[Jim Price]

FINAL CUT REVIEWS & CHICANERY: MAY-NOVEMBER 2008

First, my apologies for the long layoff between postings of The Final Cut. A busy summer and an unemployed autumn got in the way…

I had several ongoing editorials to post, but the passage of time has dated and made them moreless irrelevant, so I scrapped them. One was my annual bitchfest about the BCS; the other was about overpaid superstar (and not-so-superstar) athletes squandering their riches, making stupid decisions and getting into trouble with the law. Maybe I’ll beef about those topics some other time…

Anyway, I have a backlog of CD reviews to unleash upon an unsuspecting world…enjoy!

AND NOW…SOME CD REVIEWS FOR YOUR READING PLEASURE

DEF LEPPARD – SONGS FROM THE SPARKLE LOUNGE (Bludgeon Riffola) Def Leppard's two-decade span since their biggest success, 1987's Hysteria, has been interesting. 1992's Adrenalize tried to milk the Hysteria formula for all it was worth, before 1996's Slang abandoned the shadow of Hysteria and its wall-of-guitar sounds altogether. The next two albums, 1999's Euphoria and 2002's X, found Def Leppard trying to blend their traditional guitar rock sound into the current age. Then an interesting thing happened two years ago; the group reconnected with their 70's British rock inspirations on the cover album Yeah!. Perhaps reinvigorated by that nostalgic blast, Def Leppard delivers their catchiest and strongest set since Hysteria on their latest album, Songs from the Sparkle Lounge. Catchy song hooks and lethal guitar riffs make their full return in a way not heard since Hysteria, or even more so, 1983's Pyromania. The album's overall sound is lean and hungry, like a band happy to have rediscovered their early chemistry. Songs like the Tim McGraw-assisted first single "Nine Lives," "Tomorrow," "Hallucinate" and the fast-firing "Bad Actress" immediately recall Def Leppard's peak 80's period, while "Come Undone" launches with a monster riff that punches you squarely in the jaw. Def Leppard continues to celebrate their 70's British roots on two tracks, the Gary Glitter-like romp "C'Mon C'Mon" and the Queen-like pseudo-operatic ballad, "Love." Def Leppard doesn't totally dwell in their past sound, though, as the political-geared numbers "Go" and "Cruise Control" and the album closer "Gotta Let It Go" lean towards more modern rock flavors. Def Leppard learned their production lessons from Mutt Lange well; and co-producing the album with Ronan McHugh, they give Sparkle Lounge enough sparkle without overdoing it, allowing their rock firepower and song hooks to carry the day. Songs from the Sparkle Lounge is a fun, good-feeling, hard-rocking album where Def Leppard finally and fully gets back to being Def Leppard. This is easily their best since Hysteria and Pyromania, and a welcome return to form.

JOURNEY – REVELATION (Frontiers) Their fourteenth studio album, Revelation begins a new journey for Journey, as they unveil their new singer, Arnel Pineda from the Philippines, who replaces Jeff Scott Soto and previous studio singer Steve Augeri, the latter who left the band for health reasons. A three-disc set, Revelation features one CD of new studio material, a disc of updated Journey classics with the new singer, and a live concert DVD. On the surface, Pineda's voice does immediately resemble that of Journey's most famous mouthpiece, Steve Perry; but repeat listens reveal that while similar, Pineda shows enough personality and nuances to transcend merely being a Perry mimic. Moreso, this injection of new blood seems to have again rejuvenated Journey; the disc of new material is the most vibrant they've sounded since their 80's heyday. Guitarist Neal Schon especially sounds inspired, crafting some of his most stellar guitarwork in years, particularly on the album's closing instrumental "The Journey (Revelation)." Journey's sound closely resembles that early 80's Escape/Frontiers pinnacle; featuring crisp, melody-driven rockers like the disc-opening current single "Never Walk Away," "Change for the Better" the hard-driving "Wildest Dream" and "Faith in the Heartland," a Steve Augeri collaboration updated from 2005's Generations CD. The group still shows the knack for big-sounding ballads as well; with "Like a Sunshower" sounding like the love child from "Lights" and "Open Arms," and Jonathan Cain's piano playing a greater role on "After All These Years," "What I Needed" and "Turn Down the World Tonight." Produced by Kevin Shirley, Revelation sounds full and streamlined, frequently achieving balance between Schon's guitar and Cain's keys and avoiding unnecessary clutter. And Arnel Pineda's voice is proudly front and center for all comers to clearly hear. The updated Journey classics disc will either acclimate fans with his voice and style in a familiar context, or attract further scrutiny and comparisons to his famous predecessor. As evolution and rebirth have been longtime themes of this band, Revelation ultimately offers a triumphant reinvention of the type of arena rock that first put Journey on the map to begin with. This sounds like a band reborn, and their sense of excitement and enthusiasm has returned.

ROADKILL – THE WRECKONING (Run You Down Records) For two decades and over 1,000 live performances, Clearfield County's Roadkill has carved their own unique niche on the area's musical landscape. The group's self-proclaimed "rot and roll" has come to be defined as a blend of metal- and blues-driven raunch rock, mixed with the colorful and sarcastic wit of outspoken singer, bassist and group ringleader Greg Majewsky. On Roadkill's fourth album, The Wreckoning, the group throws an unexpected twist into their repertoire. Their trademark fire and wit are still in abundance, evidenced from the get-go with the rampaging album-opener "Smooch My Booty!" with its "rot and roll" chants and donkey-kissing sentiments. In the tradition of past Roadkill holiday-themed anthems like "Fifth on the Fourth of July" and "Santa Is a Big Fat Jerk," enter the group's latest, "Public Service Announcement from the Anti-Valentine's Day Council," a fast-paced, action-packed ode to having one's heart ripped out, kicked around and "tossed aside like a bag of moldy tangerines;" its infectious shout-along chants of "Love left me for dead" should have most everyone shouting along before song's end. Another witty highlight is the group's rural-flavored dig at washed-up rockers donning cowboy hats, "Ode to the Failed Wannabe Rockstars Who Now Wannabe Country Stars." Toward's disc's end, though, Roadkill offers a more serious twist; first with the solemn and reverent "A Prayer Before My Imminent Afterlife," and the imaginative hard-rocking epitaph to a departed canine companion, "The Remaining Days of Zeddska the Elder Canine." The performances are strong from start to end, with Majewsky's fire-and-brimstone delivery at its comedic and dramatic finest, and the instrumental fireworks of Majewsky, guitarist Sean McCracken and drummer/singer Shawn "Teach" Evans sounding tighter and more confident. Recorded at Audible Images in Port Matilda, engineered by Bill Filer and produced by Majewsky, The Wreckoning sounds appropriately thunderous and jagged when it needs to, but also shows more depth and variation with an appearance of layered keys and occasional vocal effects. The result is Roadkill's most complete-sounding album yet; The Wreckoning retains the humor and vinegar fans have come to expect from this band, but also shows a touch of maturity accrued through their two-decade longevity. (The CD can be purchased through Roadkill's Myspace website, www.myspace.com/runyoudown.)

61 SOUTH – 61 SOUTH (Full Force Music) Named after the primary travel route through the Blue Mountains in Schuylkill County, 61 South is a recently-formed blues trio featuring two former members of the Victory In Heaven Band, singer and steel guitarist Sterling Koch and his daughter, Kate, on bass; along with John Goba on drums. 61 South's self-titled debut CD offers eleven strong and uplifting blues tracks, featuring original compositions and select blues and gospel blues remakes. The prominent and distinguishing element of 61 South's sound is Sterling Koch's driving, fiery and flavorful steel guitar work, set against his bandmates' lean-sounding, punchy rhythms. Koch confidently takes his steel guitar into rowdy turf mapped by ZZ Top, George Thorogood and Joe Walsh; while using the instrument to color and establish moods. The journey includes four original numbers; the Chicago-styled "Kiss the Blues Goodbye," the delta-tinged "Made It So," the rumbling blues-rocker "Blues Have Got to Go" and the romping album-closing declaration "Bluesman for Life." The group carries over some former Victory In Heaven Band live favorites such as the powerful album-opening treatment of Wilbert Harrison's "Let's Work Together" and the potent read of Rev. Gary Davis' "12 Gates to the City." There's also a robust rendition of the Bobby "Blue" Bland-popularized "Further On Up the Road," a reverent edition of Albert King's "Everybody Wants to Go to Heaven," and a soulful update of Little Walter's "Mean Old World." And 61 South taps the Robert Randolph lexicon to offer their own arrangement and fireworks to Slim Harpo's "Shake Your Hips." Recorded at Right Coast Recording in Columbia and mastered by Mike Tarsia, 61 South sounds hard, lean and stripped-down, with Sterling's vocals and steel guitar sounding sharp and up front. The result is a hearty-sounding debut. With 61 South, Sterling Koch returns to the blues, and takes his steel guitar on a lively and soul-stirring joyride. (The CD can be purchased through 61 South's Myspace website, www.myspace.com/61southblues.)

SUBDUE – UNUNOCTIUM (no label) In the periodic table of the elements, ununoctium has the heaviest atomic mass of any element, and its radioactive atom is very unstable. In naming their debut CD Ununoctium, Johnstown-based heavy metal foursome Subdue hints at the heaviness and instability of their musical world. Over Ununoctium's nine tracks, Subdue introduces a metal sound rooted in classic thrash and European-styled classical metal. Drummer Tito, bassist Beaver, and guitarists/vocalists Diggy and Shevock (who has since left the group) blend raw firepower with melody over much of the album, as rapid fire rhythms and snarling guitars establish the backdrops for Jeckyl-and-Hyde vocal stylings that range between understated melodic crooning and savage, Tazmanian Devil-styled barking. The performances are frequently busy, with turbulent drum and bass work, and ample doses of tasteful guitar shredding and finesse. Subdue best combines their sense of melody and firepower on the disc opening trio of "Falling Away," "Forbiddance" and "Warmth." The group leans towards the more classic side of the metal spectrum on the slower and more shadowy "Anhedonia" and the urgent "Someone Will Die," both demonstrating a sound reminiscent of New Wave Of British Heavy Metal pioneers Diamond Head. Subdue blends thrash with a Sabbathy flavor on the title track "Ununoctium" and "Watch;" dabbles in Tool-styled prog-metal dynamics on "Free," and unleashes a furious Slayer-styled assault on the official album closer "Orbit Nine" (followed by an acoustic ballad bonus track). The instrumental performances are constantly fiery and on the attack, with the guitars demonstrating frequent tightness and precision as they surround and infuse the rhythms. The dual-personality vocals work better on some tracks than others, with the melodic voice undermixed at times. Likewise, while the production and mix gives Subdue a jagged edge, it sounds thin in spots and could benefit from an overall deeper bass presence. But technical issues aside, Subdue convincingly conveys their heavy credentials on Ununoctium, defining the parameters of their melodic and thrashy metal terrain and laying the groundwork to explore and expand upon. (The CD can be purchased through the group's Myspace website, www.myspace.com/subduerocks.)

D.C. & CO – ALIVE (no label) Formed nearly a decade ago by namesake Dave "D.C." Costarella, Lancaster-based ensemble D.C. & Co rewarded the requests of their fans by issuing a new live album, simply called Alive. Recorded during a New Year's Eve show Dec. 31, 2006 at the Lancaster Elks Club, Alive captures highlights from a special night, while showcasing the plentiful talents that this diverse group of musicians brings to the live stage on an assortment of original songs, blues, funk and rock’n’roll remakes. Namesake Dave Costarella sings, plays keys and serves as emcee; the rest of his Company this night include guitarist Big Tone Torres, Michael Bitts on bass, David Santana on drums, Gary Miller on percussion, the horn section of Doug Hill on sax, Wilson Gonzales and Adrian Garcia on trumpets, and Darnell Scott on trombone. D.C. & Co sets the tone for the set off the bat with their charged rendition of Stephen Stills’ “Love the One You’re With.” Then we hear two original songs; the swaggering, “Green Onions”-styled blues/soul workout “Separate Your Wash,” highlighted by a scorching Big Tone Torres guitar solo display; and the jazzy funk number “Heaven Can’t.” The album then gearshifts into a high-powered surf direction with the group’s rowdy remake of Vince Taylor’s “Brand New Cadillac,” before offering a reverent, funk-edged spin on B.B. King’s “The Thrill Is Gone.” Then enters special guest Rose Hudson, whose robust, soul-shaking voice lifts Billie Holiday’s “Fine and Mellow” and Curtis Mayfield’s “People Get Ready” above and beyond. The album then accelerates and never slows down again, as D.C. & Co fires up the party for the duration with stirring renditions of Charlie Daniels’ “New York City King Size Rosewood Bed,” the Doobie Brothers’ “Long Train Running,” Stevie Wonder’s “Superstition” and “I Wish,” Billy Preston’s “Will It Go Round in Circles,” War’s “Low Rider,” and a lively medley. The performances are feisty and vibrant, as these musicians hit their stride early on and ride at a constant high for the duration. The rhythms are constantly punchy and in the pocket, and the horn section’s and Big Tone Torres’ guitar workouts often threaten to leap off the CD and right into your living room! Rick Coberly engineered and captured the live sound this night, and Steve Puffer’s mix allows each element of the sound to shine clearly. Alive not just captures a special night, but offers proof positive of D.C. & Co’s electrifying, multi-dimensional live show. This CD makes me want to go see this group if they get anywhere near my locale! (The CD can be purchased through the group's website, www.dcandco.net.)

SATANIC BAT – TALES FROM THE SOUTHLAND…TALES FROM THE SEA (Oppressive Sound System Releases) Hailing from Pittsburgh, Satanic Bat takes classic heavy blues-rooted rock on a psychedelic, doom, acid and space rock joyride on their latest CD, Tales from the Southland…Tales from the Sea. Over the album’s nine tracks, lead singer and drummer Steve Sobeck, guitarists Dave Warren and J.D. Howell, and bassist Jon Milliren explore musical territory first mapped out in the late 60’s and early 70’s by Black Sabbath, Jimi Hendrix, Grand Funk Railroad and Hawkwind; carrying forth the torch from more recent stoner-rock adventurers like Clutch and Monster Magnet. Satanic Bat’s sound is deep and heavy; a sludge of thick bass lines, battering-ram drum rhythms and gnashing, swarming guitar chords often filtered through various distortion and effects, and topped with Sobeck’s hearty vocal howl. But the presentation is vibrant, as the aggressive arrangements and agitated performances prevent Satanic Bat’s update of dinosaur rock from getting stuck in quicksand. The songs range from the tough-rocking opener “Dead Dixie Driver,” the rumbling “Human Genome Worry Doll” and escalating thunderstorm “White Gypsy/Dirty Talkin’ Flower” to the Hendrix-flavored “Norse Sagas,” to blues-informed exercises like “Great Things from Sand and Clay” and “Southern Rock Plantation.” The album is punctuated with two instrumentals; the spacey guitar interlude “The Kraken Returns with Saturn,” and the driving “Skull Bong Rock.” Capping the adventure is the wild, 13-minute-plus “A Generation of Digital Drones vs. Jazzbot 6000,” which devolves from its initial song plot into a seven-minute cacophony of improvisational guitar and bass pedal effect distortion sure to send fragile psyches teetering off the deep end. Recorded by Dennis Warner at Ground Control Studio and produced by the band with Mike Clement, Tales from the Southland… captures the dynamic of early 70’s-era psychedelic heavy metal, sounding full but staying out of the mud and retaining a clear, sharp edge. Satanic Bat unleashes a head trip of an album with Tales from the Southland…Tales from the Sea, breathing new life into this brand of classic-flavored heavy rock while offering their own experimental and often fascinating slant to it. (The CD can be purchased through the group's website, www.satanicbat.org.)

JUSTMEGAN – I GET WHAT I WANT (no label) JustMegan is the band project and creative vehicle for Punxsutawney-based singer, songwriter and guitarist Megan Carlson. JustMegan's second CD, I Get What I Want, picks up where the 2006 debut Blue Avenue left off, as Megan stretches out and broadens her musical scope. She sounds more confident and expressive as a singer; exuding a sultry coyness on the upbeat title track and album-opener "I Get What I Want," displaying bite and rancor on the charging disco-beat rocker "No Places to Run," and sounding purposeful and determined on the hard-driving "This Town." JustMegan's musical vocabulary expands as well, showing a southern boogie and honky-tonk flavor on "Barefoot Blues," a tropical island flair on "Color of the Breeze," a vintage Patsy Cline country-blues style on "Don't Go Away," and a psychedelic blues-rock sound on "You Will." Although the musical flavors vary throughout the album, JustMegan's arrangements are more consistent and steadier as a whole, and the set flows along more smoothly than the debut. The performances from Megan and her band are spirited and loose, giving the songs a casual feel. Recorded in the group's own studio, I Get What I Want sounds cleaner and fuller overall, with the instrumental elements coming through clearly. The mix could use more balance in a few spots, as the guitar and organ sometimes overpower the sound and Megan's voice could be beefed up on "Barefoot Blues." But these minor flaws aside, JustMegan displays musical growth and maturity on [i]I Get What I Want[/u], a stronger and more confident set from an artist who is clearly enjoying the ride on this musical adventure so far. (The CD can be purchased through JustMegan's website, www.justmegan.net.)

KINSEY – OPPOSITES ATTACK EP (SAM Records) Based out of the Harrisburg area, Kinsey introduces a sharp, melody-based modern rock sound on their six-song EP, Opposites Attack. Guitarists/singers John Springer and Josh Krebs, bassist/singer Mike Krebs and drummer/singer J.B. Swope generate an edgy, guitar-driven sound that taps 80's and 90's alternative roots, yet sounds contemporary and fresh. John displays a soaring, rangeful voice as he croons lyrics analyzing relationship mind games, deceptions and inner emotions. All six songs display catchy and often clever melodies, each with enough variation to sound distinct. The opener "After All" evolves along a funk-tinged groove, and is highlighted by layered, canon-styled vocal harmonies in the song's homestretch. "It's Not Insane" is harder and more jagged as its lyrics reveal more tension. A song about self-realization, "Nothing Left" rides a circular melody to a driving, anxious chorus. "Scene By Scene" offers a Cure-like flavor, while the swarming, ringing guitars on "Something Underneath" suggest an early U2 sound. The disc's closer, "The Best Part," charges at a faster clip towards three-part harmony choruses. Kinsey's performances are sharp and restless, giving their overall presentation a constant agitation. Recorded and mixed by Mike Krebs and mastered by Paul Smith, Opposites Attack sounds lean and balanced, with the guitars displaying abrasiveness and the vocals clear and up front. Kinsey strikes a balance between melody and tension on Opposites Attack, offering songs that are accessible yet edgy. (The CD can be purchased through Kinsey's website, www.kinseyband.com.)

KUN-TAJUS – CHROME HOG SALOON (no label) On their sophomore album, Chrome Hog Saloon, Bedford County foursome Kun-Tajus picks up where their first CD, No Cure, left off. The dual singing and guitar-playing tandem of Chad Patterson and Mike Clapper, bassist Dave Wagner and drummer Jack Carrigan plays stripped-down, basic rock and roll over the disc's ten tracks. Kun-Tajus' songs aren't fancy or elaborate, and lyrically they're not out to cure world hunger or solve the Washington political mess. Instead, Kun-Tajus plays simple, heartfelt rock and roll odes about a variety of relatable everyday themes. Motorcycles and riding are at the center of three songs; the rumbling album-opening title track "Chrome Hog Saloon," the pounder "Rollin' Ramblin' Man" and the driving album finisher "Harley D. Machine." Malfunctioning automobiles are in the spotlight on the country-tinged "Full Throttle" and the 50's rock-flavored "Broken Down Car." The group celebrates making music on "Rockin' Shoes," while "L-O-V-E" seeks to cure an affliction similar to the one Robert Palmer addresses on "Bad Case of Loving You." Kun-Tajus also tackles a few more serious topics; lamenting a mistake on "I Was Wrong," scolding somebody's hurtful ways on "How Many Hearts?," and regretting lost love on "In My Heart." As performances go, nobody will accuse these guys of being virtuosos, and their execution and mix aren't always the smoothest. In addition, the band's production is lo-fi and a little uneven in spots. But while flawed, it's honest and gritty music that's fun and never takes things too seriously. Warts and all, Kun-Tajus' Chrome Hog Saloon offers real blue-collar rock and roll from the heart; and is ultimately an upbeat and likeable effort. (The CD can be purchased through Kun-Tajus's website, www.kun-tajus.com.)

DUBMISSIVE – DUBMISSIVE (Twenty-Two Twenty-One Records) On their self-titled ten-song CD, Johnstown trio Dubmissive channels anxieties about life, their hometown, society and world into a spirited mixture of punk, reggae, ska, hip-hop and more. Singer/guitarist Bobby Dub, bassist/singer Joe Sell and drummer Kevin Dom (preceded and since replaced by Steve Hanik) boldly blend these musical flavors into often incendiary and bracing assaults. Against a frequent backdrop of lean, bouncing rhythms and sizzling guitar chords, Dub displays a vocal style that combines punk-geared disaffection with a Zack de la Rocha cadence, punctuated by brief bursts of emotion and rage along the way. His presentation convincingly sells the message of taking back our streets on the passionate hard reggae opener “Rebel Song,” as well as the theme of frustration from stifled hopes and ideals on the hard-driving “Desperation.” In a calmer vein, Dub grasps for hope on “Something to Believe,” and cites history to deal with society’s current problems on “Exodus.” Ska, punk and hip-hop flavors converge on “From These Burning Streets;” ska and punk drive “Heartbreaker” and “Alright By Me;” while “Down and Out” and the album finisher “Driving Away” are straightforward punk-rocking assaults. Dubmissive’s performances are often charged and aggressive, as they efficiently execute their song arrangements with hardly a note wasted. Dub sometimes hits the flat note and doesn’t always execute flush against the beat; but his confidence and passion ultimately win the day. Dave Villani’s production and mix give the drums and bass ample punch, enabling these songs to jump out on first listen; while his tasteful keyboard finishing touches provide depth and color on some of the album’s milder moments. Overall, Dubmissive is a strong first album that introduces a young, restless band with its own distinctive drive, vibe and flavor. (The CD can be purchased through Dubmissive's website, www.dubmissive.com.)

RYAN MATTHEW – DRIVING HOME (no label) Altoona's Ryan Matthew has become one of the more frequent flyers on area acoustic stages over the past few years. On his first album, Driving Home, he introduces listeners to his brand of upbeat, acoustic-geared rock and country sounds. With producer Mike Gambardella accompanying on a variety of instruments, Ryan sings and strums out a dozen odes to everyday life, revealing nuances of his own life, personality and soul along the way. The tender "#1 Fan" celebrates the eventual rewards of fatherhood, while "I'll Do the Rest" is a statement of love and devotion. The gentle "Least That I Could Do" offers a patriotic sentiment, while "Die Young" champions going for the gusto in life. Several songs reference bar and night life, including the opening title track "Driving Home," the rowdy "My Drinkin' Song," and the harder-rocking "Outta Here," featuring some scorching Mike Gambardella lead guitar work. "Jimmy Buffett Kinda Night" offers a beach getaway daydream, while the disc-closing "Steeler Fan" is a self-explanatory revelation of Ryan Matthew's NFL loyalty. Ryan sings his material with a strong, rugged voice and hearty presentation, selling his words with passion and sincerity. Mike Gambardella's production keeps Ryan's performance at the forefront, while using the arrangements and instrumentation to color and accent the moods of the songs. Driving Home is a nicely-done introduction and expose of Ryan Matthew that lays out the welcome mat to his musical personality and world. (The CD can be obtained at Music Emporium in Altoona, or through Ryan Matthew's Myspace website, www.myspace.com/ryanmatthewguitar.)

THE GLORIOUS FILAMENTS – SILENT USE OF ALGORITHM (no label) With a name like The Glorious Filaments, you might expect to hear a more technically-geared, detailed and wide-ranging style and sound. The York-based quartet's debut CD, Silent Use of Algorithm, fulfills such expectations over its nine-track duration. The Filaments blend elements of alternative/progressive-fueled rock, funk, blues, jazz and more into fresh-sounding and captivating compositions; marked by Jeremy Patterson's and Mike Frey's jangly and echoing guitars, drummer Scott Roberts' and bassist Dave DeHart's busy and almost mathematical rhythmic passages (consistent with the ‘algorithm’ portion of the album title), and Patterson's smooth and expressive vocals, as he sings lyrical themes of analysis and introspection. The group frequently stirs up the tempos, rhythms and intensity and implements dynamic plot twists and musical side journeys; while deftly incorporating everything into the context of the songs' melodies and plots. Among the strongest examples are the efficiently-crafted and catchy “One Life,” “Out of Sight” and “Internal Dialogue” (and its techno/hip-hop-infused bonus track remix). "Debris" opens the album with a slight hint of ska, while “Oblivious” and “Reality Gap” ride along funkier-flavored arrangements. "Empty Jar" shows a slightly harder Rush flavor, while the 9-minute-plus "Poison Apple" channels an early Pink Floyd dynamic. The Glorious Filaments’ execution is clean and tight, and the group isn’t afraid to stir the pot and make each song its own distinct adventure. The production by the group and Dave Forney brings everything through clear and balanced, and lets all the components of the Filaments’ sound do the talking without extra clutter. The Glorious Filaments define their wide expanse of musical turf on Silent Use of Algorithm, and present a fresh-sounding, invigorating adventure. (The CD can be obtained through The Glorious Filaments' website, www.thegloriousfilaments.com.)

THE JASON MARTINKO REVUE – DAMAGED GOODS (Bonedog Records) There aren’t too many bands around that go to the lengths of producing their own horror movies to promote themselves. But Pittsburgh’s Jason Martinko Revue did just that last year, releasing their combination slasher-horror/live performance flick Gone the Way of Flesh. The film’s punk-driven title song closes The Jason Martinko Revue’s latest CD, Damaged Goods. Namesake Jason Martinko sings and plays guitar; flanked by drummer, organist and bassist Jordan McMillen, bassist Craig Bolton (since replaced by Nick Scuglia), tenor saxophonist Steve Jacobs and several guest musicians and backing singers. Various flavors come to play over the album’s baker’s dozen tracks, as the group blends lively rockabilly, swing, punk, R&B and more. The Jason Martinko Revue delivers abundant gusto and swagger on rockabilly-geared numbers like the opening track “Here She Comes Walkin,’” “I’m Goin’ Home (To See My Baby)” and “The Thief,” as well as the funk/swing workout “Funky Boogie.” Martinko provides blue-eyed soul tones on such numbers as “Belladonna,” the slower ode to motherly wisdom “Sometimes It Rains” and a gospel-tinged remake of the traditional “Mornin’ Train.” A few curios punctuate the album’s course; including the surf-meets-swing instrumental “Rattletrap,” and two curiously ‘untitled’ tracks, “Untitled #39” and “Untitled #152,” respectively showing funk and honky tonk musical flavors along with violent lyrical themes. Jason Martinko’s voice blends Van Morrison/Peter Wolf-styled soulfulness with a punk shouter spirit, while he and his band constantly bring the fire with freewheeling, caution-to-the-wind performances. McMillen’s drum beats are punchy, and the guitar and horns constantly match wits and complement each other well. Produced by the band and Jeff Ingersoll and recorded at The Mojo Boneyard in McKeesport, Damaged Goods sounds sharp, with Martinko’s voice ringing out front and center, and the instruments coming through clearly and providing the punchy backdrop. The mix is lean and uncluttered, topped with a slightly abrasive edge. The Jason Martinko Revue’s unique blend of roots-based musical styles and Misfits-like horror-punk overtones makes Damaged Goods a curious but ultimately entertaining listen, and it will be interesting to hear how the group further develops this blend on future recordings. (The CD can be obtained through The Jason Martinko Revue’s website, www.thejasonmartinkorevue.com.)

THE ROOFTOPS – HOPE ON THE STREETS (Drunk Rock Records) Philadelphia area trio The Rooftops unleash full punk-rocking fury on their debut CD, Hope On The Streets. Rooted in the old-school punk tradition of the Ramones, singer/guitarist Nassaw Tate, bassist Frankie Bags and drummer Patty Kavka slam out bristling anthems, with tight, high-velocity rhythms setting the turbulent backdrops for odes about survival and growing up on the tough streets of Philadelphia. With his distinctive and scathing vocal bark, Tate sings about how lack of money keeps him hungry and motivated on the churning opener "One Million Dollars," and he relates the desperation of big city stress and alcoholism at the intersection of "5th and Hope." The Rooftops celebrate one of Hollywood's best-known Philadelphians on the volatile "Adrian," examining how hard living strengthened Rocky's resolve inside the ring. Life's tensions are vented through music on the heavier and thundering "Johnny Walker" and the acoustic ballad "Nothing to Live;" while the disc's other acoustic number, "Get It On the Floor," offers street survival advice. The group gives a Will Smith hit a fiery punk rock makeover on "The King of Bel Air." The Rooftops' performances are forceful and go-for-broke, as the group delivers these numbers with verve and passion. The production by the band and Dan Malsch is sharp and to the point, enabling The Rooftops to bare their teeth. Hope On The Streets is loud and proud punk rock, as The Rooftops channel Philadelphia hard living into a mean, lean, high-velocity attack. (The CD can be obtained through The Rooftops' website, www.therooftopsband.com.)

THE MARAUDERS – DIAL M FOR MARAUDER (Bonedog Records) On Dial M for Marauder, their fourth album overall and first with Pittsburgh-based blues/roots indie label Bonedog Records, local roots-rock revivalists The Marauders continue to hone their brand of boisterous, punk-fueled rock and rockabilly. Over the disc’s baker’s dozen tracks, singer/guitarist Ben Dumm, upright bass player Chris Lawson and drummer Abe Weber mix five exciting new songs with rowdy updates of eight previously-recorded Marauders favorites. The prominent flavor is still fast-firing, punk-infused rockabilly often reminiscent of rock’n’roll’s 50’s infancy, given a contemporary hard and gritty finish. Youthful restlessness and rebellion are still popular Marauders themes, evidenced by the Bo Diddley-informed album opener “Juvenile Frustration, “10 Year Drifter” and the updates of “Road Rat” and “Dead of Night.” Ben Dumm surrenders to female temptation on the driving “She Took a Shot,” and laments the passage of the age of adventurous deejays on “On the Radio.” The Marauders tap more traditional Buddy Holly tones on their updates of “Last Laugh” and “Lonely Road,” a driving honky-tonk vibe on “Oh My My,” and their punk roots inform the rowdy choruses of “Out Of Line” and “Late Night Livin.’” The album ends with a slight reworking of their Brian Setzer-penned title song, “We Are The Marauders.” The group’s performances are lively and agitated, with Dumm’s gritty snarl and sinewy Gretsch guitar tones riding atop Lawson’s rhythmic bass string pounding and Weber’s explosive drumming. Jeffrey Ingersoll’s lean production and beefy mix gives the rhythms a resonant sound that will make speakers rumble and jump; topped with a touch of authentic 50’s-flavored reverb. The Marauders’ sound continues to celebrate old and new as they drag traditional roots rock into the current age; and Dial M For Marauder celebrates old and new as they create new anthems and give older ones a beefier, vibrant update. Besides providing something new and exciting for longtime fans, this CD also makes a good primer for new listeners to discover The Marauders and what they are about. (The CD can be obtained at shows or through The Marauders’ website, www.themarauderspa.com.)

THE LAMPSHADES – THE LAMPSHADES ARE ALRIGHT (Soapbar Records) On their first two CD’s, 2004’s Sunshine and 2006’s Surprise!, Altoona-originated foursome The Lampshades introduced a stripped-down sound that blended 60’s-rooted pop songcraft with a mild punk edge. Their new CD, The Lampshades Are Alright, marks the arrival of aspiring producer and keyboard player Dane Adelman, who joins lead singer/guitarist Jaren Love, bassist Chris Kibler and drummer Brady Lanzendorfer. A student of the production innovations of George Martin and Brian Wilson, Adelman brings a fuller and more fleshed-out presence to The Lampshades’ sound; often utilizing layered vocal harmonies, symphonic keyboard fills, horns, strings, additional instrumentation and effects. The results run an interesting gamut, spanning the pure Beatlesque pop of “Best That I Can” and “Mad Father’s Got a Gun,” and playful Beach Boys-flavored melodies like “My Boyfriend’s Band” and “Girl From Another State,” to the Weezer-like pop/punk of “I’m So Different,” “The Greatest Victim” and “Scotland,” and the Nirvana-flavored acid burn of “City Lights” and “Business Card.” The group even taps a Beatles “Eleanor Rigby” vein, using a string section to underscore “I Guess I’m Doing Just Fine.” The Lampshades’ sound often presents a contrast, as the bright melodies underscore Love’s detached and melancholy odes to social rejection and striking out with the opposite sex. Adelman’s production and arrangements make this a busy and action-packed listen, with each song presenting a different twist. Occasionally the mix gets too busy and clouds the overall effect of the melody, but the songs here connect much more often than miss. The Lampshades’ varied arrangements and experimentation with retro and current flavors makes The Lampshades Are Alright their strongest and most adventurous disc so far, and a fun listening experience. (The CD can be obtained through The Lampshades’ website, www.thelampshades.net.)
_________________

http://pamusician.net

[Jim Price]

...
_________________

http://pamusician.net