[Jim Price]

THE FINAL CUT

The Final Cut has come full circle.

The long-dormant feature on Rockpage is back...but not as the online 'zine feature you'll find under the Final Cut link; at least not for now.

As any longtime Cut fans may recall, The Final Cut started out as a CD review feature I did on WFBG-AM's All Night Album Rock program in the mid-80's. Once the show was cancelled in 1986, I continued to write CD reviews under the Final Cut title; the feature then expanded into a print fanzine in the early 90's, and became a part of Rockpage in the late 90's.

In recent years, The Final Cut went dormant, for several reasons. First, Weekend Recap here in "JP's Corner" became my main outlet for writing show reviews. In addition, two years ago, my mode of band photography shifted from film cameras to digital cameras; making it far easier and convenient just to upload photos here to Rockpage than to physically have them printed. And ultimately, the time and expenses needed to do the Final Cut print publication became too much for me to handle, given my current busy schedule and the time I already devote to writing for Rockpage. In essence, "JP's Corner" has replaced The Final Cut 'zine. Since I still write CD reviews on a regular basis, I decided that The Final Cut should morph back into what it originally was, a CD review feature. So The Final Cut lives, but has come full circle back into its original incarnation. There might be a further transformation of the Cut at some point down the road, but for right now, it's back to a CD review feature. Enjoy!

First, two regional reviews...

SUTURE SEVEN – SUTURE SEVEN (Sarx Records) From the shadows of Three Mile Island, Harrisburg industrial/gothic rockers Suture Seven have been a work in progress. Their first two albums, 1999’s Aversion and 2002’s A Stitch to Mark the Wound, were experimental and abstract in nature, and required several listens to fully grasp the group's vision and concept. Suture Seven's self-titled third album, though, is the group's most focused and accessible effort to date. The album's eleven songs (plus bonus track) are more direct and to the point, and the melodies' connections are more immediate. Yet Suture Seven – singer/guitarist Michael Zucker, guitarist/programmer Elton Nestler, guitarist Gregory Marshall, bassist Amber Ortega and drummer Jamie Gibson – sacrifice none of their musical adventurism in the process of streamlining their sound; if anything, they have brought it more into focus. The group still experiments with varying textures of electronica and digital effects, layering of voices and guitar flavors, percussion styles and more. A number of songs here fuse dance floor electronica with a grinding, distortion-laden metallic edge. But Suture Seven’s effective use of varying textures, tones, sudden breaks and plot twists prevent songs like “Apparatus of Demise,” “Exsanguinate,” “Forever,” “Suffice,” “Echoed” and “Macrocosm” from being predictable, repetitive or routine. The group explores more shadowy, less abrasive textures on “Fractured,” “Cold” and “Resistance;” dabbles in Lizard King-styled psychedelic poetry on “Salvation on Spiders Legs,” and conjure an neo-Addams Family-flavored gothic soundscape on “Wither.” Suture Seven lives on the dark side, with Michael Zucker’s often twisted, distorted and angst-ridden vocals examining themes of pain and betrayal, broken souls, appeasement of personal demons and more. On their self-titled album, Suture Seven has arrived, further defining their own unique cyber-geared domain, and demonstrating their mastery of it. This is their strongest set thus far, and could be the album that elevates them from techno-rock curiosity to a wider audience and appeal. (For more information, visit the group’s web site, www.sutureseven.com.)

WAY DOWN EAST – MODERN DAY OUTLAWS (no label) Brandishing a bellowing redneck roar that could stop a lesser monster truck dead in its tracks comes McConnellsburg-based foursome Way Down East and their loud and proud CD calling card, Modern Day Outlaws. Featuring lead growler, howler and guitarist Paul Wilson, guitarist Charles Harr, bassist Randy Keefer and drummer Randy Wilson; Way Down East offers rip-roaring, heavy-handed Southern-styled rock and boogie over Modern Day Outlaws' 11 tracks. This band hits hard, presenting a Jackyl/ZZ Top-styled swagger delivered with a Pantera-like intense metallic wallop. Their Harley-like roar sets the perfect stage for the enraged razorback vocals of Paul Wilson, who is clearly the focal point here. His presentation suggesting a moonshine-tasting summit between Jesse James Dupree (Jackyl), Jim Dandy Mangrum (Black Oak Arkansas) and Phil Anselmo (Pantera); Wilson snarls out words about rebels on the opening title track "Modern Day Outlaws," tough guys on "Magnum Is My Name," boozing and country music on "Drunk with Hank," and brawling on "Fist Bath." Way Down East does offer one track of acoustic-geared relief, the reflective and contemplative ballad "Lately." Produced and recorded by Glenn Elbin at Elbin Studios in Greencastle, this album is appropriately thunderous and jagged, thick and full. Modern Day Outlaws is a rowdy, pounding, and unapologetic introduction to the world of Way Down East, and offers a perfect soundtrack for throwing down at a backwoods bar on a Saturday night. (To obtain, visit www.waydowneast.net)

And on to some national CD reviews...

AEROSMITH – HONKIN' ON BOBO (Columbia) For anybody who might have thought that Aerosmith was straying from their blues roots on recent albums, the Boston bad boys' latest effort, Honkin On Bobo, should convincingly reaffirm the group's solid blues-based footing. Aerosmith pulls all the stops to celebrate their blues roots here, even hooking up with Jack Douglas, who produced most of the hits of the group's initial 70's heyday. This is back to basics, stripped-down Aerosmith; with ample edge, grit and swagger. Frontman Steven Tyler sounds as rowdy as ever, letting fly with some of his most inspired vocal sass yet, plus generous harmonica wailing to boot. Lead guitarist Joe Perry has a field day here as well; demonstrating fiery leads and fluid slidework, crooning a convincing delta blues moan on Mississippi Fred McDowell's "Back Back Train," and showing a rowdier singing edge on Peter Green/Fleetwood Mac's "Stop Messin' Around." The rhythm section of guitarist Brad Whitford, bassist Tom Hamilton and drummer Joey Kramer sound excited as well, fueling the sound with convincing drive and thunder. Besides remembering their roots, Aerosmith's boisterous treatment of the blues also celebrates the 60's-era British electric blues tradition of John Mayall, The Yardbirds, Fleetwood Mac and more; demonstrated best on the chugging, album-opening rendition of Bo Diddley's "Road Runner," Smiley Lewis' "Shame, Shame, Shame," Big Joe Williams' "Baby, Please Don't Go," and another Fred McDowell number, "You Gotta Move." Aerosmith also taps into gospel blues with the album-ending traditonal singalong "Jesus Is On the Main Line," one of two songs featuring special guest singer Tracy Bonham. And reminding everyone that this is still present-day Aerosmith, the group drops in an original power ballad, "The Grind." While the sound is full and the production is clean, this album never sounds overproduced or cluttered like some of Aerosmith's more recent offerings. As a result, as they salute their blues roots on Honkin' On Bobo, Aerosmith has come up with their most traditional sounding album since their initial 70's glory years. Fans of early Aerosmith especially will relish the group's return to form here.

ERIC CLAPTON – ME AND MR. JOHNSON (Reprise) Eric Clapton's admiration of legendary bluesman Robert Johnson is no secret. Clapton was interpreting Johnson's music clear back in his early years with John Mayall's Bluesbreakers and Cream; his rendition of Johnson's "Crossroads" with Cream is now recognized as a time-honored rock classic. In his liner notes on Me and Mr. Johnson, Clapton describes Johnson's body of work as the keystone of his musical foundation, and a landmark that he navigates by. It is with that admiration and respect that Clapton celebrates fourteen of the Mississippi bluesman's songs. Clapton and his hired help; Billy Preston on keyboards, Andy Fairweather Low and Doyle Bramhall II on guitars, Steve Gadd on drums and Jerry Portnoy on harmonica; give Johnson's music a relaxed, upbeat treatment. This album sounds best when the musicians break a sweat and demonstrate some grit, such as on the driving, full-sounding electric treatments of "Milkcow's Calf Blues" and "If I Had Possession over Judgement Day." Other highlights include Clapton's interpretations of often-covered Johnson standards such as "Traveling Riverside Blues" and "Come On In My Kitchen;" and the honky-tonk-ish treatments of "They're Red Hot," "Last Fair Deal Gone Down" and "32-20 Blues." Also nice are the harmonica and organ groan flavors given on "Little Queen of Spades." Clapton and his bandmates sound comfortable and at home with this material, and apparently had fun recording this project. The overall mood of much of this album is like a casual back porch gathering of musicians jamming on their favorite Robert Johnson tunes. Me and Mr. Johnson never sounds that random or haphazard, though. If there is a shortcoming here, it is that this album – created using such modern recording innovations as Pro Tools – sounds a little too polished and sterile for the blues, and lacks some of Delta dust and dirtiness of Johnson's original works. Still, Eric Clapton's love and enjoyment of this music is never in doubt, and "Slowhand" treats Johnson's music with reverence and appreciation. Eric Clapton tips his hat to a cherished influence on Me and Mr. Johnson; a labor of love that acknowledges Robert Johnson's role in the development of Clapton and his own legendary career.

ROBERT PLANT – SIXTY SIX TO TIMBUKTU (Atlantic) Although Robert Plant is most famous as the voice of Led Zeppelin, his career took some interesting twists and turns on either side of the Zeppelin story. On his double-disc retrospective collection, Sixty Six to Timbuktu, Plant showcases his work before and after Led Zeppelin, in the process unveiling a number of intriguing curios. Disc One focuses on Plant's post-Zeppelin solo career; but by his own design avoids being a chart success retrospective, instead mixing a few select hits with some of the more diverse experimentation Plant did on his eight solo albums. Among the discoveries here are previously unreleased tracks such as "Upside Down," from the recording sessions for the Now and Zen album; and "Dirt In a Hole," a song not included on the American release of last year's Dreamland album. There are reminders of the two phases of Plant's post-Led Zeppelin career; his initial Zeppelin-denial phase ("Ship of Fools," "Big Log" and his nostalgic Honeydrippers hit "Sea of Love"), and his eventual acceptance of his Zeppelin past ("Tall Cool One," "Tie Dye on the Highway" and "Promised Land"). Also included are representations of how Moroccan and eastern music influenced Plant's solo career ("Calling to You," "29 Palms" and Tim Hardin's "If I Were a Carpenter" from the Fate of Nations album). Disc Two, though, is where the real gems are found. First we hear Plant in several pre-Led Zeppelin projects, including a 1966 rendition of the Young Rascals' "You'd Better Run" with the band Listen, and a scorching treatment of Billy Roberts' "Hey Joe" while with Band Of Joy. Other noteworthy highlights and curios include "Operator," a 1968 recording with British blues legend Alexis Korner; a 1985 rockabilly treatment of Charlie Rich's "Philadelphia Baby" from the Porky's Revenge soundtrack; "Let's Have a Party" from The Last Temptation of Elvis compilation; a version of "Louie Louie" from the Wayne's World 2 soundtrack; along with other B-sides, collaborations and previously unreleased tracks. Coupled with Plant's informative and reflective liner notes, this set gives the listener an overall broader scope of Robert Plant and the many aspects and phases of his career; and a realization of just how much of that career has occurred outside of Led Zeppelin. As retrospective sets go, Sixty Six to Timbuktu offers an intriguing and revealing look at Plant, his pre-Zeppelin roots and his post-Zeppelin exploration. This set may be a tedious listen for fans more interested in Plant's Led Zeppelin work; but Plant connoisseurs and rock history buffs should find plenty to celebrate here.

JOHN MELLENCAMP – TROUBLE NO MORE (Columbia) Since his rise to superstardom in the 1980's, John Mellencamp's brand of heartland rock'n'roll has become as identifiably American as baseball, hot dogs, apple pie and Chevrolet. Mellencamp salutes his Americana roots on his latest album, Trouble No More, a collection of folk and blues remakes. After he and his band sifted through hundreds of songs, Mellencamp selected twelve diverse slices of American music, even digging back to the early 1900's. In addition, Mellencamp picked out songs about hard times and challenges, suggestive of the nation’s current uneasiness. Mellencamp and his band then tried to capture the authenticity of each song while interpreting it in their own unique heartland rock voice. The results demonstrate how strongly roots music has influenced Mellencamp’s style and sound. Mellencamp’s interpretations range from full-blown band treatments such as “Teardrops Will Fall” (once recorded by Wilson Pickett) and the traditional “Diamond Joe;” to stripped-down acoustic/string renditions such as Woodie Guthrie’s “Johnny Hart,” Lucinda Williams' "Lafayette” and his anti-war update of the early 1900’s traditional folk song “To Washington.” Mellencamp and his band effectively capture the delta blues grittiness of Robert Johnson’s “Stones In My Passway,” Son House’s “Death Letter” and Willie Dixon’s “Down in the Bottom.” Additional highlights include treatments of Hoagy Carmichael’s “Baltimore Oriole,” Skeeter Davis’ 1962 hit “The End of the World,” and the gospel/blues standard “John the Revelator.” Mellencamp himself provides convincing, gritty performances of this material; clearly showing his appreciation of his own roots. Produced by Mellencamp, the songs were recorded live, providing a raw, more spontaneous feel lacking from his most recent works. For critics who have accused John Mellencamp from straying too far from his rootsy persona on recent studio albums, Trouble No More is a welcome return to form, and Mellencamp’s most traditional-sounding offering since his Scarecrow and The Lonesome Jubilee period.

ROBIN TROWER – LIVING OUT OF TIME (V-12 Records) Former Procol Harum guitarist Robin Trower became famous during the 1970's, particularly because of frequent comparisons of his style to that of the late Jimi Hendrix. Some thirty years after the release of his most definitive album, 1974's Bridge Of Sighs, Trower proves he can still flex ample blues-rock muscle on his new independently-released offering, Living Out Of Time. Assisted by his longtime sidemen since the 80's; bassist Dave Bronze, drummer Pete Thompson and former Gamma singer Davey Pattison; Trower reprises his trademark Hendrix-rooted psychedelic blues-rock sound over the album's eleven tracks. Trower and his bandmates quickly and convincingly prove they can still deliver hard-edged rock muscle on the opening track, "What's Your Name;" as well as the uptempo "Step Into The Sun," the swaggering and soulful "Please Tell Me," the title track "Living Out Of Time" and "You Still Come Back." Trower is still equally adept at atmospheric blues balladry, proven on "Another Time, Another Place," "One Less Victory;" and the 10-minute closer, "I Want To Take You With Me," with its instrumental and ethereal homestretch where Trower showcases his improvisational guitar mastery. The overall sound here is less aggressive than peak 70's-era Trower, and current singer Pattison doesn't conjure quite the fire and grit of Trower's frontman of 30 years ago, James Dewar. Yet Trower is still competent and creative in this niche of blues rock; his songs are alluring and clever, and his guitarwork and skillful use of pedals and effects keep this album interesting. Living Out Of Time is a strong and sturdy effort; and longtime fans of Robin Trower will celebrate his adamant devotion to his trademark blues-based style and sound.

JOHN MAYALL & THE BLUESBREAKERS AND FRIENDS – 70TH BIRTHDAY CONCERT (Eagle Records) In the 1960's, the "father of British Blues," John Mayall, and his band, the Bluesbreakers, provided a springboard for the careers of Eric Clapton, Mick Taylor, Peter Green and numerous other musicians. For a special 70th birthday celebration in his honor last July 19 (although his actual birthday was November 29, over 4 months later), two of Mayall's most famous former bandmates – Clapton and Taylor – joined him and his Bluesbreakers onstage for a special night at Liverpool Kings Dock, with proceeds benefiting Unicef. The recording of that night, 70th Birthday Concert, was released both as a CD and DVD. The 2-CD set, featuring 19 tracks spanning over 2½ hours, reveals how this special night unfolded. On Disc One, the concert begins with the Bluesbreakers minus Mayall, demonstrating their impressive credentials on "Grits Ain't Groceries" and "Jacksboro Highway." Mayall is then introduced during Fontaine Brown's "Southside Story;" and the evening proceeds to heat up, with Taylor joining in for four songs, and Clapton stepping in during the disc's final song, "No Big Hurry." When the action resumes on Disc Two, Mayall and Clapton are joined by trombonist Chris Barber, the man responsible for bringing American bluesmen like Muddy Waters and Otis Spann to England in the 1950's. Clapton remains for the next five songs, and sings lead on renditions of "Hoochie Coochie Man" and "I'm Tore Down." Taylor and Barber are brought back up for the final song of the set, "California." The album then concludes with the encore, when Mayall invites all of the musicians onstage for one final song, J.B. Lenoir's "Talk to Your Daughter." This turned out to be a superb night of electric blues. Although pushing 70 this night, Mayall himself sounded chipper and invigorated as he sang, played guitar, piano, and harmonica; plus emceed his own birthday celebration. His current band of Bluesbreakers was top-notch; Tom Canning especially shined on organ. And Mayall's famous guests brought their A game to this special occasion as well, and sounded clearly inspired to be reunited onstage with the man who helped to launch their careers. This show was obviously a treat for the over 4,000 fans who attended; evidenced by the increasing intensity of the applause throughout the album's course. In his liner notes, John Mayall foresees that a special night like this one may not happen again, and he considers it a blessing that tape and film were running to capture the occasion. As special one-night concert albums of this night go, Mayall's 70th Birthday Concert is superb; not only preserving a special and historic evening, but illustrating that Mayall, his band and special guests still have the spark, heart and inspiration to keep celebrating the blues for a long while to come.

CLARENCE CLEMONS TEMPLE OF SOUL – LIVE IN ASBURY PARK VOL. II (Slam Alley Inc.) Best known as Bruce Springsteen's saxophonist in the E Street Band, Clarence Clemons keeps himself busy these days with various endeavors, including television and cinema acting, touring with the E Street Band and performing with his current Florida-based band, Temple Of Soul. Clemons and Temple Of Soul released the first Live In Asbury Park album in 2002, capturing a performance at the infamous Stone Pony in 2001. Vol. II is the sequel; and likewise, it also captures highlights of a two night stand at the Stone Pony on Labor Day Weekend of 2001. The obvious highlight is a cameo appearance by The Boss himself, as Bruce Springsteen belts out his best James Brown-styled soulful howl and plays guitar alongside Clemons' sax on a feisty version of Eddie Floyd's "Raise Your Hand." Other highlights on the album include a performance of Clemons' mid-80's hit with Jackson Browne, "You're A Friend Of Mine;" a sassy treatment of James Brown's "I'll Go Crazy;" and the finale, Clemons' funky 11-minute-plus treatment of "Pink Cadillac." Clemons' and Temple Of Soul's versatility are demonstrated on the brash and soulful opener "Another Place," uptempo rock'n'rollers like "Fatha John" and "Lights Of The City," and the mellow soul ballad "Livin' Without You." As a concert highlight album, Live in Asbury Park Vol. II is choppy and doesn't flow together especially well in the early going; the pace interrupted by a 2-minute Clemons storytelling clip called "Confession." But the momentum picks up during the latter half, especially when Springsteen makes his appearance; and the album finishes strong. Ultimately, Live in Asbury Park Vol. II is a bright and pleasant listen, showcasing the talents of Clarence Clemons in his latest band endeavor. Bruce Springsteen fans and soul connoisseurs should find plenty of moments to relish here.

DAVID BOWIE – REALITY (ISO Records) Ordinarily, the only predictable thing about a new David Bowie album is its unpredictability. For an artist who has embraced any and all musical styles during his over 30-year career, Bowie's new album,u]Reality[/u], finds him at a crossroads; seemingly accepting the reality of all the musical hats he has worn over his career, and using that reality as a launching point to re-invent himself. Bowie seems to draw inspiration from several phases of his career, and unites those inspirations into a cohesive style and sound on Reality. We hear elements of his 70's rock and 'plastic soul' personas, as well as hints of his more experimental 80's and 90's periods, blending into a unified midtempo consistency on much of the album; in particular the first single and opening track "New Killer Star," the funky-edged "Never Get Old," "Looking For Water," "She'll Drive the Big Car" and "Fall Dog Bombs The Moon." Yet as consistent as Reality sounds, its most memorable songs are the ones that deviate from that consistency. With its somber, sullen tones, "The Loneliest Guy" offers reflection on past mistakes and lessons learned from them. A remake of George Harrison's "Try Some, Buy Some" blends Bowie's sense of drama with the late Beatle's aesthetic. The title song "Reality" is a hard-driving, acidic rocker, immediately contrasted afterward by the reflective and schmaltzy album-closer "Bring Me The Disco King." Bowie doesn't stretch for extremes on Reality; instead the emphasis is on strong songcraft and overall consistency. His longtime producer, Tony Visconti, returns to help give Reality underlying muscle and modern crispness. Reality may be looked upon someday as the album where David Bowie settles down and finds himself after years of being perceived as one of rock music's chameleons. On this album, David Bowie doesn't try to champion brave new musical worlds, but instead brings a sense of stability to his own.

ALICE COOPER – THE EYES OF ALICE COOPER (Eagle Records) After dabbling in industrial-flavored nu-metal on his last two albums, original shock rocker Alice Cooper strips his sound back to the basics on his latest hard-hitting set, The Eyes of Alice Cooper. Cooper returns to the simple, catchy riff-rock he has always been most famous for; and his band – guitarists Eric Dover and Ryan Roxie, bassist Chuck Garric and former Kiss drummer Eric Singer – play it lean, mean and muscular over most of the album's baker's dozen tracks. In stripping his sound back to the basics, Cooper also exudes a playful, more rebellious spirit reminiscent of his peak early 70's work here. On "Between High School and Old School," Cooper acknowledges that he doesn't fit in anywhere; he isn't a teenager anymore, and he doesn't fit in with the establishment – and quite frankly, he doesn't care. Cooper celebrates the hard rock legacy of his hometown on the punkish-flavored "Detroit City;" acknowledging contemporaries like Iggy Pop, Bob Seger, Ted Nugent and MC5 (whose guitarist, Wayne Kramer, performs on the song), as well as present-day names like Kid Rock who carry on the tradition. In a similar punkish vein is "Man Of The Year," Cooper's acidic ode to the white-collar American dream gone awry. Cooper explores youthful anger and rebellion on ""Spirits Rebellious" and "I'm Angry;" as well as one of present-day fads for venting that rage on the album-closer "Backyard Brawl." There's a reminiscent side to Alice Cooper here as well; the first single "Novocaine" and "The Song That Didn't Rhyme" are tongue-in-cheek throwbacks to early Cooper hits like "Under My Wheels," No More Mr. Nice Guy" and "Teenage Lament '74." "This House Is Haunted" recalls Cooper's more macabre persona, while "Be With You Awhile" reminisces his late-70's tender hit ballad period. The Eyes of Alice Cooper suggests that, after his much-storied 30-year-plus career, Alice Cooper is content with where he has been and where he is now, and accepts his unique niche in the rock music world between new school and old school. This album isn't likely to return Cooper to the career heights he enjoyed in the 70's and late 80's; but it is an album true to the legacy of what made him a household name to begin with.

JEFF BECK – JEFF (Epic) What does a 59-year-old guitar god do when confronted with modern-day, new century electronica? In the case of Jeff Beck, embrace and conquer it. While Beck sampled the techno soundscape on his last two albums, Who Else! and You Had It Coming, he fully matches wits and licks with technology on his simply-titled latest album, Jeff. Through Jeff's baker's dozen tracks, Beck boldly meets electronica head-on, applying his guitar virtuosity to a variety of digital styles and backdrops. The results are often mesmerizing, as Beck pushes the parameters of both electronic music and rock to new heights. The album's first adventure, "So What," sets the stage; as the veteran guitarist encounters synths, sequencers and dancebeats in a brash display not far removed from Eliminator-era ZZ Top. Beck answers the big drums and hip-hop voices in "Pork-U-Pine" with Indian-styled snakecharmer guitar soloing; translates the calendar against a simultaneous electronic and symphonic backdrop on "Seasons;" and matches electronic crunch blow-for-blow on "Trouble Man" and "My Thing." Beck plays off techno-funk on "Grease Monkey," and experiments with a fractured digital Delta-styled blues arrangement on "Line Dancing with Monkeys." Although the album offers little for the fan of Beck's more traditional, bluesier past; "JB's Blues" is smooth and soulful; while "Hot Rod Honeymoon" finds Beck playing Texas blues-styled guitarwork along a zany, 50's-styled cyber backdrop. For the guitar enthusiast, Jeff is an exciting listen as Jeff Beck accepts each new challenge the album throws at him, and uses his inventiveness and virtuosity to triumph on each. And for the casual listener, Jeff is often catchy and even danceable. After several listens to Jeff, it becomes clear that Jeff Beck has tamed the electronic beast, and in the process taught his guitar to speak a new language.

FLEETWOOD MAC – SAY YOU WILL (Reprise) Fleetwood Mac's latest studio album, Say You Will, marks the return of two of the group's most recognizable faces, Lindsay Buckingham and Stevie Nicks, to join the longtime rhythm section of bassist John McVie and drummer Mick Fleetwood. Only the absence of Christine McVie prevents this from being the total reunion of the legendary Mac hitmaking machine of the 1970's. With both Buckingham and Nicks bringing numerous songs to the table, Say You Will becomes a vehicle for both to flex their creative muscles. Much of the album, 18 songs in all, indulges both musicians' whims. Buckingham toys with guitar atmospherics on songs like the spacey "Murrow Turning Over In His Grave" and the heavy-handed "Come;" and he also experiments with odd time signatures on the folksy "Say Goodbye." Many of Nicks' contributions are consistent with her folksy leanings, but she does dabble in more modernish flavors on her tribute to 9-11, "Illume," the uptempo "Running Through The Garden," and "Silver Girl." But while much of the album is the Buckingham and Nicks show; there are a number of songs where both musicians' muses meet halfway, and the results sound like trademark Fleetwood Mac; namely, the album-opener "What's The World Coming To," the title song "Say You Will," the first single "Peacekeeper," the worldbeat-flavored "Miranda," "Steal Your Heart Away" and "Everybody Finds Out." Say You Will also reprises Buckingham's role as producer; and he gives Fleetwood Mac's sound the proper balance of fullness and edge. He demonstrates control and restraint on his own contributions, while giving Nicks' material just enough of a modern edge to sound pertinent and current. With the diversity of Buckingham's and Nicks' contributions, Say You Will is the most eclectic-sounding Fleetwood Mac set – and at nearly 80 minutes, lengthiest – since 1979's Tusk. Christine McVie's mild-mannered and mediating presence might have made this a more unified- and cohesive-sounding Fleetwood Mac comeback effort. But even serving as a vehicle to indulge Buckingham and Nicks, Say You Will still has enough strong moments where the traditional Mac magic shines through. More often than not, the album is a satisfying – albeit lengthy – listen.

PAT BENATAR – GO (Bel Chiasso Records) Six years removed from her last studio album, Pat Benatar returns with one of her most diverse offerings to date, Go. Again teaming with husband, producer, instrumentalist and songwriting partner Neil Giraldo, Benatar introduces eleven new songs on Go, mixing the styles between new- and old-school hard rock, contemporary pop, ballads and even folk. Obvious highlights for fans of Benatar's early hard-rocking style include the fiery opening title track, "Go" with its tasty vocal harmonies and aggressive guitarwork; also the modern-leaning rocker "I Won't" and her hard-edged words of wisdom on "Girl." "Have It All" finds Benatar sampling a more current sound not far removed from contemporaries like Alanis Morisette. But several of the album's quieter moments provide highlights as well. Backed by Giraldo's strings, Benatar convincingly sells the tragedy of downfall and loss on "Out of the Ruins," suggesting an English folk sound. And she evokes a Beatle-like vibe on the contemplative "Brokenhearted." Somewhat strangely, given the relative harmony of her own marriage with Giraldo, Benatar's primary lyrical focus on Go is relationships gone sour. Songs like "Sorry" and the tender ballad "Please Don't Leave Me" even go as far as longing and pleading for a different outcome; something we're not accustomed to from the woman who once told us to "Hit me with your best shot." The album includes a holiday season bonus track, "Christmas In America," first issued as a single in 2001 following September 11. At one time an aspiring opera singer, Pat Benatar's voice is still in excellent form on this album, and the expansion of her repertoire over the years has enabled her to develop into a more complete singer who sounds comfortable on the variety of styles she tackles here. Neil Giraldo produces his spouse well; giving her voice the forefront it deserves while applying just the right amounts of polish and edge. Although the songs on Go work better individually than together as a whole album, this set still ranks among the strongest Pat Benatar has issued since 1980's Crimes of Passion. While parts of the album demonstrate that Benatar still knows how to rock, the album as a whole demonstrates her maturity and finesse with age and experience.

DEEP PURPLE – BANANAS (Sanctuary Records) Give Deep Purple credit for being resilient. Throughout their 35-year career, this British band has seen key members leave, return, leave and return again. Yet the group's output has been consistent much more often than not; a point again driven home by their first studio album in five years, Bananas. This time, the key defection is Deep Purple's longtime keyboard wizard, Jon Lord, who chose to sit out this album to concentrate on classical music endeavors. But Lord's replacement, former Rainbow keyboardist Don Airey, matches Lord's traditionally grandiose organ work with ample keyboard fireworks of his own. His menacing organ groan kickstarts the ominous-sounding "Sun Goes Down," and Airey is game for some flashy trade-off key pyrotechnics with guitarist Steve Morse on the title track "Bananas." Morse himself sounds freer to experiment with his guitar here, reminiscent of the way he used to during his prior stints in the Dixie Dregs and Kansas. This is a looser-sounding Deep Purple all around, letting their hair down and tempering their trademark hard-rocking crunch with funk, boogie, blues and even some uncharacteristic ballads. Ian Gillan's voice sounds in remarkably fine form, hitting his high notes and showing very little, if any, signs of wear. Gillan even shows a milder side on two ballads, "Haunted" and "Never a Word." A number of song highlights surface here, including the group's sassy funk-rock commentary on rules to protect the easily-offended, "Picture of Innocence." Also strong are the playfully funky "Silver Tongue" and "Razzle Dazzle," "I Got Your Number" and the reggae-leaning "Doing It Tonight." The album finishes with a short and somber Steve Morse instrumental, "Contact Lost," inspired by the tragic loss of Space Shuttle Columbia and its astronauts. Ultimately, Deep Purple retains their trademark crunchiness and heaviness on Bananas, but does so with an upbeat liveliness and sass not heard on prior releases. This incarnation of Deep Purple sounds happy to be collaborating with each other and making music on their own terms.

THE ALLMAN BROTHERS BAND – HITTIN' THE NOTE (Peach Records) The Allman Brothers Band has seen a lot of mileage and weathered many storms since redefining rock'n'roll in the early 70's and paving the way for the rise of Southern rock. And just two years before the release of their latest album, Hittin' the Note, the group had a less-than-friendly parting of ways with founding member Dickey Betts, whose guitar playing helped define the group's sound over the years. But Hittin' the Note shows no sign of stress or strain, wear or tear. Instead, the assembled cast of new and old faces who now comprise the Allman Brothers Band have delivered one of the strongest albums under that banner since the early 70's heyday of albums like the self-titled debut, Idlewild South and Brothers and Sisters. While Dickey Betts is gone from the line-up, the cupboard is not bare; Warren Haynes and Derek Trucks convincingly reprise the classic Betts/Duane Allman twin-guitar tandem of the group's early career. Their guitarwork is frequently dazzling throughout the album's eleven tracks, as both players complement each other and the rest of the group. One of the biggest highlights of Hittin' the Note, in fact, is hearing just how well this group of musicians plays off of each other; in the process enabling all of them – the two guitarists, Gregg Allman on keys, bassist Oteil Burbridge, drummers Butch Trucks and Jaimoe Johanson, and percussionist Marc Quinones – to shine at various points throughout the album. This is traditional-sounding Allman Brothers Band at its best, as the group mixes rock, blues, soul and country with jazz-styled improvisation. The group authoritatively opens the album with the feisty "Firing Line," with Gregg Allman's blues growl sounding as strong as ever. Allman's growl and organ groan also spice up the funk-edged "Woman Across the River" and the rowdy boogie number "Maydell." Allman offers time-accrued, dues-paying wisdom on "High Cost of Low Living" and the acoustic-geared "Old Before My Time." Fans of instrumental interplay will savor the soulful blues epic "Desdemona" and the extended improv workout "Instrumental Illness." Haynes contributes a song from his Gov't Mule catalog, "Rockin' Horse;" and the band offers a stinging treatment of the Rolling Stones' "Heart Of Stone." Hittin' the Note finds the Allman Brothers Band performing their blues-rooted rock with a renewed sense of purpose and spirit. This blend of new and veteran members convincingly reinvents the magic of the Allman Brothers' early 70's pinnacle.

RICK WAKEMAN AND THE NEW ENGLISH ROCK ENSEMBLE – OUT THERE (Music Fusion Ltd.) Although best known as a member of legendary progressive rockers Yes during their early 70's zenith, keyboardist Rick Wakeman has been involved with numerous other musical endeavors over the years. He has performed on albums by Black Sabbath, Edison Lighthouse, Al Stewart and others. He played the Mellotron chords on David Bowie's classic "Space Oddity;" and he created the piano arrangement on Cat Stevens' early 70's hit "Morning Has Broken." Wakeman collaborated with lyricist Tim Rice on a musical adaptation of George Orwell's "1984;" and he helped score movies about the 1976 Winter Olympics and 1982 World Cup. While in and out of Yes over the years, Wakeman has had a successful solo career as well; his latest project is Rick Wakeman and the New English Rock Ensemble. The Ensemble's new album, Out There, is an exploration of the concept of music itself. As lyricist, Wakeman ponders music as mankind's seventh sense over the album's six lengthy compositions. He explores the idea of music as a universal and supernatural sense on the 13-minute-plus opening title epic "Out There;" and on "The Mission" embarks on a journey to find the connection between music, emotions and the soul. Inspired in part by N.A.S.A . (who sent some of Wakeman's earlier compositions along on several space shuttle missions), Wakeman explores music's astral connections on "Universe of Sound." He looks into the relationship between music and mankind's most powerful emotion on "Music of Love;" and even ponders the association between music and creation on the album's epic finale "The Cathedral of the Sky." The base sound of Wakeman's latest endeavor is rooted in Wakeman's more famous band, Yes. Lead singer Damian Wilson's high-ranging voice recalls Yes singer Jon Anderson; while the rest of the Ensemble - guitarist Ant Glynne, bassist Lee Pomeroy and drummer Tony Fernandez, deliver a hard-rocking crispness reminiscent of early 80's 90125/Big Generator-era Yes. Rick Wakeman's keyboard presence is constant in the mix, and his arrangements of varying keyboard textures, plus other ingredients such as the English Chamber Choir, keeps the album colorful and interesting throughout. Although no composition here clocks in under 6 minutes, Wakeman's melodies are elaborate, strong, and ultimately fascinating. Wakeman dedicated Out There in memory of the seven astronauts of Space Shuttle Columbia. A nearly five-year labor of love, Out There is Rick Wakeman's investigation into the universal and supernatural source of music. While the album can't give conclusive answers about music's true origin, it is an intriguing journey capable of inspiring conceptual wonder and artistic amazement.

PETER GREEN SPLINTER GROUP – REACHING THE COLD 100 (Eagle Records) First surfacing in the 1960's, Peter Green was Eric Clapton's replacement in John Mayall's Bluesbreakers; and afterward, a founding member of Peter Green's Fleetwood Mac with drummer Mick Fleetwood and bassist John McVie. After rampant drug abuse resulted in his departure from Fleetwood Mac in 1970, Peter Green's musical endeavors were few and far between until 1996, when the seeds to his current project, Peter Green Splinter Group, were sown during a benefit concert performance in England. Green sings, plays guitar and harmonica in the current group; along with singer/guitarist Nigel Watson, keyboardist/rhythm guitarist Roger Cotton, bassist Peter Stroud and drummer Larry Tolfree. Green's latest album with the Splinter Group, Reaching the Cold 100, features a baker's dozen tracks of original blues compositions, plus four bonus track remakes of Green's most famous works from his Fleetwood Mac years. The prevalent flavor of Reaching The Cold 100 is muscular midtempo blues rooted in the tradition of B.B. King (who the Splinter Group toured with in 2000), with Green and Watson offering generous doses of tasty guitarwork and gritty voice. Green's playing is a little more restrained these days, but still colorful; and he and his band work together well as a tight unit. The Splinter Group compositions are solid and consistent; highlights include the opener "Ain't Nothin' Gonna Change It," the hard-driving "Cool Down" and "Dangerous Man," the somber piano ballad "Don't Walk Away," and the slinky "Spiritual Thief." The bonus tracks include an extended, nearly 7-minute version of "Black Magic Woman," in which Green injects a touch of Carlos Santana's Latin flavor back into his own original; a full-sounding update of "Green Manalishi;" the instrumental "Albatross," and an updated treatment of Otis Rush's "It Takes Time." The overall mood of Reaching the Cold 100 is laid-back and relaxed; suggesting that Green has shed the demons that made his music output so sporadic during the 25 years after he left Fleetwood Mac. Reaching The Cold 100 is a satisfying listen, particularly as a reminder of Peter Green's blues roots that fed the original inception of Fleetwood Mac. With this latest band, Green sounds content to be making music again.

JIM CAPALDI – LIVING ON THE OUTSIDE (Pyramid Records) Although singer Steve Winwood received most of the recognition from Traffic's incarnations in the late 60's and early 70's; drummer, vocalist and songwriter Jim Capaldi wrote the lyrics to many of Traffic's best-known songs. Capaldi has issued a number of solo albums over the years since his Traffic stint; his latest is Living On The Outside. While the base sound through most of this album is streamlined, melodic, muscular rock; Capaldi dabbles in pop songcraft, blues and ballads along the way; helped by some well-known guests. The bright and upbeat "Anna Julia" demonstrates a Beatles-like melody and backbeat, and features a guitar solo contribution from George Harrison; the enhanced CD also features a video for the song. With Steve Winwood contributing synthesizer, "Riding the Storm" is a modernistic, electronic-geared rocker. Featuring fiery guitar work from Gary Moore, "Heart of Stone" is bluesy and angry, reflecting Capaldi's words of heartbreak and betrayal. And on the slightly outspoken and witty closer, "Standing In My Light," Capaldi displays an upbeat Bruce Springsteen-like flavor, with help from Paul Weller on guitar. Other album highlights include the melodic hard rockers "Time Passes," "One Man Mission" (an update of the title track to Capaldi's 1984 album) and "Good Lovin;" and the acoustic-leaning title song, "Living On The Outside," dealing with white-collar ambition and greed. Jim Capaldi sings on all ten tracks, supplies the drumbeat on eight of the ten tracks (Deep Purple's Ian Paice provides the beat on "We're Not Alone" and "Anna Julia"), and also contributes some acoustic guitar and keyboards on several songs. Capaldi wrote/co-wrote nine of the ten songs here, and also co-produced the album. Although the sounds on this album seldom recall Capaldi's famous former band; his songwriting is solid, and the songs here are catchy more often than not. Though the songs were recorded using four different studios, the production and mix are consistent, crisp and balanced. And while his famous guests lend their own flavors along the way, this is still firmly Capaldi's platform to present his song ideas and current musical state of mind. Living On The Outside is a solid set with enough strong moments to keep listeners interested. It's likely that Jim Capaldi's name will never achieve the recognition of his Traffic collaborator, Steve Winwood. But this album strengthens Capaldi's resume as an accomplished solo songwriter and performer, and is ultimately another sturdy effort.

PETER FRAMPTON – NOW (Framptone Records) One-time Humble Pie guitarist Peter Frampton was catapulted to instant superstardom with his mega-successful 1976 double-live album Frampton Comes Alive. Although he followed up that success with a handful of successful hit singles through the rest of that decade, Frampton has lived in the shadow of Frampton Comes Alive's success ever since. On his latest album, Now, Frampton wrote ten of the eleven tracks, plus produced the album. At his strongest, Frampton voices excitement over his latest comeback on the raucous riff-rocker "I'm Back," lyrically comparing his return to Arnold Schwarzenegger's Terminator, boomerangs and bungee cords. He also celebrates his new beginning on the punchy first single "Verge Of A Thing." On most of the remaining tracks, though, Frampton gives us what we are used to hearing from him; a mix of acoustic-geared numbers and a few harder-edged rockers. Noteworthy exceptions include Frampton's modern, post-grunge sound on "Hour Of Need;" and the jazz/blues-flavored instrumental "Greens," in which Frampton proves that he is still a guitar player capable of instrumental artistry. Frampton also offers a heartfelt tribute to the late George Harrison with his own spin on "While My Guitar Gently Weeps." Now is very much a typical Peter Frampton studio album, containing both strengths and weaknesses. He again succeeds in giving us a few compelling songs and curios that show his creative spark is still alive and well. But consistent with his past output, the rest of the album breaks little new ground musically or lyrically, and is largely forgettable. So while Now serves notice that Peter Frampton is still around and making music; the album is not a serious threat to propel Frampton back to the career heights he enjoyed with Frampton Comes Alive. Only hardcore Frampton fans will find Now an album worth investing in.

MOUNTAIN – MYSTIC FIRE (Lightyear) Although their time in the early 1970's limelight was brief, Mountain – and particularly the group's mouthpiece and guitarist, Leslie West – has never stayed fully retired for long. After the group first disbanded in 1972, West and drummer Corky Laing teamed with Cream's Jack Bruce in the short-lived 70's collaboration West, Bruce & Laing; West formed his own band, the Leslie West Band; and West, Laing and bassist Felix Pappalardi revived Mountain for periodic live performances. Even after Pappalardi was shot and killed by his wife in 1983, West and Laing have reconvened Mountain for phoenix-like albums and appearances. Their latest studio album and first in six years, Mystic Fire, finds the current incarnation of Mountain – West, Laing and former Ace Frehley guitarist Richie Scarlett on bass – still embracing the blues-rooted heavy rock they helped to pioneer. West clearly remains the group's focal point with both his raspy, full-throated howl and incendiary, explosive guitarwork the dominant forces over the album's ten tracks. Laing still drives the sound with his powerhouse drumming, but also co-wrote two songs and arranged the strings on an updated version of the group's 1971 classic "Nantucket Sleighride." The album-opening "Immortal" and "Mutant X" are heavy and thunderous in the tradition of Mountain's early 70's work, serving as reminders of this group's role in helping create the blueprint for contemporaries like Jackyl and Clutch. West and Mountain show a more textured and melodic side on the title track "Mystic Fire" and "The Sea." West's weathered growl sounds authentic and at home on the group's weighty, bluesy updates of "Fever" and Delbert McClinton's "Better Off With The Blues." Mountain also provides two instrumental displays; the tongue-in-cheek "Mountain Express (Oh Boy)" and the hard-rocking rendition of the traditional "Johnny Comes Marching Home." Nobody will accuse Mountain of innovation here; the group’s brand of weighty heavy rock on Mystic Fire would have sounded perfectly at home released in 1971. But the group sounds comfortable and genuine on this style of rock they helped pioneer, and the songs themselves are compelling enough to keep this album interesting. Without Felix Pappalardi’s arranging and production skills, Mystic Fire ultimately doesn’t eclipse Mountain’s best early 70’s work, but it is still a respectable offering that should please fans of heavy metal’s early 70’s infancy period.

STRAWBS – BLUE ANGEL (Witchwood Records) For those who may not recall, Strawbs first formed in the late 1960’s as an English bluegrass-inspired trio called the Strawberry Hill Boys. An early lack of success prompted group ringleader and singer/guitarist Dave Cousins to shorten the band’s handle to Strawbs, and adjust their music to a more folk-based rock sound. In the early 70’s, the group was the temporary home of future Fairport Convention singer Sandy Denny, and future Yes keyboardist Rick Wakeman. Strawbs enjoyed moderate success through the 70’s as a folk-based progressive rock band, though never achieving the superstar status of contemporaries like Yes or Genesis. Strawbs’ album output and touring have been sporadic since the end of the 70’s; their new album, Blue Angel, is their first studio album in a dozen years. The album finds the group’s folksy progressive rock sound largely intact, as Cousins has brought back his core line-up of guitarists Dave Lambert and Brian Willoughby, keyboard player Blue Weaver, bassist Chas Cronk and drummers Richard Hudson and Rod Coombes; along with a large contingent of guest musicians and singers. The title song “Blue Angel,” an eleven-minute, three-part update of an epic from a Cousins solo album from 1972, is lavish and grandiose in Strawbs’ best tradition. The group follows up their highest-charting American hit, 1976’s “Little Sleepy,” with the similarly harder-edged “Oh So Sleepy.” Strawbs proceeds to mix a variety of folk-rock styles through the rest of the album, yielding an anthem of hope called “There Will Come The Day,” the hauntingly beautiful Cousins/Mary Hopkin ballad duet “Cry No More,” the playful folksy blues of “Strange Day Over The Hill,” and more progressive-geared exercises like “The Plain” and “Morning Glory.” The album also includes a bonus track, “The King,” featuring guest vocals from Maddy Prior of Steeleye Span. Mostly produced by Cousins, Blue Angel sounds textured and full, fleshed out by frequent and effective use of vocal harmonies, plus layered acoustic and electric guitars. The album succeeds in capturing the essence of Strawbs’ 70’s sound; progressive arrangements tempered with a softer, acoustic folk edge. For those who enjoyed Strawbs during their heyday, Blue Angel is a satisfactory comeback that both revisits the group’s signature 70’s sound, and demonstrates that their creative spark is still alive and well.

STEELY DAN – EVERYTHING MUST GO (Reprise) When Steely Dan returned with Two Against Nature in 2001 after a twenty-year hiatus, their blend of tasty jazz/funk fusion and dry wit successfully picked up where their Aja and Gaucho albums left off, in the process earning Grammy recognition, respect and renewed popularity. Walter Becker and Donald Fagen wasted little time in providing the follow-up, Everything Must Go. Everything Must Go finds Becker, Fagen and their ensemble of studio players again fusing together playful jazz, blues and funk grooves; executing them with impeccable tightness, finesse and style. The guitars and horn section are particularly frisky, making for some colorful displays. While not lyrically as bratty as Steely Dan's peak previous work, Everything Must Go still contains its share of cynical wit and innuendo. The album's bookends, the opener "The Last Mall" and the closer "Everything Must Go," slyly smirk in the face of closure and defeat. "The Things I Miss the Most" wittily reflects on a past relationship with Fagen reminiscing the gains and happier times while dismissing the downer moments. Perhaps the album's most intriguing song, though, is "Slang of Ages," featuring a rare Becker lead voice role in an ode to skirt chase dialogue and wordplay. While ultimately nothing here is as immediately catchy as "Cousin Dupree" or "Jack of Speed" from Two Against Nature; Steely Dan is still clearly in the groove on Everything Must Go. The success of this album is Steely Dan's constant jazz, blues and funk interplay and instrumental excellence. On the down side, the emphasis on grooves, style, bells and whistles comes at the expense of immediately alluring melodies. So while this album sounds great, listeners might be hard pressed to hum a few bars of it afterward. For fans of Steely Dan's late 70's period and the Two Against Nature comeback, Everything Must Go should be a satisfactory listen; but the album likely won't win Fagen and Becker any new converts.

CHEAP TRICK – SPECIAL ONE (Big3 Records) Rising to popularity in the late 70's and early 80's, Cheap Trick inspired and influenced a whole generation with their fresh blend of Beatles-styled melodies and hard-rocking energy. Their early success peaked with the 1978 live album Live at Budokan and the 1979 studio album Dream Police. But starting with 1980's All Shook Up and the temporary departure of bassist Tom Petersson for several albums, Cheap Trick entered a creative tailspin they've never fully rebounded from; even despite the group's only number-one hit, 1988's "The Flame," from the album marking Petersson's return, Lap Of Luxury. Record company problems prompted the band to refrain from issuing any new material since 1997; but they now return with a new album, Special One. The group again plies their bread and butter, formulaic Beatles-rooted ear candy. But much of it is stale candy lacking freshness and punch, as Cheap Trick largely resets and retreads the types of ballads and slow rockers they have hashed out since the 80's. There are a few bright spots, such as the uptempo first single, "Scent Of A Woman" and "My Obsession," both recalling the group's late 70's heyday; the well-constructed "Pop Drone" with its vocal effects and layered harmonies; the grunge-infused rocker "Sorry Boy," singer Robin Zander's angst-ridden display on "Best Friend," and the two-part album finisher "Low Life In High Heels" and "Hummer" with guitarist Rick Neilsen's playful flourishes. But songs like "Too Much," "Words," the modernish "If I Could" and even the title track "Special One" come off as bland and ordinary, and disrupt any momentum and flow the stronger songs start to build. While this album has a few standout moments, Special One is uneven at best, and lacks the spark and cohesion of Cheap Trick's early career peak.

ROGER GLOVER AND THE GUILTY PARTY – SNAPSHOT (Eagle Records) It has been nearly twenty years since Deep Purple bassist Roger Glover last released a solo album. For his latest effort, Snapshot, Glover assembled the Guilty Party, a cast of a dozen musicians including singer/songwriter Randall Bramblett (who performed with Traffic during their recent reunion tour) and Govt. Mule/Allman Brothers guitarist Warren Haynes. On Snapshot, Glover offers a surprisingly varied selection of musical flavors, most far removed from the hard rock of Deep Purple. While the base sound is understated southern leaning blues- and folk-rock (possibly a result of Glover and Deep Purple's recent tour with Lynyrd Skynyrd); Glover and his accomplices effectively dabble in funk ("My Turn"), reggae ("Burn Me Up Slowly"), country ("Queen of England"), Celtic ("The More I Find") and jazz/funk ("Some Hope"). As varied as these styles of attack are, Glover's solid blues- and folk-rock foundation ties it all together into a unified, cohesive-sounding set. Although Bramblett handles the lion's share of lead vocal duties, Glover demonstrates a strong and bluesy singing voice of his own on "Burn Me Up Slowly;" and his daughter, Gillian, sings lead on "The Bargain Basement." Although understated, the musical performances here are strong and solid; and Glover's and Peter Denenberg's production is clean and balanced. Solo albums often enable artists to indulge their creativity outside the context of their primary band; as such, Snapshot offers a colorful musical snapshot of Roger Glover outside the hard rock context of Deep Purple. While the album won't make most listeners forget his primary band, it does provide ample evidence of Glover's wider musical scope.

PETER WOLF – SLEEPLESS (Artemis Records) Since leaving the J. Geils Band in 1983, singer Peter Wolf has had a fruitful solo career which has seen him release six albums, and collaborate on duets with Mick Jagger and Aretha Franklin. His latest album, Sleepless, finds Wolf further removed from the flamboyant and brash party band personality of his J. Geils Band stint; yet still in touch with the roots and influences that fed that sound. Wolf explores blues, folk, jazz, R&B and country flavors through Sleepless' dozen tracks; and does so with the maturity of an artist who has weathered life and has a few lessons to pass along. As the album unfolds, we hear a more soulful, thoughtful, reflective Wolf tapping into terrain not far removed from Dylanesque folk and Stones-ish blues and country. In fact, both Glimmer Twins make guest appearances on the album; with Mick Jagger chiming in alongside Wolf on the country-blues-rock "Nothing But the Wheel," and Keith Richards assisting with Wolf's jive and providing some Chuck Berry-inspired guitar fireworks on a version of Sonny Boy Williamson's "Too Close Together." Another guest, Steve Earle, helps Wolf capture the sad and weary feel of the country ballad "Some Things You Don't Want To Know." Wolf delivers a convincing and believable delta blues growl on Otis Rush's "Homework," and dabbles in Bob Dylan-styled folk crooning on "Run Silent, Run Deep" and "Five O'Clock Angel." He taps a Memphis-styled soul vein on the upbeat "Never Like This Before," the title ballad closer "Sleepless" and the somber "A Lot of Good Ones Gone." Wolf performs a Latin-rooted ballad in "Oh Marianne," and demonstrates a delicate touch on the ballad "Hey Jordan." Peter Wolf is front and center on this album; his low-key crooning and exploration of his roots are continually in the forefront, and his ensemble of studio players complements him with subtle, understated arrangements. Sleepless sounds like a less restless Peter Wolf, tapping his soul and digging deeper for fulfillment; ultimately sounding satisfied and content with his findings. Fans of the feisty frontman who lamented his angel being a "Centerfold" over 20 years ago might be surprised by Wolf's current, lower-key brand of music. But for fans of sincere, heartfelt musical soul-searching, Sleepless offers a deeper look at Peter Wolf, the artist and personality.
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