[Jim Price]

Since "The Final Cut" is in a state of limbo at the moment, and my jam-packed schedule hasn't allowed me to get a new "Cut" out, I decided to post a bunch of the CD reviews I've been stockpiling for the new edition of the "Cut." (The "Final Cut" actually started out as a CD review feature, so this is a back to the basics edition of the "Cut," so to speak.) Readers in the Altoona area might recognize a few of these CD reviews from appearing in the Altoona Mirror newspaper; and a few of these go back a year or so. Until I can get another issue of "The Final Cut" published, I figured I'd get these reviews out of my system...enjoy.

GEORGE THOROGOOD AND THE DESTROYERS – RIDE 'TIL I DIE (Eagle Records) During a recent radio interview, George Thorogood was asked what he would call his influences. Thorogood answered the question simply, "'Sir' and 'Madam.'" That respect for his rock and blues roots prominently underscores Thorogood's latest album, Ride 'Til I Die, helping to make it one of his strongest sets in years. Thorogood continues to deliver his bread and butter – hard-driving rock and blues – over the album's baker's dozen tracks. But his acknowledgement of his roots is more apparent here, particularly the blues. In fact, just one song – the robust rock-and-roller "Sweet Little Lady" – is a Thorogood original; the remaining 12 tracks are remakes of songs from names like Eddie Cochran, J.J. Cale, Bo Diddley, Hound Dog Taylor, Elvin Bishop, Chuck Berry and others. The title song itself, "Ride 'Til I Die," is an acoustic remake of a John Lee Hooker song that Thorogood, guitarist Jimmy Suhler and drummer/percussionist Jeff Simon recorded during a sound check at Billy Bob's in Fort Worth, Texas last year. The album's first single, the uptempo "You Don't Love Me, You Don't Care," is a Bo Diddley remake. Thorogood slows the tempo down on his update of Elvin Bishop's "Don't Let The Bossman Get You Down," featuring Bishop himself helping on guitar; and he gives a country-styled treatment to the gospel number "I Washed My Hands In Muddy Water." And Thorogood is his rowdy, bad-to-the-bone self on Eddie Cochran's "My Way," Nick Lowe's "That's It, I Quit" and Chuck Berry's "Move It." Backed by his ever-reliable sidemen, The Delaware Destroyers, George Thorogood sings these songs with his usual zest and passion; and his performances are energetic and heartfelt. Producer/engineer Jim Gaines (Stevie Ray Vaughan, Santana) and former Roy Buchanan singer/producer Tom Hambridge both produced the album; working slight subtlety into the mix, but still allowing Thorogood to be his boisterous self. In the end result, George Thorogood's love of the blues and early rock'n'roll is loud and clear on Ride 'Til I Die, an album that tells us that Thorogood is on this ride for the long haul, and shows no signs of slowing or toning down. Longtime Thorogood fans will find plenty to celebrate here.

SAMMY HAGAR AND THE WABORITAS – NOT 4 SALE (Cabo Wabo Music) Since resuming his solo career after his split from Van Halen, Sammy Hagar has steadily inched his way back towards the powerhouse rock of his pre-Van Halen "Red Rocker" solo career. His fourth post-Van Halen album, Not 4 Sale, further reprises the pounding arena rock of Hagar's pre-Van Halen career; and even hints at some of the thunder of his early 70's tenure with Montrose. With the Waboritas providing a lean, tough wall of sound behind him, Hagar delivers the hardest-rocking album of his post-Van Halen discography. As sonically hard-hitting as Not 4 Sale is, though, it is also Hagar's most thoughtful and contemplative set lyrically. Some songs superficially hint at post-September 11 observations. The driving rocker "Hallelujah" is a general statement about senseless violence and the succession of lives lost; while the album's first single, "Things've Changed," waxes philosophic about the ever-changing world and life in general. And the uptempo rocker "The Big Square Inch" offers commentary on skyscrapers, urban sprawl and greed. Hagar offers observations on his own life, too; proclaiming himself "Not 4 Sale" on the anthemic title song, and exploring his own kaleidoscope of moods on the power-ballad closer "Karma Wheel." Hagar also celebrates themes of individuality and self-confidence on the thunderous opener "Stand Up." Sammy Hagar won't be accused of breaking any new musical ground here; if anything, this is a throwback to his 70's rock roots, and he even gives a respectful nod to fellow 70's brethren Led Zeppelin with the medley "Whole Lotta Zep." Hagar and his Waboritas hold nothing back; offering unapologetic guitar crunch, throbbing bass and powerhouse drumming. Ultimately, it is Hagar's powerful voice and passion that win the day. Hagar proudly sings this material with conviction and purpose, still sounding excited to be a solo performer once again. The "Red Rocker" proudly carries the torch for old-school guitar rock on Not 4 Sale, a sincere, passionate and powerful set suggesting that if Sammy Hagar has experienced any hindsight since leaving Van Halen, it has been to look back to his 70's roots before Eddie and Alex.

BOSTON – CORPORATE AMERICA (Artemis) The saying goes that "you can't teach an old dog new tricks." But classic rock icons Boston attempt to learn a few new tricks on their latest album, Corporate America. For fans of the group's trademark late-70's arena-rock sound, this is not a good thing. Attempting to sound more contemporary and appease the current MTV generation, Boston incorporates synthesizers, a female singer and some big messages on Corporate America, with lukewarm results. Tom Scholz remains the driving force behind Boston; as chief songwriter, producer, engineer, and multi-instrumentalist. Scholz shares vocal duties with longtime Boston voices Brad Delp and Fran Cosmo, and the group introduces their first female lead singer, Kimberley Dahme, on the acoustic ballad "With You" and the synth/guitar-driven duet with Scholz, "You Gave Up On Love." Scholz relies on synthesizers nearly as much as he does his signature guitar crunch here; and there is a prominent folksy acoustic guitar flavor on the album as well. Fans expecting to hear big-sounding Boston rock anthems like "More Than A Feeling" or "Don't Look Back" will ultimately come away disappointed with Corporate America. Only the opening track/first single "I Had A Good Time," "Someone" and "Turn It Off" approach that anthemic early Boston thunder. "Turn It Off" and the synth/dancebeat-geared title track "Corporate America" offer scathing commentary on big business and media lies respectively. Much of the remainder of the album, though, is weighed down with cumbersome sentimental ballads like "Stare Out Your Window," "Cryin,'" "Didn't Mean To Fall In Love," and a live version of "Livin' For You" (which appeared on Boston's last album, 1994's Walk On). While the album has its moments, Boston's Corporate America never gels as a consistent, cohesive album. And while Tom Scholz has tried to modernize and update Boston's sound, Corporate America sounds tired and dated, and never comes close to capturing the freshness and excitement of this group's late-70's infancy. After this album, Boston is one eight-year phoenix I do not feel like waiting another eight years for…

THE CLARKS – ANOTHER HAPPY ENDING (Razor & Tie Records) From their beginnings over fifteen years ago at Indiana University of Pennsylvania, The Clarks have steadily evolved into Pittsburgh's hottest musical commodity this side of Christina Aguilera, amassing a huge northeastern and midwestern fan base through five studio albums and constant touring. On their sixth studio album (and second for Razor & Tie Records), Another Happy Ending, The Clarks do what they do best, even better. Singer/guitarist Scott Blasey, guitarist Robert James, bassist Greg Joseph and drummer David Minarik, Jr. once again deliver their trademark brand of modern American rock'n'roll, but also expand upon and refresh it. We hear a funkier presence on this album, plus the use of strings, keyboards and loops. And ultimately, this may be the sassiest Clarks album yet. A number of Another Happy Ending's songs deal with less-than-happy endings to relationships, expressed through some of the group's wittiest and most cynical words yet. On the catchy and funky "On Saturday," Blasey snidely displays his skepticism regarding the motive of the breakup: "And she said it's not you I just need my space/I said it is me just say it to my face." Also strong on wit is the ballad "This Old House Is Burning Down Tonight," with Blasey as the protagonist sending off a broken relationship in a literal blaze of glory. Another album highlight, "Boys Lie," is a funky and playful depiction of female suspicion and skepticism. The group explores other moods and emotions through the course of the album. The album's power-pop intro, "Maybe," expresses emotional fallout and guilt following a quarrel: "Maybe lessons finally sinking in/Maybe getting in the last word.doesn't really mean you win." The album's first single, "Hey You," is introspective in scope. "Wasting Time" is an optimistic ode to shedding anxieties and embracing life. And the album's finale, "Love Is What You Need," is a hopeful ballad about giving things another chance. The Clarks execute their song material like a fine-tuned machine; all four musicians are clearly on the same wavelength and sound very together. Scott Blasey is in fine form, demonstrating good vocal range and clarity, and selling the lyrics with convincing sincerity and attitude. Producer Justin Niebank (John Hiatt, Eric Clapton) succeeds in evoking the spirit and essence of the group's live persona on this album. The result is a fun album that is catchy, bright and focused. Another Happy Ending is quite possibly The Clarks' finest hour since singing about "circus freaks, temptation and the Fayette County Fair," and the album that could propel them from a regional to a national phenomenon.

DEF LEPPARD - X (Universal) Following the comeback success of 1999's Euphoria, Def Leppard seeks to reinvent the magic of their late-80's Hysteria heyday on their tenth studio album, X. Recorded in Los Angeles, Dublin and Sweden, X is the first Def Leppard album to feature multiple producers; including longtime collaborator Pete Woodroffe, and Aerosmith Just Push Play producer Marti Fredericksen. The assortment of producers and studios results in a wide range of state-of-the-art ear candy over X's baker's dozen tracks; all tied together by Def Leppard's trademark knack for pop songcraft, layered vocal harmonies and guitars. Though the album's overall flavor is decidedly modern, Def Leppard doesn't shy away from their past; and some of this will no doubt sound familiar. The album opener and leadoff single, "Now," recalls "Women;" while the muscular hard rock swagger of "Four Letter Word" sounds like the proud offspring of "Armageddon It" and "Photograph." "You're So Beautiful" updates "Animal;" and "Gravity" isn't far removed from "Pour Some Sugar On Me." But Def Leppard does explore some new territory on X, displaying an edgier modern rock sound on "Cry," and dabbling in atmospheric electronica on the ballads "Unbelievable" and "Long Long Way To Go." Some old-school Def Leppard fans may long for the band's earlier guitar and big drumbeat-driven sound, but ultimately the group's talent for crafting catchy song hooks is intact and wins the day here. While X proudly celebrates where Def Leppard has been, it also shows us a band that - like contemporaries such as Aerosmith and Bon Jovi – isn't afraid to adjust with the times and move their sound forward. Not a hall-of-fame album by Def Leppard standards, but a satisfactory listen.

DEFAULT – THE FALLOUT (TVT) Vancouver-based foursome Default has two major things going for it at the moment: First, close ties to fellow Vancouver flavor-of-the-moment rockers Nickelback; and second, a sound not far removed from two of rock's hottest bands at the moment, Creed and Staind. On their debut disc, The Fallout (the band's name prior to Default), we are introduced to Default's muscular, grunge-based hard rock sound. Singer Dallas Smith's full-throttled voice is often a dead ringer for Creed's Scott Stapp, and his backing corps of guitarist Jeremy James Hora, bassist Dave Benedict and drummer Danny Craig underscore him with that familiar muscular power-chord laden backdrop we've become accustomed to through Pearl Jam, Creed, Stone Temple Pilots and Staind. But while the sound is familiar, Default offers a more refined and restrained variety on The Fallout; the sound is passionate and emotional, but doesn’t contain the senses of danger and insecurity of early Pearl Jam or Staind. Still, Default ultimately justifies their own angle of grunge-styled rock with heart and conviction over the album's eleven tracks. Dallas Smith's powerful, passionate vocal delivery convincingly sells the album's themes of soul searching, longing, anger and hindsight. The songs themselves are sharp and direct; ranging from faster-paced assaults like the angry opener “Sick & Tired,” the turbocharged “Slow Me Down,” the rampaging “Seize The Day” and the celebration of liberation “By Your Side;” to slower and more thoughtful numbers like “Deny,” the breakthrough hit “Wasting My Time,” the reflective “One Late Night,” the regretful “Live a Lie” and the reassuring “Let You Down.” Former Pearl Jam/Alice In Chains producer Rick Parasher gives Default a thick, sturdy, guitar-fueled sound with few variances in texture or intensity. While perhaps not as adventurous or angst-ridden as their contemporaries, Default displays heart and purpose on The Fallout, a consistent debut that offers the grunge aesthetic without all the emotional baggage. Worth checking out.
TESLA – REPLUGGED LIVE (Sanctuary) Tesla made their mark on the music world during the latter stages of the so-called 80's "hair-band" movement. Through the late 1980's and early 90's, the group produced four consecutive platinum albums, two gold albums, and two Top 10 hit singles with "Love Song" and their live acoustic remake of Five Man Electrical Band's "Signs." The band members decided to step away from Tesla in 1996, and the group disbanded while members pursued other projects. Tesla reconvened in October of 2000, and last year took their Re-Plugged Reunion Tour across the country. That tour resulted in RePlugged Live, a two-disc compilation of musical highlights from throughout the tour. Fans of Tesla will find plenty to celebrate here. First, the group made the set fan-friendly, including all the essential Tesla favorites here – from "Signs" and "Love Song" to numerous popular album tracks like "EZ Come EZ Go," "Gettin' Better," "The Way It Is," "Call It What You Want," "Heaven's Trail (No Way Out)," "Little Suzi," "Modern Day Cowboy" and more. Second, Tesla's performances of these songs are very tight and on the mark. The playing is precise, and with the exception of the occasional Frank Hannon or Tommy Skeoch extended guitar display, most of these songs are nearly identical to the original studio versions. Singer Jeff Keith's voice likewise is very on target, and his between-song banter is kept to a minimum. And ultimately, while Tesla surfaced during the peak of the "hair-band" movement, their music was more blues-based and less trendy than the hair-band norm; as a result, it weathered the test of time better. These songs don't sound dated compared with much of the other music of that period. Roger Sommers' mixing and production are very clean and tight, with all elements of Tesla's presentation coming through clearly and evenly balanced. RePlugged Live is a better-than-average live album, serving both as a good refresher course for old Tesla fans, and as an impressive introductory primer to win new ones.

DICKEY BETTS BAND – LET'S GET TOGETHER (Back Alley Records) On the chorus of "Let's All Get Together" from Dickey Betts Band's latest CD, Let's Get Together, the former Allman Brothers guitarist/singer proclaims: "My heart is light as a feather/Gonna leave my troubles behind." Judging by the jubilant sound of this song and the upbeat vibe of this album, Betts has indeed left his troubles behind after his recent stormy departure from the Allman Brothers Band, and has found a new group of cats to jam with. Betts and his current bandmates – guitarist Mark May, organist Matt Zeiner, sax player Kris Jensen, bassist David Stoltz and drummer Frankie Lombardi – cut loose and mix elements of blues, funk, rock, R&B, country, gospel, jazz fusion and more into a proud, spirited workout over the album's eleven tracks. The band sets the proud vibe early with the raucous R&B instrumental opener "Rave On," followed by the uplifting "Let's All Get Together." That confident vibe continues through songs like the Matt Zeiner-penned "Immortal," "Here Comes the Blues Again" and the harder-edged closer "Sing While I'm Walkin.'" We hear two impressive ballads in the country-leaning "Tombstone Eyes" and the heart-ripping gospel-tinged blues of "Call Me Anytime;" plus western-styled swing on "I Gotta Know" and a jazzier vibe on "All For You." Fans of instrumental fireworks will celebrate the album's two ten-minute-plus workouts. "One Stop Be-Bop" finds Betts and his bandmates fusing together a number of styles into a tasty, heated jam; while "Dona Maria" is an extended salsa-flavored display highlighted by the sweet dual guitar harmonies of Betts and May. Dickey Betts sings and plays his guitar with fire and passion, sounding inspired and reinvigorated. Through the album's course, we realize Betts' immense talents on a wide variety of styles and sounds, and we come to understand more fully the scope of what he brought to the table during his career with the Allman Brothers. On Let's Get Together, Dickey Betts is not mourning his departure from the Allman Brothers. Instead, Betts sounds like he's having fun again, and celebrating a new beginning.

KITTIE – ORACLE (Artemis) It was almost too easy to dismiss London, Ontario's Kittie as a novelty when the group surfaced with their debut album, Spit, in 1999. Spit introduced four teenaged girls who spewed enough venom, anger and heavy metal carnage to make Slayer cringe. But with their sophomore effort, Oracle, we find that Kittie's anger and metallic ferocity isn't a façade, it's genuine. These ladies are serious. Now trimmed to a trio following the departure of guitarist Fallon Bowman, Kittie has honed their sound to a darker, even heavier edge on Oracle. Singer, guitarist and chief songwriter Morgan Lander snarls all-out monstrous rage on most of Oracle's eleven tracks; unleashing her fury on lyrics dealing with deceit, retribution, pain and despair. Her feral displays on the title song "Oracle," "Mouthful of Poison," "Severed," "Pain" and "Wolves" rival Pantera's Phil Anselmo for sheer brutality. But Kittie demonstrates artistry and growth amid Oracle's harsh soundscape. The group constructs a powerful melody on "In Winter," with Lander's gently sung words of encouragement contrasted against her maniacally-screamed realization that "It's a coldhearted world." Also captivating is the piano-driven dirge "Safe," which slowly escalates to a thunderous, full-rocking finale. Kittie applies a terse modern metal interpretation to Pink Floyd's "Run Like Hell," and concludes the album with the ten-minute "Pink Lemonade," effectively using a distortion- and feedback-driven grindcore backdrop to support Lander's lyrical picture of despair and depression. Rage Against The Machine/Ozzy Osbourne producer Garth Richardson effectively lets Kittie bare their musical claws and fangs on Oracle, getting maximum impact from Morgan Lander's guitar roar and passionate full-shred growl, sister Mercedes Lander's rapidfire drum hammering and Talena Atfield's sinister bass rumble. While the group had its doubters following the Spit release, Oracle proves that Kittie aren't pussycats, but a legitimate modern metal entity with focus and direction.

PORCUPINE TREE – IN ABSENTIA (Lava) Britain's Porcupine Tree began in 1987 as a parody side project of singer/guitarist Steven Wilson's primary art-rock band at the time, No Man. But when the music industry took Porcupine Tree seriously and wanted to hear more, the group soon became Wilson's primary interest, and since then has steadily built a cult following on both sides of the Atlantic. Porcupine Tree last year opened a number of dates on Yes' concert tour, including the October 31 concert at Penn State's Bryce Jordan Center; in support of their latest album, In Absentia. As In Absentia unfolds, we discover that while Porcupine Tree's roots tap into the 70's/80's progressive rock legacy of Yes, Pink Floyd, King Crimson and Alan Parsons Project; the group has adapted this vein of rock to coexist with modern contemporaries like Radiohead, Nine Inch Nails and Dream Theater. We hear detailed melodic plot lines that incorporate everything from eerie ambience and electronica to folksy passages to jazz-like experimentation to explosive heavy metal dynamics. As Porcupine Tree's primary songwriter, Wilson demonstrates a knack both for lavish prog-rock adventures and streamlined, more direct melodies. Among the album's most powerful moments are two 7-minute-plus epics: "Gravity Eyelids," an ethereal and sensual love ballad that escalates into a thunderous rocking climax; and "Strip the Soul," a dark expose of a serial killer that intensifies into a terse, monstrous metallic finish. The album's opening track, "Blackest Eyes," and Wilson's commentary on the current day assembly-line music business, "The Sound of Muzak," display sharp, crisp melodies reminiscent of early-80's Yes and Pink Floyd. Other album highlights include the acoustic-geared "Trains" with its layered vocal harmonies; "Prodigal" with its Floyd-like three-part harmonies; the fiery instrumental rocker "Wedding Nails;" the agitated "The Creator Has A Mastertape" and the closing piano ballad "Collapse The Light Into Earth." While Wilson's electric and acoustic guitars are the primary driving force here; Wilson is careful to maintain a delicate balance with Richard Barbieri's surging and ebbing keyboard accents. The layering between guitars, keys and vocal harmonies keeps the sound interesting atop new drummer Gavin Harrison's explosive beats and Colin Edwin's full-sounding basswork. Ultimately, Porcupine Tree proves that progressive rock can sound fresh and relevant on In Absentia. The only disappointing thing about this album is that, given the present music industry climate, you likely won't be hearing any of it on a radio near you any time soon.

RINGO STARR – RINGO RAMA (Koch Records) On his latest album, Ringo Rama, Ringo Starr introduces the rambunctious song "Trippin' On My Own Tears" by quipping, "If you can't laugh, you know, what's the problem?" That quote may summarize Ringo Rama in a nutshell; because after his storied career and the passing of two of his former Beatles bandmates, Starr shows here that he still knows how to smile. Like much of his musical output since becoming a solo artist, Ringo Rama is a reflection of Starr's good-natured, happy-go-lucky personality. Even at his most somber; on his soothing tribute to fallen Beatle bandmate George Harrison "Never Without You;" Starr never sounds too downtrodden, treating the song more as a celebration of Harrison's life and musical contributions than as a sad epitaph. The song is one of the clear-cut highlights of the album, as Starr lyrically references several Harrison song titles, and special guest Eric Clapton contributes tasty Harrison-like guitarwork. The rest of the album features a variety of styles. The album opener "Eye To Eye," "Instant Amnesia" and "I Think Therefore I Rock N Roll" are harder-edged and contemporary; with the latter two songs featuring guitarwork from Pink Floyd's David Gilmour. The rural-flavored "Write One For Me" features a duet between Starr and guest Willie Nelson. "Missouri Loves Company" and "Love First, Ask Questions Later" are pleasant Beatle-esque pop-rock; the latter veers off into a playful, waltzy midsection. And "Elizabeth Reigns" is a witty ode to the recent Queen's Jubilee in Starr's native land. Ringo Starr embraces the present on Ringo Rama; he and co-producer/guitarist Mark Hudson make effective use of modern recording technology for a crisp, cleanly-produced album. But while the album's edge is modern, Starr doesn't ignore his past, and eagerly celebrates his legendary previous band and bandmates. There are constant Beatles hints, from the prevalent Fab Four flavor of the album to cleverly incorporated lyrics and song titles from both Beatle and solo-Beatle compositions. Ultimately, it sounds like the former Beatle drummer, his bandmates and celebrity guests had a relaxing, fun time in creating this album; resulting in a bright, pleasant vibe. Ringo Rama indicates that Ringo Starr is content and at peace in the present, and proud of his past.

PROCOL HARUM – THE WELL'S ON FIRE (Eagle Records) Just when you may have written them off to rock music dinosaur extinction, Procol Harum has resurfaced with their first studio album in a dozen years, The Well's On Fire. And the pleasant surprise: this band sounds refreshed and recharged. To be fair, this is not your parents' Procol Harum; but several key players from the group's late 60's/early 70's heyday are back in the fold. Gary Brooker's voice and Matthew Fisher's organ groan again define the group's sound, and Keith Reid reprises his role as the group's lyricist. Mark Brzezicki, who came aboard after the death of drummer B.J. Wilson in 1991, provides the beat. Geoff Whitehorn carries the guitar torch once held by Robin Trower, and Matt Pegg plays bass. It doesn't take too long into the album-opening "An Old English Dream" to recognize that the classic Procol Harum sound is largely alive and well, and the group proudly embraces their classic blues-driven rock sound over the album's thirteen tracks. "A Robe of Silk" is easily reminiscent of "A Whiter Shade of Pale" and "Homburg," and two piano ballad commentaries about opulence and poverty - "This World Is Rich" and "The Emperor's New Clothes" - recall the group's classical-geared leanings. And Fisher's grandiose keyboard-driven instrumental, "Weisselklenzenacht (The Signature)" reprises Procol Harum's progressive edge. The group rocks out on the album's first single, "Shadow Boxed," their hardest rocker since "Whiskey Train;" dabbles with modern funk-rock on "So Far Behind;" and has some fun on the humorous piano rocker "Every Dog Will Have His Day." Reid's lyrics aren't quite as abstract as before, but are more reality- and current event-driven, clever and meaningful. The bluesy and soulful "The Blink Of An Eye" offers thoughts on September 11; while the piano rocker "Wall Street Blues" addresses corporate greed. These rock veterans sound proud of their legacy and happy to be making music once again. The performances here are enthusiastic; particularly Fisher’s ever-present organ edge and Brooker’s strong and clear voice, which shows very little rust or wear after all these years. The current incarnation of Procol Harum has rediscovered their spark, and The Well’s On Fire is a strong and convincing return to form. Longtime fans of the group will find plenty to celebrate here.

THE YARDBIRDS - BIRDLAND (Favored Nations) During their 1960's heyday, British blues- and garage-rock pioneers The Yardbirds provided the launching pad for the careers of guitar greats Eric Clapton, Jimmy Page and Jeff Beck. Now, it seems appropriate that a number of current guitar greats are returning the favor and helping The Yardbirds re-launch their career on their first studio album since 1968, Birdland. Founding members Chris Dreja (rhythm guitar) and Jim McCarty (drums/songwriter) have assembled a new Yardbirds roster, including lead guitarist Gypie Mayo, bassist/singer John Idan and harmonica player Alan Glen. Over the course of Birdland's fifteen tracks – seven new songs and eight updated Yardbirds classics – the group is joined by such guitar greats as Jeff "Skunk" Baxter ("The Nazz Are Blue"), Joe Satriani ("Train Kept A Rollin'"), Steve Vai ("Shapes Of Things"), Slash ("Over, Under, Sideways, Down"), Brian May ("Mr. You're A Better Man Than I"), and Steve Lukather ("Happenings Ten Years Time Ago"). Jeff Beck even returns to his old band to contribute guitarwork to "My Blind Life;" and The Goo Goo Dolls' Johnny Rzeznik sings lead voice on the updated version of "For Your Love." While each guest six-stringer stamps his guitar signature on each respective Yardbirds classic, the band's current line-up is still able to craft a sound fairly close to the original 60's model. The current lineup also keeps the faith on the seven new songs, creating blues- and garage-styled rock in a vein similar to the Yardbirds’ best-known earlier work. One of the new songs, the British Invasion-flavored "An Original Man (A Song For Keith)," is dedicated to the group’s original singer Keith Relf, who died in 1976. Produced by Ken Allardyce (Weezer, Fleetwood Mac, Green Day, Goo Goo Dolls), most of the album was engineered by Steve Vai and recorded at Vai's Hollywood-based Mothership studio. Although utilizing current state-of-the-art recording technology, the sound here is still basic and raw; consistent with the group’s early sound. While ultimately the updated Yardbirds won't make you forget about the legendary 60's incarnation; the current edition of the Yardbirds does a respectable job upholding the band's tradition on Birdland. If nothing else, this album tells the world that at least two of the original Yardbirds are still alive and flying high once again.

(VARIOUS ARTISTS) SONGS FROM THE MATERIAL WORLD: A TRIBUTE TO GEORGE HARRISON (Koch Records) When the world lost "the quiet Beatle," George Harrison, to brain cancer in late 2001, it was to be expected that a tribute album or two would surface. Songs From The Material World features a dozen Harrison compositions - from his Beatles and solo careers - interpreted by an assortment of Harrison's contemporaries and performers influenced and inspired by his work. As with most compilations of this sort, we hear a variety of flavors and interpretations; some more effective and memorable than others. Starting the album, Todd Rundgren proudly pays homage to the Harrison original with his interpretation of "While My Guitar Gently Weeps," giving the song a full, thunderous treatment and offering heated guitar fireworks at song's end. Likewise, the Kinks' Dave Davies also sticks relatively close to the original on his version of "Give Me Love (Give Me Peace On Earth)," gently applying his signature voice and guitar sound to give the song a light Kinks-like taste. Assisted by the group Torque, Who bassist John Entwistle - in one of his last recordings before his own untimely passing last year - lends a boisterous, early Who-styled flavor to "Here Comes The Sun." Another of Harrison's contemporaries, former Rolling Stones bassist Bill Wyman and his Rhythm Kings, offer a playful, soulful and funky treatment to "Taxman." And former Mountain singer Leslie West, also assisted by the band Torque, performs a robust, bluesy edition of "Old Brown Shoe." Harrison's music touched rock's current generation as well. Masters of Reality pays homage with their feisty and witty version of "Devil's Radio;" while Big Head Todd & the Monsters convincingly replicates the exotic Middle Eastern feel of "Within You, Without You." The Smithereens give "I Want To Tell You" an energetic workout, and They Might Be Giants translates "Savoy Truffle" in their own quirky off-the-wall style. Most of the interpretations of Harrison's creations work well here; former MC5 guitarist Wayne Kramer's lethargic, flat-voiced version of "It's All Too Much" is the album's only questionable performance. Part of the proceeds from Songs From The Material World benefit the Material World Charitable Foundation, established by Harrison in 1973 to sponsor diverse forms of artistic expression, life views and philosophies. Songs From the Material World allows listeners to hear George Harrison's musical contributions through the translations of other famous musicians, and offers some insight on how the quiet Beatle - and even his bandmates - influenced their contemporaries and those who followed them. And ultimately, while Harrison himself may be gone, this album shows that his music and spirit live on.

PRETENDERS – LOOSE SCREW (Artemis Records) The musical personality of the Pretenders has always reflected that of the group's ringleader, singer Chrissie Hynde; from rambunctious new wave pioneers to content mainstream hitmakers to reserved and even domesticated as Hynde became a mom. On the group's eighth studio album, Loose Screw, we hear bits of all of these phases of the Pretenders' musical ride to date, as the band seems to contemplate where they have been and where they - and Chrissie Hynde - are going. Hynde examines herself on the reggae-flavored "Complex Person," pondering her present-day mission: ""I'm a peacenik but I'm going off to war/I couldn't even tell you what I'm really fighting for." Hynde's hindsight is 20/20 as she reflects on how things could have been different on "I Should Of." Hynde's forte continues to be her portayal of the sly vixen thriving in a man's world; she is believable as the seasoned pro in the remake of The All Seeing I's "Walk Like A Panther." She sounds convincingly snide in the mop-up role of "Clean Up Woman," and resigned to the futility of an emotional tug of war on "The Losing." The Pretenders still display a fixation with reggae rhythms on "Complex Person," "You Know Who Your Friends Are" and "Nothing Breaks Like A Heart;" but also show a little of their earlier hard-rocking spark on the album-opening "Lie To Me" and "Fools Must Die." If this band still serves as the vehicle to underscore Chrissie Hynde's moods; guitarist Adam Seymour, bassist Andy Hobson and drummer Martin Chambers respond to Hynde's soul-searching with a more restless spark of their own. Loose Screw sounds like the Pretenders have arrived at a crossroads. They show that they can still comfortably do what they do best; but as Chrissie Hynde ponders her own soul, her bandmates complement her with a livelier edge than we have heard from them in recent years.

PSYCHEDELIC BREAKFAST – DEUCE (Sonance Records) Connecticut jam band foursome Psychedelic Breakfast has already compiled a nice resume in their first four years together. In 2000, four tracks from the group’s self-produced independent release were featured on the MTV series Undressed; and the group also performed a 5½-hour set at the Woodstock reunion on Yasgur’s Farm in New York. And last March, the group showcased at the prestigious South By Southwest Music Conference in Austin, Texas. On their first album with Sonance Records, Deuce, Psychedelic Breakfast demonstrates that they aren’t your average jam band. While the casual listener will likely draw quick comparisons to Phish, a thorough listen to Deuce’s nine tracks will reveal numerous other influences, spanning jazz, funk, reggae and progressive rock. On the nearly 13-minute album opener, “Tribal Funk Affliction,” the group’s rapid gearshifting between rock and jazz passages brings to mind vintage Frank Zappa and Yes. The hard-hitting “LDZ” makes no secret of Led Zeppelin as another of the band’s influences. Psychedelic Breakfast dabbles in George Clinton-styled funk on “Buquebus,” and experiments in funk/rock fusion on the playful “Beef Barley” and “What The Funk.” Psychedelic Breakfast demonstrates ample instrumental skill throughout the album, especially guitarist Tim Palmieri, who frequently steps to the forefront with dazzling and inventive soloing. Bassist Ron Spears and drummer Adrian Tramontano execute tightly-wound grooves for Palmieri to play off of, while Jordan Giangreco nicely fleshes out the sound with a variety of different keyboard flavors. Lyrically, Psychedelic Breakfast offers up mostly happy-go-lucky, dreamy and hopeful words reminiscent of the flower child 60’s, although they do work in a marijuana legalization message on the whimsical reggae-jam exercise “Phaddy Boom Baddy.” Psychedelic Breakfast’s sense of imagination and adventure, and exemplary instrumental talents, lifts this album above and beyond the jam band norm. Deuce is a colorful and adventurous listening experience.

THE GRIMM – RESURRUPTION (no label) On their self-titled 1999 debut CD, The Grimm demonstrated that they were adventurers eager to explore rock's frontiers and challenge their own instrumental and creative abilities. The Altoona/Glendale-based foursome; singer Bob Lee, bassist Kent Tonkin, guitarist Kirk "Otto" Tonkin and drummer Ron Brode; has upped the ante in a big way with their long-awaited and ambitious follow-up, Resurruption. A concept album, Resurruption takes the listener on a thrilling sonic journey into the mysterious realms of life and death. Over thirteen tracks, the album tells a story of a protagonist whose bad evening quickly turns worse, plunging him into a surreal realm of near-death experience and the supernatural. After a thought-provoking midsection, the album rebuilds to a climactic resolution that leaves both our protagonist - and us - pondering the journey and its meaning. The album's initial stages are action-packed and intense; including a vicious domestic quarrel on "NLE," gunfire on "Fade" and a harrowing ambulance ride on "Flatline Pt. I." As Resurruption explores the supernatural on "Dreamstate," "Forced Reflection," "Overtime" and "Shangri La," The Grimm experiments with varying vocal and studio effects, ambient passages and ethereal interludes. "Burning Embers" escalates the album to the climax, "Raise The Line," and the contemplative title track finale, "Resurruption." Recorded over the course of 53 consecutive weekends at Starglider Studios in Gibsonia, Resurruption is a busy, detailed and complex album that requires several listens to fully appreciate. Besides the detailed and dramatic story line, The Grimm experiments with varying arrangements and effects, and pushes their own instrumental skills to the limits; in particular Kirk Tonkin with his constantly changing guitar effects and textures. Singer Bob Lee is convincing throughout, selling the themes of soul-searching and helplessness through the varying styles of his vocal delivery. Produced by the band, Chris Seagle and Rowen Poole; the album features frequent aural twists and turns and carefully crafted realistic sound layout. Despite its complexity and nuances, the Grimm still manages to create a focused, cohesive effort, and maintain a linear, fluid story line. Several guests make cameo appearances on the album, including local television and radio personalities, and even a published expert on near-death experiences, Dr. Steven Neeley. Complementing the adventurous disc itself are the captivating CD-sleeve illustrations and depictions by Colorado-based artist Langdon Foss. Although a few of its instrumental interludes might border on tedious, Resurruption is ultimately a breathtaking, intelligent, hard-rocking adventure that will amaze and inspire. This album is The Grimm’s defining hour, and from this area’s music scene, a monumental accomplishment well worth investing in. (The album can be obtained at The Grimm’s shows or through their web site, www.thegrimm.com.)

SKELL – SKELL (no label) During the 1990's, Pittsburgh-based guitarist Mike Palone, drummer Rich Palone and bassist Michael Ekis gradually forged the heavy-rocking foundations of Skell in their previous band incarnation, Whiskey High. When frontman Chris Dittman joined the three musicians from the ranks of defunct Pittsburgh heavy hitters Defiant, the transformation was complete and Skell was born. On their self-titled debut, Skell delivers ample amounts of rigid, angry modern metal rooted in the tradition of Pantera; but sonically marks their turf with an intense streetwise edge, melodic sensibility and technical precision. The Palone brothers and Ekis provide a constant barrage of thunderous rhythms and buzzsaw riffage, atop which Dittman runs the gamut from full-voiced singing to maniacal, bestial bellowing. But what separates Skell from the vast ocean of nu-metal soundalikes is Mike Palone's technical guitar edge. Palone's creative lead riff makes "No Solution" an immediate highlight on first listen, while his crafty use of effects helps to paint the aural picture of chemical dependency gone awry on "Dope." Throughout the album, the listener can hear Palone’s guitar presence at work, whether booming out the monster chords on “Ex” or “Like A Mountain;” or adding texture to the album’s solitary ballad “Clouds.” Dittman’s impact is felt as well. He snarls with wolverine-like ferocity when confronting deceit on the album-opening "Betrayal," cutting through emotional red tape on "Necessary," and giving a cheating love interest the bum's rush on "Ex." Dittman also demonstrates range, clarity and control on the alt-metal-flavored “Slunk;” “Spare Me The Fate” and the aforementioned “Clouds.” Skell is raw and pulverizing, yet full-sounding and polished. Mike Palone’s and Robert Deaner’s production bolsters the group’s muscle and aggression, yet retains enough melody and subtlety to make the album ultimately accessible. This album convincingly serves notice of Skell’s arrival as legitimate players in the modern metal scene; and is a strong first chapter in this new phase of these four musicians’ careers. (Can be obtained at their shows or through their website, www.skellrocks.com.)

THE DRAGSTRIP SYNDICATE - THE ACTION EP (814 Records) Based in Richmond, The Dragstrip Syndicate these days has a local connection; Hollidaysburg native and former Full Time Kings frontman John Flude, who plays bass. Their latest CD, The Action EP, is a convincing demonstration of the group's brand of high-octane, funk-edged rock. Their overall sound taps the same early 70's Stones roots that inspired the Black Crowes; but Dragstrip Syndicate plays it faster and without the polish. The band goes for broke on all five songs here, executing with ample swagger and punkish reckless abandon. The swarming guitars of Erik Sugg, Jon C. Brown and Kevin Inge are boisterous, loud and proud; John Flude's bass rumbles with authority; and Matt Forrest's drumwork is busy and explosive. Brown belts a gritty, soulful voice to convey the group’s proud, blue-collar lyrics. All five songs are strong, from the fast-paced opener “Walk Tall” and “Americain” to the midtempo title track “Action,” to the funky shuffle “Bricklayer” to the coarse and bluesy statement of achievement “Long Time Waiting.” Produced by the band and Bob Rupe, the CD’s sound is brash and full. On The Action EP, The Dragstrip Syndicate demonstrates a Southern soul powered with garage-punk aggression; echoing classic rock freshened with a shot of adrenaline. Ultimately, it is an EP that packs a stinging wallop.

ROADKILL – THREE CHORDS AND THE TRUTH (no label) After 'eleven years of rot and roll' on stages throughout the region, veteran Houtzdale-based power trio Roadkill has found their niche in the rock'n'roll world. The title of their third album, Three Chords and the Truth, perfectly sums it up. The group again presents a set of boisterous, blues-based three-chord raunch rock, laced with the gospel according to singer, bassist and chief songwriter Greg Majewsky. With a vocal style situated somewhere between Jackyl's Jesse James Dupree, Black Oak Arkansas' Jim 'Dandy' Mangrum and the late Sam Kinison, the outspoken Majewsky clearly remains Roadkill's focal point as he bellows out witty observations and purges a few demons over most of the album's eight tracks. Majewsky vents on irresponsible and unreliable people on the driving midtempo opener "The Adam Stomp," devises a new midsummer holiday drinking ode on the anthemic "Fifth on the Fourth of July," and defiantly surrenders to the spell of a temptress on the rowdy "Wiccan Blues." He provides some wisdom for the ages on the subdued and thoughtful "Lost in the Woods," offering the classic observation that "...life's like my golfball drive/Sometimes it's good/Sometimes it's lost in the woods." But perhaps Majewsky's best moment on this album is his hilarious reminiscence of a childhood Christmas gone awry on "Santa Is a Big Fat Jerk." Roadkill's other two members make their marks felt as well. Besides supplying Roadkill's sturdy drumbeat, Shawn "Teach" Evans provides the straight-guy foil to Majewsky's brash comic persona on "Wiccan Blues;" and even gets to sing the title role on the whimsical rocker "Mr. Fish." And guitarist Sean McCracken demonstrates some excellent solowork throughout the album, particularly his inspired displays during "Lost in the Woods." Roadkill steps out of character for the low-key shadowy instrumental "A Little Bit of Hope;" and closes the album with "RK2K2," the latest and strongest rendition of their title song "Roadkill" yet. Engineered by Bill Filer and recorded at Audible Images in Port Matilda, Three Chords and the Truth demonstrates a clean, crisp sound; and a spontaneous, live feel. Hard-rocking and sarcastic, Roadkill tells it as it is on Three Chords and the Truth, their strongest and most focused effort yet. (The CD can be obtained at the group's shows or by visiting their web site, www.runyoudown.com.)

TOWNHALL – THE NEW SONG (no label) When five jazz majors at a Philadelphia area music school started jamming together in 2000, the group Townhall was formed. The group - multi-instrumentalists George Stanford, Nate Skiles, Tim Sonnefeld and drummer Kevin Pride from southeastern Pennsylvania, plus multi-instrumentalist Mark Smidt from Los Angeles – released an introductory live double-CD set, Live at the Point, in 2001; and have just released their first studio effort, The New Song. Listeners will find an eclectic mix of sounds over The New Song's dozen tracks, as Townhall mixes rock, reggae, jazz, funk, blues, folk, Latin and other worldbeat influences. Funk appears to be home base for the group, though, as many of the songs are underscored with a funky groove presence. The group's stylistic diversity, plus talents on a wide range on instruments, make nearly every tune on The New Song unique, yet ultimately catchy. We hear brassy-edged funk on the opener "Confusion" and "Family;" brass-tinged reggae on "Premonitions" and "Limousine;" laid-back folk and blues flavors on the title track, "Miss Saturday Night" and "Mama;" Memphis-styled R&B on the catchy "Chevy;" jazz-funk interplay on "Master of the Universe;" and a gospel/spiritual flavor on the album-closing "Tomorrow's Lullaby," featuring The Band's Garth Hudson on accordion. Lyrically, Townhall never gets too deep or philosophical, sticking to simple themes of enjoying life's little pleasures and not getting too caught up in the daily rat race. George Stanford, handling most of the lead vocal duties, varies his delivery from James Brown/Al Green-styled sassy and soulful to Paul Simon-like contemplation. With assistance from Lauryn Hill/Janet Jackson producer Ian Cross, Townhall sounds wide open and colorful, with all instruments and elements of their sound given balance and attention in the overall mix. The New Song is innovative and freewheeling, as Townhall crafts an overall sound that defies categorization and convention. The album shows us a fusion of styles that never remains in one place for too long; making for a lively, interesting listen.

EMILY’S TOYBOX – 25/7 (no label) Remember those old childhood days when the naughty schoolboys would stand around during recess and sing dirty songs on the playground, and get the other kids to snicker along? A few of those kids grew up to be musicians, and are in the Carlisle-based rock band Emily's Toybox. One of the state's most popular bands, Emily's Toybox has crafted a career around mixing naughty playground humor with driving punk-edged rock. On their latest CD, 25/7, the group further defines their niche with their sharpest set yet. 25/7 is the first album to feature the current Emily's Toybox roster, including new guitarist Todd Sensenich and bassist Leon Karpovich, who join singer/guitarist/head mischief maker Mike Wise and drummer Wade Corbin. Expanded from a trio on their previous two albums, Emily's Toybox sounds fuller and meatier on 25/7's dozen songs (including bonus track). Emily's Toybox wastes no time establishing who they are and what they do on the album-opening statement of purpose, "Just Us," as Wise raspily declares "Our jokes may be just a little off color/But we sit and laugh at ourselves/Never underestimate the power of a sick mind/We sit and laugh at ourselves." "Road Rage" mixes anger and humor in a torrid ode to slow drivers. Other Emily's Toybox highjinks include the brutally honest "Your Girlfriend Is Ugly;" "Die," taking the adage 'til death do us part' a bit too literally; and the seriously twisted Freudian references of the 50's-flavored untitled bonus track. But Emily's Toybox proves their knack for creating thoughtful lyrics and solid pop hooks too, demonstrated on the midtempo and melodic "Angels Falling," the upbeat ska-beat "Acappella" and the simple and catchy "Uva and Iva." Recorded, mixed and mastered by the Badlees' Bret Alexander and Paul Smith at Saturation Acres in Danville, 25/7 retains Emily's Toybox's trademark edge, but brandishes more creative effects and polish to bolster the overall sound. Profane and insane, yet musically solid and on target, 25/7 is an album likely to offend your parents, but sure to rock your socks off and ultimately leave you with a naughty smile on your mug.

CHOKING FAITH – CHOKING FAITH (3-song EP, no label) It took two years for the right components to come together. But once they did, Altoona/Johnstown-based fivesome Choking Faith stormed onto area stages late last year, marking their arrival with a fierce and torrid heavy metal roar. The group's just-released EP sampler packs a lethal wallop over its three tracks; introducing listeners to Choking Faith's coarse, monstrously heavy metal style and their candid, brutal lyrical vision. At the group's front and center, Jason Mittan delivers all-out, feral vocal intensity; demonstrating unbridled power and aggression, yet mixing in a degree of clarity and range. Guitarists Dan Miller and Punkin'head execute brash, hostile riffage; mixed with frequent bursts of tenacious, razor-sharp soloing. Tim Sidor's throbbing bass and John Reigle's explosive drumming anchor Choking Faith's powerful, forceful sound. All three songs don't mince words, and reflect the band's intense, no-holds-barred outlook. The rapidfire opener, "Freedom In A Body Bag," is menacing and violent, a musical statement of purpose and brutality. The middle song, "Overdosed," offers a harsh look at cocaine addiction and its ultimate price tag. And the closer, "Porno Tongue," explores sexual aggression and the boundary between sin and salvation. Proudly carrying the torch of genre forefathers like Pantera and Slayer, Choking Faith serves notice of their arrival with this sampler, setting the stage for their first full-length album, due in the fall. Fans of volatile, explosive heavy metal will savor what Choking Faith has to offer here.

FLORD - FLORD (no label) Soul-searching and explorations of anger and pain are prevalent themes on the self-titled debut CD from Altoona-based modern metal foursome Flord. Atop a powerful, punishing backdrop generated by veteran area bassist Tom Yannitelli, Terminal Zero alumni Phil Keith on guitar and Rick Fisher on drums; singer and lyricist Butch Woodward purges a number of emotional demons over the album's dozen tracks. Demonstrating a vocal snarl situated somewhere between Pantera's Phil Anselmo and Everlast, Woodward grapples with some deep issues here. On the contemplative "Four Walls," Woodward gets inside the mind of an imprisoned murderer and tries to resolve whether the revenge killing was worth the consequences, while “My Pain” laments friends’ lives squandered from an ill-fated game of Russian roulette. Other songs here are angrier and more confrontational, addressing less-than-ideal soulmates on the opener “I Can See What You Wanted,” “No Compromize” and “Gone Bad;” and addressing jealous putdowns on “Break Me Down.” The songs “Dedication” and “Don’t Doubt Me” defiantly triumph over naysayers and negativity, while “Choices” suggests that we look in the mirror first before pointing fingers at others. Flord’s performance here is strong. Butch Woodward convincingly conveys his emotions of anger and despair, and his lyrics are thoughtful and direct. While almost all of this album dwells in the key of D-minor, Flord offers enough tempo shifts, fast breaks and variations in intensity to keep things interesting. Recorded at Holland Sound Studios in Scranton, Flord sounds clean and balanced, enabling the rhythm section’s rumble and Keith’s caustic riffage to prevail in the mix. Rick Manwiller’s production gives Flord’s sound ample heaviness and thunder where needed, yet accents the band’s more thoughtful and contemplative moments with a more textured and cavernous sound. Fans of the darker side of Pantera, Metallica and early Black Sabbath should savor what Flord offers on this debut. Flord is a strong introductory set that establishes this local band as a group to keep an eye on.

MICHAEL O’BRIAN BAND – LIVE AT IRWIN’S (no label) If you didn't get enough Irish merriment this past St. Patrick's Day, you can bring the area's premiere Irish pub party to your living room stereo, courtesy of the double-disc live set Live At Irwin's, by Altoona's Michael O'Brian Band. Recorded in January of 2001 at Irwin's Tavern in Altoona, Live At Irwin's is a two-hour party of Irish pub music and Celtic folk favorites. Brian Anderson and Mike Zerbee blend traditional tunes and instrumentation, lively banter, frequent humor, and several pints of Guinness into an upbeat, frollicking party that will have you clapping and singing along. Nearly every song is a highlight, as the two performers encourage audience participation, often with funny results. Listen as tongues become tied and confused during the hilarious rendition of "Sara Sara;" or hear the performers and the audience race against the bottom of the beer glass on "Barley Mow." You will also hear performances of familiar favorites such as "Whiskey in the Jar," "The Unicorn," "Irish Rover" and many more; plus the lighthearted "Tribute to the Armed Forces." Anderson and Zerbee keep the mood good-natured and witty onstage, and the festive atmosphere escalates as both performers and Irwin's audience feed off each other's energy. Live at Irwin's will make the ideal soundtrack for finishing up your leftover corned beef and cabbage, and also makes a good refresher disc to help you get practiced up for next year's St. Patty's Day celebrations.

WHITEY NOLL with JOE AGOGLIA – BETWEEN THE CURTAINS AND THE CLOUDS (no label) Known to much of this state's music community as the man who started publishing Pennsylvania Musician magazine over 20 years ago, Lee "Whitey" Noll is a singer and musician whose musical career spans several decades. After seeing one being played in a Three Stooges episode, Noll picked up a ukulele five years ago, instantly fell in love with the instrument, and began writing songs with it. He eventually collaborated with his son-in-law, drummer David Greene, and Harrisburg-based instrumentalist Joe Agoglia, and recorded his debut CD, Between the Curtains and the Clouds. Noll's ever-present ukulele strumming anchors this album's laid-back brand of folk and blues-influenced sounds. Agoglia contributes guitar, bass and occasional keyboards to the mix; his guitar solo work gives the sound a Mark Knopfler-like edge. As a songwriter, Noll offers observational words and colorful stories in the tradition of Dylan and Springsteen. The prevalent theme here is the life of a simple man in a changing, increasingly more complex world. On "Questions," for example, Noll ponders a future of designer babies made-to-order; while "Help Me" asks a hectic world to pause for five minutes and solve some of its problems. The opening song "Black Coffee" suggests that life's simple pleasures can help us cope in times of uncertainty; while "Ukaboom Man" celebrates a simple man - perhaps Noll himself - playing his ukulele to forget about life's hassles for a while. Noll spins a tale of apparent Elvis impersonation gone awry on the rock-and-roller "Lucy;" and explores his own spirituality on "You Already Know That." Whitey Noll's presentation is sagely, warm and sincere throughout the album; and his ukulele - setting a lighthearted mood - never lets things get too serious. Through his stories and observations, Noll musically shares bits and pieces of his colorful life with us, and by album's end the listener is better acquainted with the man and his personality. Ultimately, Between the Curtains and the Clouds succeeds as a musical and lyrical collage which introduces the listener to Whitey Noll's world, and is a uniquely pleasant and soothing listen. (The CD can be purchased at the Q94 offices, 4000 5th Avenue in Altoona; or email rnoll@pamusician.net.)

ISAAC FREEMAN AND THE BLUEBLOODS – BEAUTIFUL STARS (Lost Highway Records) As a member of pioneer a cappella gospel singing group the Fairfield Four, Isaac Freeman has been called one of the leading bass singers in 20th century African American vocal music. With encouragement from Penn State Altoona speech communication professor Jerry Zolten, Freeman – at age 73 – leaves his legacy and preserves a piece of American cultural history on his first solo album, Beautiful Stars. In selecting material for this album, Freeman dug back to his childhood in Johns, Alabama; and chose lesser-known traditional gospel songs that he and his mother sang in their choir at Bethlehem Baptist Church. Backed by Nashville blues band The Bluebloods, Freeman’s commanding voice glows on uplifting, upbeat songs such as the album-opening “Standing on the Highway,” “Lord I Want You to Help Me,” “Jesus Is on the Mainline,” “When We Bow in the Evening at the Altar,” and “Don’t Take Everybody to Be Your Friend.” Freeman’s powerful voice and presence also provides dignity and grace on solemn numbers like “Because He Lives,” “Don’t Drive Your Children Away,” and the title song “Beautiful Stars.” Along the way, Freeman shares bits and pieces of his story, from the importance of the church in his childhood and upbringing, to his mother and her influence, to somber remembrances of his late Fairfield Four partners – the Rev. Sam McCrary, James S. Hill, Rev. Willie Richardson and Walter Settles – during “I’ve Got Heaven on My Mind.” And Freeman ends the album by reciting “The Liar,” a piece of folklore he learned as a child in Alabama. The only nontraditional tune here is “You Must Come In at the Bottom;” written especially for Freeman by Prairie Home Companion host Garrison Keillor. Another highlight of this album is the contribution of the two backing singers, Regina Brown and Ann McCrary, both daughters of Reverend Sam McCrary. Their joyous harmonies nicely enhance the celebratory spirit of the album. Country/rock and former Fairfield Four producer Kieran Kane’s production keeps the gift of Isaac Freeman’s strong and confident voice squarely in the forefront, with the support cast of musicians and backing singers enhancing Freeman’s inspirational vibe. Combined with the bright harmonies and hopeful messages, the overall mood of the album is comforting and encouraging. Isaac Freeman’s first solo venture outside the context of his a cappella career, Beautiful Stars ultimately is more than just a singer and an album. It is an artist’s legacy, an album of hope, and a set that demonstrates the influence of gospel music on the blues, R & B, and American musical history.