Jim Price
Moderator
Joined: 07 Dec 2002
Posts: 4817
Location: Altoona, PA
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 Posted: Wednesday Aug 31, 2005 |
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FINAL CUT CD REVIEWS & CHICANERY: JULY/AUGUST 2005
FIRST…SOME SOAPBOXING…
First, my apologies for no issue for May and June. I was so busy during that period, I didn’t have time to write any commentaries, and only had about 5 CD reviews, so why waste the space? So I decided to wait until I had more material before posting a new Final Cut; hopefully it was worth the wait!
A QUIET DAY FISHING…
Back on a hot and muggy Sunday afternoon in mid-July, I decided to head to Canoe Creek State Park near Altoona to dunk a few worms and catch some fish, and in the process get away from the rat race for a little while and relax. The conditions were favorable for the catching of mass quantities of panfish (my specialty); hot, humid, and very little wind.
I arrived at Canoe Lake, procured a picnic table along the side of the lake opposite the beach area, and started setting up to fish. I had purchased a sub at Sheetz plus some liquid refreshments (non-alcoholic, I had “Backyard Rocker” duty later that evening). While there were some people at the park and along the bank area where I was about to fish, it wasn’t crowded, and it looked to be setting up to be a relaxing afternoon of angling.
Then the dysfunctional Altoid family from Hell showed up.
First it was two boys, around 5 and 8, with the elder boy hauling a cooler behind him with wheels on it. They pulled up to a picnic table on the opposite side of some bushes from where I was, about 50 feet away. I wasn’t too concerned, as there was a small grove of bushes separating them from me, so I likely wouldn’t be bothered.
About a minute later, Dad showed up with a knockout gorgeous blonde lady, who I figured to be his wife or girlfriend. He called over to me to ask if I was catching anything; I told him not yet, but that I had only just started myself.
I overhear as pot-gutted Dad and kids set up their gear and start fishing. Within a few minutes, Dad starts cursing out the kids for getting their fishing lines tangled. The guy is dropping f-bombs on his kids left and right, nice father, eh? He continues his swearing tirade at these kids, threatening to take them back home. He then orders the kids to take their fishing lines out of the water, and the kids proceed to do so, and then start jumping around in the water themselves. This was apparently okay with Dad, he is laughing at the kids as he fishes himself; oblivious to the fact that his brats are likely scaring away any fish he or anybody else close by – me included – was hoping to catch.
This goes on for another 20 minutes or so, and along the way, the woman leaves Dad and the kids to head back to the parking area, probably to use the rest facilities or to purchase a soft drink from the vending machines. Shortly after she disappears from sight, I notice a state fishing commission jeep wheel into the parking area, and the ranger exit the vehicle and start proceeding back along the lakeshore in the direction of where we were fishing. This did not concern me, as I had my fishing license on the back of my ballcap, and hadn’t caught any fish yet; plus I always follow the creel limits and restrictions, and wouldn’t have anything in my cooler that I wasn’t supposed to have anyway. But Dad noticed the jeep, and instantly ordered his kids out of the water. Sure enough, the ranger had noticed the kids swimming in the lake in an area not designated for swimming, and the ranger began lecturing Dad about the kids not being permitted to swim in that part of the lake. Dad goes on to B-S the ranger, saying that he was aware of the rules, that he had come to this park all of his life, and – the clincher – that his fiancé had given the kids the go-ahead to swim in the lake. Yes, Dad was blaming his fiancé, who was away and not around to defend herself. (I wondered to myself what she saw in this loser to make her want to marry him; Altoona area women never cease to amaze me!) The ranger warned the guy and then left, and within half an hour, guess what? The kids were back in the water again! What a crew!
Fiancé returned, and the dysfunctional gang continued with their loud, fish-disturbing, law-ignoring ways. Dad again cursed out the kids several more times, dropping more loud f-bombs on them, while fiancé sat by and remained quiet. Eventually, not catching any fish, Dad rounded up the gang and left. Unfortunately, I only had a few remaining minutes of peace and quiet to myself before I had to leave and head to work.
Thanks to the dysfunctional Altoid family for scaring away the fish and bringing a part of the city out to Canoe Creek State Park. I came to the park to escape Altoona, these folks came there to bring it with them. Maybe next time I’ll head to Prince Gallitzin State Park or the Juniata River, where there is less likelihood of having to contend with idiots like this again!
RABBITS
Among the many hats I wear during the warm weather months is my gardening hat (actually, a ballcap); I garden.
It was mid-June, and I was into the homestretch of digging my annual garden. Usually every year I use my roto-tiller to break up the ground, but my tiller only digs so deep – around 3 or 4 inches – and I wanted to dig deeper to bring more underlying soil up to the surface. So this year, I dug the whole garden by hand, using a shovel. Hell, I needed the exercise anyway!
Anyway, I was digging the last few square feet of my garden, in a corner of the garden where I have several perennial herbs planted. I had neglected this section of the garden over the past several years, and there were a number of weeds mixed in with the perennial oregano, sage, lemon balm and chives I have planted there. And since this was neglected, an herb I thought I had eradicated a few years before – catnip – had made a comeback. There was a good-sized clump of catnip growing at the edge of my herb area, which I was planning to dig out and dispose of again. But as I drew closer to the catnip, I was noticing some movement out of the corner of my eye. I turned and looked, to discover a baby rabbit was standing at the edge of the catnip and watching me, nibbling on a few nearby weeds. I noticed more movement and discovered there were three baby rabbits in all, and that they were in a nest the rabbit parents had made smack-dab in the middle of the catnip!
For those who are not horticulturally informed, catnip is so-named because cats go nuts over the stuff. There are cat products and toys on the market in which catnip is used, because felines like the smell of the stuff. It doesn’t take a rocket scientist to figure out that a patch of catnip is not the ideal place for a rabbit to situate a nest. This rabbit apparently wasn’t the sharpest one on the block, it had placed its nest right in the heart of an area prone to cat visits. And we have a few cats in the neighborhood that have been seen marauding around my garden area from time to time.
I watched the baby rabbits as I continued to dig my remaining section of garden, deciding to leave them be and not disturb their nest area in the catnip. These rabbits must have been born within the past week, they could hardly move around on their feet, and didn’t have very good balance yet. I wrapped up my garden-digging duties and retired to the indoors, hoping the rabbits would make out okay. (I don’t know why I hoped this, if they would survive, they would most certainly be someday trying to eat my crops!)
Two nights later, my older brother reported to me that he had heard the squeal of an animal in distress in my backyard, in the general area of where the rabbit patch was in my garden. Apparently a cat, probably the neighbor’s black cat, George, had visited the catnip patch and found himself an easy meal.
In the next few weeks, I discovered that at least one of the baby rabbits had survived, and was appearing in our backyard at various times. I could tell this was the one that had initially been watching me, because I recognized the white spot on the top of its head. This rabbit had become somewhat friendly, and would not run when I was around, eating clover in our yard just a few feet from where I was standing or walking. I observed as this rabbit entered its “teen” years, growing slightly bigger, but still smaller than full-grown adult rabbits. I got a chuckle out of this rabbit, as it would play ‘hide-and-seek’ with me in the backyard.
But alas, a tragic fate awaited this rabbit as well. On a Saturday afternoon in mid-July, a red-tailed hawk made a meal of this young rabbit; we saw as the hawk pounced on the rabbit and held it down, and started devouring it. It was nature at work. I was slightly saddened to see the little rabbit meet this fate, but not too depressed about it; after all, as I said before, it probably was only a matter of time before I would have had to start chasing the rabbit out of my garden.
Morals of the story? Rabbits shouldn’t build nests in catnip patches. And if you’re a rabbit, don’t let your guard down; if the cat doesn’t get you, the hawk will.
AND NOW…SOME NATIONAL AND LOCAL CD REVIEWS
ROBERT PLANT AND THE STRANGE SENSATION – MIGHTY REARRANGER (Sanctuary) Never let it be said that the voice of Led Zeppelin, Robert Plant, ever played it safe or was content to rehash the glories of his famous former band during his post-Zeppelin solo career. It took Plant several albums before he would even acknowledge his Led-den past. And on his latest solo album, Mighty Rearranger; while Plant embraces vestiges of Led Zeppelin, he even more boldly explores new frontiers with his music. His second album with current bandmates the Strange Sensation (which feature members of Portishead and Massive Attack), Mighty Rearranger finds Plant more openly recalling the thunder, mysticism, blues and north African infatuations of his Zeppelin years; but also finds him dabbling in trip-hop, technology and experimental hybrids. Plant’s north African fascination surfaces first on the album opener, “Another Tribe,” driven with beats from a Moroccan percussion instrument, the bendir. Far Eastern flavors also drive the song “Somebody Knocking,” and infiltrate the hard-rocking “Takamba.” Blues and blues-based rock still frequently provide the base of Plant’s sound; the standout track “Shine It All Around” escalates along a booming, bluesy foundation reminiscent of “When The Levee Breaks;” while delta-styled blues merges with trip-hop beats on “The Enchanter.” Plant gets the Led out more furiously on “Tin Pan Valley,” a heavy Zeppish rant prefaced by a bluesy introduction. Jagged trip-hop informed rhythms anchor the blues-rooted “Freedom Fries;” while elements of jazz and rockabilly merge with blues on “Let the Four Winds Blow” and the title track “Mighty Rearranger.” Plant recalls his folksier leanings on “All The Kings Horses,” and pays homage to Ray Charles with the brief piano-laced closer “Brother Ray.” Robert Plant’s voice might lack the power and urgency of his Zeppelin years, but on this album it still sounds smooth, tuneful and clear. And his backing corps of keyboardist John Baggott, guitarists Justin Adams and Skin Tyson, bassist Billy Fuller and percussionist Clive Deamer are capable players who don’t overplay their roles or try to emulate Plant’s former Zeppelin bandmates. Mighty Rearranger is the closest Robert Plant has sounded to his Led Zeppelin past, with throwbacks to Led Zeppelin III and Physical Graffiti especially. Yet it is also Plant’s most experimental album, with technology mediating with tradition, electronic beats and studio effects infusing blues, jazz and worldbeat. Mighty Rearranger shows that while Plant recalls his past, he is not trapped by it; and although he acknowledges where he has been, he is intent on exploring and moving forward. Fans of Plant’s solo career should find plenty to celebrate here, while Led Zeppelin stalwarts looking to ‘get the led out’ may only get partial satisfaction.
JOE PERRY – JOE PERRY (Roman Records) The last time Aerosmith guitarist Joe Perry strayed outside of the mother ship band to release solo material – three albums' worth between 1980 and 1984 – the circumstances were different. The excesses of the music business had sent Aerosmith on the skids, resulting in Perry and rhythm guitarist Brad Whitford splitting from the band. Now, though, a happier Aerosmith is taking it easy, and Perry is using the opportunity to issue his own album. The self-titled Joe Perry album delivers what you might expect from Perry; plentiful guitar displays, rip-roaring rock, blues-driven rock, and a few curious twists and turns. Except for the drums, which were played by co-producer/engineer Paul Caruso; this is an actual solo album, with Perry singing and playing guitars, bass and keys. Perhaps still influenced by the shadow of Aerosmith's recent blues revival album Honkin' On Bobo, Perry often hearkens back to the fiery, hard-slamming blues-fueled rock that was early Aerosmith's trademark. The album opener "Shakin' My Cage" is a rowdy blues-rocker somewhat reminiscent of Perry's best-known earlier solo song, "Let The Music Do the Talking." Perry's sound of "Hold On Me" resembles Keith Richards' solo material, suggesting that the two guitarists share kindred musical roots and background. "Can't Compare" and "Lonely" are more brazen and boisterous guitar rockers; while the slide guitar-driven "Talk Talkin'" is a hard-hitting, bluesy shuffle with a riff reminiscent of Norman Greenbaum's "Spirit In The Sky." Perry offers two remakes; convincingly conjuring Jim Morrison with his update of "Crystal Ship," and taking Woody Guthrie's "Vigilante Man" on a stomping swamp blues ride. He also explores Far Eastern musical flavors on "Pray For Me;" croons out a country-styled ballad, "Ten Years;" and explores varied guitar textures on two instrumentals, the modern-ish "Twilight" and the bluesy album closer "Mercy." Joe Perry lets his guitar do lots of talking here, and fans of his guitar playing will likely savor the wide and varied fretboard displays throughout the album. Perry's low-key, understated vocals are the diametric opposite of his flamboyant Aerosmith mouthpiece, Stephen Tyler. This album enables Perry to cut loose and rock out, as well as explore several different musical avenues. Joe Perry also illustrates what Perry brings to the Aerosmith table, and shows why he is still a vital component of the Boston bad boys' legendary sound.
JOURNEY – GENERATIONS (Frontiers Records) Four years ago, the album Arrival marked the arrival of a new era of Journey. With new singer Steve Augeri and drummer Deen Castronovo joining guitarist Neal Schon, bassist Ross Valory and keyboardist Jonathan Cain; Arrival showed that the group's trademark pop-geared hard rock sound was alive and well, and that the new blood was capable of carrying on the Journey tradition. On the second Journey studio album with this line-up, Generations, the current Journey roster has further gelled, with all five members contributing substantially to the overall songwriting, singing and performances on the album. Although Augeri is still the official Journey frontman; every member of the band sings lead at least once on the album. Like Augeri, Deen Castronovo's pipes demonstrate a similarity to former Journey frontman Steve Perry's voice and range on "A Better Life." Jonathan Cain likewise shows good voice on the hopeful "Every Generation." Neal Schon fronts the group on the harder rocking "In Self-Defense," a remake of a song he previously recorded with Jan Hammer. And Ross Valory offers a convincing ZZ Top-styled growl on the uncharacteristically fast-firing, blues-rocking "Gone Crazy." The overall songwriting here is strong, with well-developed melodies, often soaring arrangements and thoughtful, relatable lyrics. At seven minutes, "Faith in the Heartland" is a majestic, powerful rocking story of hope in blue-collar America to open the album. Likewise, the Augeri-penned "Believe" is a soaring, upbeat song pondering faith, trust and conviction. And "Out Of Harms Way" is a hard-rocking ode to our servicemen serving abroad. Fans of Journey's ballads will find reason to celebrate here as well; especially the well-crafted "Butterfly (She Flies Alone)," the gospel-flavored "Knowing That You Love Me" and the lofty closer "Beyond the Clouds." Journey sounds even more reinvigorated on Generations. The performances sound inspired, focused, and hungry; and Neal Schon offers plenty of new reasons to include his name in sentences containing the words 'guitar' and 'god' in close proximity. Steve Augeri and Deen Castronovo have fully arrived on this album, not merely assimilating into the Journey mold, but applying their own signature and stamp to the group's trademark sound. On Generations, the current incarnation of Journey isn't treading water and reliving past glories; they are moving forward, and making exciting music again. This is the strongest album carrying the Journey torch since the group's early 80's heyday.
IOMMI – FUSED (Sanctuary) Black Sabbath guitarist Tony Iommi first worked with former Trapeze/Deep Purple singer/bassist Glenn Hughes on the 1986 Black Sabbath album Seventh Star – which was actually supposed to be Iommi’s first solo album before record company pressure forced him to issue it as a Black Sabbath release. The two musicians would again work on some recordings ten years later, but Black Sabbath’s tour plans caused those recordings to be shelved for eight years, until the 2004 release of The 1996 DEP Sessions. As that album was released, Iommi and Hughes decided to collaborate on another official album together, resulting in Iommi’s latest solo CD, Fused. As expected given the Iommi brand name, Fused contains an abundance of dark-textured, heavy, riff-driven numbers not too far removed from Iommi’s trademark Black Sabbath sound. Songs like “Saviour Of The Real,” “Resolution Song,” ”Face Your Fear,” “Spell” and the 9-minute-plus album-closing epic “I Go Insane” don’t fall too far from the Black Sabbath tree; courtesy of Iommi’s gargantuan riffs and session drummer Kenny Aronoff’s thundering beats. But the album also contains a strong degree of melody, driven home by Hughes’ high-ranging and powerful vocals. The blend of that melody and heavy-rocking thunder yields paydirt especially on the strong opener “Dopamine,” the stern and somber “Grace” and “Deep Inside a Shell.” This set succeeds because despite being Iommi’s album, the Black Sabbath guitarist defers the emphasis to his collaborative effort with Glenn Hughes rather than his own songwriting and guitar skills; and the attention is on songs and melody rather than solo instrumental glories. Produced by bassist and keyboard player Bob Marlette, Fused sounds appropriately weighty and powerful, but allows Glenn Hughes’ vocals to soar with power and clarity. On Fused, Tony Iommi and Glenn Hughes have fused together into a solid tandem that delivers strong songs and heavy-rocking punch. And the impressive results here fuel hopes that this isn’t the last we hear of Iommi’s and Hughes’ collaborative efforts.
ALICE COOPER – DIRTY DIAMONDS (New West Records) Alice Cooper stripped down his sound and returned to bare bones rock and roll on his last studio album, 2003's The Eyes Of Alice Cooper. On his new album, Dirty Diamonds, Cooper diversifies from that stripped-down approach and explores some different directions. The title track "Dirty Diamonds" has a melodramatic, Austin Powers/James Bond movie-like sound with a horn section, supporting Cooper's lyrical story line about a crime plot gone awry. "The Saga of Jesse Jane" finds Cooper dabbling in country flavors as he croons, Johnny Cash-style, about a cross-dressing outlaw. "Six Hours" is a bluesy barroom ballad, while "Zombie Dance" demonstrates a swampy feel, with a slight nod to John Lennon's "Cold Turkey." And the album's lone cover, a remake of The Left Banke's "Pretty Ballerina," finds Cooper recreating trippy 60's psychedelia. Most of the remainder of Dirty Diamonds' dozen official tracks is hard-driving, basic rock and roll, with nods to modern White Stripes/Jet garage rock on the opener "Woman of Mass Destruction," the punkish "Steal That Car" and "Your Own Worst Enemy;" and homages to the Rolling Stones on "Perfect," "You Make Me Wanna" and "Sunset Babies (All Got Rabies)." The album ends with a bonus track, as Cooper tests the rap-rock waters with "Stand," featuring a cameo appearance by Xzibit. Alice Cooper retains the services of guitarist Ryan Roxie and bassist Chuck Garric in his current band; but adds former Brother Cane guitarist/singer Damon Johnson and drummer Tommy Cufetos. As was the case on The Eyes of Alice Cooper, the sound and production remain lean and basic on this album, with few overdubs or studio enhancements. At its best, Dirty Diamonds retains the grit and spit of the last album. Sometimes, though, the production is too polished and sterile; resulting in the sacrifice of some of that edge. Overall, though, Alice Cooper shows he still has plenty of gas left in the tank on Dirty Diamonds, as he demonstrates his grit, wit and savvy, plus a willingness to continue to explore and experiment.
STYX – BIG BANG THEORY (New Door Records) Inspired by the success of their digital download and radio single interpretation of the Beatles’ “I Am the Walrus” last year, Styx decided to record an entire album of cover songs, called Big Bang Theory. The group – these days singer/guitarists Tommy Shaw and James Young, bassist Ricky Phillips, drummer Todd Sucherman and keyboardist Lawrence Gowan – largely selected songs that inspired them from the 60’s and early 70’s. The results are varied; some songs fit Styx’s musical personality and endure the group’s translation better than others. Case in point, the album-opening live rendition of “I Am The Walrus;” where Styx’s progressive-leaning musical personality is a good fit for one of the Beatles’ more eccentric classics. Another standout is a particularly strong version of Humble Pie’s “I Don’t Need No Doctor,” with Lawrence Gowan’s voice impressively recalling the late Steve Marriott. Styx also shows previously undetected blues savvy with their version of the Elmore James/Allman Brothers gem “One Way Out;” gives a convincingly solemn read to Procol Harum’s “A Salty Dog;” and performs an inspired update of Free’s “Wishing Well.” While Styx’s version of The Who’s “I Can See For Miles” is a largely verbatim cover, the group’s vocal harmonies lift it above average. Renditions of Blind Faith’s “Can’t Find My Way Home,” Lovin’ Spoonful’s “Summer In The City,” Jethro Tull’s “Locomotive Breath” and Crosby Stills & Nash’s “Find the Cost of Freedom” are adequate but unremarkable; and their rendition of Jimi Hendrix’s “Manic Depression” comes off as cumbersome and pretentious. Styx finishes the album by updating one of their late 70’s hits; “Blue Collar Man @ 2120” was recorded in the Chicago building that once housed Chess Records, now the headquarters to Willie Dixon’s Blues Heaven Foundation, where royalties from the song will be donated. The song receives a slower, blues-geared read, with help from blues great Koko Taylor and former Chuck Berry keyboardist Johnnie Johnson, who passed away shortly after recording the song. For Styx fans, Big Bang Theory offers some insight into the musical influences that helped shape the group’s sound and direction as they surfaced and rose to superstardom in the 70’s and early 80’s, and reveals some previously hidden flavors of the group’s collective personality. But a lot of this album is Styx going through the motions and doing little to reinvent themselves or the material they are covering. Only diehard Styx fans will find this an album worth investing in.
PROTO-KAW – BEFORE BECAME AFTER (InsideOut/SPV) For those who were never aware of it, the Kansas that became famous for the 70's hits "Carry On Wayward Son" and "Dust In The Wind" was actually the third incarnation of the group. Founding member, guitarist and composer Kerry Livgren attempted to achieve a recording deal with two earlier Kansas line-ups. After lack of success led to the second Kansas' breakup in 1973, Livgren joined another midwestern band, White Clover, who soon changed their name to Kansas and went on to fame and fortune. After Livgren issued a compilation of early recordings from the second Kansas line-up in 2002, he and that edition of Kansas reunited and reformed under the name Proto-Kaw (proto means "pre" or "early;" kaw is a Native American term for Kansas). Released last year, Before Became After is the studio album this second edition of Kansas was finally able to record, mixing four songs from their early 70's stint with five new compositions. With Livgren as the central songwriter and composer, Proto-Kaw's style and sound are often similar to commercially successful Kansas, with adventurous excursions like the opener "Alt. More Worlds Than Known," "Leaven," "Gloriana," "Heavenly Man" and the eleven-minute epic closer "Theophany" reminiscent of the lengthier epics of the first three Kansas albums. Singer Lynn Meredith's rangeful voice and style are similar to eventual Kansas frontman Steve Walsh. But Proto-Kaw shows more improvisation and jazz-styled fusion than the famous Kansas line-up, with frequent explorations between Livgren, keyboardist Dan Wright and flute/saxophone player John Bolton. Those jazz-fusion flavorings can be clearly heard on "Quantum Leapfrog," as well as the aforementioned lengthier numbers. Proto-Kaw also crafts shorter and more concise melodies, demonstrated by the thoughtful ballad "Words of Honor" and the upbeat "Occasion of Your Honest Dreaming;" and they display a sassier edge on their remake of The Cryan' Shames' witty late 60's ode to lawyers, "Greenberg, Glickstein, Charles, David, Smith and Jones." As with Kansas, Proto-Kaw's overall musicianship is captivating and impressive, especially considering that most of these musicians started families and careers and didn't actively perform in the 30 years after their Kansas break-up. Before Became After offers a fascinating glimpse at an alternate Kansas, and what Kerry Livgren's vision of the group might have sounded like had it stayed together in the early 70's. But this album also signifies the rekindling of a dormant dream for these musicians, the restoration of their friendships, and a new vehicle for their creativity to come to life. Fans of Kansas' career will find this an intriguing album, and even casual Kansas fans should find this an album worth looking into.
SAXON – LIONHEART (SPV Records) In case you lost track of them, New Wave Of British Heavy Metal pioneers Saxon are still alive and kicking 25 years after their first recording; and their latest studio album, Lionheart, is one of the strongest they have issued since their early 80’s heyday. Saxon’s current cast – founding singer Biff Byford and guitarist Paul Quinn, along with guitarist Doug Scarratt, bassist/keyboardist Nibbs Carter and former Rage/Mekong Delta/Running Wild drummer Jorg Michael – have crafted an album loosely based around a central theme of legends, myths and battle. Their sound has returned to the aggressive old-school styled classic metal of albums like Strong Arm Of The Law, Wheels Of Steel and Crusader, with charging rhythms, aggressive guitar riffs and heated soloing, and Biff Byford’s rejuvenated vocal performance. Byford’s voice has arguably never sounded better; demonstrated by his incredible range on “To Live By the Sword” and “English Man’O’War.” These two songs (the latter nicely set up by the acoustic lead-in “Jack Tars”), along with the intro/title track combo “The Return/Lionheart,” are the three biggest highlights of the album; as Saxon combines majestic, drama-filled metal arrangements with powerful lyrical imagery of English battle scenes on land and sea. Also strong is the Halloween-themed opener “Witchfinder General” (paying homage to a fellow New Wave Of British Heavy Metal band of the same name), the forceful “Justice,” and two more textured and progressive-leaning numbers, “Beyond The Grave” and “Searching for Atlantis.” Saxon’s only stumble here is the closing number, “Flying On The Edge,” recounting an apparent concert tour war story; this tune comes off as cumbersome and doesn’t fit with the prevailing theme of the rest of the album. Otherwise, though, Lionheart is the best that Saxon has sounded in years; and fans of this group back in their 80’s glory years will find plenty to celebrate here. I recommend!
TEN YEARS AFTER – NOW (Fuel 2000 Records) Forming in 1967, Ten Years After catapulted to early 70's success on the heels of their performance at Woodstock. The group's early success revolved around guitarist and singer Alvin Lee, and the group broke up in 1974 as Lee embarked on a solo career. The group reunited and issued another studio album, About Time, in 1989, but then was dormant for another 13 years until 2002. This time without Alvin Lee, keyboardist Chick Churchill, bassist Leo Lyons and drummer Ric Lee joined up with Joe Gooch, a singer and guitarist about half their age; and Ten Years After was reborn. Ten Year's After's latest studio album, Now, was first issued in Europe last year, but released in the United States this year with two extra tracks; live versions of Ten Years After's two most famous numbers, the hit "I'd Love to Change the World" and their Woodstock classic, "Going Home." Ten Years After's new studio material follows the group's tradition of hard-hitting English blues rock. Gooch proves himself a capable singer, demonstrating ample amounts of range, grit and soul; and he shines on guitar as well throughout the album. With the infusion of new blood, the group sounds rejuvenated on much of this album, especially demonstrated on rowdier numbers like the album opener "When It All Falls Down" and the fast boogie rants "King Of The Blues" and "Reasons Why." Other highlights include the Beatles-styled late 60's psychedelia of the 7-minute-plus "A Hundred Miles High," the soulful "Long Time Running" and the more southern-flavored "Changes." Ten Years After recorded much of Now live in the studio, thus succeeding in capturing a live, more spontaneous vibe. Purists will likely dismiss this album because Alvin Lee is not a part of the current edition of Ten Years After. But 75% of the original line-up is still here, and Joe Gooch's exciting performances lift this album above being merely a rehash of blues-rock riffs. Now is what Ten Years After is now, and is a respectable listen for fans of traditional 70's-era blues rock.
BACKSTREET LAW – FRUSTRATED (Promt Records) Wellsboro-based rockers Backstreet Law have displayed a steady evolution since they began releasing albums in the mid-90's. Their earlier efforts, including their 1997 album for Riviere International Records, Hockey Helmet, blended abrasive heavy metal with an urban rap edge. But along the way, each subsequent Backstreet Law release has demonstrated a stronger melodic presence and less rap, while retaining the group's heavier metallic edge. The group's latest album, Frustrated, continues this evolution. Backstreet Law delivers some of their strongest and most developed melodies yet, topped with pointed, direct lyrics and powered by their trademark metallic wallop. Frontman Matt "Goody" Goodreau turns in his strongest overall singing performance, pushing tension and release on each song without raging off the deep end. The group's angriest moments are still handled by bassist Jamie Morral, whose monstrous bellows punctuate the choruses of several songs; Morral's stern bass lines and guitarist Jeremy Edge's hefty guitar chords underscore each song, with drummer Mike "Choke" Oakley's steady and forceful beats propelling each number forward. Each of the album's ten songs can stand alone as a triumph; the prevailing mood is darker and somber, with textures ranging from the more melody-driven "Till' December," "Wasted Time," "What's Wrong With My Head" and "Right Here Right Now" to the heavier and more aggressive "Sorry," "Right," "Cross My Fingers" and the title track "Frustrated." Produced by the band and mixed by Jamie Morral and Jeremy Edge at JGM Studios in Wellsboro, Frustrated sounds full, powerful and clean; with Goodreau's vocal grit and his bandmates' metallic muscle given equal prominence and bite. On Frustrated, Backstreet Law achieves just the right balance between modern metal edge and melodic accessibility, resulting in their most focused and consistent-sounding set yet. This album should continue Backstreet Law's forward momentum, and is one of the best discs to emerge from the state's music scene this year. (The album can be purchased at the group's shows, or by visiting their website, www.backstreetlaw.com.)
FAT VINNY & THE WISEGUYS – TIGHT PLAY (no label) On their third studio album, Tight Play, Altoona-based blues trio Fat Vinny & the Wiseguys continue their exploration of blues-rooted sounds, this time loosely centered around the metaphorical theme of card games and poker. Singer/guitarist E. Vincent “Fat Vinny” Kelly, bassist Randy Ketner and drummer “Dutch” Jeff Van Clief again use blues as their launching pad to explore different styles and sounds over the album’s thirteen card-faced tracks (plus two bonus tracks; ‘jokers,’ as described in the liner notes). These various blues-based explorations serve as the foundation for colorful lyrical storylines dealing with the poker game of life, wheeling and dealing with the opposite sex, bars, the road and more. Tight Play starts off with the surf-flavored “Bad Men On The Run,” highlighted by guest Denny Owens’ wailing harmonica accompaniment. The following song, “Just Some Things,” demonstrates a Chicago-like brassy flavor, courtesy of guest keyboardist/arranger Don Hughes and guest Tim Boland’s sparking midsong keyboard work to boot. The slow and lowdown “My Girl Or My Guitar” explores the tough choice between love and art. Fat Vinny & the Wiseguys’ apparent home turf remains boisterous blues-rock, demonstrated by the ZZ Top-flavored stomps “Barroom Floor” and “Feet Up on the Dashboard,” the Stevie Ray Vaughan-informed “Lucky Charm,” and the George Thorogood flavor of the comical “I’m Outdoors.” The group cleverly uses poker metaphor on the Van Morrison-flavored ballad “5th Street,” defining the moment where dream and vision convert to action and destiny. The group celebrates poker outright on the raucous and rowdy “Shuffle Up and Deal,” and for card-faced track ‘J,’ strips AC/DC’s “The Jack” (long a favorite of the group’s live show) back to its blues roots. The album’s only dark moment is the somber “Dark Places,” inspired by a friend’s sad-ending struggle with life’s hard challenges. Produced by Kelly and Dave Moses, Tight Play sounds loose and playful, capturing the Wiseguys’ spontaneity and live feel. The performances are sparkling yet at ease; Kelly’s varied guitar displays shine throughout the disc, and Van Clief’s drumming is busy but never overpowering. The guest musicians’ contributions spice and brighten the sound further throughout the album. Tight Play is the brightest and strongest album from Fat Vinny & the Wiseguys yet; an album that shows this trio’s flexibility and versatility, combined with a playful, lighthearted spirit. This band sounds like they had a blast making this album, and listeners should have a comparable good time listening to it. In my book, one of the best albums to emerge from the regional music scene this year – I recommend! (The CD can be obtained at the group’s shows, or by visiting the group’s website either via Rockpage or directly at http://www.angelfire.com/blues2/fatvinny/fatvinny.html.)
THE NIGHTCRAWLERS – THE NIGHTCRAWLERS (no label) In the past two years, The Nightcrawlers have rapidly risen to the upper echelons of the Happy Valley music scene. Their self-titled 5-song EP offers an introduction to the wide musical expanse that comprises The Nightcrawlers’ turf; as singer/guitarist Noah Figlin, keyboardist/flutist Aeb Byrne, bassist Mike Leitzel and drummer Steve Arnold creatively weave elements of rock, jazz, funk, worldbeat, Latin, rockabilly and Americana into aural tapestries uniquely their own. Each of the five songs is an adventure, as various styles and solo virtuosity converge into freewheeling journeys with detailed melodies, captivating twists and turns, and instrumental explorations. On the opening track and regional ‘hit’ from the EP, “African Echo;” light rock, jazz, funk and worldbeat merge into an irresistible melody that sets an eventual backdrop for Figlin’s and Byrne’s improvisational excursions on guitar and flute respectively. “Lover’s Test” dabbles in country flavors, before launching into a trippy mid-song instrumental side journey. “Desert Sun” launches from its jazz-informed introduction into an uptempo country-rockabilly exercise with a playful hoedown-styled midsection, before downshifting into a darker, Pink Floyd-flavored homestretch. “Latin Groove” delivers exactly as advertised; evolving into a salsa-fied adventure showcasing the virtuosity of all four musicians – Byrne’s sparkling keyboard talents and Leitzel’s intricate bass work especially shine here. And the closing track, “Black Hole,” offers straightforward blues, with Figlin’s impassioned, gritty voice and improvisational guitar fireworks taking the spotlight. Recorded, produced and engineered by Figlin in “The Attic” in State College, The Nightcrawlers sounds clean, crisp and balanced; with all four musicians clearly heard in the mix. These players’ abilities to improvise and blend their instrumental talents are a constant highlight here; with the results being colorful, mesmerizing grooves that keep the listener riveted. The Nightcrawlers is a fresh, adventurous introduction; establishing the Happy Valley foursome as a group eager to explore musical frontiers. (The CD can be obtained at the group’s shows and through their website. www.the-nightcrawlers.com.)
BLIND JONNY DEATH – GIT DOWN ON THE FARM (no label) Blind Jonny Death was first formed in late 2003 by singer/guitarist Marc "Lumber City Slim" Prave and upright bass player Ed "Red" MacDonald. From Marc's background in acoustic and roots music and Ed's in hardcore metal, Blind Jonny Death came together as a celebration of the spirit of early roots rock and roll, country, blues, bluegrass, rockabilly and more. The addition of snare drummer Tom "T. Orris" Hipps earlier this year gave Blind Jonny Death additional rhythm and punch. The trio's debut album, Git Down On The Farm, offers listeners a musical journey through rural America, and its pleasures and pains. The group's songs offer lyrical odes to life's simple pleasures, trials and tribulations. The album opener "Driver Blues," for example, compares the longing to return home with the longing to leave home. The folksy "Long Way From Home" examines separation and distance; physical, mental, personal and man-made; looking at scenarios that separate people from the comfort zone called home. And the album-closing "Requiem to America" offers a view of a society that needs to reassess some of its priorities. Other songs are happier in tone. The upbeat footstomping title song hootenanny "Git Down On The Farm" is a fun ode to the boys jamming out in the barn on a Saturday night; while "My Old Dog" salutes man's best friend. And the skirt-chasing "That Girl Is Hot" taps into a sound reminiscent of early Ricky Nelson. Blind Jonny Death also includes two pickin' and grinnin' instrumentals, "Guitjo Tickets Here" and "My Brother Bill." Recorded by John Wagoner and produced by the band and Wagoner, Git Down On The Farm is appropriately simple and to the point; a stripped-down blend of unplugged instruments providing the foundation for Prave's farm boy croon. All three players provide a relaxing, rural backdrop, fleshed out by Prave's occasional harmonica displays and guest Chris McGarry's mandolin flavorings on three songs. The performances are warm and sincere, capturing the mood of friends jamming on the back porch on a warm summer evening. Blind Jonny Death doesn't reinvent the wheel on On Git Down On The Farm; but their exploration of Americana results in a pleasant, laid-back debut that establishes the trio's back-to-basics sound and their enthusiastic approach to this familiar musical turf. (The CD can be obtained at the group's shows or through their website, www.blindjonnydeath.com.)
WISKERBISKET – SOMETHING NEW (MMF Records) Lewistown-based rock band Wiskerbisket has emerged into a regional favorite because of their freewheeling, high-energy rock'n'roll stage show. The group's self-titled 4-song EP from last year possessed the energy, but lacked in overall sound quality and mix. But on their latest CD, Something New, the recording quality catches up to the group's rowdiness and energy level. Recorded at Audio Images near Port Matilda and produced, engineered and mixed by Bill Filer, Something New sounds clean, balanced and thunderous; and enables Wiskerbisket to retain their rawness and edge. The group throws a curve to open the disc, though, with the power ballad "Just Like;" demonstrating the gentler side to singer/guitarist Doug Snook's vocal personality, and allowing guitarist John Everly, bassist Troy Neff (who has since left the group) and drummer Harry Bleyer to display good harmonizing abilities. From there, though, this album rocks out with four straight fist-in-the-gut assaults, "Free," "Killer," "Alright" and an updated version of the group's popular showstopper, "Skank." Wiskerbisket indulges the redneck side of their personality on the last two tracks. They first offer a high-velocity, rip-roaring treatment of Waylon Jennings' "Good Ol' Boys," retitled "Dukes Of Hazzard." They then finish the CD by crossbreeding two popular foulmouthed redneck singalongs into the hilarious "Rodeo Mud," complete with squealing pigs and a Deliverance-styled midsong bridge. Like their live show, Wiskerbisket's presentation here is driving and go-for-broke; with the group holding nothing back. Harry Bleyer's drumming is pummeling and powerful, and the guitars are fierce and snarling. On the vocal end, Doug Snook effectively shifts gears, intensifies and steps back the aggression in tandem with the mood swings of the songs. Something New is a good introduction into the wild world of Wiskerbisket; that shows both their volatile brand of hard rock aggression and their tongue-in-cheek redneck sass and attitude. Fans of this band's live show will enjoy this CD, and newcomers hearing this CD will likely want to see this band perform live after hearing it. (The CD can be obtained by visiting the website www.wiskerbisket.com.)
BRIDGES AND A BOTTLE – BRIDGES AND A BOTTLE (no label) Harrisburg's Bridges And A Bottle was founded nearly two years ago by songwriting brothers Justin and Adam Smith, who both sing and play guitar, and lead guitarist Dan Yucha. Released late last year, Bridges And A Bottle's self-titled debut CD introduces listeners to the group's brand of song-oriented, hard-edged pop, marked by catchy, well-developed melodies; passionate, throaty vocals and frequent harmonizing. The group's base sound is rooted in Beatlesque pop, but bolstered by elaborate arrangements and an acidic edge more suggestive of Oasis and U2. The group's ability to effectively merge pop songcraft with variable textures and moods over the album's ten tracks is what makes this an impressive debut; no two songs are the same. Bridges And A Bottle offers uptempo, rocking sounds on the opener "Powerplay" and the punkish "One Step Away;" an upbeat, revolving arrangement on "Carousel;" and more acoustic-geared melodies on "18" and "Old City Train." The group shows a knack for involved, introspective ballads, demonstrated on "Ticket" and "Halos or Horns;" and explores angrier themes on the dark, tension-filled "Pistol;" the defiant "Changes" and the escalating closer "Storm." Produced, recorded and mixed by Marshall Deasy at Progressive Enterprises in Elizabethtown and Stress Free Studios in Harrisburg, Bridges And A Bottle allows the group's melodic capabilities to shine in the forefront, while allowing them to retain simplicity, grit and rawness. While a few studio effects are detectable, the bulk of this album stays simple, guitar-driven and to the point. Bridges And A Bottle delivers a strong calling card here, an album that is catchy yet passionate, with songs that balance ear candy with bite. (The album can be obtained by visiting the group's website, www.bridgesandabottle.com.)
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