breakable furniture, be forewarned. (The disc can be obtained at the group's shows, or through the group's Myspace site, www.myspace.com/secondoffense.)

FEDUP – FEDUP (no label) When singer Brian Stotler, guitarist Dave Charlton, bassist Don Singer and drummer Matt Popp became fed up with Altoona's cover band-dominated music scene, FedUp was born. On their self-titled debut EP, FedUP lives up to its name. Nobody will ever accuse these guys of subtlety or hiding their feelings. This group sounds fed up, as they go on the attack with a blunt, brute force brand of angry punk-fueled heavy metal. Charlton, Singer and Popp generate a rumbling, rampaging motorpsycho roar, laying down the backdrop for the Tazmanian Devil-ish spewings of Stotler, who spouts a litany of angry tirades over the CD's five songs/six tracks. The sources of anger seem to be resentment on the disc opener "Outta My Way," and indifference and laziness on "Ignorance & Apathy." Inner demons are confronted on "Useless," and life's hard road is lamented on "Been to Heaven." Perhaps the strongest display, though, is FedUP's essay on America's war on terror, "Jihad," where Stotler doesn't mince words about his disdain for what is happening. The disc ends with an intriguing remix version of "Jihad," featuring samples and soundbytes from the news headlines. FedUP won't be accused of finesse here; they hack, slam, stomp and bludgeon their way through the disc, steamrolling everything in their path. Recorded at Slim Studios in Duncansville, the mix is raw, jagged, dirty, and at times rough and uneven. Although it won't win any kudos from audiophiles, FedUP's debut disc captures the essence of this group's rampaging and raging attack, warts and all; establishing this group's throttling, no-nonsense sound. (The disc can be obtained at the group's shows, or through the group's website, www.fedupworld.com.)

CONDEMNED EXISTENCE – FOLLOWING THE BEATEN PATH (no label) Surfacing from the abyss to batter you bloody and drag your mutilated carcass to the brink of hell is Condemned Existence, with their first studio exercise in heavy metal brutality, Following the Beaten Path. Formed over two years ago and comprised of musicians from Maryland and Pennsylvania, Condemned Existence introduces their malevolent, brute-force metal roar over the disc’s seven tracks. Charging rhythms from drummer Cody Kensinger and bassist Keith Rice, caustic, festering chords from guitarist Keith Reyn, and searing precision solo work from lead guitarist Scott Bush set the backdrop for frontman Von Baas, who varies between guttural groans, maniacal screams and occasional sinister monologues as he voices words of violence, world demise, betrayal, eternal damnation and more. The songs themselves range from fast-attacking assaults like the opener “Random Axe of Violence,” “Liars Among Us” and “Maniaclysm” to more concussive barrages such as “The Murder Doctrine” and “And I…” to the brooding and anguished multi-speed “Enduring the Burden” and the varying intensities and plot twists of the closer “Vigilante.” There are frequent tempo changes, chord shifts and plot twists to keep thing interesting throughout, and within the context of this vein of heavy metal, Condemned Existence doesn’t hang in one place for too long. Recorded at Data Music Services in Altoona, the mix sounds clean and sharp, with all components of Condemned Existence’s sound clearly audible. Scott Bush’s tenacious guitar leads and Keith Rice’s malevolent bass lines could have been a little more prominent in the mix, but overall, the effects here still achieve satisfactory punishment. Following the Beaten Path defines Condemned Existence’s brutal musical world, and fans of extreme metal punishment and brutality should find plenty to celebrate here. (The CD can be obtained at the group’s shows, or by visiting their website, www.condemnedexistence.com.)
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[Jim Price]

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http://pamusician.net