Jim Price
Moderator
Joined: 07 Dec 2002
Posts: 4817
Location: Altoona, PA
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 Posted: Thursday Jun 24, 2004 |
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SCORPIONS – UNBREAKABLE (Sanctuary) After their last blockbuster album, 1990's Crazy World, Germany's Scorpions saw their sting diminish through the course of the 1990's, bottoming out with their lackluster 1999 foray into techno-pop, Eye II Eye. But Scorpions fans should rejoice in the group's latest album, Unbreakable. The group went back to their roots and rediscovered how to rock, and offers their hardest-hitting album in over a decade. The Scorpions recorded the album live and together in Peppermint Park Studios in Hannover, Germany, in the process capturing a more spontaneous, raw and less polished sound. Matthias Jabs and Rudolf Schenker's guitars are swarming and more ominous, and James Kottak's drums hit particularly hard, especially on the album's first single, "Love 'Em or Leave 'Em," as well as "Deep and Dark," the Kottak-penned "Can You Feel It" and "This Time." But while the Scorpions return to a more aggressive, harder sound; the group is still very world conscious, and the lyrical mood of Unbreakable is hopeful and upbeat. The thunderous opener, "New Generation," opens the album with a message of hope that today's young generation can someday unify the world and stop the cycle of war and violence. Likewise, the piano-driven ballad "Maybe I Maybe You" - demonstrating that singer Klaus Meine's voice can still croon as well as it can snarl - offers hope of changing the world for the better. The galloping rocker "Someday Is Now" is a song about will and determination, while the bonus track rocker "Remember The Good Times" - co-written by Eric Bazilian of The Hooters fame and recorded in another studio - is a good-time nostalgic rant. The upbeat "My City My Town" is an ode to homecoming, while "Borderline" and "Blood Too Hot" are about rocking and life on the road. The Scorpions sound rejuvenated and recharged on Unbreakable, a powerful and inspired return to form that should reassure fans that this band still has plenty of sting left.
TESLA – INTO THE NOW (Sanctuary Records) After rock's grunge wave prompted them to go their separate ways for much of the 1990's, Tesla returned with a reunion tour in 2001, which preceded their first studio album of new material in a decade, Into the Now. For Tesla fans, the good news is that the group's trademark blues-based heavy rock sound is largely intact. Frontman Jeff Keith still sings with the same grit and intensity of ten years ago. Frank Hannon's and Tommy Skeoch's guitars crunch and harmonize as well as ever, and the rhythm battery of bassist Brian Wheat and drummer Troy Luccketta sound arguably heavier and more punishing than ever. Over Into The Now's dozen tracks, Tesla shows that they haven't lost the knack for crafting catchy, melodic heavy rock. Overall, these songs suggest a renewed sense of purpose, with some inspired by news headlines and the current state of our society and world. While the emphasis of the weighty "Heaven Nine Eleven" is obviously on the World Trade Center attack, the song addresses the troubled state of our world in general and suggests grooming future generations to make it better. In a wittier vein, the hard-hitting "Mighty Mouse" summons cartoon superheroes to save us from ourselves. The modern-leaning "Recognize" examines parenting gone wrong; "Got No Glory" promises and demands truth; and the nearly 7-minute epic "Miles Away" addresses misconceptions about the rock star pipe dream. Tesla offers milder moments as well, such as acoustic-geared rockers like ""What A Shame," the love song "Words Can't Explain," the first radio single "Caught In A Dream" and "Come To Me." Backed by a string section, Tesla closes the album with a somber ballad about loss, "Only You." Co-produced by the band and Michael Rosen, Into The Now retains the essence of Tesla's blues-rooted hard rock sound, updating it sparingly with an edgier and more rigid guitar bite. The songs are well-crafted and thoughtful, and the group executes this material with finesse; their heavy grooves serving the melodies without overriding them. Tesla comfortably returns to form on Into The Now, an inspired and focused effort from a band showing no signs of rust, wear or tear.
GENE SIMMONS – ***HOLE (Simmons Records) Beyond his legendary long tongue, blood-spitting and fire-breathing Demon antics with Kiss, Gene Simmons is an actor, entrepreneur, author; and by his own admission, the title of his new solo album, ***hole. (His former Kiss bandmates, Ace Frehley and Peter Criss, are likely to agree.) Recorded over a period of time in a variety of locations, the thirteen tracks of ***hole reveal Simmons to be an eclectic, chameleon-like artist as well, as the album changes musical colors frequently, and ventures in odd and unexpected directions. Fans of Simmons' famous costumed band will revel in several obvious Kiss-like rockers, including the outspoken title song, the galloping opener "Sweet & Dirty Love," the terse "Weapons of Mass Destruction" and "Carnival of Souls." The rest of the album, though, reveals surprises and oddities. Who would have expected Simmons to tackle The Prodigy's 1996 electronica hit "Firestarter," or to co-write a sugary ballad with Bob Dylan, "Waiting for the Morning Light?" And who could have ever expected Simmons to access the Frank Zappa archives to bring "Black Tongue" to life, with Dweezil, Ahmet, Moon and Gayle Zappa accompanying on guitars and backing vocals? Simmons also dabbles in Beatles-styled pop on "Beautiful" and "Now That You're Gone," and playful funk on "Dog" and the Sublime-like singalong "Whatever Turns You On." And perhaps looking ahead to the day when that final Kiss farewell tour does actually end and he hits the Vegas circuit, The Demon closes the album with the lounge-like schmaltzy ballad "1,000 Dreams." The unexpected variety and oddball collaborations make ***hole an intriguing listen. Its eclecticism and erratic gearshifting between styles, though, prevents it from working as a cohesive, flowing set. Still, anybody entering ***hole expecting Kiss rehash is in for a rude awakening, as Gene Simmons indulges some unanticipated sides of his musical personality.
QUEENSRYCHE – TRIBE (Sanctuary) For Queensryche, the problem with the breakthrough successes of a concept album masterpiece like 1988's Operation: Mindcrime and their 1990 hit follow-up album, Empire, is that the public has expected to hear the sequel to Mindcrime and radio hits like “Silent Lucidity” and “Jet City Woman” with every album the band has issued since. Not concerned with writing hits, though, Queensryche's subsequent releases like Promised Land, Hear In the Now Frontier and Q2K were less focused and indulged personal themes such as soul-searching and spirituality. Although all respectable efforts, their lack of hits and elaborate plots resulted in the albums being dismissed as lackluster; and their waning success led in part to founding member/guitarist Chris DeGarmo's departure from the band after Hear In The Now Frontier in 1998. Leading into the group's latest album, Tribe, two important things happened: the group again began collaborating with Chris DeGarmo, and 9/11. DeGarmo's songwriting and guitar presence on five of Tribe's ten songs; combined with lead singer Geoff Tate's impassioned contemplations about 9/11 and where America is currently headed; makes this Queensryche's most focused and enthusiastic effort since Empire. Tate’s personal exploration of post-9/11 America is a prevalent theme on Tribe; the aggressive-rocking title track is Tate’s realization that we, as human beings, are the same tribe, no matter what nation we are from. Tate makes the same discovery about America itself on the contemplative “The Great Divide,” where he concludes, “Take the flag we wave, the freedoms that we sing./Without respect for one other,/It doesn’t mean a thing.” “Doin’ Fine” is Tate’s song of hope, suggesting that the nation will be fine once we get past judging one another and realizing we are all the same. Tate is decidedly anti-Iraq War on “Blood,” accusing the current administration of sacrificing integrity and compassion for greed, and declaring “…it’s all gone wrong and/there’s blood on our hands.” Although never as adventurous as Mindcrime, Tribe does feature its fair share of Queensryche experimentation; such as the nu/rap-metal-styled choruses on the fiery “Desert Dance,” guitars dancing with synths on “Losing Myself,” the far-eastern-meets-tribal edge of the title song “Tribe,” and Tate’s half-sung, half-narrative vocal phrasings on “The Art Of Life.” Queensryche reprises their trademark knack for involved songcraft and detailed melodies; and effectively balances decisive guitar crunch with ethereal and acoustic passages. Geoff Tate’s voice sounds as strong and clear as ever, his personal investment in the lyrics showing through with his most passionate performance in several albums. Although it will not eclipse the legendary Operation: Mindcrime or Empire; Tribe is Queensryche’s strongest and most focused set since, and an album that grows stronger with repeated listens.
JACK BLADES – JACK BLADES (Sanctuary) Best known as the singer and bassist for Night Ranger and Damn Yankees, Jack Blades has been a prolific songwriter over the years, penning songs for Aerosmith, Cher, Alice Cooper, Journey, Ozzy Osbourne, Styx and others. It should be no surprise, then, that Blades' self-titled solo debut CD is chock full of catchy melodies and hard-edged rock not far removed from his Night Ranger and Damn Yankees output. Blades enlists the services of a number of contemporaries; including his former Night Ranger cohorts Kelly Keagy, Jeff Watson and Brad Gillis; his former Damn Yankees collaborators Tommy Shaw and Michael Cartellone; also Journey's Neal Schon, Ratt's Warren DiMartini and Great White's Michael Lardie. Adding depth both instrumentally and vocally, these musicians bolster the powerhouse rock of anthems such as the opener "Shine On," "Sea of Emotions," "On Top of the World" and the closer "To Touch The Sky." Blades also shines on more acoustic-geared songs like "Someday," the ballad "Alone Tonight," and an update of a 1973 Spirit number, "Nature's Way." For the most part, Blades maneuvers in comfortable musical terrain here, not straying far from the strong melody-based rock of his past projects. But occasionally he does stretch, experimenting with a slight Sublime-like hip-hop edge on "Sometimes You Gotta Have Faith;" delivering an edgier modern feel on "We Are the Ones;" and dabbling in Beatles-styled songcraft on "Breaking It Down." While some artists' solo albums seek to distance the artist from the past, Jack Blades' solo debut celebrates the tradition of his past projects. In the process, Blades demonstrates his continued inspiration and proficiency in the domain of melodic hard rock. Jack Blades is a bright, proud and hard-rocking effort that fans of Blades' famous past projects should likely enjoy.
TED NUGENT – CRAVEMAN (Spitfire Records) Although not the rock radio staple that he was back in the late 70's, Ted Nugent has certainly not faded away. His legend has grown as his outdoors/hunting exploits, conservatism and recent forays into reality television have kept Nugent in the limelight. Nugent's music and album output have been uneven since the early 80's; but the 'Motor City Madman' delivers his rowdiest album in years with his latest, Craveman. Fourteen tracks strong, this is a return to the type of loud, heavy, screaming, outspoken, primal rock'n'roll that made Nugent a household name to begin with. Flanked by his current sidemen, bassist Marco Mendoza and drummer Tommy Clufetos, 'The Nuge' unleashes his "full bluntal Nugity," offering ample doses of attitude, opinions, sexual innuendo, and commentary. Nugent is back to hissing, snarling, howling and screaming; his voice and guitarwork are the most aggressive they have been since 1980's Scream Dream. The wildly over-the-top "Crave" is Nugent's current statement of purpose, as he proudly declares that he goes for the gusto and lives the American dream. That patriotic theme carries over into "Rawdogs & Warhogs," a throwback to the classic Nugent sound of Free For All and Cat Scratch Fever. Nugent reunites with his former Damn Yankees bandmates Jack Blades and Tommy Shaw for the midtempo raunch rocker "Damned If Ya Do." Comprehending the opposite sex is still a favorite Nugent theme, addressed not so politically correctly on "Pussywhipped" and "Wang Dang Doodle;" and Nugent expresses no interest in becoming the opposite sex on "Change My Sex." Although the song itself sounds a bit cartoonish, only the 'Motor City Madman' could come up with a title like "My Baby Likes My Butter on Her Gritz." Fans of Nugent's outdoor themes should enjoy "At Home There," while fans of his bluesier guitarwork will relish the album-closing instrumental, "Earthtones." Craveman is hard-hitting, action-packed and abrasive, devoid of the studio gloss and trendiness that hampered some of Nugent's 80's and 90's albums. If there is a weakness here, it is the overall songwriting itself; nothing here will make you forget Nugent classics like "Cat Scratch Fever" or "Stranglehold." Nugent's primal attitude and persona carries the day on Craveman, making the album listenable and enjoyable, even if the songs aren't his most memorable. Craveman demonstrates that Ted Nugent is still his feral, incendiary, boisterous, politically incorrect self. At least something is still right with today's world.
ALLMAN BROTHERS BAND – ONE WAY OUT – LIVE AT THE BEACON THEATRE (Peach Records Associates) The Allman Brothers have put out numerous live albums through the course of their 35-year history. Their latest, One Way Out – Live at the Beacon Theatre, is the second live set to be recorded at the Beacon Theatre in New York City, and captures performances from March 25 and 26 of last year. It is the first live set to capture the Allman Brothers' current lineup, in particular the guitar tandem of Warren Haynes and Derek Trucks. Many of the numerous highlights on this two-disc set center around the incredible guitar exploits of both players, as Haynes and Trucks – mixed on separate channels – challenge, blend, duel, chase, tug, pull and push each other to the stratosphere with impassioned, flavorful leadwork. Obvious crescendos for these displays include epic workouts such as "Rockin' Horse," the slow and soulful "Desdemona," the funky treatment of Sonny Boy Williamson's "Good Morning Little Schoolgirl" and the improvisational "Instrumental Illness" on Disc One; and "Woman Across the River," "High Cost of Low Living," plus epic renderings of "Dreams" and "Whipping Post" on Disc Two. But the guitar fireworks are only part of the picture; this entire Allman Brothers roster executes as a musically and spiritually unified entity. Gregg Allman's clear organ groan nicely underscores and complements the guitar contingent; Butch Trucks, Jaimoe and Marc Quinones' tight and colorful percussion is ever-present, active and sharp; and Oteil Burbridge's busy basswork crochets it all into a complete, full musical tapestry. In addition, Allman's soulful voice is arguably the best it has ever sounded, and Haynes' sandy growl partners with it well. These performances are convincing testimony that this may well be the strongest assemblage of musicians under the Allman Brothers Band banner since the early days of Dickey Betts and the late Duane Allman and Berry Oakley. Recorded and mixed by Michael Barbiero, and produced by Barbiero and Haynes, the sound on One Way Out is out front and immediate, and convinces the listener that they are right there inside the Beacon Theatre and experiencing it all firsthand. Last year's studio album, Hittin' the Note, proudly proved that the American music institution that is the Allman Brothers Band was back; One Way Out slams an exclamation point on it. This album can proudly stand alongside At Fillmore East as offering some of the finest live footage of the Allman Brothers Band ever captured.
VINCE NEIL – VINCE NEIL LIVE AT THE WHISKY – ONE NIGHT ONLY (VNS Records) With Motley Crue all but disintegrated these days, the group's frontman, Vince Neil, attempts to keep the Crue tradition alive with the release of Live at the Whisky – One Night Only. The album captures a performance of Neil and his current band at the famed Whisky A Go Go on Hollywood's Sunset Strip, the nightclub that helped launch Motley Crue and numerous other hair-metal bands to superstardom in the 1980's. Although Neil issued two solo albums in the 1990's, only one of his solo songs, "Look In Her Eyes," appears here. The rest of the album is Neil and his band – guitarist Brent Woods, bassist James Hunting and drummer Brent Fitz – covering songs from throughout Motley Crue's storied career. Most of the Crue essentials are performed, including "Kick Start My Heart," "Girls, Girls, Girls" segueing directly into "Same Ol' Situation," "Home Sweet Home," "Looks That Kill," "Dr. Feelgood," Crue's hit remake of Brownsville Station's "Smokin' In The Boys' Room" and "Live Wire." Neil's voice is in respectable form more often than not here, although his range limitations surface from time to time, and some apparent alcohol in the house causes him to slur a few words in the show's latter stages. Neil's band rocks well and generates convincing firepower during this show, and guitarist Woods especially makes some impressive statements on his instrument, despite being slightly undermixed on the sound board. Ultimately, though, while entertaining, this isn't Motley Crue, and the bar crowd atmosphere at the Whisky during this performance is a far cry from the arena concert atmosphere of the real Motley Crue at their prime. Further slamming an exclamation point of nostalgic hokeyness on this album, though, is the back of the CD case, showing a picture of a younger and slimmer Vince Neil, obviously taken years ago during Motley Crue’s glory years; anyone who has seen photos of Neil in recent years knows he hasn’t looked that slim and spry in many a moon! Live At The Whisky comes off as Vince Neil celebrating – and perhaps attempting to generate more cash flow – off his former band's past glories. Only fanatical Neil worshippers will find this an album worth investing in.
RICK WAKEMAN – REVISITED (AAO Music) Legendary keyboard wizard Rick Wakeman has put out a ton of music over the years, and a lot of different versions of that music as well. Wakeman revisits nine standards from both his Yes and solo careers on his appropriately-titled latest set, Revisited. According to the liner notes, Wakeman avoided the temptation to try to re-write these pieces, and instead added to and touched up his work. The album amounts to a partial compilation of sorts, as Wakeman adapts several tracks that appeared on his 2001 disc Tales of Future and Past, such as "Elizabethan Rock" and his version of the Rolling Stones' "Paint It Black." Wakeman also reaches back to a very limited edition 1995 EP, Fields Of Green, to include an update of Yes' "Starship Trooper/Wurm," with vocals by Chrissie Hammond. Also included here is Wakeman's lavish keyboard interpretation of the Beatles' "Eleanor Rigby," lifted from last year's My Inspiration set. And Wakeman revisits several of his best-known solo albums, including a live performance of "Catherine Howard" and an update of "Jane Seymour," both from his 1973 album The Six Wives of Henry VIII; and revisited and updated excerpts from his 1975 album Myths and Legends of King Arthur and the Knights of the Round Table and 1974 album Journey to the Center of the Earth. Wakeman's arrangements and performances of this material, utilizing a myriad of keyboards and synthesizers, is constantly dazzling and engaging. His set of interpretations freshens and reinvents these classics, in the process showing Wakeman's diversity and versatility. The album's only drawback is the lack of information in the liner notes about each track and its specific origin, as well as the identities of the other musicians involved. But for fans of Rick Wakeman's keyboard artistry, Revisited offers an accurate, cross-sectional sample of where he has been, and some updated musical afterthoughts on his body of work.
SPITSHINE – TRANSAUDIO (no label) Spitshine first surfaced from the Lehigh Valley three years ago with their self-titled debut CD; introducing listeners to a fresh, melody-based modern rock sound anchored somewhere between INXS and the Goo Goo Dolls. That CD put the group on the map in southeastern Pennsylvania, earning them several awards and appearances on regional compilation albums. Spitshine's sophomore effort, Transaudio, is a serious threat to earn the group a lot more recognition. Spitshine ups the ante here, stepping up the tempo and rocking harder over the album's dozen tracks, without sacrificing song hooks in the process. Fans of ear candy will find plenty to cheer about throughout the album, with nearly every song possessing a crisp, catchy melody. There are an abundance of hook-laden boy-loves-girl/boy-hates-girl rockers, such as "Satellite," "Even More," "Fall Away," "I-H8-U," "Every Little Lie" and "Thorne." Spitshine mixes in a few tasty acoustic-geared numbers such as "Mandalyn," "Dancefloor" and the power-ballad "Far From Home." The group dabbles in ska on "No Good," and generates an angrier vibe on "Don't Stop." After eleven tracks demonstrating their knack for pop songcraft, Spitshine throws a curve on the final song, "Coo-Coo," a psychotic Guns'n'Roses/Alice Cooper-flavored rocker written for the movie Hell's Half Acre. Spitshine's focal point remains charismatic lead singer and rhythm guitarist Bryan Harmony, whose confident presentation blends personality, range, clarity and sass. Guitarist Larry Werner, who also recorded and produced the album, varies his guitar textures between heavy riffing, acoustic strumming, flavorful funk passages and more; and bassist Jeff Hasz and drummer Doug Moye fuel Spitshine's sound with driving, powerful rhythms. Spitshine moves forward with Transaudio, a focused, upbeat, and fun listen that reaffirms the group's knack for blending pop songcraft with a sharp, rocking edge. (To obtain the CD, visit Spitshine's web site, www.spitshinemusic.com.)
NO DICE – ONCE, IN A WORLD… (Friends Make Records) In their three years together, Altoona foursome No Dice has built a healthy fan base in the local all-ages music scene with their brand of driving pop punk music. Once, In a World… is the group's second album overall, and their first with Chicago-based indie label Friends Make Records. No Dice shows definite forward progress on this album. Following the theatric-geared album intro "Opening Credits," singer/guitarist Jimmy Skinny, guitarist Jonny Elle, bassist Ricky Haze and drummer Mikey Millions again generate high-velocity, punkish assaults throughout the CD's remaining thirteen tracks. But beyond the go-for-broke presentation and velocity, No Dice has upped the ante on song material from their 2001 High Rollers debut; offering deeper, more involved melodies and layered vocal harmonies. Underscoring the group's jagged-edged guitar snarl is Millions' feverish, busy and intricate drum work, with constantly varying velocity, time signatures and fills. Atop this fast-firing backdrop, Jimmy Skinny's vocal presentation is smoother; his geeky singing style less jagged and more in key. Lyrically, No Dice sticks to simple subject matter on Once, In a World., addressing boyfriend/girlfriend issues on "I'm Sorry But I Can't," "35 Minutes," "Take U With Me" and "The Feeling's Gone." "A Toast to Who You Are" encourages young people to be proud of themselves and celebrate their individuality; while the more sullen "Lonely Dream" is about ambition and staying the course. The hard-driving "Delorean" concerns holding onto past memories, while "Homesick" regards longing and lament. Produced by Jimmy Skinny and J.P. Hesser, and partially recorded at Castaway 7, Audible Images and Two Two studios, Once, In a World... sounds crisp and full; resounding and polished. The instruments all come through sharply; occasionally Skinny's voice is more immersed in the mix and doesn't sound quite as clear. But overall, Once, In A World... is clearly an improvement and progression from No Dice's debut; a better-sounding, more focused and musically-solid effort. (The CD can be obtained at the group's shows or by visiting their web site, www.nolucknodice.com.)
MICHAEL REICH – WHO'S MINDING THE STORE (no label) Somerset County singer, songwriter and guitarist Michael Reich has been creating and performing music for over 20 years. On his third studio album, Who's Minding the Store, Reich further establishes himself as a modern-day folk-rock hero with something to say; whose style and sound are rooted in the traditions of Neil Young, John Mellencamp and late 60's protest rock. Through the course of the album's ten tracks, Who's Minding the Store offers Reich's thoughts and concerns about our society and world, and where we as a people are headed. The opening song, the driving and midtempo "Wireless," weighs the pros and cons of the current technology age; surmising that while cell phones and the Internet have put the world at our fingertips, they have also put us at the world's fingertips as well. Reich addresses the challenges of keeping up with our ever-changing world on "Turning On a Dime" and the country-flavored "Live for Today;" ponders environmental concerns on the rockabilly-geared "Century Man;" and suggests spending more time living than worrying on "Better Late Than Never." Reich observes hungry musicians yearning for their dreams on "2nd Street (Hey Hey)," but tries to put such ambitions into the perspective of the overall big picture on "Dare I Complain." September 11 is also addressed on "Line In The Sand," as Reich suggests that today's generation inherited the challenge of defending our freedoms beginning with that dark day. Reich's passionate and powerful voice convincingly sells these blue-collar anthems with ample gusto. He and his backing corps of hired guns mix up the modes of attack nicely; fleshing out the overall sound with a wide range of instrumentation including fiddle, pedal steel, mandolin, organ and more. Who's Minding the Store is Michael Reich's strongest set yet, an intelligent, powerful album that further declares his arrival as one of this state's premier singer/songwriters. (To obtain, visit www.michael-reich.com.)
THIRD STANDARD – RABBIT RUN (no label) Third Standard's story began in 2001 when lead singer/rhythm guitarist Tyson Ruhlman and lead guitarist Joe Scott formed the American Standard Band at the University of Pittsburgh at Johnstown. Enduring several line-up changes since, the group changed their name to Third Standard last fall, after the current roster of Ruhlman, Scott, bassist Andy Heinze and drummer Manny Barbazzeni became the group's third incarnation. The group's debut CD, Rabbit Run, introduces listeners to Third Standard's brand of melody-based modern rock. The group's sound taps both classic and modern rock influences, resulting in a muscular, melodic brand of hard-edged rock with a slight modern punk bite. Third Standard's chief songwriter, Ruhlman sells his words with a clear, strong and impassioned singing voice. His strongest performances take place on the muscular “Denied,” towing the fine line between frustration and determination; and the harder-edged ballad “One More Time.” Like “One More Time,” several of the Rabbit Run’s songs reflect on relationships and associations gone awry, such as the funk-edged title song opener, the acoustic-driven ballads “After You Go” and “Alone.” Another ballad, “Break Me,” shows a darker and more dangerous side to a relationship gone sour, this time pondering a fatal outcome. Third Standard also offers faster rockers, such as their rowdy ode to alcoholism “14 Days In a Bender,” the lively funk-edged closer “LSD,” and the angrier rocker “Outside Wiregrass,” inspired by a Johnstown industrial plant layoff. Instrumentally Third Standard is also strong, with Scott’s varied guitar riffs and flare shaping the flavor of each song; backed by Barbazzeni’s and Heinze’s tight, busy beats and rhythms. Produced, mixed, mastered and engineered by Bill Filer at Audible Images Studio near Port Matilda, Rabbit Run sounds edgy, clean, full and balanced; and the group’s performances sound inspired and confident. Third Standard delivers a strong debut with Rabbit Run, introducing a sturdy, hard-rocking foundation and displaying the chops and imagination to take it in different directions. (To obtain the CD, visit the group’s website, www.thirdstandard.com.)
BALISTIC – TRANSFERENCE (no label) Transference, the recently issued EP from Hershey-based heavy rock band Balistic, signifies a transition for the group, as former Spellbound singer Mark McNelley takes over Balistic’s lead vocal duties from bassist Dave Fox. This “transference” strengthens the group, based on the five strong classic metal-geared tracks (plus bonus track) on the EP. The group’s musical direction shifts slightly, from the gothic timbre of Fox’s vocal style to McNelley’s straight-ahead power and range. Balistic wears their classic metal influences proudly on Transference, beginning with the Judas Priest-flavored stomp “Power.” “Purgatory” demonstrates a more Queensryche-geared texture; while “One Of Seven” and “I’m A Liar” both borrow from the Iron Maiden lexicon. But while the sound is familiar, Balistic offers their own style and slant to it; in particular the signature phrasings of lead guitarist Brian Kneasel, and the group’s fleshed out vocal harmonies. Balistic offers some comic relief via a bonus track, their heavy-handed treatment of Gaye Delorme’s country swear-along “The Rodeo Song,” with rhythm guitarist Mike Bordner growling lead vocals. Produced by the band and engineered and mixed by Mike Watert, Transference sounds rigid and full, allowing Fox’s bass and John Lohman’s drums full rumble capability, and Kneasel’s chords and solos appropriate jaggedness and bite. Transference achieves its purpose, ushering in the new era of Balistic. This sampler sets the new ground rules for Balistic, and upgrades the classic metal-geared foundation off which the group should progress on future recordings. (To obtain, visit Balistic’s website, www.balistic.com.)
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