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FINAL CUT REVIEWS & CHICANERY: JULY 2010-FEBRUARY 2011 P
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Jim Price
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 Post Posted: Sunday Feb 13, 2011 
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FINAL CUT REVIEWS & CHICANERY: JULY 2010 - FEBRUARY 2011 Part 2

Here are more CD reviews as I clean out the CD review backlog. Ahh, purging is good for the soul...

HALESTORM – LIVE IN PHILLY 2010 (Atlantic) Almost a year and a half after the release of their self-titled studio debut on Atlantic Records, Pennsylvania-born and bred Halestorm releases Live In Philly 2010, a CD/DVD live concert document recorded last April at Philadelphia’s Theater of the Living Arts. In front of a jubilant and receptive home state audience, Halestorm performs an explosive, enthusiastic concert set. In the best concert tradition, Halestorm understands the concept of dramatic lift and fall during a show; mixing high-powered crescendos with a few tranquil moments. Frontlady/guitarist Lzzy Hale flexes her potent vocals early and often, with the rousing a cappella build-up to the show opener “It’s Not You” announcing her arrival. After establishing the rocking tone through numbers like “Innocence,” the single “Bet U Wish U Had Me Back” and “Love/Hate Heartbreak,” the group decelerates into the acoustic “I’m Not an Angel” and “Familiar Taste of Poison,” before the Arejay Hale/group drum-fest “Boom City” catapults the set toward the hard-hitting homestretch run of “Nothing to Do with Love,” “Dirty Work” and the hit “I Get Off.” The encore of “Tell Me Where It Hurts” and “Better Sorry Than Safe” then slams the exclamation point on the performance. The group’s presentation is high-octane; especially Arejay’s feverish skin-slamming, which constantly threatens to render his drum kit into kindling. Lzzy sounds confident and in command, and tempers her visceral vocal acrobatics with a warm and welcoming charm. The companion concert DVD includes one additional song, “What Were You Expecting,” and reveals a few more nuances from the concert such as Arejay resting his foot atop his high-hat cymbal while crashing out the rhythms on “Innocence,” Lzzy playing the lead guitar solo on “Dirty Work” and more; plus photos and four produced song videos. Live In Philly 2010 offers a snapshot of a band that has quickly achieved their stride; and shows Halestorm’s evolution into an exhilarating live concert entity.

MONSTER TRACK SUPERGROUP – MONSTER TRACK SUPERGROUP EP (no label) As its name suggests, Monster Track Supergroup is a ‘supergroup’ featuring three prominent Pennsylvania musicians with diverse resumés. The Badlees’ Bret Alexander plays lead guitar, bass and keyboards; former Breaking Benjamin drummer Jeremy Hummel provides the beats; and Jeff Pittinger of Williamsport-based classic heavy rockers White Witch provides the voice. The three musicians step beyond their respective comfort zones, converging to update four ‘70s-era classics on Monster Track Supergroup’s self-titled EP. They give reverent, full-bodied treatments to Cat Stevens’ 1971 hit “Wild World,” Creedence Clearwater Revival’s 1971 classic “Have You Ever Seen the Rain?” Nick Gilder’s 1978 pop-rock hit “Hot Child in the City” and Dobie Gray’s soulful 1973 hit ballad “Drift Away.” Recorded, mixed and mastered at Saturation Acres in Danville and produced by Alexander and Pittinger, all four songs sound smooth and polished; with a tasteful balance between guitars and keys, supported by clean, sturdy rhythms. Pittinger’s voice seals the deal; as he reveals a tone, delicacy and range beyond the parameters of his mothership band. Beyond the listening pleasure offered on this set, 10 percent of all proceeds from sales of the disc are donated to the Make A Wish Foundation. Monster Track Supergroup enables listeners to experience all three of these musicians outside of their more familiar settings, and allows these performers to expose different sides of their respective musical personalities. It is a successful collaboration. (The CD can be obtained through the group’s Myspace website, www.myspace.com/monstertracksupergroup.)

JAKESWAY – CATCHING WAKEFIELD (no label) Hailing from northeastern PA, Jakesway introduces a catchy, personable brand of melody-geared rock on their 13-song debut disc, Catching Wakefield. Chief songwriter, lead singer and guitarist Gary Kaschak, guitarist/singer John Yanochik, bassist/singer Steve Kuna and drummer Tom Herbert offer strong melodies, full-bodied vocal harmonies and thoughtful lyrics throughout the album; with each song strongly standing on its own. The primary flavor is electric- and acoustic-driven rock, often colored by elements of folk, blues and country. Jakesway provides plenty of straightforward, upbeat numbers; including the infectious opener “Between the Lines,” the boisterous “In Your Mind,” “No Part of Then,” “Happy Young Man,” “Day in the Sun” and “Days Go By.” Inspired by Major League knuckleballer Tim Wakefield, the title track “Catching Wakefield” cleverly relates the pitcher’s need for a special catcher to those essential people who help others succeed in their daily lives. Guest Tom Borthwick’s keyboard tones nicely underscore the reflective and thoughtful “Quarter Life Crisis” and the rural-flavored, romantic “Heard About You (in a Love Song).” Jakesway also throws in a sad-toned yuletide number, “First Christmas Without You”; and closes the disc with “The Cereal Song,” an upbeat and playful ode to a favorite breakfast cuisine. The performances are bright and strong, with the band’s full and balanced delivery supporting Kaschak’s gritty, high-ranging voice. The album sounds smooth and balanced, with the various components of Jakesway’s presentation serving the songs and giving each melody radiance. Jakesway reveals their songcrafting talents on Catching Wakefield, a fundamentally solid album and a pleasant listen. (The CD can be obtained through Jakesway’s Myspace website, www.myspace.com/jakeswayband.)

RUDER THAN YOU – CREATION SOUNDS (God’s Ghetto Records) Five college students started Ruder Than You in 1989 at Penn State University, before the group relocated to Philadelphia two years later and evolved into one of that city’s top ska bands. Released on their own God’s Ghetto record label, Ruder Than You’s fourth full-length disc, Creation Sounds, offers a rip-roaring display of ska and reggae-infused sounds over eight tracks. The current roster of singer Freddie “3D” Weaver, tenor sax player Doug Dubrosky, bassist Don Pancoe, guitarist Rod Martino, trombonist Chris Klimchak and drummer Larry “Ace” Snell mix Caribbean tones, punk aggression, jazzy touches and a playful vibe into a freewheeling set that sounds fresh from start to end. The bass-powered funk prelude “pRaise HaVoC” builds up to the high-velocity and fun “Baby Tonight,” with a jumpy beat and high-flying chorus vocals. The group celebrates their music on the upbeat title song “Creation Sounds,” and promotes peace, harmony and a better world on the milder-toned reggae of “Faith.” The fast and sassy “Yo Ho Down” dresses down a bar harlot; before one of the group’s longest-running songs, “Brand New Day,” rocks in a harder direction with stinging social commentary, capped by a raging hip-hop climax. “Give the People What They Need” romps with a playful beat, before “The Witch” closes the disc with a mysterious, slower reggae vibe. The performances are bright and enthusiastic, with rhythms tight and in the pocket, sax and horns swirling around and coloring the arrangements, and vocal moods that freely gearshift from relaxed to agitated. Produced by Dubrosky and recorded at Bradford Sound in Philadelphia, Creation Sounds sounds clean and crisp; with sharp drum tones, explosive brass and guitars, and effects that support and enhance the presentation without cluttering it up. Creation Sounds is the sound of a band that is in full control of their musical turf; Ruder Than You creates ska that is lively, tuneful and infectious. (The CD can be obtained through the group’s website, www.ruderthanyou.net.)

AWKWARD SILENCE – BREAK (Radial Noise Records) Formed four years ago by high school classmates, Scranton-based quintet Awkward Silence introduces a variable, melody-geared brand of pop/punk rock on their debut CD, Break. Singer James Sanderson plays guitar, while bandmates Andrew Cutillo, Steve Zampano and Chet Williams bounce between guitars and bass; Robert Salazar plays drums. The prominent flavor over Break’s ten tracks is fast-firing, adrenalin-fueled rock; but Awkward Silence incorporates variations to keep things fresh and interesting. A slight ska presence helps fuel “The Undertow” and the curiously catchy “Chevron,” while ska and jazz flavors inform “Distance.” With its playful vibe and gang-shout choruses, “Against the Wall” hints at an early ‘60s dance hall vibe; and Awkward Silence packs abundant punch on straightforward rockers like “For Keeps,” “Clap for Alaska” and “Things to Do.” The group shows a more delicate side on thoughtful and slower numbers such as the jangly and hopeful “Plan,” and the reflective piano- and string-laced disc-closing ballad “Skeleton & Bones.” The performances are enthusiastic, as Awkward Silence radiates fun and often throws caution to the wind. Sanderson offers a good singing voice that smoothly flexes from strong to tender. Produced by Bill Franklin, the disc sounds sharp and edgy, and the arrangements offer enough variation and nuances to make each song distinct. Awkward Silence’s knack for song hooks and variation makes Break an impressive debut, indicating that this young band has the musical and lyrical smarts to separate themselves from the vast sea of punk/pop practitioners. (The CD can be obtained through the group’s Myspace website, www.myspace.com/awkwardsilencepa.)

MADDAM INK – INKLINATION (no label) – Lehigh Valley foursome Maddam Ink hone their brand of melody-geared hard rock on their sophomore disc, Inklination. Singer/guitarist Adam Burke, lead guitarist Matt Scott, bassist Steve Benecke and drummer Kyle Young effectively blend hooks and crunch over the disc’s ten tracks; polished to a smooth and sharp edge by noted producer David Ivory. Maddam Ink’s overall sound merges classic melody with contemporary edge; but while the terrain is familiar and consistent with current modern rock, this group successfully brands its own stamp on it. Power and melody converge on the disc-opening salvo of “Carry Me Home” and “Believe,” as well as the churning rocker “Coletrane.” “Falling” sounds radio-ready with its infectious hook and chorus chants. Maddam Ink borders on Nickelback terrain with the charging “Touch,” and vents some anger on the tough-toned “Innocence.” The group crafts an intriguing tension-and-release rocker on “Jaded,” shows acoustic-geared flavors on “Speak” and “Save the World,” and slams the lid on the disc with the brazen rocker “Special.” The instrumental execution is clean and concise, and Burke sings his words with tone, control and clarity. Ivory’s production and arrangements focus the melodies and sound, enabling the group’s creations and hooks to achieve maximum paydirt. Maddam Ink crafts efficient, hard-rocking ear candy on Inklination; in the process stating a strong case for advancing to the next level. (The CD can be obtained through the group’s website, www.maddamink.com.)

FACE DOWN IN HIGH WATER – FACE DOWN IN HIGH WATER (no label) Four members strong from the Erie area, Face Down In High Water – FDH2O for short – introduce a visceral modern rock sound on their self-titled, 8-song debut CD. Formed over a half decade ago, FDH2O blend alluring melodies with modern and metallic rock aggression; channeling Godsmack/Disturbed-styled force and firepower with the harmony-laden depth of Alice In Chains. Singer Paul Downey can vary his delivery between reserved singing and snarling fury, often within the course of the same song; while cousin and guitarist Dave Downey consistently demonstrates his knack for stern riffage and captivating licks. Bassist Matt Downey and drummer Dave Keem anchor the sound with lean, mean rhythms. FDH2O varies the attack throughout the disc, demonstrating their outright heaviness and aggression on the surging disc-opener “Tide,” the fierce “Fire Inside” and scathing commentary piece “War.” “Pain” and “Breakthrough” both show a straightforward, melody-geared rock approach. The group shows a more reserved side on the dark power ballad “Drown,” and incorporates a ska-styled rhythm into the mischievous “Shazaam.” The performances are strong and go-for-broke, and the instrumental execution is sharp and precise. The production is clean and allows all the components of the band’s sound to be heard clearly. Their self-titled debut establishes Face Down In High Water as a capable rock band whose crisp blend of melody, aggression and personality might help them surface above the high water of all the other modern rock hopefuls. (The CD can be obtained by visiting Face Down In High Water’s Myspace website, www.myspace.com/fdh20.)

METROPOLIS AMERICA – THE HOSPITAL FOR REGRETS & DREAMS (Steedog Records) Formed in 2008, Philadelphia-based trio Metropolis America taps moody musical terrain on their debut CD, The Hospital for Regrets & Dreams. Singer/bassist/programmer Cristian Mora, guitarist Brett Chandlers and drummer Rick Eddy explore hopes, dreams, triumphs and regrets atop a musical backdrop that channels classic alternative circa The Cure, The Smiths and U2. The group’s songs feature detailed and alluring melodies, smooth arrangements that rise and wane with layers of guitars and synths, and mood swings varying from hopeful to melancholy. Mora’s clear, melodic voice sings expressive lyrics that often seesaw between despair and hope. Relationships frequently provide the inspiration; the modern-tinged opening track “Spots from the Sunlight” ponders relationship ups and downs, while the infectious “”Let’s Do It Vanilla” and the driving “All These Messes in My Head” brim with anticipation and hope. Songs like the moody “The Fall” and the milder “The Lights Are Fading Fast” contemplate relationship crossroads; while “Inconsolable” and the melancholy disc-closer “Remember When You Were Mine” lament losses and endings. The performances are strong, and the arrangements serve and support each song. Mora’s production gives the songs polish and depth, as well as a steady consistency throughout the disc. The combination of well crafted melodies, intriguing song hooks and clever, emotion-laden lyrics make this hospital stay a worthwhile one; Metropolis America’s The Hospital for Regrets & Dreams offers compelling listen worth checking out. (The CD can be obtained through Metropolis America’s website, www.metropolisamerica.com.)

ABSOLUTION – THEORY OF EXISTENCE (no label) Since 2005, Absolution has introduced their brand of aggressive, metallic modern rock throughout northeastern PA and the Northeast. The group’s second CD, Theory Of Existence, offers a turbulent attack that combines bristling, Pantera-styled hardcore-infused metallic aggression with sturdy melodies and no-nonsense lyrics. Guitarist Jay Breen, bassist Brian McDonald and drummer Tom Godin generate pulsing, snarling, bone-jarring rhythms through the disc’s six tracks, providing the volatile backdrops for frontman Mark Wojtkiewicz’s dynamic vocal blend of melody and savagery. Absolution’s themes are often confrontational, evidenced off the bat with the combustible opener “Drifted,” and later with “The Karma” and “Shut Your Mouth.” The fierce and rumbling “What Makes Me Strong” builds strength through adversity, with Wojtkiewicz offering the memorable line “Those who stand for nothing/Will fall for anything.” Absolution examines miscommunication on the slower and shadowy “Clarity,” and reflects on a relationship gone awry on the disc-ending “Closure.” Absolution’s performances are ferocious and intense; with constantly detonating rhythmic salvos putting pedal to the metal, and Wojtkiewicz selling his words with maximum emotion, rage, range and clarity. Produced by the band and Jason Corsaro, Theory of Existence sounds sharp and thunderous, with arrangements that consistently yield maximum tension and impact. Fans of the melodic aggression of Disturbed, Sevendust and Pantera should give Absolution serious consideration; Theory of Existence offers a convincing, explosive sonic smack upside the cranium. (The CD can be obtained through Absolution’s website, www.noabsolution.com.)

NOT ALONE – MY INCURABLE OBSESSION (no label)[/b] Based near Reading, Not Alone sharpens and ups the ante on their brand of contemporary melody-geared hard rock on their latest CD, My Incurable Obsession. Brothers Tyler and Eric Schock on vocals and guitar, and drummer Steve Zegray craft nine compact, efficient, radio-ready songs with attention-catching hooks, airtight harmonies, charging guitars and explosive rhythms. Produced by the band and noted producer David Ivory (Halestorm, Silvertide, Erykah Badu), My Incurable Obsession bursts at the seams with activity; nearly every song is busy and full, mixing up tempos, speeds, choruses, moods and textures to keep things unpredictable while supporting each melody. On their most explosive displays, such as the Ivory-co-written opener “In Angel’s Arms,” “Victory,” “In Motion” and “Blinded”; Not Alone display a forcefulness and aggression similar to more famous contemporaries like Breaking Benjamin and 3 Days Grace. But the group demonstrates versatility and depth on multi-pronged rockers such as “Voices” and “How Does It Feel,” the slow-evolving “The Rose” and the acoustic-tinged “My Only.” And guest cellist Sachino Tsinadze and keyboardist Jeremy Dyen add color and artistry to the disc’s tender closing ballad, “Don’t Leave.” The vocals are energetic and sharp, and the instrumental execution is tight and precise. Not Alone shows forward progress here; My Incurable Obsession is action-packed, polished, melodic hard rock that shows teeth and intelligence; it might be the album that positions this band for a run at the next level. (The CD can be obtained from Not Alone’s web site, www.notaloneband.com.)

NEW DAY DAWN – THE COMPANY WE KEEP (Botti Parts Records) Formed from the remnants of a previous band, Slushpuppy, northern New Jersey foursome New Day Dawn embraces a fresh, hard-rocking frontier on their debut disc, The Company We Keep. The sound is crisp, female-fronted, hooky hard rock, led by the steady and sultry voice of singer, guitarist, keyboardist and group ringleader Dawn Botti. Botti runs the gamut of emotions and ranges, from delicate whispers to soaring howls; selling each word with sincerity against the crunchy backdrop laid down by her hubby and drummer Gary Szczecina, guitarist P.J. Angeloni and bassist Rob Choe (since replaced by John Williams). The songs themselves are infectious and individually powerful, each with intriguing melodies and varying moods that keep ears engaged from start to end. The album appears to follow a progressing theme of the anatomy of a breakup. The disc-opener “Misunderstood” sets a vibrant tone with its upbeat, catchy melody but lyrical hints of relationship trouble on the horizon; a theme further developed on the slightly funkier “Nowhere Fast.” With its explosive choruses, “Follow” attempts to dig to the emotional center of the problems. On the country-tinged ballad “Daddy’s Song,” the decision is reached to move on. The emotional warfare escalates on the serious “See Me Fall,” with Botti’s voice selling the theme of impending breakdown. That breakdown is reached on “(Prelude to Crazy),” and the parting is finalized on the sad power ballad “Over You.” The powerful “We Are” offers reflection and analysis of what happened, before the edgy “Paralyzed” realizes that there is a tomorrow. The disc ends with a bonus track 1991 electronica-flavored mix of “Misunderstood.” The performances are strong, and Botti’s vocal performance is heartfelt and passionate. The production is full, allowing the band’s teeth to show without overshadowing Botti’s vocal clarity and emotional range. The blend of melody, might and lyrical chops makes The Company We Keep a strong debut, and New Day Dawn a group well worth exploring. (To purchase the CD, visit New Day Dawn’s website at www.newdaydawnband.com.)

CAMELA WIDAD KRAEMER – BEFORE YOU’RE GONE (no label) A widely-traveled artist who now calls central Pennsylvania home, Camela Widad Kraemer presents a personable, relatable and easy-to-digest set of songs on her fifth album, Before You’re Gone. Kraemer’s musical domain often recalls the classic folk rock/pop traditions of Joni Mitchell and Judy Collins; but her blend of song variety, personality, and observational and hopeful lyricism make the overall style on this disc solely her own. The disc’s 13 tracks are multi-flavored and topical, each with a distinctive mood, melody and character. The swaying disc opener, “Back to Reality,” celebrates the simple pleasures and diversions from the grind of everyday life. The tender “Ocean” is about conquering fears to discover new frontiers. With its intriguing melody line and mood shifts, “Way Love Goes” explores the adventures and misadventures of a relationship. And the playful and Latin-tinged “Caffeine Empire” ponders the industry behind that morning 12-ounce cup-of-joe many take for granted. Kraemer does some post-9/11 soul searching on the melancholy “Space Between the Sky,” explores inspiration and creativity on the tender title track “Before You’re Gone,” and muses about the emotions and nuances of love on tranquil numbers like “Oh This Love” and “Oh Beloved.” Kraemer’s voice is calm yet expressive, and she sings with clarity and a comfortable tone. She also accents her songs with a variety of instrumentation, including acoustic guitar, clarinet and various percussion instruments. Produced by Kraemer and Jason Rubal, and recorded at Rubal’s Seventh Wave Studios in Harrisburg, Before You’re Gone is stripped down and simple, letting Kraemer’s melodies and performances do the talking, with the simple arrangements supporting and serving each tune. Camela Widad Kraemer offers a throwback to the classic singer/songwriter folk style and sound on Before You’re Gone; but her thoughtful lyrics, comforting voice and personality give this familiar terrain her own distinct signature. (The CD can be obtained through Camela Widad Kraemer’s website, www.camelak.com.)

THE SKETTIES – UP?!? YES!! (no label) To call The Sketties’ first full-length CD, Up?!? Yes!! a three-ring circus would not be too far off the mark. Named after toddler slang for a pasta dish, the Lancaster-based quintet introduces a theatric, alternative rock-geared sound that often suggests a circus or carnival atmosphere over the disc’s ten tracks. Guitarists/singers Jonnie Wechter and Ben Honey-Hartranft, keyboardist/singer Alissa Amer, drummer Jesse Ryan Porter and bassist Mo Morris blend elements of trippy Donovan/Lovin’ Spoonful ‘60s-styled psychedelia with quirky yet catchy melodies and dramatic, angular arrangements; resulting in an unpredictable cabaret that never stays in one place for long. The group’s lyrics are observational yet whimsical, loosely dealing with themes of insecurity, paranoia, emotional mysteries and more. The Sketties set the tone for their eclectic voyage with the punchy and trippy “Junior”; and vary the mood with the melancholy-flavored “Open Road” and “Get Out”; the acoustic and dreamy “Suspenders;” and darker-toned numbers like “Drakulya’s Curse,” “When the Lights Go Out” and “Dead End Road.” The group offers a faster, surf-like sound on “So Safe,” and a jumpy B-52’s-like vibe on “Be Gone.” Engineered and mixed by Dan Ricca, Up?!? Yes!! is constantly busy, with ever-changing arrangements, shifting instrumental tones, layers of vocals and choruses, erratic mood swings and more. Yet in spite of its vast eccentricities, most all of this flows together smoothly, and the group’s song hooks connect. The Sketties throw out the rulebook on Up?!? Yes!!, and their musical experimentation yields a refreshing, invigorating listen. (The CD can be obtained through The Sketties’ Myspace website, www.myspace.com/thesketties.)

KAREN AND AMY JONES – DAPHNE IN WINTER (no label) Acoustic guitar-wielding sisters from the City of Brotherly Love, Karen and Amy Jones introduce listeners to their captivating and harmonious musical world on their first full-length CD, Daphne In Winter. Over the disc’s eight tracks, the classically-trained sisters create an intriguing acoustic folk-rock terrain, displaying a myriad of melodies, moods and tones. The Jones sisters harmonize beautifully and wondrously through it all, their siren-like voices soaring over and under one another, converging and diverging in a dazzling display that often can’t help but be compared to two well-known sisters from Seattle named Wilson. But Karen and Amy establish their own unique style and direction on Daphne In Winter, crafting compelling songs that explore personal and relationship themes. With its shifting melody, the disc-opening number “Right Turn” considers a tough decision and a change of course; while the mild-mannered “Cover Me” ponders a hollow commitment. The lively “Ride” explores the emotional rollercoaster of love on the dark side, while the intensifying thunderstorm “The Things That He Breaks” portrays endurance and survival in an abusive situation. On perhaps the disc’s most compelling song, the lament “Brittle Creatures,” the sisters paint dark and mysterious tones in their examination of human frailty. The performances are heartfelt and passionate, as Karen and Amy sing for keeps and make each passage count. Produced by the sisters and Brian J. Anthony, the voices and harmonies are tight, clear and up front, and the song arrangements support the melodies and moods of each piece. Fans of soaring voices and abundant harmonies will find plenty to celebrate on Daphne In Winter, as Karen and Amy Jones craft an album of melody and mystique. (The CD can be purchased through the sisters’ website, www.karenandamyrock.com.)

THE SUNFLOWER SPECTACLE – THE SUNFLOWER SPECTACLE (My Idea Of Fun) Johnstown-based quintet The Sunflower Spectacle first surfaced in 2005; and their latest self-titled CD introduces listeners to an unpredictable, often whimsical, retro-flavored, psychedelic rock style and sound. Inspired by pioneering adventurers like The Velvet Underground, Syd Barrett and The Flaming Lips; The Sunflower Spectacle’s sound is often a cacophony of freewheeling melodies, sudden and unpredictable side journeys, gang vocals, whistles, chaotic instrumentation, distortion and feedback. Lead singer/guitarist Chris Kupchella, guitarists Derek Gresh and Alan Horvath, bassist Justin Gyurik and drummer Kevin Horvath make up the rules as they go along, randomly dropping in unexpected instrumental flavors and changing up textures and intensities along the way. But this cacophony is often catchy and compelling over the disc’s 14 tracks. Some tunes provide multi-pronged adventures, such as the disc-opener “The Cambria County Fair Ship Song,” the variable-speed “Piss Wedding,” “Oceans of My Mind” and the closer “Falling Into Dreams,” which devolves into a cascade of distortion and effects to finish the album. The Sunflower Spectacle offers more structured and conventional song fare as well, such as the trippy “Mean Mr. Time,” the dreamy “Jetplane,” the contemplative ode to lost innocence “Clouds Look Painted” and the chaotic “I’m A Ghost…No, I’m a Monster” with its Jeckyl-and-Hyde-ish arrangement. The performances are loose and haphazard, with caution often thrown to the wind, and the group playfully experimenting with sonic textures and never taking things too seriously. The production by Troy Bugosh and the band is also loose and freewheeling, with random touches of distortion, reverb and noise all helping sell the experimental mood of the disc. In the end, The Sunflower Spectacle presents a lighthearted sonic free-for-all as it portrays a band having fun as they define their musical turf. (The CD can be obtained through The Sunflower Spectacle’s Myspace website, www.myspace.com/thesunflowerspectacle.)

BEAUCOUP BLUE – FREE TO FALL (no label) Comprised of the father and son core of David and Adrian Mowry, Philadelphia’s Beaucoup Blue displays more of their traditional roots-based sounds on their third CD, Free to Fall. Over the disc’s dozen tracks, Beaucoup Blue taps blues, folk, and country flavors to create a laid-back, pastoral mood and vibe; offering strong songcraft and relatable, topical lyrics. Delta-styled blues is a prominent flavor here, colored by David’s round neck resonator slide guitar work; the disc-opener “Delta Rain” tells the story of how a southern blues festival provided escape and solace from the horrors of September 11, 2001. Delta tones also inform the upbeat “Whistle, Whistle” and the repentant “Running Out the Door.” Other flavors include a Brook Benton-styled southern soul tone on David Mowry’s duet with guest Melody Garlot, “Bluer than the Midnight Sky.” “Hesitation Blues” is sharper and punchier, punctuated by guest Bob Beach’s timely harmonica wail. New York-based female folk trio Red Molly lends their tasty harmonies to David Lowry’s country-folk ode to the selling out of our nation, “Oh America,” as well as the rolling Fats Domino piano blues-geared title track “Free to Fall.” Both David and Adrian demonstrate sturdy singing voices with smooth, soulful tones that sell and bring the melodies to life. A variety of instrumentation, from resonator guitars to upright bass, keys and harmonica, flesh things out into a full Americana sound. Produced by both David and Adrian Mowry and Jim Salamone, Free to Fall sounds full, relaxed and authentic, with all the individual components smoothly blending into a consistent, cohesive set from start to end. Fans of traditional blues and Americana sounds will find plenty to celebrate on Beaucoup Blue’s Free to Fall, a relaxing and reverent set of inspired roots music flavors. (The CD can be obtained through Beaucoup Blue’s website, www.beaucoupblue.com.)

OBJECT PERMANENCE – FOREVER (no label) Object Permanence is the ambitious progressive rock-geared brainchild of Harrisburg area musical adventurer Michael DeMichele. A multi-instrumentalist who collaborates with drummer Simon Janis, DeMichele explores a wide expanse of musical terrain over the nine tracks of Object Permanence’s latest CD, Forever. DeMichele’s multi-tiered arrangements channel influences ranging from early Syd Barrett-era Pink Floyd space rock to the harder and ethereal progressive stylings of Dream Theater and Porcupine Tree. DeMichele weaves various guitar and key flavors into compositions that often don’t remain in one place for very long. The compositions range from harder-driving numbers like the opener “Angels and Demons,” “Rise” and the instrumental “Aware” to the blues-rooted, David Gilmour-like title track “Forever,” to the Syd Barrett-like ballad “Redemption” and the jazzy space-rock leanings of “Transcendance.” The instrumental execution is mostly sharp and on the mark, featuring precision guitar solo work and mood-enhancing keyboard fills. This album’s Achilles’ heel, though, is vocals; DeMichele’s vocals are dry at best, often flat and lacking intonation and emotion. While this is passable on the milder, more Floyd-derived numbers; it is glaringly obvious on the harder tracks, where a more expressive and versatile vocal delivery could have elevated the song material into stronger and more listenable results. While Michael DeMichele crafts stimulating compositions and intelligent wordplays on Forever, mediocre vocals prevent this album from being something listeners would want to endure forever. (The CD can be obtained through the website CDBaby.com.)

ROTTEN BELLY BLUES – ROTTEN BELLY BLUES (Dead Sea Records) Rotten Belly Blues is not your typical blues band. Named in deference to the Rotten Belly Society, a non-conformist sect of several plains-based Native American tribes, Rotten Belly Blues throws out the rulebook and paves their own path of non-conforming, blues-rooted music on their latest self-titled disc. A collective of 17 musicians (some from the Juniata Valley) centered around charismatic Tennessee-born singer, guitarist and storyteller Rotten Belly Michael, Rotten Belly Blues explores a wide and unpredictable expanse of blues-based terrain over the disc’s 13 tracks; incorporating elements of Dylan-like folk blues, country blues, swing, Memphis-styled R&B, and a touch of ‘60s-era psychedelia into their collective style. The Dylan influence is ever-present, and especially underscores songs like the honky-tonk driven opener “Mr. Barton,” “Believe,” “Best Girl” and “Lytle Creek Gold.” “The Worst Thing” displays a hard-driving, early Rolling Stones flavor, while the rollicking “Spanking Song” recalls the Glimmer Twins’ country-inspired exercises. Country twang is prominent on numbers like “Money Is For Spending” and “Every Stone,” while “Testament” conjures a swamp blues flavor. With its horns, “Last Lovin’ Thing” taps a swing/ragtime-geared flavor, and horns also give the disc-closer “Oh What Love Can Do” a ‘60s Memphis vibe. Rotten Belly Michael sings with a gritty, weathered voice that gives his material an authentic, traditional feel. Instrumentally; guitars, piano, trumpet, saxophone, harmonica, and percussion enter and exit the mix throughout the set, changing up the equation and keeping the sound interesting. Recorded at Right Coast Recording in Columbia, PA, most of the songs were recorded in one take with no overdubs, with producer and engineer Bobby Gentilo coordinating and mediating the various components; resulting in a loose, honest and spontaneous vibe. While unconventional, Rotten Belly Blues throws caution to the wind and serves up blues with a sense of adventure, in their own way honoring the raw and unpolished tradition of true blues. (The CD can be obtained through Rotten Belly Blues’ website, www.rottenbellyblues.com.)

JOHNNY ACTION FIGURE – GOOD EYE (no label) A wide range of old-school and new-school pop styles converge into a fresh, smooth treat for the ears on Good Eye, the latest CD by Reading foursome Johnny Action Figure. Chris Sheehan and Brendan Fullam on vocals, guitars and keys, C.F. Fullam on bass and vocals, and Brad Rittle on drums tap into a variety of classic pop styles and influences, and incorporate them into their own contemporary musical personality. Obvious throughout the disc’s dozen tracks are the group’s lush three-part vocal harmonies, which frequently recall peak-era Beach Boys. Elements of swing and jazz infuse the opening pair of songs, “Phantom Blues” and “Young Rider,” evoking a slight Steely Dan vibe. The blend of harmonies and soulful arrangement on “Until You’re Gone” bring to mind classic Hall & Oates, and the smooth “Let Me Guess” mildly suggests ‘70s era Philadelphia soul. The Beach Boys dynamic is prominent on “Julianne” and “Bushkill Hill,” and the disc-closing title key-driven ballad “Good Eye” captures a Beatles flavor, especially Brendan Fullam’s George Harrison-toned guitar work. But while the influences are clearly retro, Johnny Action Figure makes it all sound fresh with intelligent, engaging melodies; and busy, action-filled arrangements. Harmonies are everywhere, and the group’s balance of keys, electric and acoustic guitars enables the music to emerge from a variety of angles. The group’s production is vibrant, with frequent layers of sound filling in spaces, and keeping things busy with never a dull moment. Johnny Action Figure hones their art of pop songcraft to a bright sheen on Good Eye, and successfully incorporates a myriad of influences into a broad-based style and sound uniquely their own. (The CD can be obtained through Johnny Action Figure’s website, www.johnnyactionfigure.com.)

BLACK~N~BLUES – BLACK~N~BLUES (Green Valley Recording) Billtown-based bluesers Black~n~Blues came together on New Year’s Eve 2003, and have proceeded to hone their brand of improvisational jazz- and rock-informed blues; eventually punching their ticket to compete in the 2008 International Blues Challenge in Memphis. On their self-titled debut CD, Black~n~Blues introduces a punchy yet tasteful, traditional electric blues sound over nine songs. Sean Farley and Doug McMinn trade off singing duties and stinging guitar licks, with McMinn also contributing tasty saxophone accents along the way; all launching off the lean and steady rhythms of bassist Matt Stopper and drummer Rich Cummings. Instrumental fireworks are a frequent highlight, with all four players displaying their solo skills and playing off one another throughout the disc. Black~n~Blues’ improvisational skills especially shine on the funky read of B.B. King’s ever-classic “Thrill Is Gone,” the rock/jazz-fueled workout “Tables Turn” and the multi-tempo disc-closing band title track “Black~n~Blues.” The group sounds sharp and efficient on upbeat numbers such as “Can’t Keep Up,” their treatment of Cool Papa Sadler/Joe Louis Walker’s “747,” “Blame Yourself” and “I Give Up”; and are equally fluent on slower exercises like their version of Larry Davis/Stevie Ray Vaughan’s “Texas Flood” and “Workin’ for Your Love.” Black~n~Blues exudes confidence throughout the disc; both McMinn’s and Farley’s voices are strong and soulful, and the group’s instrumental execution is tight and in the pocket. The production is crisp and balanced, with everything clear and distinct in the mix. Black~n~Blues delivers sharp-sounding blues sure to chase the blues, and is well worth checking out. (To obtain the CD, visit Black~n~Blues’ Myspace website, www.myspace.com/blacknbluesband.)

ROB CARLTON – BEAUTIFUL COLLISION (no label) A Long Island native now based in East Stroudsburg, Rob Carlton has enjoyed an eventful career so far; playing guitar in heavy metal, Christian metal and blues bands in the Northeast, and appearing in magazines such as Guitar Player, Circus and Kerrang!. Carlton displays his abundant guitar-playing skills over a variety of styles on his latest instrumental CD, Beautiful Collision. Over the disc’s dozen tracks, Carlton showcases his abilities while expressing a myriad of musical moods. For the guitar shred fan, Carlton states his case impressively through such numbers as the authoritative opening statement “Unshackled,” the escalating “A Time Such as This,” the bluesy shred of “Passionate Blues” and the appropriately-titled “Rip It Up.” Citing Jimi Hendrix as an inspiration, Carlton shows a similar adventurous spirit on several numbers; in particular the slinky and distortion effect-laden “Gypsey Cat” and the spacey disc-closer “From A to Beck,” with Carlton’s guitar histrionics wrapping around a prominent winding bass line. He shows improvisational soloing ability on 12-string guitar on the strutting “Thresold,” and matches wits with a keyboard on the jamming workout “What Goes Round Comes Round.” There are milder moments as well, including the melancholy acoustic tones of “You’r Forever with Me” and “If Only You Were Here,” and the tasteful and fluid displays offered on the title track “Beautiful Collision” and “Slaying the Dragon.” Carlton’s arrangements are often inventive, and provide the appropriate launching pads for his string-bending adventures. The production is raw and unpolished, capturing Carlton’s displays as they happened and without overdubs. Rob Carlton’s plentiful guitar talents win the day on Beautiful Collision, and his variety of styles makes this disc an engaging listen that guitar aficionados and casual fans alike should appreciate. (The CD can be obtained from Rob Carlton’s Myspace website, www.myspace.com/robcarlton.)

THE DEAD END CRUISERS – A THOUSAND MILES OF WHISKEY AND SIN (Northmont Records) Storming from the Reading area, The Dead End Cruisers introduce a rowdy, swaggering brand of roots-infused rock on their explosive debut CD, A Thousand Miles of Whiskey and Sin. The group drops a punk-rocking engine into a ‘50s rockabilly transmission and takes listeners on a rip-roaring joyride over the disc’s seven tracks. Frontman/guitarist Greasy Phil delivers a gritty and boisterous voice up front as he sings odes to devious dames, rigorous rides, the joys of booze and sin, and more. He, guitarist Psycho Benny, bassist Jay Daddy and drummer Sweet Jonny depress the accelerator and let it rip, generating a loud and proud wall of guitar-fueled, roots/rockabilly-infused sound. The Dead End Cruisers show a knack for interesting melodies to carry their lyrical misadventures, demonstrated from the get-go with the charging disc-opener “Psycho Baby,” as well as “Devil Eyes” and “How Did I Get This Way.” Stepping on the gas further, the songs “Grave Dancin,” “Satan’s Caddy” and the disc-closer “The Phantom of Main Street” are glorious, high-octane assaults with catchy gang-shout choruses. The group slows things down once, for the sullen and brooding “My Baby’s Cryin.” Produced by the band and Brian Zeb, this disc sounds clean, sharp-edged, balanced and powerful; allowing the group’s wallop to achieve full impact. A Thousand Miles of Whiskey and Sin is a wild, hard-rocking journey, and establishes The Dead End Cruisers as roots rockers with abundant strut and vigor. A fun listen! (The CD can be obtained from The Dead End Cruisers’ website, www.thedeadendcruisers.com.)

SANDLOT HEROES – PRETEND THAT WE’RE FAMOUS (Independent Artists Records) Since first forming in 2005, Sandlot Heroes has garnered substantial radio airplay in their native Lehigh Valley, and opened for national recording groups such as Boys Like Girls, Yellowcard, New Found Glory and more. Their debut album, Pretend That We’re Famous, introduces Sandlot Heroes’ brand of melody-geared power pop. Over the disc’s ten tracks, singer/guitarist/keyboardist Dan Kastelnik, guitarist Chris Morrison, bassist Jake Lare and drummer Anz Gibson craft short, sweet and to-the-point ear candy melodies about boys, girls, and the ups and downs of youthful romance and growing up. Every song is catchy, concise, and radio-friendly. The majority of the songs are punchy, guitar-powered chunks of power pop; ranging from uptempo rockers like the disc-opener “The Trainwreck,” “Someone Special,” “So” and “Something Is Missing” to multi-textured numbers like “History,” “The Illusion,” “By the Morning” and “Alone Anymore.” Sandlot Heroes also offer two slower numbers; the sullen breakup ballad “Out of My Hands” and the piano-fueled closer “Believer” (an updated remix version of the song, produced by Fuel’s Carl Bell, is now available). The performances are bright, sharp and enthusiastic; with crisp beats, tightly-pulsing guitar riffs and timely key accents. Kastelnik offers a vibrant, clear voice up front that can comfortably achieve higher ranges when needed. Produced, mixed and engineered by Adam Richman, the songs sound lean, tight and efficient; with just enough studio gloss to provide the finishing sheen without cluttering up the mix. The result is a strong first offering; Pretend That We’re Famous offers a shining set of infectious, radio-ready rock, and positions Sandlot Heroes to make a viable run at real fame and not pretend. (The CD can be obtained through Sandlot Heroes’ website, www.sandlotheroes.com.)

LOTUS HILL – A NEW SUN (no label) Singer Peggy Carroll, singer/guitarist Christine Moll and guitarist Kevin Henry started Lotus Hill a few years ago as a side project from their other Philadelphia-based bands. As their songwriting chemistry came together, the trio added drummer Mark Robart and bassist John McMullen. Lotus Hill’s debut CD, A New Sun, introduces a melody-based, modern folk-meets-rock sound that would sound comfortable alongside 10,000 Maniacs and the more tranquil side of U2. Each of the disc’s 14 melodies is well-crafted and thought out; with strong vocals and plentiful harmonies, carried by varying degrees of acoustic and electric guitar. Lotus Hill explores personal and emotional themes throughout the album; examining their affections on the upbeat “Secrets” and the dreamy “Oceanwide,” while leaving the past behind on “Forward Yesterday” and “I’ll Be There.” The group taps a more mysterious vibe on “The Way She Walks,” vents acidic on “Better Than This,” displays a rural country-rock flavor on “Breakdown,” and ends in a funkier vein with “Trouble.” Carroll’s vocals are graceful and heartfelt, and her harmonies with Moll color and accent each song in just the right places. The arrangement of acoustic and electric textures varies to serve the mood of each piece, but the balance of these textures throughout the album gives it cohesion and consistency. Produced by Cliff Hillis, A New Sun sounds clear and full, with the voices and instruments doing the talking without needless clutter, bells and whistles. Lotus Hill reveals their talents as songsmiths and lyricists on A New Sun, offering a colorful, pleasant listen. (The CD can be obtained through Lotus Hill’s website, www.lotushillband.com.)

JIMMY ADLER – SWING IT AROUND (Bonedog Records) Anybody who still believes the antiquated notion that the blues is depressing music should give a listen to Swing It Around, the latest studio CD from Pittsburgh guitar great Jimmy Adler. Through the album’s dozen rollicking, swaggering, bouncing and swinging tracks; Adler and his band demonstrate that their blues-based musical world is exhilarating, all-out fun. Like many guitar greats, Adler’s guitar playing is an extension of his mood and personality, and he makes his instruments – a Fender Stratocaster, Gibson 335 and 175, and 1956 Harmony H-62 guitars – sing out with joy and enthusiasm. But this disc is a party, and Adler invited a number of fellow Pittsburgh blues scene luminaries to join in the fun; including sax player Eric Spaulding, drummers Kenny Crisafio and Kenny Kellner, bassists Harry McCorkle and Mike Sweeney (who also wrote/co-wrote four of the songs), pianist John Burgh, organist Sudden Steve, harmonica player Perry Salati and Stephanie Adler on backing vocals. These musicians all share in the spotlight, and their talents serve and support the fun vibes of the songs. On the party-themed opener, “Liquor Got Loose,” the piano, guitar and sax get more excited as the song and party escalate. The instruments and Adler’s voice are equally as playful on the dual-tempo “Hambone,” the delta-tinged “Down in Alabama” and the R&B-edged “Ooh-Wee-Baby.” Adler and company show bolder and more rugged tones on “Smoke Signals,” “Let’s You and I Go Out Tonight” and “Get Outa My Kitchen,” where Adler displays some sharp slide work. Also fun are the cheery jazzy blues of “Saturday Nite Social Affair,” and the ragtime piano-flavored disc closer “She Don’t Dance.” The Mojo Boneyard’s production is smooth and gives these tunes sparkle, and lets the inspired performances shine clearly. Jimmy Adler’s Swing It Around offers swinging, rolling, good-natured blues sure to chase the blues and bring smiles. (The CD can be obtained from Jimmy Adler’s website, www.jimmyadler.com.)

SECOND BEST – WALL STREET IS DEAD (no label) Formed in 2002, Schuylkill County punk rockers Second Best unleash fun and fury on their official debut CD, Wall Street Is Dead. Guitarists Adam and Bob Best, bassist Bill Best and drummer Jeremi Best (all sing) let fly with jagged-edged, high-octane punk rock over the disc’s 16 tracks, rooted in the classic punk tradition of NOFX, Misfits, Ramones, Bad Religion and more. Second Best’s melodies are short, sweet and to the point; with breakneck rhythms, gang-shout choruses, occasional sound effects and other shenanigans. The group tackles any and all subject matter; tunes such as the disc-opener “We Are Not the Enemy” and “Wake Up, Stand Up” offer social and political commentary, while the group celebrates defiance and non-conformity on the Irish-toned “We Love What We Love,” “F**k Them,” “Living No Law (Till We’re Finally in Hell)” and “School Uniforms?” “Us and Our Toys” offers a playful, reminiscent ode; and torridly laments a former flame and a passing on “Mary” and “You’re Gone” respectively. The group profiles a slovenly bar damsel on “Booze Pig,” and “Danny” celebrates a crazed fan. Second Best’s performances are hard-charging and go-for-broke; the group bristles with enthusiasm and sounds like they had a blast recording these tunes. Recorded by Corey Conrad at Boiling Underground Studios in Valley View, Wall Street Is Dead sounds raw and jagged, but balanced, with the vocals clear and understandable. The bottom line, Second Best’s Wall Street Is Dead is a fun blast of spirited, old-school-flavored punk rock, warts and all; worthy of a raised beer glass and a hearty “Oi!” (The CD can be obtained through Second Best’s Myspace website, www.myspace.com/secondbestpa.)

ADAMO DRIVE – SPIRIT OF THE DONKEY ENGINE (Ragged Records) Named after a thoroughfare in Tampa, Florida; Adamo Drive’s story began in Hershey in 2002, before the group relocated to Pittsburgh three years later. On their third CD, Spirit of the Donkey Engine, Adamo Drive hones their off-the-wall sound, tossing out the rulebook and staking claim to a musical middle ground somewhere between Southern Culture On The Skids and The B-52s. Guitarist Tim Lengel, bassist Ryan Lengyel and drummer Drea Verone all share singing duties as they blend surf rock, country twang and ‘80s-era alternative flavors into interesting mini-adventures over the disc’s ten tracks. The surf flavor is present throughout the set, most prominent in the driving instrumentals “Mind the Gap” and “Shawnee.” Adamo Drive weaves surf into a spaghetti-western vibe on “High Plains Drifter,” and uses it as a launching pad to explore indie rock flavors on the mysterious “Jason Bateman,” the White Stripes garage-tinged “Don’t Wait on the Mail” and the disc-closer “Fuzzy” with its quirky “Monster Mash”-like stinger. The group devises edgy B-52s rock-styled vibes on the disc-opener “Shriek of the Donkey Engine” and “F*ck It Shoe,” and explores harder-rocking terrain on “Mass Tragedy” and “Ain’t That Harder.” Adamo Drive’s performances are freewheeling and loose with oddball bumps, twists and turns along the way; and the mood is lighthearted, as the group never takes things too seriously. Produced by the band and Albert Hatfield, Spirit of the Donkey Engine displays spontaneity and rawness, topped with an authentic-sounding surf reverb accent. Adamo Drive sounds like they’re having fun on Spirit of the Donkey Engine, throwing caution to the wind to deliver a playful, interesting listen. (The CD can be obtained through Adamo Drive’s Myspace website, www.myspace.com/adamodrive.)

THE WHEELS – THE WHEELS (no label) From Pittsburgh, The Wheels explore and blend a variety of roots, Americana and rock styles on their self-titled CD. Joe Piacquadio, T.J. Connolly, Jake Breiding and Brad Barron share various instrumental and vocal duties; delivering a sound that smoothly blends blues, rock, country, bluegrass, folk and other flavors over the disc’s nine tracks. The Wheels’ lyrics often dwell on dark themes of isolation, despair, uncertainty and relationship woes. With guest Don Shean contributing fiddle and banjo, the bluegrass-driven disc-opener “Miscommunication” laments a relationship misunderstanding; and the lowdown folk-blues of “Lonesome Shadow Blues” dwells in downtrodden loneliness. Desperation themes also underscore the electric blues ballad “The Blow” and the bluesy Americana disc-closer “Life on the Bottom Shelf.” Guest Joe Herndon’s mariachi-styled horns pepper the jumpy honky-tonk bar ode “Strong Steady Comfort,” while a local damsel is the subject of the rural-flavored “Crawford County.” The Wheels sell their tear-in-beer themes with hearty, weathered vocals; backed by mostly lean arrangements that support and complement the moods of each song. Recorded at Pittsburgh’s Treelady Studios and produced by the band, The Wheels sounds balanced, full and consistent. The group’s rural tones tie the set into a unified whole album; yet their various Americana styles keep things interesting and fresh. Fans of classic Little Feat, The Band and The Black Crowes should find The Wheels’ debut album a colorful and satisfying listen. (The CD can be obtained through The Wheels’ Myspace website, www.myspace.com/thewheelspittsburgh.)

DOPPLER AFFECT – WHICH WAY TO GO (no label) On their third CD, Which Way to Go, Pittsburgh area quintet Doppler Affect know exactly which way they’re going; offering a demonstration of powerful, country- and Southern-laced rock’n’roll. Their style is classic-flavored and guitar-driven; accented with touches of blues, country and more. The group provides a full-bodied triple-guitar attack; courtesy of Dave Waugaman, Brian Dehass and Billy Postle. Also blowing harmonica and singing, Postle’s rich, full-ranging voice rings clear and up front in the mix. Bassist Chris Owoc and drummer Dave Phillips anchor the sound with sturdy, driving rhythms. Doppler Affect provides some variety to their rock’n’roll over the disc’s eight songs. They deliver the hard-rocking goods on the storming blues-rock opener “One Last Nail,” the title track “Which Way to Go” and the charged homestretch closer “Goin’ Home.” Latin and surf-rock flavors color the acoustic-driven rocker “Where Are You Now,” and the group blends a slight rock edge into their deferential read of the Man In Black’s “Ring of Fire.” Doppler Affect capably crafts slower numbers as well; offering a country-geared sound on “Crystal Tear Drops,” welcoming guest saxophone player Kenny Blake on “What Can I Do,” and escalating the intensity on the slow-builder “See You Again.” Doppler Affect’s performances are enthusiastic, with the guitars breathing fire and Postle’s hearty singing style driving the melodies and words home. Recorded and mixed at DogHouse Studio in Murrysville and produced by the band, Which Way to Go sounds crisp and full-bodied, and lets the full vigor of this band shine through without needless bells and whistles. For fans of straightforward, Southern-tinged and country-edged rock, Doppler Affect provides a rousing and satisfying listen on Which Way to Go. (The CD can be obtained through Doppler Affect’s Myspace website, www.myspace.com/doppleraffectband.)
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 Post Posted: Friday May 27, 2011 
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