[Jim Price]

(Better late than never...)

FINAL CUT CD REVIEWS & CHICANERY: NOVEMBER/DECEMBER 2005

Not much chicanery this time around…Normally, I’d open this thing with a soapbox or two or three or four. But as I stare blankly at the computer screen and brainstorm, I just don’t have anything particularly pressing on my mind to say!

So…

AND NOW…SOME NATIONAL AND LOCAL CD REVIEWS

DEEP PURPLE – RAPTURE OF THE DEEP (Eagle Records) Purists will probably forever argue the true merits of Deep Purple after guitarist Ritchie Blackmore's departure over a decade ago, and even more so after keyboardist Jon Lord's separation from the group three years ago. But over the eleven tracks of Deep Purple's latest album, Rapture Of The Deep, it becomes clear that both Blackmore's and Lord's replacements – Steve Morse and Don Airey, respectively – have settled into their roles and become interwoven into the fabric of the group's musical personality. Both Morse and Airey co-wrote all the songs along with Deep Purple mainstays, singer Ian Gillan, bassist Roger Glover and drummer Ian Paice. Their contributions – Morse's jazz-informed, inventive leads and Airey's playful and colorful fills – sound comfortably infused into the Deep Purple mix; and their ongoing solos, duels and interaction are constant highlights on the album. Deep Purple's sound remains rooted in blues-based heavy rock; but maintains the looser, sassier vibe of last year's Bananas album. Fans of conventional Deep Purple will find plenty to celebrate on Rapture Of The Deep; including the opening hard-rocking ode to financial greed "Money Talks," "Girls Like That," "Wrong Man" and the bleak future forecast "Kiss Tomorrow Goodbye." The title track "Rapture Of The Deep" plays with a Middle-Eastern-styled melody; "Clearly Quite Absurd" takes a more tranquil tone; "Don't Let Go" and "Junkyard Blues" are more obviously blues-rooted; and the album-closer "Before Time Began" experiments with a revolving melody and escalating arrangement. Deep Purple has their fun, too, evidenced by "Back to Back" with its playful double-edged lyrics; and their sarcastic ode to current-day music broadcast media, "MTV." Ian Gillan's voice and wit again sound in good form, and the group's performances sound vibrant and inspired. Rapture Of The Deep doesn't reinvent Deep Purple, and at this stage of the game won't return them to the prominence of their Machine Head or even Perfect Strangers comeback periods. But it is a sturdy album that shows there is life for Deep Purple after Ritchie Blackmore and Jon Lord, and that the group's current inception is viable and doing just fine.

AEROSMITH – ROCKIN' THE JOINT (Sony/BMG) The Joint is the name of the live music stage at the Hard Rock Hotel & Casino in Las Vegas. Aerosmith rocked The Joint on January 11, 2002, during their tour for the Just Push Play album. A Dual Disc set, Rockin' The Joint documents that concert event with nearly 60 minutes of audio footage on the CD side; and four video performances, behind-the-scenes footage and an enhanced stereo edition of the album on the DVD side. Although this performance was from the Just Push Play tour, only two songs from that album were performed here; "Beyond Beautiful" and "Light Inside." The rest of the set features the Boston bad boys going to town on a number of their 70's classics; with the exception of their 1998 chart-topping hit "I Don't Want to Miss a Thing." Noteworthy moments include the first live album appearance of "Seasons of Wither" from 1974's Get Your Wings and the seldom-performed "No More No More" from Toys In The Attic. Other highlights include Joe Perry's guitar solo workout on the extended live rendition of "Draw the Line," the feisty boogie rendition of "Big Ten Inch Record," and a remake of Fleetwood Mac's "Rattlesnake Shake," one of the first songs Aerosmith ever played together. Performance-wise, Aerosmith sounds as instrumentally tight and polished as they have ever sounded, yet energetic; and Steven Tyler's voice and sass are in top form. Although the newer songs interrupt the pace more than help it, this album still moves along fairly well. The sound is up front and full, and the mood is charged, evidenced by the ever-present ecstatic cheers of the audience. Aerosmith didn't reinvent the wheel with this performance, and Rockin' The Joint doesn't reveal anything new about this veteran quintet that we didn't know before. But it does show us a legendary band doing what they do best, and captures Aerosmith's professionalism, confidence and swagger on the live stage. In all, it's a solid live document that shouldn't detract from the group's legendary status.

B.B. KING & FRIENDS – 80 (Geffen) Not many musicians live to reach octogenarian status, let alone are still actively making music when they reach that milestone age. So the very fact that blues legend B.B. King is still performing and making music at age 80 is already a highlight of his new birthday celebration album, 80. King pairs with a wide range of well-known names from the blues, rock and pop worlds, performing some of his favorite tunes and classics with varied results. The one constant through the album's dozen tracks is that King himself sounds in top form; he still sings with authoritative soulfulness and grit, and he makes his guitar proudly sing with tones ranging from smooth to boisterous. As for his guests, some offer stronger pairings with the blues legend than others. Van Morrison sounds perfectly at home howling and blowing harmonica alongside King on the album opener, "Early in the Morning." Daryl Hall joins King for a punchy and soulful read of "Ain't Nobody Home," and Elton John and his band stir things up nicely with King on the lively album closer "Rock This House." Other highlights include King's and Bobby Bland's comfortable and conversational version of Willie Nelson's "Funny How Time Slips Away," Mark Knopfler's and King's healthy guitar workout on "All Over Again," and Gloria Estefan's sultry duet with King on "There Must Be a Better World Somewhere." On the other hand, Glenn Frey and Roger Daltrey both strain too hard to match blues growls with King on "Drivin' Wheel" and "Never Make Your Move Too Soon" respectively; Billy Gibbons' voice simply sounds worn out on "Tired of Your Jive;" and a too-relaxed Eric Clapton lets King do all the hard lifting on "The Thrill Is Gone." Two current stars team with King as well; John Mayer matches well with him on Leon Russell's "Hummingbird," while Sheryl Crow sounds somewhat timid and humbled on "Need Your Love So Bad." Recorded at several locations, and engineered and mixed by Nathaniel Kunkel, 80 keeps B.B. King strongly in the forefront, with his shining performances front and center. Ultimately, the biggest victory of 80 is not just that B.B. King is still doing what he does at his age, but actually sounds stronger and has aged better than some of the younger contemporaries who are helping him celebrate. King's strong and vibrant performances win the day, and suggest that we may well have a 90 album to look forward to in another ten years.

THIRD STANDARD – KARMA CLEAN (no label) The second album from western Pennsylvania-based quartet Third Standard, Karma Clean, offers a detailed examination of the emotional fallout from a relationship gone sour. Through the album's ten songs, singer/rhythm guitarist/lyricist Tyson Ruhlman explores different emotions, realizations, questions and resentments associated with bailing out of a hopeless situation. The album begins with the hard-driving and aggressive opener "Walkin' On," and the initial decision to exit the situation. "I" second-guesses indecision at not ending things sooner, riding atop a powerful, forceful melody. Other songs such as "Drowning," "Bringing You Down," "Blue," "This Time" and "What Do You Want (From Me)," deal with varying degrees of anger, resentment, dejection and soul searching. The title track, "Karma Clean," is about losing the race with one's conscience and ultimately facing the truth. The album finishes with "Shine On," and the determination to move on and leave the situation and past mistakes behind. Ruhlman sells his lyrics with a gritty, emotional vocal delivery; upping the ante on his overall fire, angst and intensity. New drummer Steve Holtz brings a harder, more aggressive drumming style; coupled with tighter and leaner performances from guitarist Joe Scott and bassist Andy Heinze, the results are a more urgent, bare bones brand of melody-geared hard rock. Produced by the band and Bill Filer, and engineered and mastered by Filer at his Audible Images Recording facility in Port Matilda, Karma Clean sounds sharper and edgier than the group's 2003 Rabbit Run debut; without sacrificing any of the group's sense of melody or ear candy catchiness. Ultimately, Third Standard raises their standard on Karma Clean; a superior, more consistent sophomore effort that further establishes this group's foundation in edgy, fundamental, classic-rooted rock. (The album can be purchased at the group's shows or through their website, www.thirdstandard.com.)

WIDE OPEN – FIRST RIDE (no label) Philipsburg's Wide Open first formed two years ago, uniting some area music veterans: guitarists/singers Matt Socoski and Vincent Youngbauer, drummer Spike Morelli and bassist Quinton Hughes. Spanning nine tracks, Wide Open's first album, First Ride, is a celebration of motorcycles, women and rock and roll. The group's affinity for motorcycles is obvious from the get-go, with loud Harley-Davidson thunder triggering the racing, action-packed album opener "Revin' It Up." Two instrumentals, the fast-flying rocker "Eat My Dust" and the tranquil album-closing guitar instrumental "End of the Ride," also follow the riding theme. Bikes, women and double-entendre lyrical fun converge on two more bike-themed numbers, the anthemic rocker "Polish My Chrome" and "Twist the Grip." Wide Open's sound is tough, go-for-broke, anthemic guitar rock rooted in the traditions of classic Kiss, Ted Nugent and Scorpions. Matt Socoski and Vincent Youngbauer lay down blazing guitar work and gritty vocals throughout the album, while Spike Morelli's powerful beats and Quinton Hughes' booming bass work pack ample thunder behind the sound. Besides the obvious instrumental strength demonstrated here, Wide Open also shows a knack for melodies; each of these tunes is catchy and memorable. Recorded, engineered and produced by the band, First Ride sounds appropriately sharp, raw and powerful; giving the guitars clarity and bite, and fullness behind the rhythms. A thicker mix might have given this more punch, but the group still achieves ample impact with their do-it-yourself approach here. Bottom line: fans of muscular, hard-hitting, classic-styled heavy rock will find plenty to celebrate on First Ride; a loud and proud debut where Wide Open opens the throttle and lets it rip. (The album can be purchased at the group's shows, or by contacting the band through their website, www.wideopenrocks.com.)

TONY MOLLICK PROJECT – BLUES CATHARSIS (no label) Latrobe-based singer, songwriter and guitarist Tony Mollick has been making music since the 1980's, most notably in the Pittsburgh/Los Angeles-based band One Night Stand and, more recently, in another Pittsburgh-based group, The Groove Junkies. After the Groove Junkies went their separate ways in 2000, Tony decided to explore his own muse further, eventually forming the Tony Mollick Project (T.M.P.) with his former Groove Junkies bandmate, David Blake, on drums; and Altoona native John “Fuzz” McGirk on bass. TMP's debut album, Blues Catharsis, offers nine tracks of catchy, soulful rock that tips the hat to traditional Southern rock and country. The album lives up to its title, as Mollick samples with various styles, flavors, ideas and thoughts through a blues-rooted cathartic release. His passionate, soulful vocals and wide-ranging array of electric and acoustic guitar flavors are front and center, with the tight Blake/McGirk rhythm section serving as the constant that bonds this collection together. Several of Mollick's lyrics deal with life decisions; he tells a story of hard decisions made at an early age on the album-opener “Should've Known Better” (a holdover from the Groove Junkies period, featuring the entire Groove Junkies roster), decides to make every moment count on "Done Wastin' Time," and reflects on the timing of a relationship decision on the lightly funky "Sweet Sister." T.M.P. celebrates vehicles, reflecting on a classic street rod on the Chuck Berry-styled rocker "Little Stingray," and paying homage to a motorcycle and the passage of time on the folksy album-closer "Rusty Angel." Other album highlights include the hard-rocking "Likely Story," spinning a wild tale to the authorities involving women, booze and fate; a countrified ode to music as a healing force, "Make It Right;" and a country-tinged update of a former One Night Stand number, the funky "That's Alright." Producing most of the album, Mollick shapes these compositions into his own vision, and his experimentation with rock, folk, blues and country textures keeps this set fresh and moving throughout. The mix is clean and basic, and all components of the group's sound – including several guest musicians along the way – are clearly heard. Blues Catharsis maintains the bold, muscular brand of rock and soul that longtime fans of Tony Mollick have come to expect; yet enables Mollick to indulge his muse and take these songs in directions consistent with his own concept. The result is a satisfying set that reveals to the listener more of this artist's insight and musical personality. (The CD can be obtained at the group's shows, or by emailing pittbluesman@aol.com.)

SPOONCHATTER – HOMESPUN (no label) Spoonchatter’s story began at Indiana University of Pennsylvania in 1999, when singer/keyboardist Dustin Rainey, percussionist Jason Olear and saxophonist Jen Shuty first started playing together. The group eventually added bassist Adam Wolf to reach its present form. On their second release, Homespun, Spoonchatter introduces an interesting, guitar-less hybrid sound merging elements of rock, jazz and pop. Piano and saxophone overtones gently drive freewheeling and catchy melodies with varying rhythms, jazz-informed interludes and dynamic twists and turns reminiscent of peak Billy Joel, Elton John or Ben Folds Five. Homespun’s eleven songs (plus bonus track) offer lyrical odes to coping with life’s everyday ups and downs, and weathering the curve balls life throws along the way. The opener “Simon Says” offers eventual sunshine whenever life’s storms are encountered; while “Smile” proposes taking on the world with a positive attitude each day. “Someday,” “Rudy” and “Train” all lament loneliness and longing, while “Dance Our Cares Away” looks to resolve that loneliness. Two songs, “Last Laugh” and the strong, dark and dramatic album closer “11:00 PM,” concern the masks people wear in everyday life to conceal inner insecurity and turmoil. Spoonchatter’s blend of piano and saxophone textures keeps their sound fresh and uplifting, topped by Dustin Rainey’s smooth, upbeat vocals. Recorded in three different locations in and near Ebensburg, produced by the band and mixed and mastered by Dustin, Homespun overall sounds balanced, bright and pleasant, with melodies and sparkling performances winning the day. Spoonchatter offers a different style of ear candy on Homespun, spinning a fresh-sounding mixture of pop, rock and jazz flavors that makes for a bright, fun listen. (The album can be purchased at the group’s shows or by visiting their website, www.spoonchatter.com.)

THE APRIL SKIES – FLOOD (WIAB Records) The April Skies' story began in 1988, when post-punk alternative rock and pop was achieving popularity and acclaim. The group's hometown Hershey, PA contemporaries The Ocean Blue had inked a national recording deal, and The April Skies sharpened their own alternative-rooted sound in the hopes of a similar fortune. Although the record deal never happened, the group developed their chops and flourished on regional nightclub and college stages. The April Skies stepped away from performing in 1998, but reconvened in 2002 and released The Breathe EP. This year, The April Skies have issued their latest full-length release, Flood, featuring ten songs rooted in the 80's alternative rock tradition of REM, Elvis Costello, U2 and The Cure. But while their sound is 80's-rooted, don't label this band as nostalgic or retro; The April Skies are the real deal here. The songs are clever, well-honed melodies that grow stronger with repeated listens; anchored in catchy pop hooks and developed into accomplished songcraft. Each tune offers a different tempo, mood and texture; ranging from the gradually escalating opener "322" to the faster-paced "Long Way Down;" from the keyboard-geared pop of "Something to Shine About" to the Byrds-styled guitar psychedelia of "A Game;" and from the melodramatic "Shaking The Day" to the tranquil album closer "I Will Surround You." These compositions are cohesively tied together by a consistent, intertwining wall of electric and acoustic guitars and keys, and topped by the rugged, reserved vocal overtones of singer/guitarist/lyricist Jake Crawford. Jeff Feltenberger's production and Lenny Kravitz engineer Tom "T-bone" Edmonds' mix allow the instrumental components to have their own individual, layered voices; yet weave together and collectively drive the sound forward as a unified whole. The end result is a confident, focused, polished album that recalls its 80's alternative upbringing without parroting it. The April Skies prove they are accomplished artists of their chosen style and sound on Flood, and deliver a quality album that's easily catchy yet enduringly alluring. (The album can be obtained by visiting the group's website, www.theaprilskies.com.)

RED ROOM – RED ROOM (no label) Harrisburg's Red Room formed in 2001 when lead guitarist A.J. Cassatt joined forces with lead vocalist, rhythm guitarist, former Millersville University vocal major and future wife, Jackie. Drummer Zac Lanier and bassist Ricky Grove joined soon after. On Red Room's self-titled debut album, the spotlight shines on Jackie's remarkable voice, which blends range, sultriness, power, grit and edge. The group's style is a hodgepodge of classic-rooted, melody-geared guitar rock, funk-tinged groove and acoustic-leaning ballads; providing the vehicle for Jackie to sing lyrical exposes about love's ups and downs, unfulfilled dreams and rethinking past decisions. Red Room runs the gamut from funky-flavored numbers like the opener "It's Me" and "Cry" to edgier rockers like "What I Need," "On The Edge," "Spinning," "To Be Strong" and "The Little Things;" to slower, more contemplative numbers like "No Place Like Home," "Happy Hour," and "Dear Mr. Sarcasm." Although each song displays a distinct style and flavor; Red Room's strong sense of melody maintains a consistency through it all, and helps tie this set together into a cohesive whole. Produced by Marshall Deasy and A.J. Cassatt, Red Room is stripped down, uncluttered and basic; allowing the guitars, bass and drums to support and complement Jackie Cassatt's voice, which remains constantly front and center in the mix. The end result is a crisp, solid debut album; Red Room offers catchy, fundamentally strong guitar-driven rock, and introduces a shining talent in Jackie Cassatt who can lift the group's melodies to impressive heights. (Can be obtained through the group's website, www.redroom1.com.)

RAGEING STORM – EYE OF THE STORM (no label) In recent years, modern recording technology has made it easy and affordable for nearly any musician or band with a muse to record their music and release it for public consumption. But as Clearfield’s Rageing Storm proves on their debut CD, Eye Of The Storm, just because affordable recording technology exists doesn’t mean you necessarily have to use it. A prerequisite for using it should be that you should at least learn to sing and write songs first. The three members of Rageing Storm haven’t quite grasped this concept yet, based on the half-dozen tracks on Eye Of The Storm. The songs themselves are extremely basic, mid-tempo two- and three-chord chugga-chugga rifferama rudiments that sound fresh out of some teenaged garage band’s first practice session. The vocalist here – who is not identified on the inner sleeve, it’s narrowed down to either guitarist Adam Oswalt, drummer Jerry Oswalt or bassist Jason Brimmer – doesn’t sing as much as partially growl and mostly narrate the group’s hastily slapped-together lyrics. The most listenable of these exercises is “Everyday,” where the blend of an escalating riff and the worn-edged vocals are somewhat effective in describing life’s daily grind. But the group’s attempt at a party tune, “Free Beer,” and the closing ode to bad girls, “Little Bitch,” are laughable at best. Recorded by Bill Filer at Audible Images in Port Matilda, at least the mix sounds clean and balanced, and a few embedded soundbytes are good for a chuckle or two. But as the saying goes, “you can’t polish a terd,” and modern and affordable recording technology can’t salvage this one from the toilet. Rageing Storm needs to invest more time in the garage honing their singing, playing and songwriting skills before entering a recording studio again. Eye Of The Storm is mediocre bar/garage band raunch, best left parked in the garage.
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