[Jim Price]

FINAL CUT REVIEWS & CHICANERY: MARCH-APRIL 2008

Usually, I like to start off these things with a commentary or two. But as I sit at the keyboard and ponder things to comment about, there is a lot I could comment on, but nothing I really want to comment on. What further insight can I offer on a variety of topics that hasn’t already been hashed and rehashed by everybody else at this point? So in lieu of any drawn-out writs beefing about the issues, I’ll offer a few quick-hitters…

Yes, rising gas prices suck. But bottom line, I still need gasoline to get from point A to point B, so I’ll continue to pay it at the pump (actually, at home when the credit card statement comes in each month). And I’ll probably still do a few road trips this summer in spite of the gas prices; and likely cut back on other things to make up for the increased cost of doing so. For me, complaining about the price of gasoline is a waste of breath, as the oil companies and Washington political machine aren’t listening, and any changes to alternative fuel sources for cars are several years away in the best-case scenario. China and India aren’t about to cut back on their increased driving and fuel consumption, so gas prices aren’t going to magically dip back down any time soon.

Food shortages and rising food costs…This is part of the reason why I grow a garden and am learning to freeze and preserve my own food. Even though my garden last year wasn’t the most successful one I’ve ever had, it still gave me enough produce to put some meals on my table through the winter months. This year, I’m specializing in more stuff I can preserve for winter, just in case food prices remain high or shortages continue.

I already offered some thoughts on the presidential race in the last issue of the Cut. Like most everyone else, I agree that the remaining three big horses in the race amount to a voting for the lesser of three evils. They’ll all say what we want to hear them say, but I’d be surprised if they can deliver on their promises if elected.

The war on drugs needs to be fought on a different front…the classroom. Maybe it needs to start at an earlier age these days, but I think kids need to be shown what can happen if they do get hooked on drugs; not some glossed-over, sugarcoated textbook descriptions, but graphic, blunt-force exposes of actual lives ruined by heroin and cocaine addiction. When I was in high school, my driver’s ed instructor, the late Ron Rickens (R.I.P.) used to show us those Ohio State Patrol films, where the troopers would travel to auto crash sites and film the results of drunk driving, speeding and irresponsible driving – bloodied bodies lying in fields after getting thrown from cars, teenagers grotesquely wrapped around tree trunks enveloped in crumpled car metal, charred bodies sitting in the driver’s seat of burned out cars and more. Those films gave me some nightmares, but they worked…I’ve been a careful driver through 30 years and have never been involved in anything more serious than a fender-bender. Maybe if young people are “shocked” into seeing the realities of how lives are destroyed by addiction, they can make wiser choices to avoid the drugs that lead to such problems. And if education can reduce the temptation to get involved with drugs, then the market for drug dealers is reduced as well. There’s no overnight fix for our society’s drug problems; it has to start with education at an early age.

Sports takes…Go Pens! The Pittsburgh Pirates won’t be an overnight fix; I don’t think they’re as bad as the press makes them out to be. The Bucs are a group of young players that should improve as they continue to gain major league experience and build on-field chemistry. Hopefully a long-term period of stability, both in the roster and in the management of the team, will allow the Pirates to develop and improve over the long haul. The NBA…Who cares?

And the local music scene…Keep supporting it. Hats off to all the area bands and musicians who have been involved in successful benefit shows in recent weeks, including the Benefit For Chance, The Christine Kliciewicz Benefit, the Jeff Wallack Tribute Show, Rock4RedCross, and other benefits; as well as all the musicians involved in upcoming benefits like the Day Of Rock and Benefit for Baby Wise shows. This area’s music scene continues to take the lead in jumping in to help out folks in need, and I’ll continue to applaud those efforts publicly wherever and whenever I can…

As for any extended commentaries, below is the only one I could put together since the last ish of the Cut…

TONED-BACK TOUR DE TOONA

In late March, organizers of the annual Tour De Toona bicycle race event announced that they were scaling back the event from a seven-day race to just one day; but also said they intended to return it to a multi-day event in 2009. Several factors were cited in their decision, including competition from other race events, diminished sponsorship, and lawsuits involving a former race director and a racer injured during the 2005 race.

This is disappointing news, as Tour De ‘Toona is an event that draws tourism and attention to the Altoona area, as well as tourism dollars to the local economy.

I’ve always felt, though, that this event could be a lot bigger than it is, and that the race organizers aren’t making the most of this event. In the first few years of Tour de ‘Toona, it had a lot of fanfare and sparkle. But in recent years, the Tour just hasn’t had the glamour or pageantry of its early years; and for a lot of folks, their interest in Tour De ‘Toona any more amounts to learning when and what highways to avoid traveling on during the week of the races.

For an event that helps showcase the Altoona area for an entire week every summer, I wish there was a lot more going on during Tour De ‘Toona week. Why not make this thing a total blowout festival week in downtown Altoona? Like auto racing events such as Daytona or the Indy 500, Tour De ‘Toona could coordinate an entire week of events surrounding the race. They could stage a downtown festival with vendors, food booths, live musical entertainment, nighttime concerts and other activities to pique interest when the races themselves aren’t occurring. The bike races would remain at the center of it, but the extra events and attractions could draw even more people into Altoona, not only to have fun, but to see and discover Altoona and bike racing as well!

I sincerely hope that the organizers will use this scaled-back year of Tour De ‘Toona to consider improvements to make this event bigger, and increase its profile and tourism draw potential. I think Tour De ‘Toona could still be a huge and beneficial event for the area, if organizers would only use this opportunity to its full potential.

AND NOW…SOME CD REVIEWS FOR YOUR READING PLEASURE

QUEENSRYCHE – MINDCRIME AT THE MOORE (Rhino Entertainment) In 2006, Queensryche issued Operation: Mindcrime II, the long-awaited and ultimately worthy sequel to their legendary 1988 concept album masterpiece Operation: Mindcrime. The group toured in support of the sequel by performing both Operation: Mindcrime sets in their entirety, along with actors, actresses, stage props and more. The pinnacle of this tour was a three-night stand from Oct. 13-15, 2006, at the Moore Theater in the group's hometown of Seattle. Mindcrime at the Moore is a double-disc document of that homestand that presents the Operation: Mindcrime saga in its entirety. Disc 1 features the performance of the first Mindcrime opus, Disc 2 the Mindcrime II set and two-song encore of non-Mindcrime favorites "Walk in the Shadows" and "Jet City Woman." Familiarity with the original two studio albums is helpful, but even Queensryche novices should be able to follow along with the story of troubled main character Nicky, his brainwashing by power mogul Doctor X and love affair with prostitute-turned-nun Sister Mary during the first disc; and his release from prison, quest for vengeance against Doctor X and search for redemption on the second disc. The arrangements and performances lift the entire Mindcrime saga above and beyond, as Queensryche throws in a few unexpected variations and additional passages along the way that make the story and presentation even more complete. Singer Geoff Tate is in excellent form, selling the drama of the story with his passionate and soaring siren-like wail. The corps of guitarists Michael Wilton and Mike Stone, bassist Eddie Jackson and drummer Scott Rockenfield provide Tate with a tight and vibrant backdrop, with spirited playing and inspired virtuosity giving each song new life. A number of guests appear throughout the performances, including Pamela Moore's reprise of her Sister Mary role from the first Mindcrime album, Geoff Tate's wife Susan and step-daughter Miranda, and the Seattle Seahawks drum line. With its themes of media manipulation and brainwashing still relevant in this current era of public distrust with government, politicians and big business, Queensryche's Operation: Mindcrime story has remained an enduring one with rock fans. Mindcrime at the Moore is the ultimate celebration of Queensryche's monumental achievement, and provides further resolution to the Mindcrime story and an exclamation point on the end of one of rock's ultimate concept masterpieces.

RINGO STARR – LIVERPOOL 8 (Capitol Records) Hot on the heels of fellow former Beatle Paul McCartney's reflective and critically-acclaimed album Memory Almost Full last year, Ringo Starr releases his first studio set in five years, Liverpool 8. Like McCartney's album, the prevalent theme of Ringo's latest is pleasant reminiscence. The title song and opening track, "Liverpool 8," looks back at where Ringo came from, and celebrates Liverpool with gang-shout choruses in the song's waning moments. The modern-flavored "Gone Are the Days" openly references Ringo's early 70's solo hit "It Don't Come Easy" with a message about learning from the past without dwelling in it. Also like McCartney, Ringo acknowledges mortality on the gospel-tinged closer "R U Ready." The rest of the album finds Ringo crafting pleasant pop-flavored numbers that frequently hint at both his Beatle past and his cheerful pop song output from the 70's. Most of these are upbeat and relaxed, if not especially memorable. Ringo's Spanish-flavored ode, "Pasodobles," borders on campy and silly. The album's initial production was done by Ringo and longtime collaborator Mark Hudson, with re-production by Ringo and former Eurythmic David A. Stewart. Stewart's finishing touches give a slightly more modern edge to the finished product, without sacrificing the friendly, good-time feel of the overall album. While Ringo gives a nod to his past on Liverpool 8, he never becomes overly contemplative about it. As a result, this album doesn't offer any deep revelations, insight or wisdom; it's Ringo Starr doing what he has always done, making friendly, catchy, feel-good music. Liverpool 8 should keep Ringo's longtime fans happy, but doesn't expose anything new about the former Beatle that we didn't already know.

REO SPEEDWAGON – FIND YOUR OWN WAY HOME (REO Speedwagon Recordings) On their first studio album in eleven years, Find Your Own Way Home, REO Speedwagon finds their own way home, and does what a number of veteran groups have done on recent studio albums; go back to their basics. Over the album's ten tracks, the current REO roster of singer/rhythm guitarist Kevin Cronin, lead guitarist Dave Amato, keyboardist Neal Doughty, bassist Bruce Hall and drummer Bryan Hitt returns to the type of mainstream rock and pop that first put them on the map in the 70's and early 80's. On much of the album, the group finds a comfortable medium between their 70's-styled arena rock and their more pop-geared 80's sound; delivering songs that are punchy, yet smooth and polished. "Lost on the Road of Love" and the Bruce Hall-fronted "Born to Love You" both incorporate R&B flavors into their rocking grooves, while "Run Away Baby" offers up some spirited boogie. The album opener, "Smilin' in the End," is an all-out, brash rocker topped by a gruffer and more agitated Kevin Cronin vocal; while the title track, "Find Your Own Way Home," "I Needed to Fall" and the album closer "Let My Love Find You" lean more towards the pop ballad side of REO Speedwagon's personality. This group displays more strut and swagger than we have heard from them in a while; and the overall mood of this album is fun and a bit loose. The production by Kevin Cronin and Joe Vannelli stays clean and basic, allowing some edge to the group's sound and avoiding excess pop gloss. Find Your Own Way Home isn't as raucous as 1979's Nine Lives or as syrupy as 1984's Wheels Are Turnin;' it rides the middle ground between the two, as REO Speedwagon gets back to their basics and crafts solid, catchy, friendly, straightforward rock.

ROSE TATTOO – BLOOD BROTHERS (Armageddon Music) Formed by guitarist Peter Wells in 1976, Rose Tattoo surfaced from the same Australian pub rock scene that gave us AC/DC, demonstrating a similar but nastier-tempered brand of blues-rooted raunch rock. After Wells gave his blessing for the band to continue on prior to succumbing to prostate cancer in 2006, the 'Tatts' celebrate their camaraderie and survival as a band with their latest album, Blood Brothers. Dedicated in memory of Wells, as well as deceased founding bassist Ian Rilen and drummer Dallas "Digger" Royal, Blood Brothers features eleven pounding and swaggering tracks in the best Rose Tattoo tradition. The stomping album-opening remake of the Easybeats' "Black Eyed Bruiser" (written by Harry Vanda and George Young, who produced Rose Tattoo's and AC/DC's early albums) throws down the gauntlet and challenges all comers in the tradition of past Tatts anthems like "Rock'n'Roll Outlaw" and "We Can't Be Beaten;" "Man About Town" echoes a similar sentiment later in the album. The fast and raucous "Slipping Away" examines the point when lives plummet into the abyss; while the following number, "Once in a Lifetime," conversely explores that defining moment of self-realization and enlightenment. The spirited "1854" is an anthem of solidarity that references Australia's Eureka Stockade Miners Rebellion in 1854, a gold miners' uprising that led to governmental reforms; who ever said Rose Tattoo couldn't be educational? Singer Angry Anderson teaches a sex ed lesson on the slinky and sleazy "Sweet Meat," while the whole band celebrates the discerning nymphomaniac on the album-closing romp "Lubricated." Rose Tattoo slows it down once on the album, describing broken lives and dreams on "City Blues." Angry Anderson remains front and center; his howl has matured over the years from a feral 80's scream to a bluesier Steve Marriott-styled wail. Just as prominent, though, is the expressive slide guitar work by Peter Well's replacement, Dai Pritchard, coloring and emphasizing the moods of each song while working in tandem with the tough chords and slicing leads of Michael Cocks. Paul DeMarco's booming beats and Stephen King's bass rumble provide the thunder that powers these songs forward. Produced by Mark Opitz, Blood Brothers sounds full, loud, proud and thunderous, leaving Rose Tattoo's signature sound sharp-edged and dangerous. Rose Tattoo doesn't just celebrate their survival after three decades on Blood Brothers; they proudly stand their turf, ready to teach all young challengers a lesson. Long live the Tatts! (The album will be released in the U.S. in June.)

SAINTS OF THE UNDERGROUND – LOVE THE SIN, HATE THE SINNER (Warrior Records) Essentially a new 80's hair-band supergroup, Saints Of The Underground was formed by Ratt drummer Bobby Blotzer and Alice Cooper guitarist Keri Kelli as a recreational cover band project apart from their primary bands. They recruited Warrant singer Jani Lane (who recently rejoined that band) and Blotzer's Ratt bandmate Robbie Crane on bass, and when the chemistry between the four musicians clicked, they decided to take it a step further and write their own material. The result is Saints Of The Underground's debut album, Love the Sin, Hate the Sinner, featuring eight original songs and two remakes. Not surprisingly, the group's central sound is 80's-flavored hook-laden hard rock consistent with all four musicians' better-known bands, with a few slight modern rock touches thrown in. The opener "Dead Man Shoes," "Tomorrow Never Comes," "All in How You Wear It," "Good Times," "Exit" and "Bruised" are all punchy, sleek, melody-geared hard rockers. "Signs of Life" takes a heavier, more modern-flavored twist; while the closing track "Jimmy" borrows its riff and flavor from the Thin Lizzy catalog. The two remakes include a harder-rocking read of Tom Petty's "American Girl," and a power-ballad flavored rendition of the Rolling Stones' "Moonlight Mile." The band's performance is hard-nosed and punchy, yet straightforward and not particularly flashy. Jani Lane's voice displays a touch more grit and depth than his "Cherry Pie" days of yore. Produced by Blotzer, Kelli and Lane and mixed by the band and Andy Johns, Love the Sin, Hate the Sinner sounds crisp and clean, with a few modern-flavored studio flourishes to give the set a slight contemporary edge. But while a solid debut, this album at times sounds a little too sterile, crafted and predictable; and doesn't really offer anything jaw-dropping enough to make us forget these musicians' better-known endeavors. Saints of the Underground's debut offers solid 80's-rooted hard rock, but lacks the knockout punch to make it truly memorable.

FIXER – BEFORE THE SUN (Riker Hill Records) Brooklyn-based foursome Fixer tosses trendiness and gimmicks out the window on their latest CD, Before the Sun, delivering hook-filled, hard-hitting, straightforward rock. The group's sound is rooted in the brawny, melody-geared hard rock tradition of Guns N'Roses, early Def Leppard and Stone Temple Pilots; with a slight modern grittiness hinting Nickelback. The thundering rhythms of drummer Rev Swank and bassist J. Brown and the guitar crunch of Tommy Zamp provide the vehicle behind singer Evan R. Saffer’s far-ranging, emotive howl. Much of the album ranges between arena-styled anthemic rockers like the disc-opening “Tell No One,” “Head in My Hands” and “Hillbilly Heroin;” and punk-fueled assaults such as the title track “Before the Sun,” “Mixing in with My Blood,” “Home Again” and “Dirty Girl.” Fixer also shows a knack for tasty slower numbers as well; crafting the big-sounding power ballad on the harmony-laden “Down Without It,” evoking a Beatles flavor on “What It’s Like,” and offering a stripped-down piano ballad with “When It Comes to You.” The group even resurrects the lengthy epic, closing the disc with the intensifying 9-minute-plus thunderstorm “Tuxedo.” The instrumental performances are charged, and Saffer’s voice convincingly runs the gamut from tender to intense. Produced by the band and Jeremy Borey, Before the Sun sounds crisp and vibrant, with the mix lending ample thunder to the rockers and delicacy to the softer moments. In the end, the combination of infectious hooks, monster chops and charged performances wins the day; and Before the Sun establishes Fixer as a strong candidate to keep traditional, melody-rooted hard rock in today’s forefront.

ZUPE & NICHOLS – SPEECHLESS (Menthol Bees Records) Speechless is a twelve-song instrumental album, and the result of a three-year musical summit between Altoona-based one-man band, entertainer and composer Zupe and Somerset-based guitar vet Dave Nichols. With Zupe playing keys, trumpet and trombone and Nichols playing electric guitars, the longtime collaborators match musical wits on compositions that blend funk, rock, jazz and blues flavors. A number of musical guest contributors color and flesh things out; including Jamie Peck on sax, flute and pennywhistle, Jerry Sandusky on sax, Bill Smith on bass and Chuck Knepper on acoustic guitar and bass. Amazingly, there is no singular drummer on the album, but drum loops and samples adeptly weaved and sequenced together into a tight, percussive backdrop. Zupe and Nichols ace the challenge of giving each composition its own distinctive style and flavor through their various arrangements, meters and modes of instrumental attack. The continuous interaction, nip and tuck between the two musicians and their guests provides a constant highlight throughout the album. Many flavors come to play here, including robust R&B on the frisky opener “Step On It,” swing-styled boogie on “Dear Deke,” a bold, brassy Big-Easy-styled blues-jazz flavor on “Rib Joint,” adventurous funk on “A Dash of Dementia” with its tribal outback-flavored midsection, and reggae-meets-blues overtones on “Captain & Coke.” Compositions such as “Chronologic Breakdown,” “Do the Math” and “Screamin’ Mimi” hint at Steely Dan-styled jazz-funk; while “Creepin’” and the busy shuffle “Caterpillar” recall some of Jeff Beck’s and Jan Hammer’s jazz-rock experiments from the 70’s. The arrangements are efficient and tight, avoiding bombast or overblown jamming; nary a note is wasted. Produced by Zupe and Nichols and mostly recorded at Zupe’s Woposonic Studios in Altoona, the mixes are bright and balanced, giving each instrumental component clarity and voice. Every track shines on its own merit; yet the album as a whole is consistent and cohesive. The musicianship is constantly excellent, the moods are colorful, and the album sounds like it was a lot of fun to create. Zupe & Nichols hit a clear-cut home run with Speechless, a tasty masterpiece that will have listeners revisiting it again and again to enjoy its vibes and uncover its subtleties. Fans of top-notch musicianship will easily find this worth savoring. (The CD can be purchased through www.cdbaby.com.)

JANA LOSEY – BLOCKS (no label) Jana Losey's sophomore album, Blocks, finds the Lawrenceville-based singer, songwriter and pianist expanding the frontiers of her musical and creative world. Over the disc's eleven songs, we hear Jana stretch out her pop songcraft with clever, engaging melodies and varied, fleshed-out arrangements. With help from her songwriting partner, producer, guitarist and backing singer Melanie Peters, Jana mixes acoustic rock and keyboard pop, coloring the sound with various elements from digital beats to strings, layered vocals and more. As a result, the album never stays in one place long and offers a variety of angles, from the industrial Trent Reznor-ish tones of the confrontational "Little Wars" to the psychedelic Beatle-like charm of "Still, Calm and Warm" to the jazz piano-tinged arrangement on "Ice Queen." Jana's smooth, expressive and free-ranging voice provides the constant through it all, sounding confident and assuring with thoughtful, personal lyrics. She offers themes of encouragement and reinforcement on such songs as the driving opener "Have You Made It," the tender piano ballad "Stay" and "Goodbye Penelope;" and shares observational perspectives on relationships and people on "Swimming in It," "Easy to Love" and the tranquil album-closing title song "Blocks." The mix by Grammy-winner Phil Nicolo (Fugees, Lauryn Hill, John Lennon) gives these songs depth and warmth, and brings out the brightness and delicacy of Jana's voice and delivery. On Blocks, Jana Losey raises the bar and broadens the parameters of her pop songcraft, in the process revealing a deeper and more cerebral artistry. (The CD can be purchased starting April 1 through www.janalosey.com.)

JACKSON MONSOUR – JULY 5TH (no label) Bedford-based singer, songwriter and guitarist Jackson Monsour strips his sound to the basics and taps his roots on his second CD, July 5th. Following his more band-geared 2005 debut album Anywhere But Here, Jackson delivers a stripped-down, acoustic set this time out; performing a blend of traditional and Celtic folk, pop, reggae and light rock over a baker's dozen tracks. With strong emphases on melody and lyrics, Jackson uses his range of styles to paint moods and backdrops for his variety of topics. A hearty Celtic-folk backdrop sets the stage for the charged leadoff track "Leader," a condemnation of the current regime and where it is leading us. A similar Irish pub vibe underscores the robust title track "July 5th," distinguishing real patriots from holiday celebrants. A homey Appalachian folk sound surrounds the homecoming ode "Back in the Mountains," inspired during Jackson's brief performing career aboard a Caribbean cruise ship. Playful reggae carries the catchy and pleasant "Coconut," the whackjob love interest send-off "Criminally Insane" and the tabloid television-inspired "Take It Back." In a more serious vein, a somber Americana tone accompanies Jackson's portrayal of rural desolation, "Empty Houses;" while his prayer "Lay Me Down" ends the album with a tranquil gospel flavor. Jackson sells all of these themes with a full-bodied voice and expressive, heartfelt presentation. The presence of additional fiddle, guitar, percussion and layered backing vocals help further color in and add depth to the overall sound. Recorded and mixed at Raintree Studios, the sound is clean and full, with Jackson's voice up front in the mix and the instruments distinct and clear. With its stripped-down acoustic approach, July 5th directs the listener's focus to Jackson Monsour's talents as a musical storyteller who can paint pictures through his words, presentation and diversity of styles. It's a catchy, warm and engaging album that further defines his soul and musical scope. (The CD can be purchased through Jackson's Myspace website, www.myspace.com/jacksonmonsour.)

44 MAG – PAST SINS (no label) First formed a decade ago, Williamsport-based heavy metal fivesome 44 Mag unleashes full fury on their third CD, Past Sins. The group dishes out nine assaults of bone-jarring power metal rooted in the thrash/speed traditions of Slayer, Pantera and Exodus. Jesse Roedts' torrid and concussive drum work leads this band into battle, and sets the pulverizing foundation for Josh Welteroth's searing guitar leads and Drew Lomison's jagged buzzsaw riffs; all cemented into a piledriving barrage by Jason Miller's tightly-wound bass work. Atop this savage backdrop rides the acidic bark of vocalist Chad Warren, as he lyrically dissects dark emotions, sinister personalities, mental turmoil, impending doom and more. Although all nine assaults are aggressive, 44 Mag varies the attack from song to song. The album opener "Devil's Harvest," "Last Supper" and "Tearing Within" are go-for-broke rockers; while "Disgust" and "Disfigure" feature melody-geared choruses. On the more brutal side, "Bloodwork" rides along a tricky time signature, "Violent Confrontation" and "I God" demonstrate Slayer-like riffs and speed, while the album closer "Voyer" displays a more Pantera-like dynamic. 44 Mag is constantly on the attack; their velocity, instrumental aggression and vocal intensity keeps things interesting throughout the album. Recorded at Garage Recording in Williamsport and produced by the band and Ben Rosato, Past Sins sounds appropriately sharp and raw; enabling the guitars to bear their teeth, the drums to punish and pummel, and Chad's rabid ferocity to charge from the speakers. 44 Mag offers convincingly savage and dangerous power metal on Past Sins, and fans of classic thrash and modern aggression should find plenty to cheer about here. (The CD can be purchased from CD Baby, www.cdbaby.com.)

ROCKABILLY JUNCTION – DON'T LET IT FOOL YOU... (Shady Lady Records) Don't let the name Rockabilly Junction fool you. You won't hear Buddy Holly- or Jerry Lee Lewis-styled 50's roots rock on the Armstrong County-based group's second CD, Don't Let It Fool You.; but instead a blend of rock, "hillbilly" country and southern rock sounds rooted in the traditions of Lynyrd Skynyrd, .38 Special, Steve Earle and more. Over the disc's seven songs, Rockabilly Junction loosely weaves a concept album of one man's quest for peace of mind and contentment. The songs portray various aspects of this quest; the hard-rocking opener "Shifting Gears" explores his restless and wild spirit, while the slower and more rural-geared "Southern Skies" answers the call to return to his roots. The protagonist escapes to find some peace of mind with friends and booze on the rowdy "Six-Pack to Stay," and reflects on life's journey on the thoughtful and tranquil closer "Open Book Memories." The performances are steady and strong, with guitarists Snap Brandon and Lars Rosell competently demonstrating and blending ample rock muscle and country twang on their instruments, offering stinging solos and colorful riffs along the way. Drummer Tony Kunkle and bassist Marty Roppolo anchor the sound with crisp, steady rhythms; and vocally, singer Casey Davis (replaced since the disc's release) displays a sturdy and rugged voice up front, supported by full two- and three-part backing harmonies along the way. The group's production is balanced and gives everybody an equal presence in the mix. The vocals sound a little over-processed in spots, which hinders their overall clarity from time to time. But that slight flaw aside, Rockabilly Junction delivers a hearty Southern-flavored workout on Don't Let It Fool You., offering an inspired and sincere effort. (The CD can be purchased through the group's website, www.rockabillyjunction.com.)

EVELYN'S ASHES – FAR AWAY (no label) Formed in 2005, York-based quintet Evelyn's Ashes introduces their own slant on melody-geared, hard-hitting rock on their debut CD, Far Away. The group offers a modern hard rock sound that shares some common ground with nationally-known contemporaries like Breaking Benjamin and Nickelback, but takes it in their own distinctive direction. The rhythm battery of drummer Ted Hile and bassist Scott Salisbury, and the ever-busy guitar tandem of Chris Cutshall and Fred Hansen (replaced since the album's release) set the crunching backdrops for lead singer Wes Myers' emotive, hard-driving, high-ranging voice. Myers uses that voice to drive home some serious and darker-themed subject matter on the album's thirteen tracks. "The Innocent" explores the horror of recent school-shooting sprees, while "Rewind" examines the emotional scars of a tragic mistake. The slower "Backdown" references the futility and waste of an idealogical war, while "Through His Eyes" laments a broken home and its long term damage. Evelyn's Ashes implements their song formula well, using dense chords to set up the melodies, leading to the payoff of strong chorus hooks supplemented by two- and three-part vocal harmonies. The performances are strong and bold, and the group's production gives weight and sharpness to the mix without sacrificing the overall accessibility of the song material. The abundance of same-key numbers makes the album a little redundant in spots. But the attention to melodies and the confident performances work more often than not, making Far Away an overall strong debut that establishes Evelyn's Ashes' hard rocking musical turf and knack for edgy, topical lyricism. (The CD can be purchased through the group's website, www.evelynsashes.com.)

THE GREEN ONIONS – DOWN THE DRAIN (no label) First formed in 2001, Harrisburg's The Green Onions combine elements of rock, blues, jazz and Americana into a classic-geared sound on their second studio album, Down the Drain. But while their sound is classic-rooted, it can’t be pigeonholed, as the Green Onions deftly weave together varying influences and flavors over the album’s dozen tracks. The leadoff pair of numbers, “You Walk Away (The Road’s Ahead of Me)” and “Forgotten Dreams,” conjures a rustic Americana rock flavor reminiscent of The Band and Little Feat. “Silver Ship” displays a piano-driven pop/jazz-rock sound hinting at Toto and Steely Dan; while “Mississippi Moon” and the title track “Down the Drain” mix Band and Little Feat-like blues and funk with a sassier Black Crowes edge. The bluesy “Cry” sets its roots in the Allman Brothers, while the freewheeling and hard-driving “Moon Pie” recalls both the Dixie Dregs and Grateful Dead. And the unique acoustic guitar and mellotron arrangement of the album’s closing ballad “Sooner or Later” suggests an English folk sound. But while the songs provide reminders of the group’s classic roots, the Green Onions’ consistently strong and tasteful performances unify the album into their own cohesive signature sound. Corty Byron’s voice is clear and soulful, and frequently supported by two-and-three part harmonies. This vocal presentation rides atop tastefully-performed backdrops featuring both Corty’s and Chris Gurreri’s flavorful guitar tones, intermingling with Scott Frenchek’s piano and Cort Byron, Sr.’s organ, and fueled by the controlled rhythms of bassist Michael Dinse and drummer John Gasparich (who have both since left the group). The performances are clean and tight, yet robust and inspired. Produced and engineered by Dinse, recorded at Progressive Enterprises and the group’s own studios in Elizabethtown, and mixed and mastered by Marshall Deasy IV at Stress Free Productions; Down the Drain sounds clear, full and polished, and flows along smoothly. The Green Onions distill their vintage influences into a consistent and rewarding listen on Down the Drain, in the process further defining their own convergent style and sound. (The CD can be purchased through the group's website, www.thegreenonions.net.)

SARAH FLECK & THE PALPITATIONS – BLUE JEANS & DAYDREAMS (no label) Named after their drummer and a one-time 1973 London concert line-up featuring Eric Clapton, Pete Townshend and Steve Winwood; young Williamsport-based quintet Sarah Fleck & the Palpitations finds their inspirations in the music their parents probably used to listen to. Comprised of Sarah, lead singer/multi-instrumentalist Garrett Williams, lead guitarist Patrick Hayes, lead guitarist/organist Greg Lang and bassist/singer Kristin Gdula; Sarah Fleck & the Palpitations uses the pop and rock of the late 60's and early 70's as the launching pad to craft their own freewheeling original sound on their debut CD, Blue Jeans & Daydreams. Through the disc's eleven multi-flavored tracks, the group frequently references the Summer Of Love, blending styles and themes reminiscent of the Beatles, Bob Dylan, the Mamas and Papas, The Lovin' Spoonful, Grateful Dead and more. Every song is different and taps a unique retro vibe, from the acoustic Dylan-ish folk flavors of “Ley Line Maggie” and the Kristin-sung “Looking West” to the happy Mamas and Papas singalong style of “Copper Shoes” and San Francisco feel of the album-closer “King of This Town,” the Grateful Dead-infused “Johnny You Can Dance” (borrowing a riff from “Touch of Grey”), the early Led Zeppelin blues-rock flavor of “Iridescent Lover” and more. The performances are bright and enthusiastic; Garrett’s singing style ranges from feisty on harder-driving numbers like “Aviator Baby” and “Frisco Sister” to gentle and laid-back on the British pop/folk-flavored “Summer Triangle.” The group’s vocal harmonies are infectious and cheerful; and the instrumentation is steadily busy, with Patrick and Greg frequently blending bluesy guitar leadwork along Garrett’s rhythm guitar riffs, with keys, harmonica, glockenspiel and trumpet making their presences felt along the way. Recorded, edited, mixed and mastered at Complex One Studios in Indiana, Blue Jeans & Daydreams has a loose and free-spirited feel, like much of the music and era that inspired it. The mix is basic and lets the elements of the group’s sound be heard clearly without much studio gloss or clutter. Sarah Fleck & the Palpitations displays their vintage roots proudly on Blue Jeans & Daydreams, and uses those influences to create a happy-go-lucky sound and charm all their own. This is a fun and colorful debut. (The CD can be purchased through the group's website, www.palpitations.net.)

AND LASTLY, A COOTIE BROWN TRIPLE-PLAY…

COOTIE BROWN – MELTDOWN (Breeze Records) Calling both State College and Burlington, Vermont home, Cootie Brown last fall simultaneously issued a trilogy of full-length CD's. Each of the three discs; Meltdown, Cootie Brown Strikes Back and Out of the Bleu; reflects a different stage of the group's development. Representing the group's formative stage is Meltdown. Guitarists Ryan Alford and Matt Fern, keyboardist Jordan Thompson, woodwind player Michael Fortunato, Brian Eckert on bass, didjeridoo and djembe, Jim DeVoss on drums and Jacob Haqq-Misra on percussion perform a freewheeling, adventurous amalgam of mostly instrumental jam band sounds informed by rock, funk and reggae. The disc's nine tracks provide plenty of musical thrills, chills, twists and turns, as Cootie Brown delivers off-the-wall grooves from a variety of angles. The album starts with a mild jazz vibe on "Focus," before stepping up the funk on the harder-driving "Cootiechasm." Although clocking in at a whopping 17-plus minutes, "Universe" - recorded live on Penn State student radio station WKPS "The Lion" 90.7 FM - is infectious and fun as the group rides an addictive funk/reggae groove for all it's worth, improvising various solos and instrumental nip-and-tuck along the way. "Brutus, Part II" funks out in a spacier 70's vein, before "Gravy Groove" splits time between playful funk and uptempo rock textures; leading to the agitated workout "Modulator." "Mudpuppy" plays with a darker, backwoodsy flavor; while didjeridoo tones provide outback-tinged bookends to the Latin percussive- and woodwind-charged workout "Runway." "Give It Up" provides the album's feisty funk finisher. Meltdown is constantly lively, as Cootie Brown explores and defines their musical terrain, eagerly experimenting with their instruments and riding the playful grooves to their ultimate destinations. The overall vibe is loose and fun, and the group never takes things too seriously here. The production mix is basic, capturing the raw feel and spontaneity of the moment without polish or needless clutter. Meltdown depicts an adventurous band throwing caution to the wind, and sets the initial foundation for Cootie Brown to explore and launch further musical adventures. (The CD can be purchased through the group's website, www.cootiebrown.net.)

COOTIE BROWN – COOTIE BROWN STRIKES BACK (Breeze Records) On the second album of their three-disc trilogy released last fall, Cootie Brown Strikes Back, Happy Valley/Vermont combo Cootie Brown takes the lively jam/funk/rock foundation established with their Meltdown set and stretches and expands upon it. The seven-man, one-dog roster demonstrates an evolution from single groove adventures into more complete song ideas; and they expand their musical scope as well, with elements of rock, hip-hop and Caribbean sounds freely infiltrating their funk/jam frontier. The album features its share of funk-jamming workouts, including the practice improv jam "Egg Roller," the woodwind-geared "Wonder," and the more urban-tinged "Snaggletooth" and "Redd Foxx." Cootie Brown crafts an island-flavored excursion on "Solstice," delivers a spacier and more atmospheric arrangement on "Degaba," and infuses "Little Green Monster" with a prominent reggae flavor. Perhaps the centerpiece of the album is the funk-rocking jam "Dakota," an ode to the group's canine band member, who contributes some vocals along the way, including some howls over a didjeridoo-driven midsection. And the album finishes with a faster rock flavor on the curiously-titled "Bo Diddley" (which doesn't appear to have any connection to the legendary 50's rocker). The playing sounds a little tighter and more focused, although the group still keeps it playful and sounds like they're having fun along the way. Overall, the jams seem to have more direction and purpose, and the solos serve the melodies and plots of the compositions more. Again recorded in Happy Valley and Vermont locations, the production lets the band and its components do the talking, without cluttering the mix with unnecessary embellishments. In the context of Cootie Brown's three-disc trilogy, Cootie Brown Strikes Back illustrates growth and progress in the group's compositions and arrangements, while showing that they can still be freewheeling and adventurous. (The CD can be purchased through the group's website, www.cootiebrown.net.)

COOTIE BROWN – OUT OF THE BLEU (Breeze Records) On the first two albums of their three-disc trilogy issued last fall, State College/Vermont-based septet Cootie Brown progressed from funky groove-based jamming to more structured compositions and arrangements; maintaining a fun and adventurous spirit through it all. On the final chapter of the trilogy, Out Of The Bleu, Cootie Brown has matured towards a jazz-geared style and sound. Their compositions are even tighter and more compact, and the group has elevated the level and maturity of their overall musicianship. The album title itself references the venue – State College's Bar Bleu – where the group honed their jazz chops. Over the album's eight mostly instrumental tracks, Cootie Brown smoothly executes on a variety of jazzy styles. They offer a light and airy shuffle on "Coffey Break," improvise along a Dave Brubeck "Take Five"-like 5/4 meter on "Brutus," and conjure a New Orleans-meets-swing vibe on "Dirty Duds." The group doesn't completely abandon their earlier funk and jam tendencies, though. They mix funk and jazz flavors on "The Cat's Pajamas" and the punchier title track closer "Out of the Bleu." And they still stretch out, jam and improvise on the Grateful Dead/Steely Dan-flavored "Grind" and the blues/jazz excursion "Say What?" Cootie Brown raises the bar of their performance on this set, with drummer James DeVoss, sax/flute player Michael Fortunato and keyboardist Jordan Thompson especially elevating their game with spirited, tasteful playing and colorful interaction on their instruments. While the overall presentation is tighter and closer to the vest, these musicians still sound like they're enjoying themselves; but now with more confidence and a greater sense of control. Again, the sound mix allows the instruments to speak, with the players' own improved skill levels smoothing some of the rougher edges displayed on the earlier two discs. Out Of The Bleu successfully caps the three-album evolutionary story of Cootie Brown, showing that although they have progressed, grown and expanded their musical vocabulary into jazz, they still show a sense of adventure, and leave the door open to more possibilities for their musical creativity. (The CD can be purchased through the group's website, www.cootiebrown.net.)
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[Jim Price]

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