Jim Price
Moderator
Joined: 07 Dec 2002
Posts: 4817
Location: Altoona, PA
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 Posted: Monday Jul 10, 2006 |
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FINAL CUT CD REVIEWS & CHICANERY: MAY/JUNE 2006
Hello once again.
I actually had a few soapbox commentaries ready to launch in this edition of The Final Cut, but the passage of time and other more immediate issues rendered those commentaries obsolete, so I decided to leave them on the cutting room floor. One was about the state of local radio following some recent station format changes. I’ll comment on that at another time, perhaps. The other regarded Steelers quarterback Ben Roethlisberger and his motorcycle mishap, but by now everybody has heard enough about that.
Other than that, there hasn’t been a whole lot on my mind, except music. So with that in mind…
AND NOW…SOME NATIONAL AND LOCAL CD REVIEWS
QUEENSRYCHE – OPERATION: MINDCRIME II (Rhino Records) In the film industry, sequels are always an iffy proposition, especially sequels to established blockbusters. Sequels rarely ever happen in music, especially with an 18-year separation between the sequel and the original. In 1988, Queensryche released the original Operation: Mindcrime, a concept album that wove an Orwellian tale of media manipulation and brainwashing, assassinations, murder, biting social commentary and drama, set against a backdrop of compelling, progressive-geared heavy rock. Although their 1990 album, Empire, was their commercial zenith, Operation: Mindcrime has stood over the years as Queensryche's ultimate defining work. But the original Mindcrime left loose ends regarding the various characters and the story's outcome; and loyal Queensryche fans have hoped over the years that the group would someday bring closure to their masterpiece. Eighteen years after the original, the group has done just that with Operation: Mindcrime II. There was some artistic risk involved with Queensryche revisiting their masterpiece. After eighteen years, would the group be able to craft a viable, legitimate sequel to Mindcrime, or would they merely parrot the original work and fall short with a hollow effort? And could Queensryche adequately follow up the original Mindcrime, given that one of that album's chief architects, guitarist Chris DeGarmo, departed the group in 1997? The answers unfold over Mindcrime II's seventeen tracks. Portrayed by lead singer Geoff Tate, Mindcrime's protagonist, Nikki, is released from prison eighteen years later, and comes to grips with a different world on the socially acidic rocker "I'm American." The plot develops through a succession of strong rockers such as "One Foot In Hell," "Hostage," "The Hands," "Speed of Light" and "Signs Say No," as Nikki regains his memory and fully realizes how he had been manipulated by sinister power mogul Dr. X. Anger fuels revenge as the album progresses through the melodramatic "Re-Arrange You" to the climactic "The Chase," where Nikki finally catches up with Dr. X, portrayed by Ronnie James Dio. In the aftermath of "The Chase," the album changes tones from anger and revenge to remorse and self-doubt, as Nikki battles his own conscience and is visited/haunted by the voice of his former (now dead) lover, Sister Mary. From "Murderer" onward, Mindcrime II concentrates on Nikki's internal struggle to come to grips with his life and mistakes; culminating in the ballad "All the Promises," a duet featuring Geoff Tate and Pamela Moor (as Sister Mary). Musically, this is easily Queensryche's hardest-rocking and lavish hour since the original Operation: Mindcrime. The group maintains some consistency between the urgent sound of the original Mindcrime and this sequel, but their current sound acknowledges that eighteen years have passed between the two albums, and some of the ethereal qualities of more recent Queensryche albums can be detected here, especially on the album's latter half. There aren't quite as many sound bytes, bells and whistles here as on the original. While Queensryche acknowledges the sound of the original Mindcrime, they do not replicate it, but progress from it, and Mindcrime II ultimately sounds like a logical progression from the original. Queensryche themselves have aged 18 years since the original Mindcrime, and Geoff Tate's voice, while still displaying ample power, is more reserved and controlled. And while Chris DeGarmo's absence diminishes the overall frequency of guitar fireworks, Michael Wilton and Mike Stone still give strong performances, particularly on "If I Could Change It All." The songs are strong and hold their own, and the plot is cohesive and again compelling. Like the original Operation: Mindcrime, this is an album that grows stronger and reveals more intricacies with repeated listens. Ultimately, it works; Queensryche successfully answers its original masterpiece with Operation: Mindcrime II, a strong album on its own merits that does not desecrate or dishonor the original Mindcrime. It doesn't eclipse the original, and is not as groundbreaking or urgent; but Operation: Mindcrime II is still the strongest and most clever Queensryche album since their early 90's peak. For this fan of the original Operation: Mindcrime, this is a sequel that works.
GEORGE THOROGOOD AND THE DESTROYERS – THE HARD STUFF (Eagle Records) At this stage of the game, we should all know what to expect when George Thorogood and the Destroyers issue a new album. Hard-driving rock’n’roll and blues has been Thorogood’s forte since day one, and it’s the main platter again on his latest studio serving, The Hard Stuff. Over the album’s fifteen tracks, Thorogood and his seasoned Destroyers rip and roar through an assortment of new original songs and updates of back-of-the-rack roots classics. The new originals; including the barnstorming title track, “The Hard Stuff,” the playful boogie “I Didn’t Know” and “Any Town USA;” rock as hard as anything Thorogood has put out to date. Also impressively rowdy are Thorogood’s growling update of Howlin’ Wolf’s “Moving,” plus punchy renditions of Texas blues guitarist Mike Morgan’s “I Got My Eyes On You,” Nashville roots ace/collaborator Tom Hambridge’s “Love Doctor,” Holland K. Smith’s “Rock Party,” Hound Dog Taylor’s “Give Me Back My Wig” and the album-closing rendition of John Lee Hooker’s “Huckle Up Baby.” On past Thorogood albums, anything beyond the harder-edged blues and boogie often turned out to be forgettable filler material; not the case here. A remake of Fats Domino’s “Hello Josephine,” dedicated to the people of New Orleans, is highlighted by spirited sax work from Buddy Leach. Thorogood finally delivers on a ballad, showing convincing restraint on a tender update of Jimmy Reed’s “Little Rain Falling,” and sounds comfortable doing delta-flavored acoustic slide on Johnny Shines’ “Dynaflow Blues.” And Thorogood also offers a credible acoustic-driven update of Bob Dylan’s “Drifter’s Escape.” Produced by Jim Gaines and the Delaware Destroyers, The Hard Stuff stays basic and bare bones, allowing the sound to be gritty and uncluttered by bells and whistles. George Thorogood and the Destroyers know their turf and are having fun with it; and sound tight, boisterous and seasoned. Thorogood gives his overall grittiest vocal display in years, yet now shows nearly equal competence when he steps outside of the box. The end result is that The Hard Stuff is George Thorogood and the Destroyer’s strongest and most complete album in years. This veteran force doesn’t reinvent the wheel, they just do what they do as convincingly as they have ever done it.
KANSAS – WORKS IN PROGRESS (Intersound Records) Kansas revisits a recent ten-year period in their illustrious career on their latest anthology set, Works In Progress. Featuring both a CD and DVD, Works In Progress compiles live and studio tracks from several Kansas releases spanning 1992 to 2002, including established canons from the group's popular peak in the late 70's as well as several newer songs. Opening the set are live performances of "Mysteries and Mayhem," "Portrait (He Knew)" and "Down the Road," recorded at the Whisky A Go-Go in Los Angeles in 1992 and originally issued on the CD/videocassette Live At The Whisky. This edition of Kansas featured singer Steve Walsh, guitarist Rich Williams, drummer Phil Ehart, bassist Billy Greer, touring keyboard player Greg Robert and the group's newly-added violinist at the time, David Ragsdale. The middle five songs, "Black Fathom 4," "Freaks of Nature," "Under the Knife," "I Can Fly" and the gentle "Peaceful and Warm," were culled from Kansas' 1995 studio album Freaks Of Nature. After original violinist Robby Steinhardt returned to the group in 1997, Kansas re-recorded a number of their classics with the London Symphony Orchestra at London's Abbey Road Studio for the 1998 album Always Never the Same. Four tracks from this recording; "The Wall," "Cheyenne Anthem," "Hold On" and "Dust In the Wind;" close out the CD portion of this set. The DVD features the video versions of some of the aforementioned concert footage; along with several songs from Kansas' June 15, 2002 concert at Atlanta's Earthlink Live!, which appeared on the subsequent DVD and double-live album Device Voice Drum. The anthology gives Kansas fans a second chance to discover the Freaks Of Nature studio material, which holds its own respectably alongside the time-tested Kansas classics represented elsewhere on the disc. And the performances with the London Symphony Orchestra work especially well, showing how smoothly Kansas' music is adapted to this setting. The symphonic fleshing out of "Cheyenne Anthem" in particular gives this Kansas epic the feeling of an Aaron Copland composition. The only notable drawback on this set, though, is singer Steve Walsh's voice, which did not weather the 90's well and shows obvious wear and tear; particularly on the live tracks. For Kansas connoisseurs, Works In Progress offers some interesting and likely overlooked curios from the group's recent past and shows that the group's creative spark has remained bright in recent years. But new fans wanting to explore Kansas would be better advised to start with the group's best-of packages or the classic Leftoverture and Point Of Know Return albums.
MARCUS MALONE – BLUE RADIO (Redline Music) In the 70’s, Detroit native Marcus Malone formed a self-named band, Marcus, was signed to United Artists Records, relocated to Los Angeles, and recorded a self-titled, heavy-rocking 1976 album. The album didn’t break sales records (although it became a worthy cut-out bin classic), and the band was dropped from the label. Malone then relocated to England, returned to his rhythm and blues roots, and has since become a prominent name on the European blues circuit. On his latest album, Blue Radio, Malone and his cast of sidemen offer a spirited blend of hard-driving blues and soul. Peppered with some spicy slide guitar from Papa George, “Runnin’” kicks off the album with an uptempo, Allmans/Skynyrd-styled flavor. “Hear My Train” injects a slight gospel flavor, followed by Malone’s robust and autobiographical blues workout “Blue Radio.” The ballad “Bended Knee” displays Malone’s exceptional talents as a soul howler, as he exhibits power and range. Then Malone and his band get lowdown and bluesy on the sleazy and titillating “Double D.” (I could see the Hurricanes or Fat Vinny having fun with this one). The album continues with the harder rocking “Let Me Love You,” the funky “Supernatural Thing” and the rowdy and boogieing “Candy.” Malone slows it down one more time with the tender ballad “Walk Away,” before sharing some wisdom on the strong “Keep On Pushin’” and the funky “Mama Said;” the latter ending with a full-out jamming reprise. The album then closes with remix versions of “Bended Knee” and “Candy.” The performances on Blue Radio are strong throughout; Marcus Malone sings his electric blues with a sturdy and robust midrange voice, using the two ballads to demonstrate his soaring higher range. His sidemen – including guitarists Stuart Dixon and Dan Smith, bassist Jonathan Bankes and organist Moz Gamble – provide a tight, muscular-sounding backline. Marcus Malone’s production gives this unit a full, balanced sound; allowing the guitars to show their teeth, as the keys, plus occasional harmonica, horns and backing singers flesh and fill things out. Blue Radio is an uplifting, punchy and powerful set of rock-driven blues, from an artist that clearly deserves more attention on his native side of the Atlantic. This album is definitely a quality find, and an album that fans of the blues should seriously seek out and explore. (The album can be purchased here in the U.S. through www.dwmmusic.com.)
GREG JOSEPH – AMERICAN DIARY (Sonic Dog Music) The Clarks’ bass player, Greg Joseph, established his songwriting credibility long ago as one of the group’s principal songsmiths and lyricists. On his first solo album, American Diary, Joseph sets out to reveal some more of his own individual musical personality. Singing and playing guitars, bass and other instruments, Joseph dabbles in a number of styles apart from the mother band over American Diary’s eleven tracks; incorporating hip-hop flavors on “Tropical Depression” and “Fool’s Paradise,” a folk/blues-based style on the album opener “Mississippi Mud,” a country twang on “Danceland,” and acoustic folk-based sounds on several numbers. Only one song, the uptempo “The Morning After,” bares any strong resemblance to The Clarks. Joseph’s lyrical skills come to the forefront throughout the album, as he relates real world-based stories and reflections. He muses about the passage of time and mortality on “Two Suits” and “Down the Aisle;” realizes that change is constant on the psychedelic-flavored “Porsches, Jesus and Jeans,” and ponders a school-shooting suspect’s inspiration and provocation on “The List.” Joseph also examines themes of battling adversity, from first- and second-person viewpoints on “Liquid World,” and a third-person study on the folksy “Simon’s Window.” Joseph sings his relatable words with calmness and clarity, injecting occasional touches of melancholy and wit. His steady voice and sturdy presentation maintain a consistency throughout the album. Several guests help bolster and flesh out Joseph’s creations here, including his Clarks bandmate Robert James on guitars, Randy Bauman and Jordan Mroziak on piano, and drummers Ryan Hertweck, Dave Throckmorton and Sean McDonald (who also produced, mixed and engineered the album). Ultimately, American Diary accomplishes what Greg Joseph set out to do; revealing emotions and aspects of his musical personality apart from his work with The Clarks. The album further showcases Joseph’s songwriting talents, and through repeat listens exposes nuances of this performer’s gift of songcraft. Clarks fans will gain a new appreciation of what Joseph brings to the band after listening to American Diary; and listeners outside of the group’s fan base should find this album a convincing listen as well. (The album can be obtained at various CD stores or through the website www.gregjosephmusic.com.)
BLUE NUMBER NINE – LIVING IT UP IN THE NEW WORLD (Check Other Records) Jersey City, New Jersey’s Blue Number Nine has been around for a full decade, forging their eclectic brand of jazzy, funky, upbeat, groove-infused music. Their latest album, Living It Up In The New World, offers a tasty cross-sectional representation of what all this band encompasses over its dozen tracks. Front and center throughout the album is lead singer, flute player and songwriter Stefanie Seskin, whose bright, expressive performance convincingly sells her thoughtful, observational and easy-to-digest lyrics. Complementing Stefanie is a stellar cast of musical talent; guitarist Luca Tozzi, bassist Marco Accattatis, and Jack M. Gourdine II on drums; also a corps of backing singers including Morgan Rose Fite and Amy Leeds, plus a horn section on several tracks. The tunes here offer a variety of flavors and moods, with something for nearly everyone. Listeners with the jones to cut the rug should enjoy the driving “Love the Beat” and the Latin-tinged “Dance Dance Dance” with its Miami Sound Machine flavor. Fans of instrumental fireworks and fusion will likely savor “Dig My Hands” (about gardening), “Castles” and the closing agitated 8-minute jam session workout “I’m In Debt.” For lighter and jazzier tones, there is “When I Wake Up,” and “Gimme More Time” offers a driving R&B flavor. Also present is Stefanie’s 9/11-inspired commentary “Never Felt That Way,” and her lighthearted account of a road-rage incident, “Turnpikes & Parkways.” All twelve tunes offer tasty and catchy melodies, smoothly executed with Stefanie’s spirited vocals and the group’s continually dazzling instrumental performances. Produced and engineered by Stefanie with Marco at Concussion Studios in Jersey City, Living It Up in The New World displays nice balance between the various components of Blue Number Nine’s sound; and the arrangements are varied and diverse enough to keep things interesting throughout. The bottom line – Living It Up In The New World offers ear candy with chops, and is a pleasant, captivating, fun listen. Blue Number Nine is clearly living it up here, and the listener is welcomed inside to enjoy the party. (The CD can be obtained through Blue Number Nine’s website, www.bluenumbernine.com. The group will perform at downtown Altoona’s Curtin Mall on Friday evening, July 28 at 7 PM, as part of the Blair County Arts Foundation’s “Summer Sounds of Jazz” free concert series.)
ICARUS WITCH – CAPTURE THE MAGIC (Magick Records) Pittsburgh's Icarus Witch first started drawing attention in heavy metal circles when they placed contributions on CD tributes to Black Sabbath and Alice Cooper. Interest grew when their debut EP, Roses On White Lace, was released early last year. Although the group went through several drummers along the way, they issued their first full-length album late last year, called Capture The Magic. On the album, Icarus Witch defines their turf as rooted in the classic metal traditions of Black Sabbath, Iron Maiden, Dio and Judas Priest. The group crafts sturdy, clever, efficient melodies, and executes them with sharp, full-bodied musicianship and strong vocals and harmonies. The vocals are courtesy of Matthew Bizilia, who sings with ample power, range, grit and personality. He sings with a clarity and cadence, and sells his lyrical themes of dark fantasy, mythology, adventure and tales of the supernatural with convincing emotion and passion. Guitarist Steve Pollick delivers commanding riffs that drive the album’s tunes, plus classical-inspired, captivating lead solo work. Bassist Jason “Sin” Myers and drummer John Passarelli (who has since left the group) anchor the sound with weighty, sharp rhythms. While the album’s nine songs maintain a tight, classic metal consistency, each tune is different and stands well on its own. The rampaging opener “Storming the Castle” sets the tone for the album, while “Soothsayer” is a more groove-oriented assault. Tapping an Iron Maiden “Rime of the Ancient Mariner” approach is “The Ghost of Xavior Holmes,” a far shorter seafaring ode featuring a guest appearance from former Fates Warning guitarist Frank X. Aresti. The title track “Capture the Magic,” “Forevermore,” “Darklands” and “Nemeton Forest” keep things interesting as Icarus Witch gearshifts between chords, keys and tempos. Capping the album is the group’s impressive update of Ozzy Osbourne’s “S.A.T.O.,” featuring a famous guest, Dokken and Lynch Mob guitarist George Lynch. Produced by Eric Klinger, Capture The Magic delivers ample classic metal power and crunch, blended with enough texture, melodic detail and variation to keep it interesting. The overall presentation nicely balances raw power, melodic hooks and edge to produce a captivating, appealing sound. Icarus Witch respects their vintage heavy metal influences on Capture The Magic, and incorporates those influences to blaze a trail of their own. Fans of classic 70’s and 80’s heavy metal will find plenty to celebrate here. (The album can be purchased at the group’s shows, or by visiting the website www.icaruswitch.com.)
TED McCLOSKEY – WHO'S GONNA LISTEN ANYWAY (Voodoo Records) Ted McCloskey established himself as a musical adventurer on his first two albums; unafraid to mix styles, influences and colorful instrumentation into catchy pop songcraft. On his third album, Who's Gonna Listen Anyway, McCloskey continues to experiment; giving us another clever, catchy, and unpredictable package of sounds. Every song is again different, as the album never stays in one spot for too long. Various styles intertwine around delectable melodies, topped with McCloskey's raspy voicings of clever and observational lyrical character studies, self-explorations and vignettes. The Rolling Stones serve as a reference point for the punchy opening rocker "Jet Set Suffragette," as well as "Someone Took Away Your Microphone." A Beatles-inspired playfulness permeates the jazzy and vaudevillian ballad "Cathleen" and the dreamy "The Sun Behind the Wall," the latter showcasing a beautiful flute solo by guest Adrienne "Aeb" Byrne of The Nightcrawlers. Other flavors include the folk-rock of "Also Unknown As;" the country-tinged pop of McCloskey's tender duet with guest Dawn Kinnard, "A Little Mystery;" the delta blues-informed funk-rock of "The Church with the Neon Lights;" and the modern-edged pop of "The Great Inbetween." While the prevailing vibe of the album is upbeat, it ends on a more serious tone with the somber, stunningly poignant gospel/delta blues ode to New Orleans and the aftermath of Hurricane Katrina; "Enough to Make the Angels Weep." McCloskey's production is busy, as his use of various guitar and key textures, loops, layered backing vocals and other nuances paints bright colors and tones into the songs and prevents them from being routine or plain. After hearing Ted McCloskey breaking more new ground on Who's Gonna Listen Anyway, here's hoping that more people do listen, as this artist again proves himself to be an adventurer whose creations are well worth hearing. (The album can be obtained through Ted McCloskey's website, www.tedmccloskey.com.)
DARCIE MINER – THE FRAGILE E.P. (Indminer Records) At the age of 22, Hershey-based singer, songwriter and guitarist Darcie Miner has already experienced a rollercoaster ride in the music business. She was signed to a major record label, Beyond/Universal, which folded before she ever completed her first full album. She has toured with Edwin McCain and has opened for names such as Patty Griffin, Richard Thompson, Jeffrey Gaines, Heart, Darius Rucker and more. She appeared on the MTV program Advance Warning in 2003, and came up short on CBS’s Star Search in that same year. Darcie is still making music; and based on the four studio and three live tracks of her latest recording, The Fragile E.P., she is still exploring, both musically and lyrically. Right off the bat, we hear Darcie exploring on the disc-opening “Fly;” she starts the song with a gentle, Patsy Cline country-like croon, but the tune grows harder and stormier as doubt and jealousy intensify. Also in a country-driven vein is “Anything Anyone Anymore,” an upbeat song of self-realization and lessons learned. “A Lot to Lose” offers a punchier, rocking sound; while “William” is a more somber-toned acceptance of a break-up. The three live tracks, “The Beast,” “Momma” and the contemplation of Heaven “One Big Line to the Top of the Sky,” offer Darcie at her most basic and bare bones; with acoustic guitar, soaring voice and emotional presence. Darcie uses her voice to paint a wide range of ever-changing emotions throughout these songs, ranging between high-soaring intensity and delicate quiescence to shape the moods and textures of each song. On the studio tracks, Darcie’s musical hired guns color the background surrounding her voice, enhancing her impact with a full, lush backdrop. The live tracks, though, illustrate that she is fully capable of painting pictures on her own, as she crafts moods and emotions using her vocal power, frailty and grit. The Fragile E.P. shows us that after weathering ups and downs in her music career thus far, Darcie Miner remains true to her art and passion, and is an artist unafraid to stretch out and explore, both musically and emotionally. The disc gives a wider scope of what this artist is all about, and offers the most revealing view of her musical personality yet. (The CD can be obtained at her shows, or by visiting www.indminer.com or www.myspace.com/darcieminer.)
THE ILLUMINATI – LOVE AND WAR (no label) Since their formation in 2001, Harrisburg's The Illuminati have prided themselves on being musical chameleons who don't allow their sound to be pigeonholed into a singular style. On the group's first full length album, Love And War, The Illuminati's eclectic and diverse sound fully spreads its wings over a baker's dozen tracks. Listeners will hear the group tap into influences from Pink Floyd-like psychedelia and Woodstock-era protest rock to Motown soul, 70's funk, modern rock flavors and more; weaving them all together in the context of their own identifiable signature sound. The group's two primary singers and songsmiths, multi-instrumentalist Stephen Musti and keyboardist/guitarist Mark Higgins, convey a variety of vocal stylings throughout the album, ranging from soulful to angry and dreamy to serious, with diverse vocal mood swings sometimes occurring in the same song. Both musicians, along with guitarist/keyboardist/bassist Aaron Hoke, bassist Matthew Boyer and drummer Dana DeLong, flesh out the sound with an ever-changing backdrop, mixing electric and acoustic guitar textures, varying key flavors, layering and effects to keep things interesting. Love And War comes at the listener from all directions, from trippy-hippy romps like the opener "Holiday" and the split-personality "Final Fight" to sterner, harder-edged numbers like "Word," "Picture" and "Forge." The Illuminati offer funkier fare with "Crazy," the socio-political "Lie, Lie, Lie" (with cameo appearances from radio talk show host Michael Savage and the President) and the Motown-ish "I'm Movin' On." Also present here is a contemplation about apathy on "Snooze Bar," and a Woodstock-like folk protest song in the album-closer "Universal Soldier." The Illuminati lays it on a little thick with the effects and psychedelia on "Living Proof (For Shame)," dulling the full impact of the song's socially conscious lyrics. But more often than not, The Illuminati's musical adventurism works on Love And War, and the result is an album that stays busy and never dwells in one place for too long. The Illuminati cast aside the rulebook here, and the listener will be in for an unpredictable, mind-warping joyride. (The album can be obtained by visiting the group's website, www.theilluminatiband.com.
LASTLY, A TRIBUTE...
REMEMBERING DALE
In any endeavor in which you perform, entertain or appear in the public eye, it can be said that you don't choose your fans; they choose you. Those fans can be of any age, shape, size, gender, social background, religious background and more. Some fans you take a liking to instantly, others can be a nuisance. Some can be a little bit of both.
At my workplace, Q94, over the years, we have built a solid base of hardcore, dedicated fans, especially surrounding our annual Harley-Davidson giveaway. We interact with some of these people so much that they are almost like family, or at least a part of the Q94 extended family. We've gotten to know a few of these people quite well over the years, and have seen their ups and downs.
One person who developed into a devout Q94 fan over the years was Dale. Dale showed up at many of our remotes, and we got to know Dale pretty well over the years; especially our morning guy, Adam Erickson.
A little bit about Dale. Dale wasn't a model citizen. He had his demons, especially alcohol. He had several run-ins with the law over the years, mostly drunken driving offenses and stupid stuff, nothing heinous or horrible. Dale would sometimes show up at Q94 remotes drunk or unkempt, and he could often be a nuisance, mooching for whatever freebies we would be giving away, whether he actually wanted them or not. Dale could also be led astray at times, and sometimes wandered into situations where he was in the wrong place at the wrong time.
But Dale had a good side as well. Despite his demons, Dale was always good-natured, and could laugh at himself and whatever curve balls life threw at him. Dale wasn't afraid to do work, and did a thorough job whenever his services were needed. He would sometimes help us load gear when he showed up at remotes. In recent months, Dale did some housecleaning work at the Q94 studios; a case of Budweiser was Dale's preferred mode of reimbursement. He had a good heart, and was a laid-back individual who wouldn’t intentionally ever harm anybody.
Over the years, we developed a relationship with Dale. We accepted him as a part of our listener "family," both his good and bad sides. He regularly attended our remotes, and regularly won prizes from our various call-in contests, particularly the ones where beer was the prize. Dale developed a closer friendship with Adam over the years, and even appeared on Adam's show (as the character "Ed the Idiot") and did some yard work for Adam from time to time. We even jokingly referred to Dale as Adam’s “surrogate drunken brother.” We also came to invite Dale to our annual informal air staff Christmas party the past few years, sharing pizza and beer with him. He had become a part of our world.
This past spring, we learned that Dale had been hired to be a part-time beer vendor at Blair County Ballpark during Altoona Curve home baseball games. Given Dale's beer fetish, this became a bit of a running joke for us at the station; we likened his being hired to sell beer akin to hiring a fox to guard the henhouse. I even put up a sheet on the studio door, soliciting predictions from my airstaff co-workers on how long Dale would last at this job before he quit or got fired. Adam informed Dale of the sheet, and Dale adamantly and good-naturedly argued with us that he would indeed last the entire summer at Blair County Ballpark.
Sadly, we will never find out.
Arriving at the station on Tuesday afternoon following the long Memorial Day holiday weekend, I entered the door, and Adam instantly asked me, "Did you hear about Dale?"
Quickly assuming it was job-related, I responded, "What happened, was he fired from the Ballpark?"
Adam responded, "No, he was murdered!"
I was speechless. The news had broken earlier in the day that Dale's body and truck were found on a remote private road and property in rural Huntingdon County. Dale had been slain and buried in a shallow grave by a man who earlier killed a 74-year-old Ebensburg grandmother after kidnapping her from her house. The alleged murderer was captured a short distance from Dale's murder site, and reportedly confessed to both murders.
Adam went on to tell me that Dale had actually done some yard work for him this weekend; apparently just hours before the alleged assailant phoned Dale and arranged for Dale to meet him in Huntingdon County. (The two were apparently acquaintances.) Dale proceeded to drive to Huntingdon County, probably never suspecting what awaited him when he arrived.
Dale Zunich was 38.
I won't proclaim that I was a close friend of Dale's, but over the years, I grew to appreciate him and what he brought into this world. As I said earlier, he wasn't the model citizen. Like all of us, he had his faults. But he also had a unique personality and sense of humor, and anybody who met Dale wouldn't likely forget him. He was one of those people whose presence was easy to take for granted and not think a whole lot about – until he was gone. In his own way, Dale brought some color and personality into the world. He was an individual, and there was nobody else like him.
For all his problems in life, Dale certainly didn't deserve the hand that fate dealt him this Memorial Day weekend. The police and news reports will likely reveal more of what exactly transpired leading to Dale's demise.
I'm saddened and shocked. And the news of Dale's murder drives home the lesson – never take anybody or anything in this life for granted. You just never know what lies beyond the bend in life.
Rest in peace, Dale. And thanks for being you.
A picture of Dale and Adam, taken at last year's Q94 Harley-Davidson giveaway at Lakemont Park in Altoona.
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