Jim Price
Moderator
Joined: 07 Dec 2002
Posts: 4817
Location: Altoona, PA
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 Posted: Monday Nov 01, 2004 |
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Before getting into some CD reviews, a few random thoughts and soapboxes…
SOAPBOXIN’ WITH JP, PART 1: THE CONFESSIONS OF AN ADMITTED FENCE SITTER
Election Day eve is here.
First, although I’m personally tired of all the political debates on the forums, I still extend thanks to everybody who has voiced their views on the Presidential election on Rockpage. I appreciate the views of those who have passionately gotten behind – or stood against – one candidate or the other.
Admittedly, it hasn’t been nearly as cut-and-dry a decision for me to make. I’m not enthusiastic about either the incumbent or the candidate challenging him. I see benefits and liabilities from both occupying the White House. I have studied, read, heard and divulged a lot of information and opinions over these two candidates over the past several months. My decision has wavered back and forth in favor of one or the other, depending on information I come across on any particular day, the constant scrutiny of both in the media spotlight, news headlines, the debates and more. On the eve of the election, I have a good idea who I will vote for within 24 hours. Because I value the sanctity of the secret ballot, I am not publicly announcing who I am voting for. I am not passionately excited enough about the candidate I’m deciding upon that I wish to invest time and emotional capital arguing that candidate’s merits on Rockpage or any other discussion situation.
Ultimately, what my decision boils down to is this: Given the current climate and issues we as American society have to deal with, am I happy that…
A) President Bush is doing enough of a good job in the Oval Office that I can consciously give him my mandate for another four years? If so, obviously my decision rests there. If not…
B) Does John Kerry provide the alternatives I would prefer to the incumbent, and do I think he would lead the country in any better direction? If not…
C) Do I throw my vote behind a third party candidate who more represents what I want for this country, knowing full well that candidate will not win? And doing so, I probably indirectly cast a vote for President Bush, because the third party alternatives would likely detract more from John Kerry than President Bush. The third party option also effectively says that I disapprove of the two major candidates and the current electoral system that excludes third parties.
As a fence-sitter, this my decision-making process. I weigh everything, and decide if I can deal with the current direction our country is going in, based on the issues that most impact me. If I do, I go with the current Prez. If not, I vote one of the alternatives. It is not cut-and-dry, but I have decided, and will exercise my voice at the voting booth within the next 24 hours.
In doing so, although I am not happy with the state our current electoral process is in, at least I show support for that process, and the democracy that allows that process to take place. Perhaps that is the most important vote I can cast on Tuesday the 2nd.
SOAPBOXIN’ WITH JP, PART 2: JOE…MUST GO?
I wish I could vote on a Penn State coach.
As a Penn State football fan, the past five years have been very frustrating. There were the two losing seasons where the team could only muster five wins each; okay, it was bound to happen at some point. Then the 9-win season during which the Nittany Lions beat Nebraska, got jobbed by the zebras in the Iowa and Michigan games, and lost the bowl game to Auburn. Then, last year’s 3-9 disaster. Things could only improve after that, right? JoePa signs a contract extension to coach four more years, and expresses optimism that this is the year the team starts to turn it around, and possibly drive for another undefeated season and national championship contention.
Ain’t happening.
I’ve been in JoePa’s corner all along, and have been supportive of his decision to hang in there. After all, he didn’t drop the passes or throw the interceptions; the players did. But alas, I hate to say it, I’m leaning towards climbing aboard the “Joe Must Go” bandwagon. The 6-4 homecoming loss/disgrace against Iowa has pretty much sealed it for me. I thought that after the mighty effort the Lions put in during the loss against nationally-ranked Purdue, with two weeks to prepare for Iowa, and with Michael Robinson expected to return to action, that Penn State was set to pull the upset against the Hawkeyes. The defense kicked Iowa’s asses, and along with the special teams gave Penn State’s offense a short field to score. But the offense was dead. The play calling in the last quarter was pathetic! Altoona High could have won that game with the field position Penn State had! Yes, I understand that Zach Mills – the biggest college quarterback tank job since Ron Powlus at Notre Dame – suffered a concussion in the first half and was playing with bells ringing in his head; and that Michael Robinson was rusty after being out for several weeks, to be inserted at quarterback and throw key interceptions. But the playcalling was predictable, the offensive players weren’t on the same page, and I’ve never seen a Penn State offense more listless or flat. How does this happen? The Iowa homecoming game was the sorriest excuse for a Penn State loss I have witnessed in a long time.
Penn State’s offense showed very slight improvement during the following week’s loss to Ohio State; at least they started to be able to inch their way downfield for the 10 points they were able to score. They might win that game if they don’t give up the punt return and turnover converted for touchdowns in the first half. But stick a fork in them, Penn State’s season is essentially done, with no bowl games, and their remaining three games only being played for pride and to start looking towards next season. Whoopee.
Ultimately, I’m starting to agree that the game has passed Joe Paterno by. Other coaches are outthinking him, and his players have stopped believing that they can win under him; he can’t light the needed spark under their asses to get it done. Penn State’s recruiting classes are always rated in college football’s top twenty each year; what has happened in recent years so that those highly-rated classes don’t translate into results on the field any more?
Barring unforeseen miracles, I think this season might turn out to be the nail in the coffin for the Joe Paterno era at Penn State, despite his extended contract. Beaver Stadium is seeing less revenue every year, and those rich alumni from Tennessee and Kentucky aren’t going to continue to travel all the way in and pay for those nice posh executive seats at the stadium to see a losing team. And since football funds the rest of the athletic programs at Penn State, I can’t see the university continuing to let this slide continue much longer. JoePa’s obviously not getting it done any more, and I think the Nittany Lions are in need of a new spark, a new direction, a fresh start. Sorry, Joe, but it’s time. You need to step away from it and let it go. I also think perhaps a total housecleaning might be in order – bring in a new coach, a new philosophy, new ideas. Rick Neuheisel is currently available; maybe he is the candidate. With Penn State’s size, they could probably pay any coach they want to come in turn the football program around. But it needs done. The Iowa loss especially slammed the exclamation point on it for me.
SOME CD REVIEWS:
.38 SPECIAL – DRIVETRAIN (Sanctuary Records) After their formative first two albums in the 1970's, .38 Special has never been a conventional “southern rock” band, despite singer Donnie Van Zant being the brother of late Lynyrd Skynyrd singer Ronnie and current Skynyrd singer Johnny Van Zant. During their peak period in the 1980's, .38 Special was less jamming and more streamlined than their southern rock contemporaries, as they blended southern-flavored rock with a harder, arena-rock edge. After the group's last hit album, 1989's Rock and Roll Strategy, and its light rock hit ballad "Second Chance," .38 Special faded into the background, issuing two studio albums, a live album and a Christmas album during the 1990's. Their first studio album of new material in seven years, Drivetrain, finds .38 Special rocking harder than ever. The group's swagger is back, with Don Barnes' and Danny Chauncey's guitars baring more teeth and crunch in the mix, and Gary Moffatt's drumbeats booming and more thunderous. With veteran hit songwriter Jim Peterik (Ides Of March, Survivor) collaborating on eight of the album's twelve songs, .38 Special comes up with abundant catchy song hooks throughout the album. The group still sounds comfortably Southern on songs such as the boogie-flavored opener "Something I Need" and the album's first single, "Hurts Like Love;" and shows a touch of ZZ Top-styled raunch on "Haley's Got a Harley" and "Trooper with an Attitude." .38 Special levies Kiss-like thunder on the hopeful shout-along anthem "Jam On;" and flexes equal muscle on the heavier blues-rock of "Quick Fix" and "The Squeeze." .38 Special stretches into new territory several times on the album; offering sassy funk rock on "Make Some Sense of It" and "Bad Looks Good On You," dabbling in Sgt. Pepper-era Beatles textures on the slower-tempo "The Play," and infusing a slight modern edge into the album closer "Sheriff's County Line." Barnes' and Chaucey's production give .38 Special's sound more grit, edge and seismic thunder than ever; while the group's song hooks are concise and to the point. .38 Special returns with a vengence on Drivetrain; their strongest album since the 1980's, and their loudest and proudest yet.
MARK KNOPFLER – SHANGRI-LA (Warner Brothers Records) A year removed from a motorcycle accident that broke his collarbone, shoulder and seven ribs; former Dire Straits driving force Mark Knopfler exists in his own musical utopia on his latest solo album, Shangri-La. Knopfler dwells in comfortable and familiar musical territory: low-key, rural folk- and blues-rooted sounds over Shangri-La’s fourteen tracks. Along the way, Knopfler once again demonstrates his knack for intelligent songwriting, storytelling and wit, offering exposes spanning an eclectic variety of themes. The album’s standout first single, “Boom, Like That,” is an ode to the architect of the McDonald’s fast food empire, founder Ray Kroc. Knopfler explores themes of crime and its consequences on the album opener “5.15 a.m.” and the Latin-tinged “Postcards from Paraguay;” and ponders vices and lessons learned on “Sucker Row” and “Everybody Pays,” respectively. Two songs salute Knopfler’s musical roots: “Back to Tupelo” offers a view of Elvis through the eyes of Col. Tom Parker; and Knopfler eulogizes legendary skiffleman Lonnie Donegan on “Donegan’s Gone.” There’s a picturesque tribute to fishermen, “The Trawlerman’s Song;” a delta-flavored requiem to a boxing legend, “Song for Sonny Liston;” and even a witty dig at Knopfler’s own misfortune, the album-closing “Don’t Crash the Ambulance.” Knopfler continues to carve his niche very well; his guitarwork is clean, stylish and almost effortless, and his songwriting and clever wit are as acerbic as always. But clocking in at over an hour, Shangri-La’s mellow pace and subdued moods cause the album to drag in spots; particularly on weaker numbers like “Whoop De Doo” and “All That Matters.” While Shangri-La proves that Mark Knopfler is still a gifted artist and songwriter, the album’s tedious pace and length will likely limit its appeal to patient fans who already have acquired the taste for Knopfler’s prior work.
ALAN PARSONS – A VALID PATH (Artemis Records) Alan Parsons initially rose to prominence as a recording engineer; first as an assistant engineer on the Beatles' Abbey Road album, and later as the engineer on Pink Floyd's Dark Side of the Moon. Eventually, Parsons formed the Alan Parsons Project in the 1970's as the vehicle for bringing his complex musical visions and themes to life. Although Parsons' late 70's/early 80's commercial pinnacle has long passed, he has consistently issued albums since. Parsons' new album, A Valid Path, is his first in five years. A Valid Path finds Parsons immersed in the world of electronica, and his exploration finds him collaborating with several established names of the genre, such as Shpongle, The Crystal Method, Nortec Collective and Uberzone. In addition, Parsons also enlists contributions from Pink Floyd guitarist David Gilmour, longtime songwriting collaborator Eric Woolfson, former Ambrosia singer/guitarist David Pack, his son, Jeremy Parsons, and others. Much of the album is instrumental, as Parsons and his collaborators explore various electronic and techno soundscapes on exercises such as the Pink Floyd-flavored opener "Return to Tunguska" (featuring Gilmour), the eccentric techno-meets-mariachi experimentation of "Tijuanic," "L'Arc en Ciel" (with sampled water droplets helping provide melody and rhythm), and "Chomolungma" (featuring a cameo appearance from John Cleese of Monty Python fame). A few more conventional songs break up this cyber dreamscape, including the P.J Ollson-sung "More Lost Without You, "We Play the Game" (sung by Parsons himself), and the dancebeat-flavored "You Can Run" (with Pack on vocals). Parsons revisits the past twice on the album. "Mammagamma 04" updates an instrumental that first appeared on his 1982 hit album Eye In The Sky; while "A Recurring Dream Within a Dream" incorporates an update of "The Raven" from Parsons' 1975 musical interpretation of the works of Edgar Allen Poe, Tales of Mystery and Imagination. In addition to being the central creative force behind the album's nine tracks, Parsons produced and engineered the album, and contributed some keyboards, programming, guitar and bass work. While A Valid Path contains a few memorable moments, much of this album – particularly the instrumentals – is repetitive and lacks the immediate impact of Parsons' peak earlier work. While devout Alan Parsons fans and technophiles might fully understand and appreciate this album, casual listeners will likely find it to be bizarre, tedious and redundant; and in some cases, hypnotic and trance-inducing.
JOHN FOGERTY – DÉJÀ VU ALL OVER AGAIN (Geffen Records) His solo career phoenix-like, John Fogerty has released albums sparingly since Creedence Clearwater Revival disbanded in 1972. Fogerty's first album in seven years, Déjà vu All Over Again, offers a present-day musical snapshot of the artist, his life and times. The first single, lead-off track and title song, "Déjà vu All Over Again," sets the tone of Fogerty's concern with the world he is raising his family in. Just as he and Creedence Clearwater Revival voiced sentiments against the Vietnam War in the 60's, Fogerty draws parallels between Vietnam and Iraq on the this song, comparing the body counts of both: "Day by day I hear the voices rising/Started with a whisper like it did before/Day by day we count the dead and dying/Ship the bodies home while the networks keep score." On "Nobody's Here Anymore," Fogerty offers observations on society's preoccupation with modern technology and gadgetry. Beyond the news headlines and social commentary, domestic life is a prevalent theme on the album, with two songs – the new wave-geared rocker "Radar" and the country-flavored "Honey Do" – addressing the plight of a husband attempting to dodge household chores; while Fogerty sings a pleasant ode to a daughter on the folksy "I Will Walk with You." The styles and sounds on Déjà vu All Over Again are mostly consistent with what one comes to expect from John Fogerty; blending varying degrees of traditional-flavored rock'n'roll, folk and country. "Wicked Old Witch" reprises Fogerty's swamp-rock sound of Creedence past, while "She's Got Baggage" offers driving, hard-edged rock bordering on punk. Several guests make appearances on the album, including Tom Petty keyboardist Benmont Tench, Mark Knopfler, and veteran studio drummer Kenny Aronoff. Fogerty's production and Bob Clearmountain's mixing keep this album basic and simple; clean but with not too much polish. The album retains a relaxed mood and simplicity consistent with most of Fogerty's past output. As an audio snapshot, Déjà vu All Over Again suggests that while times and current events may change, John Fogerty, his musical personality and feel-good, homey vibe are constant, stable and largely unchanged.
(VARIOUS ARTISTS) – SPIN THE BOTTLE: AN ALL-STAR TRIBUTE TO KISS (Koch Records) More musicians pay homage to the legendary Kiss on the latest album tribute to the masked foursome, Spin the Bottle: An All-Star Tribute to Kiss. The premise of this album is slightly different, though. Instead of entire band entities offering their slants on Kiss classics, producer Bob Kulick - the brother of one-time Kiss guitarist Bruce Kulick, and an applicant for the group's guitar position in 1973 before Ace Frehley got the gig - selected and assembled individual hard rock musicians and other personalities to do the honors. According to the CD's liner notes, Kulick assembled the field from performers who had worked with Kiss as album guests or ghost players, musicians who had toured with or opened for the group, and several big Kiss fans as well. The results are mostly convincing, close-to-the-vest treatments of Kiss classics, with a few surprises along the way. Those surprises serve as the album's highlights; such as professional wrestler-turned-rock musician Chris Jericho's strong vocal performance on "King of the Night Time World," backed by his Fozzy bandmate Rich Ward on guitar, former Alice In Chains/Ozzy Osbourne bassist Mike Inez and Cinderella drummer Fred Coury. Likewise, Buzz Osbourne of The Melvins sings a convincingly gruff Gene Simmons-like lead on "God of Thunder;" backed by Bruce Kulick, drum legend Carmine Appice and Rob Zombie bassist Blasko. Also interesting is "Shout It Out Loud," pairing Motorhead bassist/throat Lemmy Kilmister with former Hole drummer Samantha Maloney and female guitar shredder Jennifer Batten. Other noteworthy names helping in this Kiss celebration include Dee Snider, Kip Winger, Mark Slaughter, Robben Ford, Page Hamilton (Helmet), C.C. DeVille (Poison), Gilby Clarke (Guns'N'Roses) and more. Produced, mixed and engineered by Bob Kulick and Bruce Bouillet, Spin the Bottle sounds crisp and clean, with the guitars especially given clarity and sharpness in the mix. As a studio project, though, the album sometimes sounds too clean and shiny in spots, and lacks live rawness, dirt and atmosphere. But ultimately, Spin the Bottle is still a rousing, triumphant listen; highlighted by robust, spirited individual performances, and interpretations that hold their own well alongside the Kiss originals.
WILLIAM HUNG – INSPIRATION (Koch Records) First, let's clear something up right off the bat. I did not buy this CD, nor listen to it willingly. I was a captive audience in Big Jim's car, heading to the Hurricanes' Fall Blues Cruise. Since Guv'nor Jesse was 40 minutes late hooking up with Big Jim for the ride, that evil Big Jim punished both of us by forcing us to endure William Hung’s Inspiration during the road trip en route to Lake Raystown. Oh, the HORROR! I knew this guy's pipes were bad, but nothing could have prepared me for his gutwrenching torture of Elton John's "Rocket Man," his laughably inept treatment of the Eagles’ "Hotel California," or – gasp – his excruciating vocalizing at the end of "I Believe I Can Fly." Of course, I fully understand the circumstances of why this guy has an album out; the story of his accidental overnight rise to superstardom via American Idol and Paula Abdul's compassion and pity after Simon Cowell ripped him to shreds. I understand the supposed underlying theme of the album, that anybody can achieve their dreams if they try. I understand that as a Berkeley college student, Hung is probably smart enough to milk this schtick for all the riches and fame he can get out of it while the ride lasts. (I know if I were in his shoes, I would.) And I also understand that although Hung sings "from the heart" and with "passion," that this album's appeal is as an unintentional comedy album. It's easy to laugh at Hung's inept and flat singing; yet a part of me says that doing so isn't much different from laughing at a mentally retarded person doing the same. So while Inspiration is a joke, it's a sick – and in a way, cruel – joke. It's this year's novelty hit, and will be a bad memory by this time next year. William Hung's fifteen minutes of fame, fortune and celebrity appearances will be over, and he will be a frontrunner to join William Shatner and Leonard Nimoy on the next “Golden Voices” album. Inspiration is one of those albums that is so bad, it's good – at least for one or two listens. If taken as a comedy album, it provides a few laughs; if taken as serious music, William Hung's voice will provide Inspiration alright – to vomit violently! Death to American Idol and karaoke!
NORMAN NARDINI – REDEMPTION (Moondog Records) Pittsburgh rock'n'roll icon Norman Nardini has been making music since the 1970's. After the break-up of his 70's band, Diamond Reo, Nardini embarked on a solo path, eventually forming Norman Nardini and the Tigers, who released two albums with CBS in the 1980's. Nardini has continued to issue music, and has built a career and legend around his blue-collar brand of rock, blues, soul and country, plus his colorful onstage personality. Nardini's new CD, Redemption, is a celebration of Nardini's "Pittsburgh Rock'n'Roll." On the album, Nardini and his band – featuring Hollidaysburg native Mark "Whitey" Cooper on drums and one-time Clearfield resident Harry Bottoms on bass – updated sixteen songs Nardini created between 1977 and 1988. According to the CD liner notes, since Nardini felt he hadn't done the song material justice on earlier recordings, he and his group went into the recording studio seeking 'redemption.' The result is a grittier, stripped-down approach to the songs, more consistent with Nardini's live performances. Nardini's driving guitarwork and lively singing performances are at front and center; anchored by Cooper's and Bottoms' sturdy, solid rhythms. Fans of Nardini's live show will recognize a number of songs here, including remakes from his Tigers inception such as "Can't Kill Love with a Gun," "That Girl," "Heat of the Night," "High Times," and "Love Dog;" as well as "Rock n'Roll City" and "Burnin' Up." Also updated are some less-heralded Nardini classics such as the reggae-flavored "A Man Like Me" and "Gorilla." Nardini is helped out on the album by several noteworthy Pittsburgh music names, such as keyboard player Herman Granati (of Granati Brothers/G-Force fame), saxophonist Phil Brontz (8th Street Rox) and rhythm guitarist Vinny Q. Redemption brings these sixteen songs closer to the sound and style Norman Nardini envisioned when he first wrote them. In the case of his Tigers material, especially, the results feature less studio gloss, bells and whistles than on the versions first released on CBS in the 80's. Longtime Norman Nardini fans should enjoy this bare-knuckles update of Norman favorites; and for the novice, Redemption is a good introduction to the self-proclaimed “Last Great Man of Pittsburgh Rock’n’Roll.” (To obtain, visit the website www.normannardini.com.)
PROJECT TWELVE(34) – SMALL ETERNITY (Basina Recordings) After Clarion-based rock band Ask A Stranger disbanded and went their separate ways in 1993, guitarist Dave Buzard stepped away from music for nearly a decade. Along the way, he eventually became interested in electronic music, and began to experiment in that genre. That experimentation has resulted in Buzard's studio entity, Project Twelve(34), and that project's instrumental debut album,Small Eternity. Over ten tracks, Buzard explores electronic and techno frontiers, merging these new worlds with various electric guitar flavors and effects. The results are hybrid forays into gothic, ambient, dancebeat, and even cinematic groove-styled realms, not far removed from the experimentation of Tangerine Dream, Kraftwerk, and Trent Reznor. The electronic stylings create the basic mood and foundation of each piece, and Buzard's varied guitar work further defines the compositions with melodies, accents, tension and release. Every composition is different, evoking a different mood and flavor. Fans of melody will likely gravitate towards the chord-laden, murky album opener "Restless and Rusted;" and the faster, more direct "Terminal Torque." Also intriguing is the funk-edged, sample- and loop-laden "Can't Sleep (Can't Cope)," with sampled voices depicting a restless journey through a dreamscape wilderness. "A.M. Heavy" finds bluesy electronica and organ serving as the platform for Buzard's heated guitar shredding. Other exercises are more ethereal in tone, such as "Nocturnal Transitions," and the darker-textured "Cold In Here" and "Miss Breakdown." Written, produced and performed by Buzard, Project Twelve(34)'s Small Eternity sets moods and paints sonic backdrops. As such, casual listeners with short attention spans might not last through the album's duration. But fans of electronica and musical adventurism may be intrigued by Buzard's sonic tapestries. (To obtain the CD, visit the website www.projecttwelve34.com.)
HERBIE – HIGH IMPACT (no label) Since first forming four years ago at Lebanon Valley College, Herbie has evolved into one of east-central Pennsylvania's most talked-about bands. Herbie's studio debut album, High Impact, introduces listeners to the group's frenzied hodgepodge of sounds. Guitarists/vocalists George Griffo and Jay Baab, bassist/vocalist Ben Eberts and drummer Jeff "Ffej" Herb blend elements of rock, funk, ska, reggae and blues into energized jam-geared workouts over High Impact's seven songs (plus one untitled bonus song). But although Herbie leans toward jam-band tendencies, their songs and melodies are streamlined and tight, and largely devoid of the indulgent noodling or endless instrumental passages often associated with jam-geared rock. The group's songs often shift moods and tempos, with a few unexpected side journeys to keep things interesting. Herbie opens High Impact with two tasty funk-flavored numbers, "Fudge" and "Inside;" both establishing the group's base of musical operations somewhere between Sublime, Steely Dan and Phish. The group flexes their harder rock muscle on "Cool Ethan" and "T-Dog @ the Burger Star;" and exercises a more playful ska/reggae-geared vibe on "Zeke." "Dr. Monster" offers a melodramatic mix of funk, ska and harder rock flavors, before Herbie closes the album with the lengthier funk/rock/jam epic "Brand New." Recorded and mixed by Jason Drayer and Mike Washkevich, and co-produced by the band, High Impact sounds balanced and basic, with minimal studio gloss allowing Herbie's presentation to retain its spontaneous feel and edge. On High Impact, Herbie successfully streamlines jam-geared rock to the bare essentials, in the process delivering a sound both jam fans and conventional rock fans should likely appreciate. (To obtain the album, visit the web site www.herbierock.com.)
WHITE WITCH – THE POWER (Nightmare Records) White Witch's story began in 1984, when the group first assembled in the Williamsport area to record some original songs. The result was an album, Hell Is Doomed, and a successful touring run of regional stages before the group's four members went their separate ways in 1989. A phone call between members led to White Witch reforming in 2002, and this year releasing their comeback disc, The Power. White Witch's sound is rooted in vintage 80's-era heavy metal, with strong Iron Maiden and Ronnie Dio-era Black Sabbath flavors prominent over The Power's eight tracks. The group is instrumentally strong, with bassist Jack Death and drummer Carl Berry generating sturdy, lean and thunderous rhythms to serve as a platform for Doug Lehman's frequent guitar fireworks and the rangeful vocals of singer Jeff Pittinger. Lyrically, the group doesn't venture beyond the basic cliched heavy metal themes of good and evil, devious vixens, temptation and doomsday. White Witch mixes up the styles of attack on The Power between basic and complex material. The group performs anthemic rockers like the album-opening title track "The Power," the catchy "Marrianne," the group's title song "White Witch," and "Rawhead Rex," based on a Clive Barker horror story. White Witch also attempts more detailed exercises, such as the thundering and methodical "Cry of the Bain Sidhe," the multi-speed epic "The Crutch" and the rampaging finisher "25 Hours to Live." The group also updates Alice Cooper's 1973 hit, "No More Mr. Nice Guy." The production, done by the band and Joseph Paul Hauserman, is basic and bare bones; but ultimately hinders White Witch's overall effect. The group could have benefited from fuller production and better usage of effects, particularly to smooth out Jeff Pittinger's often uneven vocals. In the end, The Power shows that White Witch has rediscovered their spark and passion for old-school heavy metal; but this album could have been stronger had the band sweated the details a little more, especially on lyrics and production. (To obtain this album, visit White Witch's website at www.whitewitchrocks.com.)
3 BROKEN DOLLS – WHAT HAPPENED TO THE AMERICAN DREAM? (no label) 3 Broken Dolls first emerged from Mount Union two years ago, and has become a frequent flyer on area stages. On their debut album, What Happened to the American Dream?, the group – singer/bassist Kevin Price, guitarist Dusty Sipes (who has since left the group) and drummer Mike Ross – introduces their brand of edgy, hard-driving rock. The group's base sound is reminiscent of the punk-tinged style of Billy Idol, with some lyrical grit reminiscent of Nirvana and Everclear. As chief songwriter, Price addresses several social and personal issues on the album. The album opener and title track, "What Happened to the American Dream," is a hard-hitting examination of our political system's broken promises to the working class. "Walk Your Talk" offers the blue-collar message of earning life's desires through hard work, while "Leave Me Alone" shouts down naysayers who stand in the way. The angrier "Life's Too Short" addresses relationship red tape, while the album closer "Don't Wanta Fade Away In a Bottle" depicts an introspective house-cleaning of emotional baggage. And the group swings bluesy on an ode to relationships on the rocks, "Fell Out of Love." Recording the album at Altoona's Data Music Services, the group embellished the song material with some detail, including layering of vocals, tricky timing and tempo shifts and Sipes' colorful guitar phrasing. But the overall sound itself is a bit thin, and instrumental execution and timing aren't always on the mark. Price shows a tendency to oversing and force his voice in spots, and shows a need for more control and restraint. What Happened to the American Dream? is at least a start, a modest set that introduces 3 Broken Dolls as a band with some interesting ideas and the willingness to experiment. Further development and honing of their skills will hopefully result in stronger future releases. (For information on obtaining the CD, visit the group's website at 3brokendolls.com.)
FRANK AYERS – BACK TO THE COUNTRY (Storm Rider Records) There is a gentle simplicity to the music of Hollidaysburg country crooner Frank Ayers. On his second CD, Back to the Country, Ayers doesn't mince words. Instead, he celebrates the simple joys of life, such as a breath of country air, a starlit sky, the love of a good woman and more. With his low-key voice and humble singing style, Ayers sounds like he’s content with life on the disc’s six tracks. Listeners will find that Ayers is happiest in the rural setting; longing to return home to his woman and the country on the opening song “Touch The Sky,” preferring the country over the big city on the upbeat title track “Back to the Country,” and musing about Mountaineer memories on “West Virginia Proud.” Ayers also is a romantic, crooning affection on the ballads “Falling in Love with You,” “Last Chance at Love” and the midtempo closing song “You’re the Woman.” Assisting Ayers on the album are Nashville studio ace and multi-instrumentalist Bruce Watkins (who also arranged the music), Clint Carothers on percussion, and Paula Glunt and Dave Villani on backing vocals. Recorded, produced and engineered by Villani at Altoona’s Data Music Services, Back to the Country sounds appropriately simple and uncomplicated, with minimal effects and just the right touch of studio polish to sound smooth and sturdy. The basic arrangements effectively complement Ayers’ soft-spoken style and straightforward lyrics. At times, Ayers oversells his rural persona, particularly with the constant “West Virgin-ee” references on “West Virginia Proud.” Ayers’ singing cadence doesn’t always perfectly fit into the arrangements, making for a few awkward-sounding moments on the disc. But ultimately, Frank Ayers’ humble, understated approach and simplicity win the day, and Back to the Country comes across as sincere and heartfelt. The disc offers a musical snapshot of a man content with his life and heritage, and is an uplifting, honest effort.
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