[Jim Price]

FINAL CUT CD REVIEWS & CHICANERY: SEPTEMBER/OCTOBER 2005

FIRST…SOME SOAPBOXING…

Normally, I kick these things off with some commentaries. Lately, though, I just haven’t had any real strong opinions on much of anything. So rather than try to contrive some drawn-out commentary about a singular topic, I’ll instead throw a few quick hits at you as to what has been going through my mind lately:

ORIGINAL BANDS VS. COVER BANDS: Ultimately, a silly debate. Some “purists” think all musicians should only do their own material, and not cover somebody else’s. My point: Since when is a musician obligated to create their own music the minute they pick up an instrument or sing for the first time? Some musicians pick up instruments to create, yes. Other musicians pick up instruments to do songs they like, and do them to the best of their ability. Both schools of thought are right, and needn’t be exclusive to one another. Bottom line: Do what is in your heart. Play music YOU like, original or cover…or BOTH!

HURRICANE KATRINA: We thought such a disaster could never happen to us here in America. We saw this sort of disaster happen in third world countries, but it could never happen here. Katrina proved us wrong. As advanced a nation as we are, we are still not immune to Mother Nature’s wrath. And as advanced and civilized as we think we are, Katrina also proved that when times get desperate, certain elements of our society can turn on their fellow man, via looting, price-gouging, greed and more. It also showed that we are a compassionate nation, and we do take care of our own; proven via the outpouring of donations from all aspects of society to help those who lost everything in Louisiana and Mississippi. Make no mistake, it will take a long time for that part of the world to recover; to rebuild and restart lives. And I don’t think New Orleans will ever return to what it was before.

PENN STATE: Last year at this time, I was so disgusted with Penn State’s offense and losing season that I was starting to climb aboard the “Joe Must Go” bandwagon. But as my anger subsided, I slid off that bandwagon, and decided that coach Joe Paterno deserved the opportunity to right the ship. As I write this, Penn State is 8-1 and is two wins away from the Big Ten title and a BCS bowl bid. Joe – with the help of some impressive freshmen – has righted the ship. Good for him. And for me, it’s funny hearing some of the national sports commentators who were bashing him last year, suddenly forced to eat some crow and humble pie this year.

ALTOONA’S CRIME PROBLEMS: The UVA shootings, drug-related robberies and shootings, vandalism, drive-by’s, what is this town coming to? Yes, transplanted big-city addicts and drug dealers are a part of it, as are the local elements that have hooked into drugs. I think ultimately, area citizens need to watch each other’s backs, form neighborhood watch groups and report suspicious activities to law enforcement. Take back your neighborhoods, people!

That’s a little round-up of what has been on my mind lately. But as always, there is a lot of music continuously on my mind as well…

AND NOW…SOME NATIONAL AND LOCAL CD REVIEWS

ERIC CLAPTON – BACK HOME (Reprise) The title to Eric Clapton's latest album, Back Home, pretty much sums up its contents. After exploring everything from polished pop to folk to various blues on his last few albums, Clapton finds a happy medium to all of those styles here, returning "home" to a blues/R&B-based, polished pop/rock sound. Back Home finds Clapton crafting smooth grooves with longtime associates such as guitarist Andy Fairweather Low, drummer Steve Gadd, and a horn section; as well as several well-known guests such as keyboardist Billy Preston, guitarist Doyle Bramhall II, Steve Winwood, John Mayer, Vince Gill and more. Clapton proudly celebrates his home life on this album, evidenced by the opening track, “So Tired,” where he sings about lack of sleep, babies teething, and the relief of having a wife to deftly handle it all. The slow and bluesy ballad “Run Home to Me” finds Clapton reflecting on a cozy morning trip to the seaside with his family; and he finds home as sanctuary from life’s long road on the acoustic-geared title track “Back Home.” Clapton still strongly embraces his blues and R&B roots here; he demonstrates his more soulful side on “Love Comes to Everyone” and “One Track Mind,” and pays homage to the late Syreeta Wright with an update of Stevie Wonder and Syreeta’s “I’m Going Left.” His blues roots shine through on the ballad “Love don’t Love Nobody,” “Piece Of My Heart” and “One Day.” Slowhand dabbles in reggae in the upbeat “Say What You Will” and “Revolution;” and demonstrates a bolder, harder edge on “Lost and Found.” Clapton and writing collaborator/co-producer Simon Climie polish Back Home with a clean, smooth sheen, devoid of grit or jagged edges. While Clapton does fire off a few sharp guitar solo displays along the way, this album is more about pop songcraft and a polished overall sound rather than reprising his legend as guitar god. Back Home doesn’t reinvent Eric Clapton, nor does it find him anxious to break new ground. Instead, this album is ultimately a snapshot of a relaxed, content musician; happy both with his current musical turf and the comforts of domestic life. While it’s not likely to knock you off your feet on first listen, Back Home’s smoothness and professionalism make it an album that sounds good on the stereo while you’re lazing around the house some afternoon.

PAUL McCARTNEY – CHAOS AND CREATION IN THE BACKYARD (Capitol) After a career as a songwriting mastermind in the world's most famous band and a subsequent solo superstar, what does Paul McCartney have left to prove? Almost twenty years after his last Top 40 single, and after a number of mostly forgettable albums during that same time span, the former Beatle challenged himself; with a little nudging from George Martin, who suggested that McCartney contact producer Nigel Godrich, who has produced Radiohead and Beck. The result is Chaos and Creation In The Backyard. The title itself hints at some of the chaotic and creative push and pull that took place between McCartney and Godrich. The producer forced McCartney out of his comfort zone, disposing of a number of the songs Paul brought to the table, and having him play most of the instruments himself without his touring band. This is a more serious McCartney album, more quiet and contemplative, and largely devoid of silly love songs and frivolity. There are some intriguing, fascinating highlights on the album, such as the darker-toned "Riding to Vanity Fair," with strings and toy glockenspiel underscoring unusually bitter McCartney lyrics. Sir Paul also addresses stress and paranoia on the equally interesting "At The Mercy," and deals with more serious emotional themes on "Too Much Rain" and "This Never Happened Before." To be sure, there are upbeat moments on the album as well, such as the bouncing opener "Fine Line" and "Promise to You Girl." There are also a few throwbacks to the Fab Four, including "Jenny Wren" and its reminders of "Blackbird," and "English Tea's" subtle hints of "Eleanor Rigby" and "Maxwell's Silver Hammer." Although Nigel Godrich has produced some of today's more elaborate and edgy artists, he keeps the production here simple but polished; keeping Paul McCartney front and center and allowing the instrumentation to fill in and complement him. Chaos and Creation In The Backyard is a different type of Paul McCartney album, and is perhaps the most interesting album to come out of the former Beatle in years. With its quiet, delicate tones, this album won't likely propel McCartney back to the top of the singles or album charts; but it shows that at age 63, Sir Paul is not afraid to challenge himself and step outside the box.

QUEEN & PAUL RODGERS – RETURN OF THE CHAMPIONS (Hollywood Records) On paper, it looked like an intriguing tour idea; with Queen guitarist Brian May and drummer Roger Taylor hooking up with fellow British 70's rock contemporary Paul Rodgers, plus several other hired guns. (Queen bassist John Deacon sat out the reunion.) The ensuing tour started out on European stages this past spring, and arrived on American and Japanese stages this fall. The Queen and Paul Rodgers double-CD set, Return Of The Champions, captured the May 9, 2005 concert at Hallam FM Arena in Sheffield, England. As expected, the set features an abundance of Queen classics, with a few of Paul Rodgers' best-known Bad Company and Free hits sprinkled in along the way. In the best Queen tradition, the production is big, full and majestic; and the atmosphere sounds charged, as a jubilant and appreciative audience warmly embraces this union of legendary rockers. May, Taylor and Rodgers all sound glad to be there; the performances largely sound inspired; and the excitement and enthusiasm of this particular evening clearly shines through. The problem is, though, that while this concert may have been a pleasure to watch and experience firsthand, as an audio document, it exposes the obvious mismatch of Paul Rodgers' soulful and gritty blues-rock style with Queen's theatric brand of rock. Freddie Mercury is sorely missing here, and Paul Rodgers sounds like a fish out of water. The most obvious example of this mismatch can be heard on "Bohemian Rhapsody," where the Freddie Mercury-fronted operatic midsection from the original record leads to Rodgers singing the hard-rocking homestretch, and sounding obviously out of place. Brian May and Roger Taylor sound much more comfortable playing Paul Rodgers' Bad Company and Free hits than Rodgers sounds trying to sing Queen's classics. While Return Of The Champions is listenable and documents a special night; as a listening experience, a good portion of it sounds awkward, and exposes a clash of performing styles. As a tour, the pairing of Queen and Paul Rodgers was a nice idea, but as an album set, it simply sounds like a mismatch.

NEIL YOUNG – PRAIRIE WIND (Reprise) Neil Young reprises his role as a musical chameleon by changing his musical direction once again on his new album, Prairie Wind. This album finds Young returning to the Americana country-rock of his After the Gold Rush/Harvest period. Surviving a brain aneurysm and enduring the death of his father during the album's recording, Young's tone is reflective and reminiscent over Prairie Wind's ten tracks. Recorded, mixed and engineered in Nashville, Prairie Wind takes Neil Young back to a warm, rural setting musically, with instrumentation such as dobro, pedal steel, fiddle, harmonica, and the emphasis on acoustic tones over electric. The arrangements are mostly stripped-down and simple, a nearly complete reversal from the busy and chaotic cacophony of Young's ambitious last album, Greendale. Young comes to grips with mortality, after his own brush with death and the loss of his father, and uses Prairie Wind to celebrate simple pleasures and memories. Neil tips his hat to contemporaries he has weathered his career with on the opening acoustic number "The Painter." He celebrates the instrument that has endured with him on the folksy "This Old Guitar." Neil celebrates childhood memories and longs for home on the homey and funky "Far From Home;" and offers devotion to his offspring on "Here For You." "Falling Off The Face of the Earth" finds Neil rolling credits for the people in his life while he still has time to do so; while the gospel-tinged closer "When God Made Me" finds him pondering his Maker. Young paints lyrical imagery of his Canadian prairie youth on "It's a Dream" and the title track "Prairie Wind," and waxes nostalgic about Elvis on "He Was the King." Only one song, the edgy "No Wonder," references the present, vaguely pondering if we're better or worse off than the days of Neil Young's youth. As he closes in on his 60th birthday, Neil Young celebrates life and family, and starts getting his own house in order on Prairie Wind. This is a reflective, thoughtful and sentimental album, but also a moody and somber one. Reminded of his own mortality, Neil Young stops, reflects and smells the roses on this album, while he still has time to do so.

CREAM – ROYAL ALBERT HALL LONDON MAY 2-3-5-6 2005 (Reprise) After many years apart, Cream reunited this year, first to perform several shows at Royal Albert Hall in London, and then to continue the reunion tour this fall at New York's Madison Square Garden. From the London shows comes a double-CD live set, Royal Albert Hall London May 2-3-5-6 2005, compiling highlights from the group's four-night stand there. For three sixty-something-year-old musicians who haven't gigged together in 36 years (save for a reunion performance during their induction into the Rock and Roll Hall Of Fame in 1993), Cream gelled onstage remarkably well, showing few obvious signs of age, wear or tear. By the time they hit their second song, "Spoonful" on Disc One, the three musicians are clearly working up a sweat, with Jack Bruce displaying snarl in his voice, and Eric Clapton soloing with a fire we haven't heard from him in years. That excitement continues on "Outside Woman Blues," before we hear a rare Ginger Baker vocal appearance on the psychedelic gem "Pressed Rat & Warthog." The set continues with a mixture of Cream's best-known classics, such as "Badge," "Politician," "White Room" and "Sunshine Of Your Love;" and lesser-known songs like "Sweet Wine," "Deserted Cities of the Heart" and "We're Going Wrong." The group also delves into some blues numbers, such as Muddy Waters' "Rollin' and Tumblin,'" T-Bone Walker's "Stormy Monday," Booker T. Jones' "Born Under a Bad Sign" and Robert Johnson's "Crossroads." Disc Two also features "Toad," showcasing Ginger Baker's drumming skills on a lengthy solo. Since it has been 36 years since this trio has performed together, these performances don't have the sense of urgency or spontaneity of Cream's live recordings from their late 60's heyday. And in those 36 years, all three musicians have matured into smoother and less hungry players, so these reunion performances never sound quite as volatile or agitated. Still, it is refreshing to hear this group back together, having fun, and stepping back outside the comfort zone of their careers since Cream's 1968 breakup. Royal Albert Hall London May 2-3-5-6 2005 won't displace the earlier Cream live recordings or reinvent Cream; but based on the sound of these performances, this reunion was more than just a ticket gate payday and a trip down Memory Lane. It's good to hear Jack Bruce, Eric Clapton and Ginger Baker sounding excited to be sharing the same stage again, and breaking a serious sweat.

LES PAUL & FRIENDS – AMERICAN MADE WORLD PLAYED (Capitol) First known as a jazz guitarist, Les Paul ultimately changed and revolutionized popular music; with his electric guitars and musical instruments, technological inventions, recording techniques and more. Les Paul's innovations paved the way for popular music to sound like it does today; and it's likely that we might never have experienced the music of the Beatles, Jimi Hendrix, Led Zeppelin, Pink Floyd or many other popular musicians without him. Having recently turned 90, Les Paul and his innovations are saluted by a who's who of famous musical names and disciples on the album American Made World Played. As all-star album get-togethers go, this one is impressive, not just for the star talent assembled, but for the tasty blend of music and some interesting surprises along the way. Les Paul himself plays guitar on every song here, and is spotlighted on three diverse numbers: the modern R&B-updated rendition of his most famous hit with Mary Ford, "How High the Moon," pairing Paul with Russian pop star Alsou; his update of one of his signature live tunes, Duke Ellington's "Caravan;" and a funky treatment of the Buddy Miles/Jimi Hendrix-popularized "69 Freedom Special." Through one of Les Paul's innovations from the 1940's – multi-track recording – we get to hear a duet pairing the late Sam Cooke with Eric Clapton on Cooke's "Somebody Ease My Troublin' Mind." Cooke's vocals are also paired with guitar legend Jeff Beck on another Cooke song, "(Ain't That) Good News." Other interesting collaborations include Sting and teenage English pop diva Joss Stone belting out Bonnie Raitt's "Love Sneakin' Up On You;" a funky-rocking update of Rick Derringer's "Rock & Roll Hoochie Koo" pairing Edgar Winter with Kenny Wayne Shepherd and his singer, Noah Hunt; Journey guitarist Neal Schon and Beth Hart performing the soulful ballad "I Wanna Know You;" and bluesman Buddy Guy, Keith Richards and Rick Derringer teaming up on Sonny Boy Williamson's "Good Morning Little Schoolgirl." Other highlights include Peter Frampton's treatment of Atlanta Rhythm Section's "So Into You;" Billy Gibbons' ZZ Top-ified rendition of Robert Palmer's "Bad Case Of Lovin' You;" and Steve Miller (whose written tribute to Les Paul appears in the liner notes) updating his hit "Fly Like An Eagle." This album is a good listen, with various excerpts of Les Paul's radio and television shows sprinkled in among the songs. The performances sound inspired, and the various collaborations and variations on familiar favorites are interesting throughout. American Made World Played salutes an American musical icon, Les Paul, his innovations and influences, and celebrates how he changed the world of popular music forever. Ultimately, this a fun, informative and entertaining album worth checking out.

KAIROS – RETHINK: RESHAPE (no label) Now based in Pittsburgh, Kairos first formed five years ago at Penn State University when singer Jason Sturm and guitarist Josh Sturm met drummer Drew Rodaniche; the group then released their self-titled debut in 2002. Following the album's release, the departure of their bass player led to Kairos taking a hiatus. That break ended after Jason met and married his wife, Shar, who happened to play bass, and subsequently became the group's new bass player. Rethink: Reshape, the group's second album, picks up where the first album left off, further developing Kairos' complex and cerebral brand of hard-hitting, progressive modern rock. Over the album's ten-song, hour-plus duration, Kairos performs dynamic, elaborate compositions with ambient, soaring melodies; driving, aggressive choruses; and precision execution; setting the musical backdrop for lyrical themes of soul-searching, communication, spirituality and revelation. Tool and Pink Floyd are among the points of reference for the group’s swelling and diminishing, tension-and-release arrangements that often bring the listener to the edge of his/her seat in anticipation of what happens next. The group’s abrupt hard-hitting fury and rapidly changing textures often pattern Tool, while Jason Sturm’s range, phrasing and sudden vocal intensifying emulate Maynard Keenan. Some of Kairos’ compositions are more immediate in their attention-grabbing impact, such as the opener “Loss Of Supplication,” “Shine,” “Digging Through Sand” “Possessions” and “Futility” (the latter four songs updated from the first album); while other pieces are more subtle and deliver their full payload with repeat listens, such as “Synapse,” and “Tryst in the Silent Night.” The group closes the album with the elaborate and unpredictable 13-minute-plus two-part epic “Ronzer/Redemption.” Produced and mixed by Evan Rodaniche at Cage9.com Studios in Los Angeles, Rethink: Reshape displays a fuller and deeper sound than the first Kairos album, with layered ambient passages and vocal harmonies, clever use of stereo separation, soundbytes and more. Kairos raises the bar in all aspects of their presentation on Rethink: Reshape, delivering a dynamic, stunning album sure to fascinate and captivate. Fans of intelligent, detailed, emotion-stirring rock will find this album well worth exploring. (Can be obtained at the group’s shows or by visiting the website www.kairosband.com.)

RHYNE McCORMICK – SOUL DUST (Tone Records) An album can often capture a snapshot of an artist at a specific juncture in his/her life, both musically and personally. An album can represent what is in the artist’s mind, and what might be going on in that person’s life; with the music itself serving as a vehicle to convey and supplement the mood. Based on his latest album, Soul Dust, relationships and decisions occupy the current mindset of Lewistown singer/songwriter/guitarist Rhyne McCormick. Through Soul Dust’s eight songs, Rhyne considers thoughts and lessons learned from the school of relationship hard knocks; second-guessing past mistakes on the gentle “Say You Loved Me,” contemplating a future decision on the Americana rock-flavored “Out Of Love,” and reflecting on how a hasty relationship decision comes back to haunt him on the uptempo opener “Girl Turned.” On the uplifting and soulful “5104,” he finally finds the love that puts the past games behind him. On the bluesy and spiritual “Train,” Rhyne examines how decisions can impact lives; and on the country-geared title song, “Soul Dust” is the accumulation of residues of life’s experiences on one’s soul. Rhyne convincingly sells his song material with a confident, gritty vocal presentation. Musically, he fleshes out his acoustic creations with a full-sounding backdrop mixing elements of rock, folk, blues and soul; with instrumentation including steel guitar, ganjo, keys, saxophone and more. With help on the production end from keyboardist Johnny X, Rhyne McCormick effectively uses his arrangements to emphasize and support the moods and emotions he tries to convey. The result is a fundamentally strong album by an artist who knows his musical terrain and just what he wants to get across. Like its lyrical themes of life’s experiences and wisdom accrued, Soul Dust shows us Rhyne McCormick as an artist who has learned about himself along the way, and has used that knowledge to craft a focused, confident set. (The album can be obtained at Rhyne’s shows, or by visiting his website, www.rhynemccormick.com.)

CLOUD PARTY – PRAYING FOR RAIN (DRP Records) Over their first three albums, the Reading-based rock band Cloud Party has progressed from angrier and more acidic beginnings to a more cerebral and melancholy style and sound, reflecting the thoughts and mental wanderings of the group's brainchild, singer/songwriter/guitarist Jim Speese. Cloud Party's fourth album, Praying For Rain, finds Jim and the group seeking oasis from the desert, light from the darkness, and longing for happier moments past and future. These themes ride out over a ten-song course, ranging from acoustic textures to soaring, oceanic, Pink Floydian arrangements (a novelist and student of Floyd, Jim Speese is currently working on a book about the lyrics of Roger Waters). The title song, "Praying for Rain," first establishes the prevalent themes of loneliness, distance and longing, and occurs in two parts; a studio acoustic introduction to the album, and an electric sequel recorded live during a 2003 concert at Albright College. The acid-tinged rocker "Tears" describes feelings of isolation and abandonment; while the sullen ballad "Come Around Again" longs for the return of happiness and comfort. The longing for salvation seems to be the focus of the Pink Floyd-like "Thirteen Days," featuring an arrangement that escalates to a deep, broad climax before tapering off into guest singer Greta Link's closing repetition of the phrase "Something More." The soaring anthem "Waiting to Be Beautiful" regards the longing for admiration, adoration and acceptance; while the hypnotic epic closer "To the Ends of Earth" yearns for atonement and reimbursement. Jim Speese muses on the workings of his own mind on the uptempo “The Dreamer’s Disease,” offers snide commentary about television reality on “Entertain Me,” and recalls a hiking experience on “Blackrock Mountain” (also recorded live at Albright College). There is also an enhanced portion of the CD, featuring videos of two songs, “Making Out with Cate” and “Tonight Until Tomorrow;” also recorded live at Albright College. Jim Speese sells his themes of longing with a vocal blend of frostiness and pessimism. Blending his acoustic guitar textures and keyboard underscores with Mark Steffy’s clean and timely guitar leads, sharp rhythms from drummer Joe Donato and bassist Chris Altland, plus production and engineering assistance from Tom Volpicelli; Jim and Cloud Party construct a flowing, dynamic backdrop mixing subtle, ethereal and dramatic moments. Praying For Rain demonstrates Cloud Party’s further maturation as painters of moods and musical tapestries; and its balance of dark, delicate and powerful moments makes for a compelling, alluring listen. (The album can be obtained at Cloud Party’s shows, or through their website, www.cloudparty.com.)

NITEKAST – 13TH OF FRIDAY (no label) Cherry Tree-based rock band Nitekast first formed as a five-piece in 1999, and have undergone various changes to arrive at their present power-trio roster of singer/guitarist Brandon Scalese, bassist Josh Oaks and drummer Josh Boring. On the group's latest recording, 13th Of Friday, Nitekast demonstrates their brand of raw, garage-flavored modern rock over eight tracks, including six original songs and two remakes. The group mixes up the flavors between punk driven rockers like "You" and "Blues Couch," the catchy punk-pop opener "Humidity," the sullen and more reflective "Happiness Pills," and two ballads, "All Alone" and "False Window." Nitekast also offers renditions of two popular hits from the 1980's: an effective and edgy update of INXS' "Worlds Collide," and a workmanlike treatment of Duran Duran's "Hungry Like the Wolf." Nitekast instrumentally sounds on target for the most part, and their performances are enthusiastic. Vocally, Brandon does a satisfactory job as frontman; a little bit more confidence and soulfulness should improve his game. Recorded by Dave Villani at Data Music Services in Altoona, 13th Of Friday sounds solid and crisp, with Dave's full studio treatment adding body to Nitekast's overall sound; his keyboard underscore especially adds depth and fullness to "All Alone." While the overall consistency of Nitekast's performance and presentation could be tighter, 13th Of Friday is ultimately an encouraging effort from a young band getting their game feet underneath them. This album succeeds in defining Nitekast's musical world, and establishes a basic foundation for the group to grow and expand from. (Can be obtained at the group's shows, or by visiting the website www.nitekast.com.)

SECOND OFFENSE – SUFFER THROUGH DISHONESTY (no label) Together for over 2 years, Altoona's Second Offense unleashes the beast on their debut CD, Suffer Through Dishonesty. Through the album's ten tracks, we are introduced to Second Offense's slant on raging, maniacal metalcore. Rooted in the traditions of Slayer, Sepultura and Hatebreed, Second Offense's attack features the bristling vocal snarl of frontman Myke Long, the dual buzzsaw guitar carnage of Travis Bohn and Brian Faychak, lean and punishing bass riffs from Jes Mattern, and tribal-edged drumming from Wally Fiedor. This is not music for the weak-hearted; Second Offense is constantly on the offensive throughout the album, and is at their best when they rampage full-tilt and take no prisoners. The songs themselves are mostly simple affairs, with rage and intensity taking precedence over melodic sensibility. The group does offer a few variations, though, such as the spacey guitar textures that launch "Saline," and multi-speed assaults like "One-Sided" and "Abuse." The production here is basic, brash and jagged; although the guitars could stand to be louder and the full mix is slightly muddy. And while convincingly savage and menacing, Myke Long's maniacal rage often muffles his vocal clarity, frequently making it difficult to decipher what exactly he is raging about. But overall, in the context of this brand of extreme, hardcore-driven metal, Second Offense delivers a respectable debut here. Suffer Through Dishonesty sets the ground rules for this band's punishing style and sound, and should provide local moshpits with ample ammunition to get crazy to. (Can be obtained at the group's shows, or by visiting the website www.secondoffense.com.)
_________________

http://pamusician.net