Jim Price
Moderator
Joined: 07 Dec 2002
Posts: 4817
Location: Altoona, PA
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 Posted: Friday May 11, 2007 |
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FINAL CUT CD REVIEWS & CHICANERY: NOVEMBER 2006 – APRIL 2007
Yes, finally, a new edition of The Final Cut! I had wanted to put out an edition in January, but got caught up in other things and wasn’t able to include the finishing touches that I wanted to. So instead, I held off and accumulated a few more CD reviews, and even some commentaries, before unleashing this build-up of JP wisdom upon you. Enjoy, and I’ll try to have a new edition in another six weeks or so…
FIRST…SOME SOAPBOXING
SOME NAPPY-HEADED THOUGHTS
As a radio guy myself, I obviously was paying attention to the recent uproar over noted shock jock Don Imus’ remarks about the Rutgers women’s basketball team; remarks that eventually got him fired from CBS and his television show cancelled.
For the record, I’ve never really been a fan of “shock radio” per se. I acknowledge that guys like Howard Stern and Don Imus made their mint from being shock jocks, and I give credit to them for being two of very few to have ever become millionaires as talents in the radio business. Admittedly, my ability to hear “shock radio” is limited living in Altoona, where we don’t have much access to it other than through the Internet or satellite radio. But while I’ve heard some “shock radio” that was done well (some of Bob & Tom’s stuff, and “Monsters of the Midday” down South), a lot of it just seems to dive into the gutter for content and humor. And for me at least, crude humor and sex jokes get old pretty quickly; and once you get past the “shock” value of the material, there doesn’t seem to be much substance behind a lot of it. Anybody can draw a quick laugh by referencing male or female body parts, telling crude jokes or swearing (and censoring it) on the air, but if there isn’t an intelligent or cleverly thought-out concept behind that shock, it loses interest from me rather quickly. And while there might be a few good “shock jocks” out there, I’ve heard more than my fair share of imitators and copycats who try to shock for shock’s sake but just end up sounding like jackasses. Bottom line, “shock radio” has never been my style; if it floats your boat, that’s cool…it just isn’t my thing.
Having said that, I thought that Don Imus got a raw deal out of the whole recent “nappy-headed” ordeal. Imus has been pushing the envelope with these kinds of references for years; what made his comments about the Rutgers women’s basketball team any different? It’s not like he was ever the first to make that derogatory reference towards women on the air in a humorous context. The whole situation wreaks of sensationalism; a minor issue that snowballed out of proportion when opportunists like the Reverends Al Sharpton and Jesse Jackson saw the chance to use it to propel their names into the national headlines again.
Should Imus have said what he said? Probably not. But anyone familiar with his show knows that he is capable of such remarks, and should not have been shocked to hear those words from him. Were the members of the Rutgers women’s basketball team born yesterday or living under rocks? And as athletes who face adversity on the basketball court regularly, are these ladies so thin-skinned that they could be so “offended” by a shock jock’s comments? And after the hype and national attention given this whole fiasco, I can only imagine the abuse and “nappy-headed” references these ladies (at least the underclassmen who didn’t graduate yet) will have to hear when they visit opponent’s basketball courts and arenas next season. Congratulations for putting a bulls-eye squarely on your backs, ladies!
And as somebody else on Rockpage pointed out, the ladies on the Rutgers basketball team aren’t victims. Were they insulted? Yes. Were they disrespected? Yes. Are they real victims and should we all be feeling sorry for them? No. Every hear the old childhood saying about “sticks and stones?” This situation was just a high-profile example of how thin-skinned our country has become. Again, how are these ladies going to respond next season when they get taunted by fans in the bleachers on opposing basketball teams’ home floors? If the women on the Rutgers team were victims, they were victims of being exploited by the media, and having their accomplishments as a basketball team overshadowed by the furor over a radio announcer’s joke reference that was taken way too seriously. The families, friends and classmates of the slain souls at Virginia Tech last month are real victims. The Rutgers’ women’s basketball team, not so much.
And although I’m not a fan of Imus and his brand of “shock radio,” I am rooting for him in his lawsuit against his former employers, CBS. At least on the surface, it does appear that CBS violated the terms of Imus’ contract by terminating him on a first offense. And their lack of decisiveness on the whole situation until sponsors jumped ship exposed CBS as being more concerned about the almighty dollar and profit bottom line than quality and decency on the airwaves.
And in the long term, this whole fiasco could have a similar impact on radio and the media that Janet Jackson’s “wardrobe malfunction” during the Super Bowl a couple of years ago had. At least some radio stations and networks likely will be scrutinizing their “shock jocks” more closely to make sure they don’t cross the line, in fear of triggering similar outrage and controversy. The Imus incident could well be a catalyst for cleaning up the airwaves and pulling some radio broadcasts out of the gutter.
JERICHO REVISITED…
As you may recall, in the last edition of The Final Cut I was ranting and raving about a new network television show I actually found worth watching, CBS’ Jericho. The show examines life in a small rural Kansas town, Jericho, in the aftermath of a nuclear attack on America.
Well, the first season of Jericho is in the books, and I am still as excited about this show now as I was back in fall. Jericho is action-packed, exciting and often intense, and one of those programs that kept me on the edge of my seat during nearly every episode. But perhaps most importantly – unlike a lot of action/adventure television escapism out there – this show made me THINK. I often found myself pondering each episode afterward, thinking about various scenarios played out on the program, and asking myself just what would happen if America endured a nuclear attack.
Of course, the nuclear attack happened on the first episode, with the unforgettable image of the young child standing on a rooftop and watching a nuclear mushroom cloud – Denver getting vaporized – appear on the horizon. > that moment onward, life changes in Jericho, as the residents and civic leaders deal with issues that develop in the aftermath of the blasts.
Many, many angles were explored during the show’s first season, and lots of interesting questions and scenarios were raised. It wasn’t until the second half of the season that we finally learned the source of the nuclear attacks, domestic terrorism. As revealed by the mysterious character Hawkins (Lennie James), an organized group of anarchists, militias, religious fanatics and other individuals seeking to topple the federal government got a hold of a number of Russian nuclear devices, and plotted to deploy them throughout the country to detonate in a coordinated attack. Hawkins is a member of a CIA task force who infiltrated the group to try to head off the attacks. But when the terrorists learned that the government had contacts in their organization, they moved up the timetable to carry out the attacks. Although Hawkins was able to alert the CIA about the impending attacks, only two of the attacks were prevented; New York City, where the terrorists are intercepted before setting off their nuclear devices, and Columbus, Ohio, the city Hawkins was to transport his bomb to (he instead brought it to Jericho and has it hidden in his house). This scenario raises some questions…Could such a terrorist plot be carried out from within the United States? Given the current divisions and polarization between Democrats and Republicans, and increasing dissatisfaction for the entire political machine running Washington, could there be government insiders that would plot to take down the government? (The Homeland Security official in charge of the CIA task force in Jericho is apparently working in cahoots with the terrorists.)
In the aftermath of the attacks, with communications disrupted, the Federal government shuts down, and regional governments are established with six new capitols. A detonated EMP device fries most circuit boards and electronics and disrupts communications further. In the chaos, rogue elements emerge, such as a renegade group of Ravenwood reservists who plunder towns for supplies, and later in the season, a group of phony Marines who try to do the same thing. More questions arise…Could our government hold together in the aftermath of a nuclear attack, or could fragmentation as depicted on Jericho be the result? What mechanisms would maintain (or try to maintain) civil order in the aftermath of such an attack? Would the military be in charge?
And perhaps most compelling for me was the depictions of societal collapse in the aftermath of the attacks. With each passing episode, it became more difficult for Jericho’s civic leaders to maintain law and order within the community, and to protect the community from the chaos and madness from the outside world. As supplies, food and energy sources run short with winter’s arrival, we witnessed scenes of greed and people turning on one another. Outside the town limits, the highways became a killing zone, with group of predators attacking and killing travelers and stealing their valuables (not unlike my favorite movies of all time, the Mad Max trilogy). And as neighboring communities became desperate for survival, we saw towns turn against one another, depicted by the town of New Bern laying siege to Jericho in the closing episodes of the season. How would we as a society react after a nuclear attack? Could civil order be maintained, or would it become every man for himself? The aftermath of the Hurricane Katrina tragedy showed us that as civilized as we like to think our nation is, we are not above greed and savagery in times of crisis. What if a more widespread scenario such as a nuclear attack like this occurred – what would become of our society?
This all made for compelling and thought-provoking viewing during the first season of Jericho, culminating in a nailbiter ending of the first season, with Jericho’s citizens trying to defend their town against the New Bern invaders. There are lots of interesting questions and plot twists that remain to be explored in this series, and I for one hope that CBS decides to grant Jericho a second season so some of these ideas can be examined and explored. And if CBS decides to run reruns of key episodes during the summer, I’ll definitely be tuned in so I can pick up on any details I missed the first time around. What an amazing show!
AND NOW…SOME NATIONAL AND LOCAL CD REVIEWS
KROKUS – HELLRAISER (Locomotive Records) Started over 30 years ago, Swiss rockers Krokus enjoyed their 15 minutes of fame and fortune in the midst of the 80's hair metal craze, enjoying MTV notoriety and scoring a few modest hits, the biggest being a cover of Alice Cooper's "School's Out." Krokus' mainstream popularity waned after the mid 80's, and although they have continued to put out albums with various line-ups since, they've largely been forgotten except in 80's metal circles. Their latest album, Hellraiser, is the first album since their mid-70's beginnings without guitarist Fernando Von Arb, who left the band prior to the album's recording due to complications from wrist surgery. With one-time touring guitarist Mandy Meyer rejoining the group to replace Von Arb, Krokus churns out a sound similar to what they delivered at their 80's peak; a streamlined, hard-rocking sound chock full of catchy, crunchy guitar riffs and topped by the Bon Scott-like howl of Maltese-born singer Marc Storace. As with their peak 80's output, Krokus' current sound retains some similarity to AC/DC-like raunch rock, best displayed on the title track "Hellraiser," "Too Wired to Sleep," "No Risk No Gain," "Turnin' Inside Out" and "Rocks Off!" Songs like the slower "Angel Of My Dreams, and the mid-tempo crunchers "Fight On," "Midnite Fantasy," "Justice" and "Love Will Survive" demonstrate Krokus' classic 80's metal sound. The group also delivers a pounding speedbanger on "Spirit Of The Night," and a competent power ballad in "So Long." The components that worked for Krokus in the 80's still work here; infectious song hooks brought to life with crunchy riffs and tasty leads, booming drum beats and pulsating bass; with Dennis Ward's production giving it all full thunder and power. Marc Storace's voice holds up well, still possessing range and even sounding slightly smoother than it did 20 years ago; and displaying ample personality and swagger. Although Hellraiser likely won't bring Krokus back to the popularity heights they enjoyed in the 80's, it's a respectable album with its fair share of memorable moments that connoisseurs of classic-flavored hard rock and metal should enjoy.
DONNIE IRIS AND THE CRUISERS – ELLWOOD CITY (Primary Records) Although now into his 60's, nobody will accuse Donnie Iris of resting on his laurels after hearing his first studio offering in nine years, Ellwood City, a freewheeling album that finds Iris and his longtime band The Cruisers still rocking hard and dabbling in a variety of styles and sounds. Iris again collaborates with longtime songwriting partner and keyboard player Mark Avsec, and the results are diverse and ultimately fun. Any doubts that Dominic Ierace can still rock are quickly erased by the album-opener and first single "Little Black Dress," a hard-driving, rip-roaring rocker with an infectious hook and harmony-laden choruses. Donnie and the Cruisers make it a one-two punch, following up with a fresh, tribal drumbeat-driven update of "Soul Man," featuring an escalating arrangement underscored and accented by Avsec's hearty organ groan. The album then ventures off in a variety of directions, offering several surprises along the way. "Let's Go" takes on a David Bowie-like modern pop sound, while "Just Go Tango" explores exotic frontiers, and "Rocque Fantastique" introduces Iris rapping along a funky beat. The title track, "Ellwood City," is a mellow and reminiscent tribute to Iris' western Pennsylvania hometown. "River of Love," "Love Me with the Light On," "Love Messiah" and "You Got My Body (You Don't Have My Soul)" offer feisty, hard-driving rock'n'soul. The main body of the album closes out with the dark, Procol Harum-esque "Tuesday Morning," before a bonus section featuring an extended mix version of "Just Go Tango" and the Elvis-like ballad "With This Ring" stretch the disc out to a generous 70 minutes of music. Donnie Iris' voice is still in great form, showing ample spirit, range, soul and versatility throughout the album's variety of flavors. The songwriting chemistry between Iris and Avsec (who also produced the album) still works; as the songs, arrangements and vocal harmonies are crisp, catchy and often playful. Donnie Iris and the Cruisers aren't just cruising on Ellwood City; they're stepping on the gas and delivering an enthusiastic, vibrant, fresh-sounding set.
ELTON JOHN – THE CAPTAIN & THE KID (Interscope Records) In 1975, Elton John issued his legendary album Captain Fantastic and the Brown Dirt Cowboy, a symbolic and autobiographical tribute to how he and songwriting partner Bernie Taupin rose to the top of the pop music world in the 70's. Besides celebrating their rise, that concept album also marked the pinnacle of John's and Taupin's creativity together. Over thirty years later, John "The Captain" and Taupin "The Kid" revisit and reflect on that magical period in their career on The Captain & The Kid. The tone of this album is not theatric or dramatic like the original Captain Fantastic album, but more reflective and relaxed like John's last album, Peachtree Road, with a more gentle and upbeat rock, pop and country vibe. John begins retelling the story on the developing opening track, "Postcards From Richard Nixon," recounting the pair's arrival in America in the late 60's as two naïve young men unaware of "the way things ticked in Hollywood." Slightly recalling "Philadelphia Freedom" from Captain Fantastic, the upbeat "Just Like Noah's Ark" recounts how John and Taupin learned the ropes and grew wiser about the workings of the big time music business. After musing about his fascination for the Big Apple on "Wouldn't Have You Any Other Way (NYC), John reflects on how he and Taupin's relationship became strained on "Tinderbox," and how excesses hastened his fall from dominance on the uptempo shuffle "And The House Fell Down." From this point, the album shifts gears from John and Taupin's story to some of the wisdom and lessons learned from the adventure. John recalls departed friends - most notably John Lennon - on "Blues Never Fade Away," and ponders the crossroads of his and Taupin's current careers on the philosophical and serious "The Bridge." The country-flavored "I Must Have Lost It on the Wind" reminisces past relationships and lessons learned and forgotten from each, while the bluesy "Old 67" celebrates the two songwriting partners' ability to reminisce and look back on their career together. The title track "The Captain and The Kid" then closes the album as the pair accepts the twilight of their journey, and what a memorable and interesting journey it has been. As he did on Peachtree Road, Elton John sticks with his traditional 70's brand of pop songcraft, and the songs on this album are pleasant easy to digest. John's performance is warm and heartfelt; he cherishes his career memories here without ever sounding too sugary and sentimental. With help from Matt Still, John keeps the production fairly simple and uncluttered, with his voice and piano constantly in the forefront, and his supporting cast - again including longtime collaborators Davey Johnstone on guitars and Nigel Olsson on drums - serving to complement and accent his sound. While The Captain & The Kid certainly won't rival or eclipse the original Captain Fantastic in its impact or popularity, it is a smooth and pleasant album that reveals further insight and wisdom from the most prolific period in Elton John's and Bernie Taupin's partnership. This album is a must for hardcore Elton John fans, and even casual fans should find plenty to enjoy here as well.
STYX & THE CONTEMPORARY YOUTH ORCHESTRA – ONE WITH EVERYTHING (New Door Records) Earlier this year, on May 25, Styx became the latest band to "rock the orchestra," joining forces with Cleveland's nonprofit Contemporary Youth Orchestra for a special concert at Cleveland's Blossom Music Center. Released in conjunction with a concert DVD and forthcoming PBS television special, One With Everything captures much of this special concert collaboration. Directed by Liza Grossman and comprised of a 115-piece orchestra and 56-member chorus featuring student musicians from 40 schools in northeastern Ohio, the Contemporary Youth Orchestra embraces and fleshes out Styx classics and select other material through most of the album's course. The performance and album largely succeed because Styx's brand of pomp rock lends itself easily to orchestral expansion; thus the orchestra helps Styx give canons such as "Blue Collar Man (Long Nights)," "Fooling Yourself (The Angry Young Man)," "Too Much Time On My Hands," "Crystal Ball," "Miss America" and "Renegade" a deeper, more majestic scope. Along the way, Styx and the orchestra also join forces on the group's hit rendition of the Beatles' "I Am the Walrus," a version of Willie Dixon's "It Don't Make Sense (You Don't Make Peace)," and a new song, "Everything, All the Time." Perhaps designed to serve as a sort of intermission between halves of concert footage, Styx includes one new studio track in the midst of the album, the escalating and ethereal "Just Be." The live concert sound is big and vast, with the orchestra filling in around the band's arrangements; the atmosphere is jubilant and charged, as rock band, orchestra and audience elevate each other and take the evening's energy higher as the album progresses. The combination of Styx rocking the orchestra and the Contemporary Youth Orchestra orchestrating Styx's music makes for an intriguing and satisfying listen. One With Everything captures the magic of a special evening, and offers some of Styx's most popular works performed in a different light.
NABIL KHEMIR – PARFUM D’ORIENT ET D’OCCIDENT (no label) Nabil Khemir’s musical journey is an interesting one. Born in Korba, Tunisia in 1966, Nabil grew up in Tunis, listening to Egyptian music and soon teaching himself to play the lute. As he entered his teen years, he was exposed to western jazz, and took a liking to such names as George Benson, John McLaughlin, Pat Metheny and others. In the process, he discovered and began playing the guitar, which became his second instrumental love. After several years of musical research, Nabil developed a special instrument; the “Rayjam,” a double-necked instrument containing both a lute and guitar; and had it manufactured in the Netherlands. His Rayjam has since served as his vehicle to unify and further explore his two musical worlds. On his latest all-instrumental album, Parfum D’Orient Et D’Occident (roughly translated, “fragrance of the east and the west”), we hear Nabil fuse Mediterranean musical styles with western jazz, with interesting and tasteful results. The rewards are plenty over the album’s six tracks, as we hear Nabil demonstrate frequent virtuosity on his Rayjam, darting between the upper lute half and lower guitar half. And we also get treated to musical adventure, as Nabil’s two musical worlds interweave into one, and Middle Eastern and Mediterranean musical flavors merge with varying jazz, funk and blues passages; often with tricky and complex rhythms, odd time signatures, and unexpected twists and turns. Fans of virtuosity and music that boldly ventures forth into uncharted territory will find Nabil Khemir’s Parfum D’Orient et D’Occident and intriguing and rewarding journey. (To obtain, visit Nabil Khemir’s website, www.nabilkhemir.com.)
LIL’ ED & THE BLUES IMPERIALS – RATTLESHAKE (Alligator Records) From Chicago, Lil’ Ed Williams and his band, The Blues Imperials, have been making music and playing stages around the world for over 25 years. Their sixth studio album, Rattleshake, offers a raucous, hard-driving display of Chicago blues over its baker’s dozen tracks. Ever-present and up front are Williams’ spirited vocals and electrifying guitar displays, including heaping doses of fiery slide guitar work. His sidemen; including his half-brother James “Pookie” Young on bass, Mike Garrett on rhythm guitar and Kelly Littleton on drums; provide a busy, lively and forceful backdrop. The group delivers rowdy, uptempo exercises such as the opening rendition of Dozier and Holland’s “Leaving Here,” “Golden Rule,” the lighthearted “Icicles In My Meatloaf” and “That’s the Truth;” hard-driving shuffles like “Tired of Crying,” “Broken Promises,” “Maybe Another Time” and “It’s a Beautiful World;” deep, slow and soulful numbers like “You Just Weren’t There,” Billy Joe Shaver’s “Tramp on Your Street” (nicely underscored by guest Johnny Iguana’s tender organ groan) and “Nobody’s Fault But My Own;” and even a country-tinged number, “You Know You’re Wrong.” The performances here are continually spirited and vibrant, as Lil’ Ed & the Imperials capture their live energy and chemistry in the studio setting. Produced by the band and Bruce Iglauer, Rattleshake sounds clear and sharp, with the band’s tight and edgy performances in the forefront with minimal polish added. The result is an all-out blues party; Rattleshake is an upbeat, good time set sure to get toes tapping and faces smiling.
THE MARAUDERS – THE MARAUDERS (no label) Over the past five years, The Marauders have been blazing a trail on stages throughout Pennsylvania and beyond with their gritty brand of punk-fueled 50’s-styled rockabilly. Eventually, through a mutual friend, they came to the attention of a famous rockabilly revivalist himself, Brian Setzer. Setzer liked the band’s bare-bones approach and blue-collar ethic, enough so that he wrote a song for the group (and is currently taking them out on tour with his orchestra). That song, “We Are The Marauders,” is the rowdy centerpiece of The Marauders’ self-titled third album, an eleven-song set that continues and expands upon the group’s fiery roots rock sound. Performance-wise, The Marauders step it up another notch here; with Abe Weber’s drumming more raucous and reckless, Chris Lawson’s upright bass thumps rampaging more, and Ben Dumm’s guitar and lead vocal howl sounding nastier. Lyrically, you won’t hear syrupy odes to malt shops and poodle skirts here; The Marauders are more at home in the world of greasers, leather jackets, tattoos, cigarettes, switchblades and bar fights. The group again reveres the blue-collar lifestyle on their boisterous update of “New Tattoo,” forecast a ‘brawl in the barroom’ on “Rumble On The Rocks,” and chase skirts on “Hell On High Heels.” “Johnny Don’t Like It (When You Call Him Elvis)” pays homage to a movie role by the late Joe Strummer of The Clash, while “Lookin’ Forward to Leavin’ You Behind” dropkicks a nasty habit. While straight-ahead early-styled rock’n’roll is the primary flavor, The Marauders toy with slight swing and jazz textures on “Rumble On The Rocks” and “Nothing to Prove,” and incorporate a Bo Diddley beat into the album closer “Rhythm Fix.” Recorded, mixed and mastered by Larry Luther at Mr. Small’s Funhouse in Pittsburgh and produced by the band and Luther, The Marauders sounds lean, hungry and vibrant, with a slight touch of reverb giving the mix that authentic 50’s hiccup finish. The Marauders finds this group stepping up the spit and swagger, and again successfully infusing roots-flavored rock and roll with the type of rebellious, youthful bite those guys in 50’s-era Memphis displayed when they first sowed the seeds for the genre. (The CD can be purchased by visiting The Marauders’ website, www.themarauderspa.com.)
STERLING KOCH – STEELIN' HOME (Full Force Music) In early 2004, Sterling Koch was diagnosed with a herniated disc in his neck, which forced him to switch from playing conventional 6-string guitar to 8-string lap steel guitar. After spending the summer months in 2004 learning this new instrument, Koch released his first lap steel album, How I Spent My Summer Vacation. On his latest album, Steelin' Home, Koch sounds even more at home with his lap steel, and gives the instrument a healthy workout over his eleven-song 'Sacred Steel' exploration of blues, gospel, rock and soul flavors. Koch shows ample fluency on the instrument over the various styles he performs here, with constant clean and inspired solo work; he also sings and plays guitar, bass and some percussion. But Koch doesn't hog the spotlight with his own talent, frequently deferring the spotlight to his support cast; in particular, guest keyboard players George Grund and his Victory In Heaven Blues Band cohort Larry Adam, and Rick Young (Duck Soup Blues Band) on harmonica. In addition, Al Esis plays drums, and Jennifer Hollister and Debra Hydock provide jubilant backing harmonies. Much of the album finds Koch giving uplifting, swaggering interpretations to traditional gospel numbers; including Texas-styled blues rock treatments of the Holmes Brothers' "Jesus Is The Way" and "12 Gates To The City," honky tonk-geared renditions of "If I Could Not Say" and "If It Was Not For," and a Memphis soul-styled read of "God Is A Good God." Three of the album's tracks are instrumentals: the lap steel/piano-driven spiritual opening exercise "'A' Praise," a swamp blues interpretation of Rev. Gary Davis' "Keep Your Lamps," and the gospel-driven "Sing Until the Power," ending with Koch's lap steel singing out in its own glorious voice. Koch also gives a hearty R&B update to Bob Dylan's "Serve Somebody," and muscular treatments to the traditional "Mean Old World" and the Peter Green/Fleetwood Mac classic "Oh Well." Produced, engineered and mixed by Koch, the album sounds bright and full, with all components sounding crisp and representing well in the mix. Steelin' Home shows that Sterling Koch is making steady progress in his conquest of lap steel, and is an upbeat set sure to lift spirits and get toes tapping. (The CD can be obtained through Sterling Koch's website, www.sterlingkoch.com.)
JOHN CHARNEY – BE WATER (no label) Nearly anybody who has followed his career on this area’s music scene thus far knows that Carrolltown’s John Charney is a musical adventurer who recognizes no boundaries in his exploration of music. On his first solo album, Be Water, Charney introduces us to his vast and wide-ranging musical world, frequently stepping outside the box and revealing his artistry, adventurism, and even some personal background and social commentary to boot. Charney sings and plays all electric and acoustic guitars, bass, some keys and flute; assisted by drummers Michael Davis (Hi-Tyde) and Dominick Peruso (The Grimm, Wine Of Nails), backing singer Joel Stiles and others. After a brief spoken primer, “Welcome to Be Water, My Friend,” leads us in; the album erupts with the hyper-speed thrash metal blast “American Swine,” offering a scathing appraisal of the ugly side of our nation’s psyche, culminating in Manowar-like operatic choruses and a chaotic instrumental midsection. The album continues in a myriad of directions. Charney’s insight into creativity, “Sojourn;” his view on vanity; “Girl Before A Mirror;” “Forever Endeavor” and the 14-minute closing examination of death and grieving, “Mourningside” are each adventures in progressive rock terrain that explore Rush, Pink Floyd and Yes-like textures. “Wo Ooh Oh” gets the Led out with an acknowledgement of Led Zeppelin’s influence. “Holy Hoptoes!” is a rockabilly-flavored tribute to Charney’s grandfather; while the surf-rock geared “Ode To Krystle” offers a fond remembrance to a departed canine companion; the inclusion of footage from a special moment with the dog during the song’s introduction gives it a slight “Mr. Bojangles” feel. And the funk-flavored “Pre-Choice” offers pro-choice commentary. Be Water is a continual adventure, with unexpected twists and turns, gearshifting between musical styles and flavors, unpredictable side journeys and more. Although wildly unpredictable, the album flows along well, cohesively tied together by Charney’s consistently strong composition and musicality. Produced, engineered and mixed by Charney and Stiles and recorded over the course of two years, Be Water sounds crisp and balanced, with all the musical elements clearly heard, and minute delicacies and details continually revealing themselves over repeated listens. Be Water is the best kind of solo album, as it reveals the wide and eclectic imagination of its creator, and also presents glimpses into his background and personality beyond music. This album is a wild, but ultimately rewarding ride, a musical adventure that will keep the listener coming back to discover more. (To obtain the album, visit John Charney’s website, www.johncharney.com)
HOLIS – HOLIS (no label) Their name derived from the word holistic, Harrisburg's Holis demonstrates a musical wholeness and a soul-stirring brand of melody-geared rock on their self-titled debut disc. Holis offers ten tracks of well-crafted, developed and polished melodies; fleshed out by full and powerful arrangements. Christian McGinty's keys, Frank Mistretta's acoustic and Fred Pellegrini's electric guitar flavors blend, layer and weave around one another to serve and embrace each melody; with bassist Jeremy White's and drummer Ken Reiner's lean and efficient rhythms fueling the sound without overdriving it. This provides the broad sonic tapestries for singer Ray Zeiters' expressive and soulful voice to sell lyrical themes of hope, love, spirituality and life's lessons. Although every song here is strong, several especially shine above and beyond: "Song of the Sage" with a passionate, gospel-informed bridge chorus that propels it to a rousing crescendo; the poignant "Ignorance," addressing insensitivity towards the homeless; "Forsaken" with its theme of staying the course; the pointed and stern "Your Loss;" the surging "Just One," about reassessing one's beliefs; and the upbeat and hopeful "The Distance." Holis also shows a slight rural touch on "Mississippi Blue," accented by Fred's harmonica and guest Bret Alexander's mandolin and dobro. Produced by Fred and the band, Holis sounds clear, full and developed; each song effectively fleshed out, and the album tying comfortably together into a smooth and cohesive whole. The performances are inspired, and the arrangements allow the songs to breathe and build towards spirited peaks. Their dedication to serving the songs and sweating the details makes Holis' debut disc a very impressive one; a consistent, soul-stirring and constantly rewarding listen well worth checking out. (To obtain the album, visit Holis' website, www.holismusic.com.)
A UTOPIAN SKYLINE - ELMAMOORE (no label) Embarking on explorations of adventurous musical and lyrical terrain is Harrisburg's A Utopian Skyline on their ambitious and conceptual debut CD, Elmamoore. Through the album's near hour-long duration, A Utopian Skyline – singer and guitarist Aaron Miller, guitarist Teague Quinn, bassist Thomas Hand and drummer Bradley Stackpole – undertakes a complex sonic journey, weaving together lavish and dynamic song structures, shifting rhythms and time signatures, tension and release, and dream-like interludes. The result is a convergent modern progressive rock sound that shares common ground with national contemporaries like Dream Theater, The Mars Volta and Tool, while subtly acknowledging genre pioneers like Pink Floyd and King Crimson. This detailed soundscape provides the foundation for Miller's open-ended lyrical examinations of dream anatomies, spirituality, atonement and more; inspired by a point of view from the album's namesake, Elma Moore. The songs themselves serve as markers and beacons along this journey; each providing its own unique aspect of the exploration process. The album opener "Falling Out Of Orbit" takes on a tone of longing; while "Summer Was the Reason for It All" and "Carnivores Left Me for Dead" bring more agitation and tension into the mix; and the melodic "One Angel Said to Another" expresses dedication and devotion. Later on the album, "Elma's Midnight Drive," "Alpha Obsession" and "Beta Departure" offer themes of fear, impending farewell and finality; while the contemplative "The Waiting Room" brings closure to the adventure. Elmamoore is constantly busy, seldom staying in one place for very long. Miller's expression of conflicting emotions during the album's course keeps things on edge lyrically, in conjunction with the constantly shifting musical terrain. The production by Mike Washkevich and the band keeps everything clear, audible and balanced; sustaining fullness and edge. Listeners with short attention spans may become impatient and frustrated trying to follow along with this brain-teaser of an album. But fans of intelligent and imaginative rock should find Elmamoore a cerebral work of wonder. Like abstract art, this album leaves open ends, and will have listeners pondering and interpreting the meanings and purposes of its creators. This is a wild ride. (The album can be purchased through the group's Myspace site, www.myspace.com/autopianskyline.)
SHERRI MULLEN – FEARLESS (no label) After exploring and defining a wide expanse of musical turf on her first two albums, Middletown-based singer, songwriter and guitarist Sherri Mullen focuses and hones her style and sound on her third album, Fearless. Sherri's overall style has converged into a more acoustic-based mixture of rock, country and pop. Her songwriting is more pointed, melodic and efficient; and her lyrics are more personal and confident over the album's ten tracks. The driving title song, "Fearless," is a statement of purpose about weathering adversity, moving forward and embracing life's opportunities and possibilities. Similar themes of confidence and self-realization prevail on the hopeful and rural-accented album opener "All Roads Lead to Home," while the busy country romp "Swing" realizes the need to simplify and take control of one's own life. Mullen lyrically confronts various relationship scenarios on several songs; the confrontation is defiant on the feisty "Asleep at the Wheel" and rancorous on the heavy-rocking "Domino," yet unsure and fearful on the somber "Hold On to Nothing" and conceding to reality on "Come Back." The upbeat "Fate" ponders how random occurrences can shape destiny, and the gentle and dreamy "Venice" ends the album with a mood of contentment. Sherri Mullen turns in an excellent performance on voice, selling her lyrical themes and moods with a variety of range, power, emotion and personality. Her studio support cast; including longtime associates Dave Kelly and Doug Stockton on guitar and bass, Hierosonic’s Mike Stang on bass and Mark Bohn on drums, and appearances from her son Shane Mullen on guitar, Henry Cassel on pedal steel, Ajay Cheney on cello and Hierosonic’s Ben Stewart on additional vocals; fleshes out and colors each song. Recorded at Harrisburg’s Seventh Wave Studios, Jason Rubal’s production helps each song achieve its full impact; keeping Mullen’s expressive voice at the forefront and allowing the musical elements to surround and support it, with layered vocal harmonies filling in to provide the finishing touches. Sherri Mullen hits her full stride on Fearless, a proud and confident set from an artist who knows who she is and where she is going. (The CD can be obtained through Sherri Mullen’s website, www.sherrimullen.com.)
MY TURNING POINT – SECLUSION SERVES ME WELL (no label) Jim Bagrosky is best known on local stages as a drummer, having provided the beat behind past regional rock powerhouses as Blue Skye Mourning, Stept On and Wake Up Screaming. But Jim had a musical vision he wished to bring to life, and stepped from behind the drum kit to begin collaborating with drummer John Placer to bring those ideas to fruition. They soon recruited lead guitarist Dalton McDonald, and eventually Jim’s former Stept On and Wake Up Screaming bandmate Adam Zimmer on bass; and My Turning Point was born. On the group’s eight-song debut CD, Seclusion Serves Me Well, My Turning Point introduces listeners to a dark, melodic, and hard-rocking sound; setting the backdrop for sullen lyrics exploring festering emotions of anger, guilt, longing, angst and self-doubt. The songs include outright rockers such as the erupting opener “Shine Through You,” the proud and defiant “Found My Way,” the more agitated “Stop” and the song of reckoning “Under My Skin.” But perhaps the album’s most powerful moments happen on the three slower-building tracks. “In Your Head” uses shifts in tempo and intensity to emphasize the lyrical theme of inner rage and anger boiling over the surface. “Broken Man” undertakes a slower-brooding journey with a flavor reminiscent of Metallica’s “Unforgiven;” while “Everlasting” is a dark-textured song of devotion and learning from life’s lessons. The song ideas here are strong, and the melodies are clever and well-executed. Recorded at Bill Filer’s Audible Images Recording Studio in Port Matilda and produced by Filer and the band, the album sounds brash and powerful when it needs to, yet somber and delicate in its quieter moments, with Dalton McDonald’s varying guitar textures and additional keyboard fills fleshing out and coloring the album’s moods. Jim Bagrosky is still getting his feet underneath him as a singer, and thus, a few moments here come off as awkward, particularly on his transitions between subdued and intense. But the strength of the song material, and the overall execution and production quality bringing it to life, makes Seclusion Serves Me Well a satisfactory debut that defines My Turning Point’s musical turf, and sets a foundation for Jim and the group to further explore their musical vision from. (The album can be obtained at shows or through the group’s website, www.myturningpointrocks.com.)
JUSTIN MACK – LONG ROAD HOME (no label) Over the past few years, Portage native Justin Mackovyak – a.k.a. Justin Mack – has logged a lot of miles through performing on stages from Happy Valley (Penn State) to Key West and back. He has accrued some life experiences and learned some lessons along the way, and he shares some introspective insight on his third album, Long Road Home. Justin offers autobiographical themes of soul-searching over the album's nine tracks, with a musical blend of rock, folk, country, and even Celtic sounds providing the backdrop. Johnny Cash serves as a reference point on the album, first informing the powerful and anthemic album-opener "N.F.A.," which documents Justin's decision to set out on his own. Justin also offers a poignant update of a Man-In-Black classic, "Long Black Veil," showcasing beautiful backing harmonies with guest singer Tracy Roberts. Several songs are confessionals where Justin ponders his own course; where he has been, where he is going, and his own dreams and emotions. He weighs past decisions and his path thus far on the country-tinged “Morning.” His half-narrative, half-sung "Killing November" contemplates mortality, and how he'll be remembered after the fact. The Celtic-driven "Hope Road" is Justin’s proud and defiant statement of doing things his own way. A slight diversion from the more serious tones of the album is “Every New Day,” a harder-rocking, sassy ode to a one-night stand. The album also includes two bonus tracks at the end, including a live performance of an earlier song from his July Songs debut, “Free.” Justin delivers his strongest and most heartfelt vocal performance yet, smoothly gearshifting from subtle crooning to gritty and boisterous howls. A number of musical friends help color and fully bring Justin’s songs to life; including Jason Franklin on banjo, pianist Bob Manor, drummers Lisa Sendzik and Tommy Tipton, and guitarists Jimi Hatt (ex-Hair Force One), Travis Link, James Magilton and Jerry Spaid. Recorded between several studios and mastered by Bret Alexander and Paul Smith at Danville’s Saturation Acres, Long Road Home sounds cohesive and consistent; with the various components effectively blended and layered to create a full, complete sound. Long Road Home is defining album for Justin Mack that shows growth and maturity. It is a thoughtful album from an artist who has lived some life and learned more about himself along the journey. (The CD can be obtained through Justin's website, www.seventides.net.)
KEYSTONE – RUNWAY QUEEN (Park Records) A studio project, Keystone is the brainchild of Hazleton musicians Patrick Kreisl and William Letcher; whose resumés date back to the 1980's. For Keystone's latest album, Runway Queen, the pair was assisted by a prominent third collaborator, Robert Perry, who sang alongside Keith Emerson and Carl Palmer in the short-lived late 80's project 3. The album's ten tracks reveal Keystone's style and sound as melody-geared, classic-styled pop/pomp rock in the traditions of Journey and Boston. The Boston similarity is not accidental; Patrick developed his production and engineering skills with help from Gary Pihl, who has played guitar and engineered on several Boston albums. The layering of guitars and vocal harmonies throughout the album are reminiscent of classic Boston; and Patrick's voice even bears a slight resemblance to Brad Delp's. Boston comparisons aside, though, the other strength of Runway Queen is catchy song hooks, which are plentiful throughout the album. Keystone sounds strong on hard rockers like the title song "Runway Queen," "Hookin' Up" and "Rollin on a Bad Beat;" but also sounds equally competent on the power ballad "My Love," with a sound slightly suggestive of Winger's "Headed for a Heartbreak." Keystone even manages to breathe new life into a Tony Orlando and Dawn bubblegum classic, giving "Candida" an arena rock makeover and sheen. Recorded, produced and mixed by Kreisl and Berry, Runway Queen sounds clean, layered, full and polished. Ultimately, the abundance of catchy song hooks, plus precision musicianship and skilled production craftsmanship bringing them to life, makes Runway Queen a fun listen, especially for fans of the classic late 70's and early 80's arena rock tradition. (The CD can be obtained through Keystone's Myspace website, www.myspace.com/keystonehazleton.)
ANGEL BLUE AND THE PROPHETS – BOTTOM OF THE BOTTLE BLUES (no label) Listeners won't suffer from the blues or stare through the bottom of a bottle for long after hearing Bottom of the Bottle Blues, the rousing debut CD from Pittsburgh's Angel Blue and the Prophets. Through the album's dozen tracks, we are introduced to a smoking band, featuring mainstays Scott McLean on drums and Jeff Conners on keys, plus an assortment of hired guns on guitars and bass. Where there's smoke, there's fire; and in front of this smoking band there's the fiery presence of group namesake Angel Blue, a.k.a. Angela D'Ambrosio, a top-notch blues howler who frequently conjures comparisons to the legendary Janis Joplin with her arsenal of range, power, gusto and personality. Angel Blue wrenches the maximum gamut of emotions out of each and every song, as she goes with the flow and rides the vibe of each song to its fullest impact, injecting catchy and clever little nuances along the way. This results in exhilarating, robust displays on such upbeat, fun numbers as "Shimmy Shakin' Lowdown Blues," the train-themed "749," the hard-rocking "I'm Guilty" (a slower acoustic variation of the song, "Guilty Baby," appears later on the album), and the rowdy Bo Diddley-beat-powered closer "Jonny McGaster." Angel Blue's passionate presence also sells the master/pet theme of the swing-flavored "Short Chain," and yields the maximum playfulness out of "Back Here in the Kitchen" and "Baby What You Want Me to Do," complete with Angel Blue emulating a muted trombone solo at song's end. That magic works on slower blues as well, including Angel Blue's exceptional full meltdown display on T-Bone Walker's "Stormy Monday" and the title song "Bottom of the Bottle Blues" (featuring a cameo guitar solo appearance from former Winger axe man Reb Beach). Recorded in several studios and produced by Scott and Angela, Bottom of the Bottle Blues sounds clear and full, with the balanced tandem of keys and guitars cleanly guiding the sound along; punchy and bright on the upbeat numbers, and subdued and laid-back on the slower numbers. Angel Blue's voice constantly shines front and center through it all, cleanly revealing her stellar vocal talents for all to hear. Bottom of the Bottle Blues is an intoxicating debut album that fans of hot-sounding blues and blues-rock will want to imbibe frequently. It convincingly introduces Angel Blue and the Prophets as a fiery blues band worthy of immediate attention. (The CD can be obtained at shows or by visiting the group's website, www.angelblueband.com.)
GOOD FOR NOTHING – WELCOME TO THE CARNIVAL (no label) Adolescent angst, youthful restlessness and coping with the system are some of the themes examined on Welcome To The Carnival, the debut CD from the Waynesboro-based rock band Good For Nothing. The group’s sound here is rooted firmly in the pop punk style of Green Day, with singer/bassist Drew Adams’ voice often a dead ringer for Billy Joe Armstrong. Drew, guitarist/singer Josh Minnick, guitarist Bill Kissel and drummer Pat McCullough provide a punchy, crunchy, melody-geared, punk-flavored sound over the album’s dozen tracks. Good For Nothing’s songs largely deal with the hassles of growing up; from school hall ideas gone awry on the album-opener “Swimsuit Calendar,” to acidic remembrances of ex-girlfriends on “Lowlife” and “Impossible,” to battling authority on “The System” and dealing with the circus that is the real world on the album-closing “The Carnival Song.” Other songs are more optimistic in tone, such as “Things Will Get Better,” the hopeful and acoustic-geared “Compromise” and the reflective “What Happened To The Time?” Good For Nothing demonstrates a degree of sophistication beyond the pop punk norm, with well-constructed melodies, clean instrumental execution, sharp guitar solos, crisp vocal harmonies and more. Self-recorded in Drew Adams’ basement studio, Welcome To The Carnival is balanced and clear-sounding, with the vocals and instrumental components cleanly represented in the mix. A strong debut, Welcome To The Carnival offers a good introduction to Good For Nothing’s musical world, and establishes a solid foundation for the group to evolve from and build upon. (The album can be obtained from Good For Nothing’s website, www.goodfornothing.com.)
SKYLA BURRELL BLUES BAND – LIVIN’ DAY TO DAY (no label) Los Angeles native Skyla Burrell first picked up a guitar at the age of 10, and had formed her first band at age 13. After cutting her teeth in several bands and doing studio session work for other musicians, she headed eastward in 1994. She met guitarist Mark Tomlinson in 2003, and the Skyla Burrell Blues Band was formed. On their second album, Livin’ Day to Day, the Chambersburg-headquartered group serves up fourteen displays of driving, upbeat original blues. The group’s sound is driven by lean, romping rhythms by drummer Ezell Jones and bassist Tony Ryder, setting the foundation for the feisty and tasty twin guitar fireworks; and namesake Skyla’s fiery, gritty and soulful voice, suggesting a feistier and hungrier Bonnie Raitt. The songs themselves range between high-octane blues/boogie/swing workouts like the opener “Little Bit of Your Love,” “Fly Cat Daddy” and “Two Time Dirty Dog” (all featuring spirited saxophone wailing by guest Seth Kiebel); lively R&B numbers like “Too Much” and “Need Your Love Baby;” robust, straight-up blues exercises like “Dirt Poor,” “Play Me Like a Fool,” “Low Down Dirty Game” and “Shot in the Dark;” and slower, lowdown blues displays like “I’m Going Down” and “Don’t Let Me Go” “Rockin’ In Memphis” offers a driving Chuck Berry vibe, while the title track “Livin’ Day to Day” shows more of a Booker T. & the MG’s texture. The band’s performances are bright, lean and efficient, with no notes or beats going to waste; likewise, Skyla Burrell’s singing performance is sharp and concise, packing grit and energy but never overplaying her hand. Produced by Burrell and Tomlinson and recorded, mixed and mastered at Echoes Recording Studio in Sharpsburg, Maryland, Livin’ Day to Day sounds clean, sparkling and bright. The song arrangements are basic and uncluttered, allowing this band’s sharpness and gritty soulfulness to clearly shine through. Livin’ Day to Day is a poised and confident set, which more firmly establishes the Skyla Burrell Blues Band as a classy, quality blues ensemble well worth exploring. (The disc can be obtained through the group’s website, www.skylaburrell.com.)
BILL FERRELL – BIKER'S PRAYER (no label) Bill Ferrell has been making music on area stages for 20 years, with such groups as The Smoke Run Band, the One Less Tear Band, and presently, local classic rockers Kyx. Ferrell's first solo album, Biker's Prayer, introduces us to his world, both musically and personally. The album offers an uplifting blend of heartland-styled rock, country and folk; as Ferrell sings and plays guitar, often supported by his Kyx bandmates; keyboardist Terry Wills, rhythm guitarists Jim Walstrom and Bill Moyer, bassist Glenn Walstrom and drummer Chris Sherkel. Ferrell's love of motorcycles and riding is quickly obvious on the album's opening title track, "Biker's Prayer," a celebration of the near-spiritual experience of riding on the open road. (An acoustic version of the song ends the album.) The country-flavored "883" celebrates the cherished machine Ferrell carries out his riding adventures on, a Harley-Davidson Sportster 883. Several songs use motorcycle-riding metaphor to convey other messages; the strong and sturdy "Spinnin' My Wheels," for example, is a commentary about career greed and its human cost. "Let There Be Love" is a song of hope about life's ride, while "Wild Ride" is a father's ode to his son. Elsewhere on the album, "Trudy's Song" is a tender celebration of love through the four seasons; "Borrowed Time" offers a powerful message about weathering life's burdens; the folksy "Excaliber" is Ferrell's observation about our troubled world; and the acoustic "Dance Floor" studies Saturday night bar gigs and soap operas. Ferrell's voice is confident and sturdy, and his performance is sincere and heartfelt. Recorded at Altoona's Data Music Services, the album sounds consistent, clean and smooth. The full band arrangements are deep and powerful, achieving an even balance and comfortable alliance between guitars and keys. The acoustic-geared numbers benefit from simpler, stripped-down arrangements, allowing Ferrell's voice and guitar to fully shine. Ultimately, Biker's Prayer is good-sounding album that should give listeners a stronger appreciation of Bill Ferrell's singing and songwriting talents, and the scope of what he brings to the table in Kyx. (The CD can be obtained by visiting Bill Ferrell's website, www.bikersprayer.com.)
LEDBETTER HEIGHTS – THE LIGHT THAT BURNS… (no label) Three years after their formation, Shippensburg-based foursome Ledbetter Heights has unveiled their debut album, The Light That Burns. The group distills elements of rock, soul and funk into a hard-hitting modern-flavored sound over the album's ten tracks. Consistent with their live performance, Ledbetter Heights' studio sound is highlighted by the soaring and emotionally-charged voice of singer/acoustic guitarist Nick Staver, and bolstered by the sharp and powerful drumming of Tim Carr. Beefing up and fleshing out the sound are driving rhythms and busy riffs from guitarist Kevin Shannon (since replaced in the group by Brian Stoner), and hard, lean bass lines from Matt Franzoni. The songs themselves mostly contain simple but effective melodies and hooks that get to the point quickly, topped with catchy chorus harmonies. Ledbetter Heights easily demonstrates their knack for hard rockers with the opening track "Your Secret's Out," the slightly funkier "Pressure" and "Forgive Me," the stern "The Price" and the album closer "Thru n Thru." The group displays milder and more soulful textures on such numbers as "Home," "There She Goes" and "Rain Tonight." And the uptempo "Stop Running" shows a slight, Byrds-like retro flavor. Ledbetter Heights's execution is tight, rigid and efficient; and their presentation is charged as they ride each song to an impassioned crescendo. Recorded at Racetrack Sound Studios in Gettysburg and mixed by Paul Chiacchierini, the album mostly sounds lean, hard and basic with the drums and guitar given slightly more voice and edge. This basic approach, with only slight polish and studio fill, enables the album's harder rocking moments to achieve full impact, but sacrifices some warmth in favor of edge on the milder-toned numbers. Ultimately, though, The Light That Burns. is a good bare-bones debut that establishes Ledbetter Heights' melody-geared, hard-rocking musical turf; and it sets a solid foundation for the group to elaborate and develop from. (The CD can be obtained by visiting Ledbetter Heights' website, www.ledbetterheights.com.)
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