[Jim Price]

FINAL CUT CD REVIEWS & CHICANERY: JANUARY/FEBRUARY 2005

FIRST…SOME SOAPBOXING…

LICKING FOOTBALL WOUNDS…

As a Steelers fan, I went through my own bout of depression after the Black and Gold’s quest for the Super Bowl was halted by New England. But I recovered. And my word of advice to my fellow Steeler fans who are continuing to blast the Black and Gold for the loss…GET OVER IT!

First, realize that the Steelers did much better than anyone expected them to before the season began. Who ever expected this team to go 15-1 in the regular season? With a rookie quarterback? And even in the AFC Championship Game loss to New England, the Steelers put more points on the board against the Patriots than the over-hyped Peyton Manning and the Indianapolis Colts.

Ben Roethlisberger did much better than any rookie quarterback would be expected to do in his inaugural season; just look at how rough the first season was for top draft pick Eli Manning! Ben made his rookie mistakes in the playoffs; hopefully he learned what it takes to get to that next level, and will continue to develop to get there. Despite the loss, the future still looks fairly bright for the Steelers.

The early word is that wide receiver Plaxico Burress is gone from Pittsburgh after this year. Although he has been an effective weapon for the Steelers, I ultimately say good riddance. As the Steelers attempt to build a team that can eventually make it back to the Super Bowl, Burress has been a prima donna who wants the limelight to himself. Randy Moss Junior. With the possibility that the Minnesota Vikings might get rid of Randy Moss during their offseason, Burress might have a new home awaiting him in Minnesota. The Steelers would be better off finding a wide receiver who is more geared to doing what the team needs to win games, rather than being more concerned about his own playing time and personal glory.

Although I was disappointed the Steelers didn’t get to the Super Bowl, I felt worse for The Bus, Jerome Bettis. Considering he took a pay cut and was willing to play back-up to Duce Staley, I thought it would have been great to see him make it to the Big Dance as he enters the twilight of his career. The Bus has announced that he will return for at least one more season, so hopefully he’ll obtain his Super Bowl ring in 2006.

Revisiting college football and my thoughts regarding Penn State…I’m toning down my sentiments regarding whether Joe Paterno should stay on as Penn State’s head coach. While I still wonder how Penn State’s offense could be so lame this past season, I do think there is light on the horizon. The Lions ended the season on an up note with the wins over Indiana and Michigan State, and although 4-7 isn’t much better than 3-9, it is still a slight improvement, especially given the Lions’ strong finish. Penn State had an excellent recruiting year, with several major young prospects entering the program next fall. They return most of their defensive unit, which should be even stronger next season. The offense should be improved as they understand Galen Hall’s schemes better and have more skill players; and if the defense is as good or better than it was last year; the offense won’t necessarily have to be great, just as long as they can put some points on the board. And with five of their first six games at home next season, there’s a good chance the Lions can get started on the right foot next fall. While I don’t anticipate a Big Ten or BCS championship next year, my early gut feeling is that JoePa and the Lions have a good shot at starting to turn things around next season, and a good shot to at least make it to a bowl game. It would be cool to see JoePa step away after he turns things around. We’ll see.

JUICED!

No, this isn’t a commentary on the popular York-based party band that went on indefinite hiatus after the holidays. This commentary is about…baseball.

As you have likely heard, former Major League Baseball slugger Jose Canseco has written and released a tell-all book about baseball called Juiced: Wild Times, Rampant ’Roids, Smash Hits, and How Baseball Got Big. In the book, Canseco fingers a number of Major Leaguers as being steroid users, including Mark McGwire, Jason Giambi, Ivan Rodriguez, Rafael Palmeiro and Juan Gonzalez. Thus far, Canseco has discussed the book on the TV news program 60 Minutes, and has stirred up quite a lot of controversy in the baseball world with his allegations.

Questions about Canseco’s credibility have been raised. Is Canseco telling the truth? Is his motivation for telling all the actual betterment of baseball, or is it his wallet as he tries to sell books?

Longtime Rockpage readers may recall that a few years ago, a big debate raged in The Final Cut about Mark McGwire and whether he cheated several years ago by using androstenedione (andro for short) to enhance his performance en route to setting the new single season home run record. Since that heated debate, andro’s use has been outlawed by Major League Baseball, and now Jose Canseco says he injected McGwire with ‘roids. Bottom line: It’s looking more and more like McGwire cheated.

But so did a bunch of other players, as we are starting to learn. And with Barry Bonds “unknowingly” using ‘roids in the form of “the clear” and “the cream,” his eventual home run record, if reached, will be tainted. And for many baseball fans, the legitimate all-time home run record will still belong to Hank Aaron, and the legitimate single-season homer record will still belong to Roger Maris.

As a longtime Pittsburgh Pirate fan, I have endured a long streak of losing seasons dating back to the early 90’s, after Barry Bonds, Bobby Bonilla and manager Jim Leyland left the team. But you know what? I can live with that, if the Buccos battled cleanly, without resorting to the use of steroids. No, I don’t know for sure if any recent past or present Bucs used performance-enhancing substances; but considering that the Pirates haven’t seen a player top the 40-home run mark in a number of years, I feel somewhat confident that the Bucs clubhouse is clean. I’ll continue to root for my losing Pirates; at least they’re (apparently) going about it the right way, and not cheating.

The steroid scandal is tarnishing baseball’s credibility. And if Major League Baseball doesn’t come down hard on steroid use (harder than the present policies), the sport is a serious threat to become as believable as professional wrestling.

God, do I miss the days of 10-cent packs of baseball cards, Willie Stargell, Roberto Clemente, Manny Sanguillen and “The Gunner,” Bob Prince…

THE BIGGER THEY ARE…

If you follow the news headlines, you may have heard that in January, the world's largest passenger plane, the Airbus A380, was unveiled in an elaborate ceremony in France. The twin-deck aircraft can carry about 555 people – more than the Boeing 747 jumbo built by Airbus' main competitor. While I marvel at this technological advance and the airline industry’s capability to move more passengers in a single flight, the minus side of this story also crosses my mind. Call me morbid for thinking this, but what happens when one of these big birds goes down?

Sure, these jets will be continually maintained and looked after. But nothing lasts forever; and at some point, there will likely be problems. Most automobiles are toast after 100,000 or 200,000 miles. Eventually, equipment wears out. Think about it. With all the jets that fly over our houses every day, and all the passenger aircraft in service around the world; eventually some of these aircraft are going to start wearing out. I just hope they’re not over my house when they do so. That goes for all those Medi-Vac helicopters that fly in and out of our local hospitals as well. Sooner or later, a few of those are going to wear out. And as often as they fly directly over my house, I always have that thought in the back of my mind whenever I hear one approaching.

So while I’m impressed that this new Airbus can carry 555 passengers, I just hope the airlines using these new jets keep them carefully maintained, and pull them from the skies and off the runway when they get too old and worn out to safely do the job.

AND NOW…SOME NATIONAL AND LOCAL CD REVIEWS

ELTON JOHN – PEACHTREE ROAD (Universal Records) After all of the successes and exploits of his long and illustrious career, Elton John doesn't have much left to prove; except perhaps that he can still craft decent songs and deliver a good album after his inconsistent output through much of the 90's. John's 2001 offering, Songs From the West Coast, marked a return to the type of pop songcraft of his formative 70's work. His latest album, Peachtree Road, is a further return to his roots; reprising his fascination with American country, gospel and soul. John again collaborates with longtime songwriting partner, lyricist Bernie Taupin; and his cast of hired musical guns includes two other longtime cohorts, guitarist and musical director Davey Johnstone and drummer Nigel Olsson. The overall energy and sense of adventure that marked John's 70's work is not present here, replaced by the peace and insight of a seasoned, weathered artist. A more reflective tone prevails on the album, demonstrated by the blessing-counting opener, "Weight of the World;" the gospel-driven "Porch Swing in Tupelo" and its reflections of Elvis, the jazz-tinged "Elusive Drug" with its acknowledgement of past mistakes, and the thankful "All That I'm Allowed." Other songs offer reminders of past Elton John glories. "Answer In the Sky" hints back to the disco hit "Philadelphia Freedom;" the rural-flavored "Turn The Lights Out When You Leave" recalls the country leanings of Tumbleweed Connection; and "They Call Her the Cat" suggests an uptempo update of "Honky Cat." Produced by John, Peachtree Road sounds simpler and less orchestrated than some of the legendary Gus Dudgeon-produced albums of the 70's. Johnstone's guitars share a more equal voice with John's piano, and bright vocal harmonies nicely flesh out the sound. John and Taupin are now more concerned with the art of songcraft rather than chasing hit singles; thus nothing here is as immediately catchy as John's chart-dominating 70's hits. But John's artistry of weaving melodies and styles together into strong, cohesive compositions wins the day, making this album an easygoing, satisfying listen. Peachtree Road shows Elton John coming full circle, and returning to the song-based approach of his early career, now practiced with the mastery and maturity of a veteran artist.

(VARIOUS ARTISTS) – ENJOY EVERY SANDWICH: THE SONGS OF WARREN ZEVON (Artemis) “Enjoy every sandwich” was the response given when late night television show host David Letterman asked Warren Zevon if his terminal lung cancer had given him any wisdom. It is thus the fitting title of a tribute album to Zevon and his music, released this past October, thirteen months after he lost his battle with cancer in September, 2003. The album features fourteen Zevon compositions, interpreted by a wide assortment of fellow musicians, family, friends and entertainers. The various reads of Zevon’s works span a wide variety of flavors and moods, both paying homage to the fallen performer and emulating the poetry, humor and bite of his music. Among the tributes are remembrances of Zevon’s softer side, such as Don Henley’s album-opening rendition of “Searching For a Heart,” Jill Sobule’s saccharin sweet and simple version of “Don’t Let Us Get Sick,” Jorge Calderon and Jennifer Warnes’ treatment of “Keep Me In Your Heart” (as well as Van Dyke Parks’ bonus track string arrangement of the latter song). Comedian Adam Sandler accents Zevon’s witty side with his read of “Werewolves Of London;” while Jakob Dylan and The Wallflowers give an appropriately hearty interpretation of “Lawyers Guns and Money.” Zevon’s poetry and artistry are remembered by Bruce Springsteen and Bob Dylan in live concert renditions of “My Ride’s Here” and “The Mutineer” respectively. Jackson Browne with Bonnie Raitt provide a driving edition of “Poor Poor Pitiful Me;” while The Pixies give a caustic rendering of “Ain’t That Pretty At All.” The album also contains two interpretations of previously unreleased Zevon songs: “Studebaker,” sung by Zevon’s son, Jordan; and Billy Bob Thornton’s rugged read of “The Wind.” The album is produced by Jordan Zevon and Jorge Calderon, who produced Zevon’s final studio album, The Wind. Through the varied interpretations of Zevon’s work, Enjoy Every Sandwich captures the wide, eclectic flavors and moods that marked Zevon’s career; and the album also provides an interesting study of how Zevon’s music and artistry touched this diverse range of entertainers, from legendary contemporaries to younger understudies influenced by him. The heartfelt tributes and varying textures of the interpretations makes Enjoy Every Sandwich a better than average tribute album. And although these versions will not overshadow Warren Zevon’s originals, they do provide an interesting view of how Zevon’s music touched and influenced others.

TODD RUNDGREN – LIARS (Sanctuary) Although in recent years he has appeared more content working with technology and innovations behind the scenes of music, Todd Rundgren still makes albums now and then. His latest, Liars, is a concept album with the central theme of truth, and the increasing lack of it in everyday life and society. Rundgren explores dishonesty, deceptions and misconceptions on a variety of fronts through the album's fourteen electronic-flavored tracks and nearly 75-minute duration; answering some questions but raising others. The album's manifesto is laid out on the opening track, "Truth," as Rundgren sets out to discover truth – or lack of it. "Sweet" is then his realization that one must live the truth, and not a lie, to be totally happy. "Happy Anniversary" deals with untrue sexual stereotypes passed down from parents to children. With its Motown flavor, "Soul Brother" offers biting commentary about how modern music – particularly rock and soul – has lost its soul and true feeling. The stern and driving "Mammon" denounces false preachers who worship the almighty dollar as their god. "Future" questions what happened to the bright future promised in Rundgren's childhood; while "Past" condemns the eventual corruption of 60's idealism. Towards album's end, Rundgren ponders associations between truth, love and God; considering the perceived utopian concept of Heaven on "Afterlife," the struggle to stay the proper course to get there on "Living," and contemplating just what God is on "God Said." And Rundgren indicts a less-than-truthful government and its foreign policies on the closing track, "Liar." Written and recorded by Rundgren, Liars traverses pop, rock and soul frontiers via primarily digital instrumentation, with occasional guitar, drums and flute making cameo appearances. In his own musical career, Todd Rundgren abandoned imminent pop superstardom in the early 70's to pursue his own muse and artistic satisfaction, in the process being true to himself and not living a lie. On Liars, he searches for the truth about truth; concluding that it is defined within each individual, and that many people and institutions are terrified to face actual truth. His journey and exploration make for an interesting listen, and an intriguing album.

EARL SLICK – ZIG ZAG (Sanctuary) With a career spanning over thirty years, Earl Slick is best known as David Bowie's post-Ziggy Stardust guitar player in the 70's and Bowie's current guitarist; he has also worked with Ian Hunter, John Lennon, Leo Sayer and was the Slick in mid-80's power trio Phantom, Rocker and Slick. Slick released two albums with his own short-lived band in the late 70's, and issued an instrumental blues-rock album, In Your Face[u], in 1991. Slick modernizes his sound on his latest album, [u]Zig Zag, implementing synthesizers, programming, and soaring arrangements to apply his fretboard skills to. His guitar carries the melody on several catchy instrumentals, such as the album opening "Dancing With Eleanor," the midtempo electronica exercise "1735," the weighty "Pike St.," and the slinky album closer "The Cat." But Zig Zag is not simply a vehicle to showcase Slick's guitar histrionics. On the remainder of the album, Slick's collaborative skills are the focus, as he crafts songs with a number of well-known names, and morphs his own sound to accommodate each. Slick delves into Cure-flavored melancholia with that group's singer, Robert Smith, on "Believe;" and his guitar nicely underscores David Bowie on the artsy "Isn't It Evening (The Revolutionary)." The title song "Zig Zag" takes on a more classic Bowie flavor, with Slick's slide guitarwork accompanying collaborator/singer Royston Langdon (ex-Spacehog). With The Motels' Martha Davis, Slick crafts the acoustic-driven modern pop of "St. Mark's Place;" and he summons a modern-day Def Leppard slant on "Psycho Twang," co-written and sung by that group's frontman, Joe Elliott. With as many voices and collaborators as there are on Zig Zag, it would be easy to expect Slick's own musical personality to get lost in the shuffle. On the contrary; Slick's guitar presence and his ability to mediate his own style with his guests' is what ultimately makes Zig Zag work as a cohesive, flowing entire effort. Listeners will find that Earl Slick has evolved and grown both as a guitarist and a songwriter; and Zig Zag shows that his lexicon of styles and flavors has expanded and matured as well.

(VARIOUS ARTISTS) – THE WORLD’S GREATEST PINK FLOYD TRIBUTE (Tributized) If you are growing desperate waiting for Roger Waters and Pink Floyd to reunite and create new music, you might find yourself tempted to pick up the recently-issued album of Floyd covers, called The World’s Greatest Pink Floyd Tribute. This reviewer’s advice: don’t. The World’s Greatest Pink Floyd Tribute is a collection of a dozen Pink Floyd classics – some lifted from prior Floyd tributes – covered and interpreted by an eclectic range of musicians, spanning from Pink Floyd’s progressive/art rock peers to new wave/alternative performers to techno and electronica artists. Floyd’s contemporaries mainly stick closely to the vest in their remakes. The strongest of these are the opening version of “Run Like Hell,” featuring Tony Franklin, Aynsley Dunbar, Tony Kaye and Dweezil Zappa; the Yes family ode to “Comfortably Numb,” featuring Chris Squire, Billy Sherwood and Alan White; and the Tommy Shaw, Tony Levin and Edgar Winter treatment of “Money.” The Fee Waybill and Ronnie Montrose rendition of “Another Brick In The Wall Part 2” sounds awkward, with a disco beat and Montrose guitar solos showing up where they have no business being. Of the techno/electronica remakes – most which appeared on two earlier Floyd electronica tribute albums – the best are Out Of Phase’s adaptations of “Mother” and “Us And Them,” which close the album. Psychic TV tries to outweird Floyd on their version of “Set the Controls for the Heart of the Sun;” and Chrome’s excessively-distorted read of “Pigs on the Wing” is more weird than listenable. There are several big problems with this album. First, Pink Floyd’s music doesn’t easily lend itself to covers and interpretations. Most of Pink Floyd’s library of songs aren’t just music and words; they are extensions of the personalities of their creators; thus, covers can never capture the distinct moods and personality quarks that Roger Waters, David Gilmour or Syd Barrett injected into the Floyd originals. Although a few of these Floyd covers are adequate, they never come close to paralleling the original versions. Second, much of Pink Floyd’s music happens in the context of complete album bodies of work, and some songs can’t simply be lifted from those albums and reinvented out of context. And another problem is the total lack of cohesion of this album as a whole. The production quality varies from song to song, and the widely diverse swings between conventional rock and eccentric electronica make this album difficult to endure as a whole listen. What becomes apparent after listening to The World’s Greatest Pink Floyd Tribute is that Pink Floyd is a group not easily reinvented, and that with few exceptions, most of their lexicon of music should NOT be reinvented.

DUM – PLAY DUM (Botz Records) The Good Rats were one of many bands during the course of rock history that almost turned the corner to superstardom and mainstream success, but never quite got there. First surfacing in the late 60’s, The Good Rats released a string of albums through the early 80’s, with a few even getting favorable reviews in Rolling Stone. The group performed in such renowned venues as Madison Square Garden, Nassau Coliseum, The Spectrum in Philadelphia and Hammersmith Odeon in England; opening for acts such as Kiss, Bruce Springsteen, Aerosmith, Rush, Journey, Heart, the Grateful Dead and more. Despite all of this, the Good Rats could never achieve major success outside of their native New York City area, and would eventually proclaim themselves “the world’s most famous unknown band.” Although the original Good Rats still occasionally reunite for special shows, singer Peppi Marchello now carries on the Good Rats tradition with his sons, guitarist Gene and drummer Stefan Marchello, under the alter ego moniker Dum. Dum’s debut CD, Play Dum, is a scorching, jubilant set of hard-rocking tunes that picks up where the Good Rats left off and drives forward. This album has it all – infectious, anthemic melodies and choruses you’ll be humming in your sleep after the first listen; fiery, passionate performances; and easy-to-digest lyrics about subject matter everybody can relate to. “World Party Anthem” and its sing-able “Let’s have another beer” choruses; the fiery ode to chasing life’s ambitions, “Ashes to Ashes;” the slam on commercial radio “Rock Radiold” (sung by Stefan); the tribute to America’s autumn Sunday obsession, “Football Madness;” and the hilarious and folksy “The Springer Sing Along” are all easily classics. Also strong are several power ballads; “She’s Stayin’ Home Tonight,” “Thunder Rocks My Soul” (with an incredible Gene Marchello guitar solo-fueled homestretch) and “6,000 Days;” and the bluesy boogie “Elbo.” Dum also updates two Good Rats classics; the daredevil ode “Joey Ferrari” and the rampaging camhead anthem “Mr. Mechanic.” Closing in on the 60-year age milestone, Peppi still has ample pep, belting out a vocal howl that would rival Twisted Sister’s Dee Snider on his best night! Gene, Stefan and several guest bass players fuel Peppi’s vocal fury with driving, go-for-broke guitarwork and rhythms. Produced and mixed by Peppi and Stefan, the sound here is stripped-down, bare bones and in your face, capturing Dum at their full fury. Play Dum deserves a lot more attention than it has received so far; an album chock full of irresistible hard-rocking anthems that will have you pounding your fist and howling along! I can’t get this disc out of my CD player, nor do I want to! I highly recommend! (To obtain, visit the website www.dumband.com.)

GUITAR SHORTY – WATCH YOUR BACK (Alligator Records) David William Kearney was born in 1939 in Houston, Texas; and raised in Florida by his grandmother. Learning guitar at an early age, Kearney became a guitarist and vocalist in Walter Johnson’s 18-piece orchestra; and was christened Guitar Shorty by a club owner because of his young age and short height. Inspired by Guitar Slim, Shorty adapted some of Slim’s acrobatics into his own show; which along with several 45 rpm records in the late 50’s began to earn him a following. He eventually settled in Seattle, married Jimi Hendrix’s stepsister, Marsha, and became one of Hendrix’s influences. Shorty released his first album in 1990, and recently issued his latest album, Watch Your Back. This album features ten tracks of robust, hard-hitting blues; powered by Shorty’s guitar muscle and rugged, passionate voice. Shorty’s performance is electrifying throughout the album; his singing is fiery and emotionally charged, and his guitar continually sounds off with scorching, high-flying solos. The songs offer familiar blues themes of upbringing on “Old School;” life lessons learned on “Story Of My Life;” and relationship wheeling and dealing on “I’m Gonna Leave You,” “What She Don’t Know” and “It Ain’t The Fall That Kills You.” Shorty states his credentials and purpose with the Bo Diddley-ish shuffle of “Let My Guitar Do the Talking” and the driving closer “Right Tool For The Job;” and packs new muscle and life into Van Morrison’s “I’ve Been Working” and Elvis Presley’s “A Little Less Conversation.” Five of the songs were written/co-written by Sammy Hagar’s present keyboard player, Jesse Harms, who also co-produced, recorded, mixed and played electric piano on the album. Harms’ production and mix give the album ample hard-rocking weight and edge, amplifying Shorty’s swagger and grit. Watch Your Back brings out Guitar Shorty’s fire, power and strut; and fans of raw, hard-rocking blues will find this an album appropriate for cranking up the stereo volume.

THE MARAUDERS – MIDNIGHT RHYTHM (Rock'n'Roll Purgatory) Formed in 2001 from the ashes of prior local punk and ska projects, The Marauders set out to apply current-day punk spirit and vitality into 50's-flavored rock'n'roll; realizing that early rock’n’roll itself was the punk music of the 50’s. The group's 2003 debut CD, Alibi, introduced listeners to early-styled original roots rock and rockabilly; not treated as nostalgia, but attacked with the zest and vigor of rock'n'roll's 50's pioneers. On their follow-up album, Midnight Rhythm, The Marauders have slimmed to a trio and refined the sound and texture of their roots rock. Ben Dumm's vocal delivery is tougher and grittier, and his guitar demonstrates more distortion and bite. Chris Lawson's upright bass sounds reliably deep and ever-present, and Abe Weber's drums sound crisper and more vibrant. Recorded at Altoona's Data Music Services, Midnight Rhythm’s sound is beefier overall, with just a touch of slap-back reverb reminiscent of late-50’s Buddy Holly or Gene Vincent. The Marauders mix up the moods over the album’s ten tracks, ranging from boisterous blue-collar odes to vices and spellbinding women (“Last Call” and “She Put A Curse On Me” respectively) to more contemplative numbers (“Lonely Road,” “Satisfied” and the acoustic-geared title track “Midnight Rhythm”). The group battles personal demons on two darker-toned numbers (“Dead Of Night,” “My Revolver”); and offers commentaries about making ends meet (“Tow the Line”), the sorry state of current commercial music (“Kill Pop Radio”) and staying sane in today’s troubled world (“Refuge”). While The Marauders convincingly celebrate the youthful spunk of early rock’n’roll on Midnight Rhythm, they also successfully incorporate a rougher, darker dynamic to their sound recalling images of James Dean, black leather, dark alleys and switchblade fights. Midnight Rhythm is heartfelt, fun, rough-and-tumble roots-styled rock that recalls the genre’s early era while infusing it with present-day themes and urgency. (To obtain the album, visit the website www.themarauderspa.com.)

STERLING KOCH – HOW I SPENT MY SUMMER VACATION (THE SACRED STEEL SESSIONS VOL. 1) (Full Force Music) Behind this album is a story of triumphing over adversity. Last spring, Victory In Heaven Blues Band guitarist/singer Sterling Koch was diagnosed with degeneration of a disc in the back of his neck; caused by over 30 years of bearing the weight of a guitar around his neck. Not wanting to risk further aggravation to the injury, Koch switched to lap and pedal steel guitar, and taught himself to play these different forms of guitar last summer; thus the title to his latest solo album, How I Spent My Summer Vacation. Over the album’s eleven tracks, Koch applies his newly-learned talents to several styles and sounds, including blues, gospel, and jazz. Koch mixes it up between instrumental and vocal numbers. Two of the instrumentals; the uptempo, ZZ Top-like opener “Jam Back at the House” and the delta-flavored “The Down Low;” are Koch’s original compositions. Koch provides bluesy instrumental arrangements to two traditional gospel numbers, “Just A Closer Walk With Thee” and the upbeat “God Is So Good;” and he applies his steel guitar skills to jazz on a treatment of Charles Mingus' "Good Bye Pork Pie Hat.” Two other instrumentals, treatments of Naida Hearn’s “Jesus, Name Above All Names” and Rev. Gary Davis’ “Death Don’t Have No Mercy,” find Koch mingling his talents with those of sidemen George Grund on keys, Tim Skorupski on saxophone and Rick Young on harmonica. On the vocal numbers, Koch sings lead on the funk-edged treatment of “He’s Alright,” assisted by Jennifer Hollister. Hollister’s and Debra Hydock’s voices shine on the other three vocal numbers; Rev. Gary Davis’ “I Am the Light of This World,” and the traditional “Ain’t No Rock” and “Certainly Lord.” Koch demonstrates that his lessons on his new instruments were learned well, and his performances here demonstrate the same type of enthusiasm and passion he has applied to conventional guitar on his past offerings. This album also works because of the chemistry between Koch and his sidemen, particularly on the instrumental numbers. How I Spent My Summer Vacation is proof that clouds can have silver linings, and illustrates how Sterling Koch turned a debilitating injury into an opportunity to explore new instrumental horizons. (To obtain, visit the website www.sterlingkoch.com.)

DOCTOR’S OFFICE – THE FUTCH (Ingreevox America Records) Doug Mackie is the lead guitarist and singer for popular regional party band juggernaut UUU. Known to UUU’s fans as “The Doctor,” Mackie began work on a solo project four years ago; that project has reached fruition as Doctor’s Office. On the first Doctor’s Office disc, The Futch, Mackie proves himself adept at pop songcraft, with catchy melodies abundant over the album’s ten tracks. The base sound is rooted in 80’s-era guitar rock, with hints of Billy Idol, 90125-era Yes, Billy Squier and Def Leppard surfacing through the disc. Mackie displays imagination, instrumental and technical prowess, and thoughtful lyrics rooted in today’s society and current events. The prominent lyrical theme of The Futch is modern-day society, and how the media – television in particular – has brought the world into our homes, connecting us to it, but also isolating us from it. The song “Less Affected” observes how television news has made wars, famines and disasters into modern-day soap operas, which people watch but have become desensitized to. In a similar vein, the heavy-rocking album-closer “Brainsucker” examines how people watch life through the window glass of television, instead of stepping away from the tube and actually living their lives. The fast-paced rocker “Nothing” concerns the endless cycle of the rat race, while the folksy title tune, “The Futch,” proposes an escape from that rat race. Other noteworthy songs on the album include the soulful rocker “Self Esteem,” the uptempo “Supernatural Hero” and a power ballad, “I Will Always.” Mackie proves he is a capable singer with decent vocal range, and he demonstrates a knack for weaving his guitar solo displays into the context of his song melodies. Mackie is helped out on the album by his UUU bandmate, singer Jason Hoffman, along with Rob Karten on organ, John Nutile on bass, Steve Klienberg on drums, and Laura Klienberg on backing vocals. Doctor’s Office is Doug Mackie’s creative outlet apart from UUU, and The Futch provides a look at Mackie’s own musical world. It is a catchy, intelligent, and fun listen. (To obtain, visit the website www.dougmackie.com.)

FITH – REBORN (no label) First forming in 2002, Harrisburg’s Fith has developed their own slant on heavy modern rock and metal, demonstrated on their first full-length studio album, Reborn. Their sound is aggressive, heavy and dark; comparable to national contemporaries like The Deftones, Chevelle or Tool. Singer Adam Snyder varies his melodic presentation between quiet and understated, and high-flying rage; showing constant range and power. The guitar battery of Hector Munoz and Chad Farling build tension-and-release drama with moody, shadowy textures and booming riffs. Fith’s sound is anchored by the weighty bass lines of Andy Brightbill and the powerful, often tribal-geared drumming of Brandon Snyder. What sets Fith apart from the rest of the modern angst-metal bandwagon is their attention to song structure, melody and dynamics. Reborn’s eleven songs all contain well-developed, darkish melodies that cleverly progress to concise, direct choruses; while lyrically examining dark emotions such as hatred, fear, anger and paranoia. Highlights abound on the album, including the opening track “Drowning” with its chord progression melody and monstrous midsection; the title song “Reborn” with its clever use of voice effects in the chorus; “Safer Place” with its Limp Bizkit-flavored ending; and the driving rockers “Sun to Set” and “Run.” The group’s modern influences surface more prominently on a few tracks, such as the Deftones flavor of “Reflections” and the progressive Tool flavor of “October.” Produced by the band and recorded, engineered and mixed by Hector Munoz, Reborn sounds rigid and sharp; bringing forth Fith’s clarity and power. The band’s performances are strong and inspired; and executed with tightness and edge. Adam’s vocals occasionally sound softer in the mix; but overall this is a well-mixed, good-sounding album. On Reborn, Fith shows that while they are influenced by current rock trends, they strive to blaze their own trail rather than ride the bandwagon. This is a powerful, focused album; and fans of current-day heavy rock should find this a satisfying listen. (To obtain, visit the website www.fithrock.com.)
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