[Jim Price]

FINAL CUT CD REVIEWS & CHICANERY: MARCH/APRIL 2006

It’s been a little while since I last put one of these out. There wasn’t a January/February issue, simply because I hadn’t written enough material to make it worth wasting your time to click on the link to read it. So I stockpiled CD reviews and other mind wanderings over the past four months, and here we are, a new issue of the Final Cut.

FIRST…SOME SOAPBOXING…

OF BANDS AND DEEJAYS

The debate has raged on Rockpage in recent months about live musicians/bands vs. deejays. The debate flared up when an area deejay inquired about opening for a live band, and took some major heat over it.

I’ve read the responses and followed the subsequent flare-ups over the past few months. I think there are some valid points on both sides of the issue. I’ve seen scenarios where bands and deejays coexisted in the same situation and it worked out well – one only needs to recall The Castle Pub before they discontinued live bands and closed; it was commonplace for house deejay Redawg to spin tunes in between band sets, which actually kept some folks on the dance floor and kept them sticking around to see the remainder of the band’s performance. I’ve seen this done at other venues as well; and this arrangement – a deejay spinning tunes during band set breaks – worked out well. And recently on Thursdays at City Limits, DJ Balz has played dance music between Plazma’s sets, and also provided turntable “scratching” accompaniment along with some of Plazma’s freeform jams, making for some interesting sounds. But while these arrangements worked out, I agree that to have a deejay actually “open” for a band is awkward, and would probably cause problems. People paying a cover charge expecting to see live music are likely not going to enjoy spending that money to watch a deejay spin tunes as part of the entertainment they paid the cover for. If they wanted to see a deejay, they would have chosen that option instead of paying the cover to see a live band at the venue they selected. So in that scenario, I agree with the Offspring lyric…“keep ‘em separated!”

As to the whole debate of live music vs. deejays, there was a time when – as a longtime devoted live music fan – I was bitter towards deejays. That was for a period of time in the 90’s, when a prominent nightclub opened in the Altoona area; almost instantaneously the crowds flocked from live music venues to this new weekend hotspot, sending several live music venues into tailspins. I did as much growling and grumbling about this development as the musicians themselves, and like many others, “blamed” the new deejay hotspot for hurting the live band scene in the Altoona area.

But a few years later, I had a sort of epiphany about the whole situation. It occurred to me that deejays didn’t “steal” anything from anybody – people flocked to the deejay venue because it provided an alternative to the live music scene at that time. At the time this venue had opened its doors, music was exiting the big hair period and entering its grunge period, and bands were singing darker, angrier – and in many cases, less danceable – music. People who wanted to hear happier sounds and dance music headed away from the band scene and towards deejays. The deejays weren’t “stealing” crowds, they were filling a niche and a need that a number of bands weren’t addressing.

It dawned on me that if live music wanted to regain its audiences locally, it needed to fulfill the needs of those audiences. Bands needed to analyze their perceived audience and its needs, and come up with a product and marketing strategy that addressed those needs. Live music needed to provide a viable option to deejays, karaoke, mechanical bulls and other entertainment avenues; and then get the word out to prospective fans that their option was available. In a nutshell, instead of fretting about deejays “stealing” their scene, bands and musicians needed to concentrate their energies on what they themselves were doing – the product they were putting on stage, and how to market that product to get people interested in coming to support it.

Nowadays, I accept that everything has its place in the grand scheme of the entertainment scene. Deejays have their place and fill their niche. There will always be people who want to hear and dance to their favorite songs, and deejays fulfill that need. There will also always be people who prefer the spontaneity, creativity and live concert feel of a live band or musician (yours truly included), and thus there will be a need for live music as well.

There will always be competition out there. There will always be other options besides live music for people to choose. Deejays, karaoke, mechanical bulls, the Internet, television, movies and other forms of entertainment are likely not going away. And as time passes, new diversions will probably come along that may also draw people away from live music. Assess and consider them, but don’t waste negative energy obsessing over them. Instead, concentrate on your own product, and how to continually make it better. Control the variables that you can control. Continually put your BEST product out there, and continually assess how to make that product better. And MARKET that product. People won’t come to see you if they don’t know you exist. You need to have the product, and you need to market and promote that product. Take care of the things you can control. If what you’re doing isn’t attracting fans, keep trying, and keep assessing. Don’t point fingers at everyone else. Don’t be afraid to take a good look in the mirror if it isn’t happening for you. If you take care of your own business, the rest will take care of itself.

A FEW SPORTS TAKES…

Here are a few of my thoughts regarding recent sports headlines…

I like to watch the Winter Olympics, and this year's recent Torino Games were no exception. I logically like to root for the American athletes – but is it my imagination, or did we have a bunch of buttheads, a--holes and showboaters representing our country in Torino? There was Bode Miller, hyped to be one of our best skiers, who admitted to boozing before events, and then went on to tank in all of his Olympic races. There was Lindsey Jacobellis pulling that cute showboat maneuver while leading her race, which made her fall on her butt and lose what would have been a gold medal. There was Shani Davis, winning the gold medal in his men's speedskating event and then looking glum and ticked off, not to mention having a war of words with his gold-medal winning teammate, Chad Hedrick. And then there was men's figure skater Johnny Weir, offering lame excuses for why he fell from 2nd to 5th and out of medal contention in his event. I want to see our athletes win, but I'm not all that disappointed that some of these folks didn't get medals – in some cases, they got what they deserved. Perhaps it's the fact that the media hypes these athletes up before they win anything, and it goes to their heads. Or perhaps some of these athletes are emulating the attitudes they see some of our professional athletes exhibit. Hopefully some of the bitter humble pie some of these aforementioned athletes had to eat in Torino will teach future athletes to make sure they walk the walk if they're going to talk the talk.

Steroid use in baseball has been in the headlines again. Two new books revealed more apparent evidence that Barry Bonds juiced up, putting the integrity of his home run totals further into question. Major League Baseball has announced a new investigation into steroid use in the sport. Debate rages on whether Barry Bonds eventually belongs in the Hall Of Fame or hall of shame, and the legitimacy of his home run total should he bypass Hank Aaron’s home run record. While I agree with the crackdown on performance-enhancing substances in baseball, I think the damage is already done, and it is irreversible. You can’t change history. Some people have advocated striking the statistics from players found using steroids from the records. The question for me is: how do we know which records were impacted by steroid use, and to what extent? Exactly how do we determine when a player began using performance-enhancing substances, and just when those substances began to impact that player’s home run total? Or when that player’s performance impacted the team’s win/loss record, and possible playoff and/or World Series victories? I don’t think it is possible to determine the exact impact of players using performance-enhancing substances on the sport, as far as numbers, wins and losses go. My feeling is ultimately, with regard to home run totals, let the numbers stand; but in the cases of players proven to have used banned performance-enhancing substances, footnote or asterisk their listings with an indication that they did use performance-enhancing substances, which may have padded their numbers.

AND NOW…SOME NATIONAL AND LOCAL CD REVIEWS

THE ROLLING STONES – A BIGGER BANG (EMI) After the now customary wave of old geezer jokes surrounding another new Rolling Stones studio album has died down, the bottom line after listening to A Bigger Bang is very simple: these old fogies still know how to rock! After trying to reinvent and update themselves on their past few studio albums (especially Bridges to Babylon), the Stones get back to what made them great to begin with on A Bigger Bang, rocking harder than they have in years. The Rolling Stones strip away the clutter and get back to the basics, having fun and delivering bold and boisterous rock and roll. Half of the album's sixteen tunes find this recharged band firing hard; the strong opener "Rough Justice" sets the tone, and the Stones deliver with equal fury on "Let Me Down Slow," "It Won't Take Long," "She Saw Me Coming," "Oh No Not You Again," "Dangerous Beauty," "Look What the Cat Dragged In" and "Driving Too Fast." The Stones do mix in a few other flavors along the way; reprising "Emotional Rescue"/"Undercover of the Night" disco/funk on "Rain Fall Down," venturing old-school bluesy on "Back Of My Hand," laying down slinky soul on "Laugh I Nearly Died" and blending delta blues with a disco beat on the album closer "Infamy." The group slows it down twice on the album, on the tender "Streets Of Love" and on the Keith Richards-crooned "This Place Is Empty." Even the lyrics are bolder on this album, with Mick Jagger sassing out more vinegar and wit, and even some anti-Bush administration political rhetoric on the controversial "Sweet Neo Con." As a band, the Rolling Stones sound looser and more at ease as they throw caution to the wind; Keith Richards' and Ronnie Wood's guitar tones are dirty and greasy, and Charlie Watts' drumming is rigid and forceful. Don Was and The Glimmer Twins' production is basic, stripped down and raw, giving the Rolling Stones more overall sharpness and edge than we have heard from them in years. Fans who have been waiting for this legendary band to live up to the promise of a bonafide comeback album need wait no longer. The Rolling Stones return to their bare bones essence on A Bigger Bang, delivering the most bang of any Stones album since Some Girls, and rocking harder than any group of sixty-somethings has a right to.

BILL WYMAN’S RHYTHM KINGS – LIVE (Ripple) Two years after he left the Rolling Stones in 1993, Bill Wyman picked up his bass and decided to get back into music. But he decided to have some fun with it this time, embracing the old time blues and soul that first made him want to play an instrument, and forming the Rhythm Kings with some musicians he had long wanted to work with. After several studio albums both in America and Europe, Live captures the latest edition of the Rhythm Kings in concert on June 15, 2004 in Berlin, Germany. Besides Wyman himself on bass and vocals, this edition of the Kings features Terry Taylor, Albert Lee and Andy Fairweather Low on guitars, Mike Sanchez on piano and vocals, Nick Payn and Frank Mead on saxes, Graham Broad on drums, and Beverley Skeete on vocals. Through Live’s 73-minute-plus duration, we hear Bill Wyman and his cohorts smoothly rip through a seventeen-song set spanning early rock’n’roll, blues, swing, soul and more. Only one song here is a Wyman original, the rollicking “Jitterbug Boogie.” The rest of the set finds the Rhythm Kings giving sparkling reads to such diverse offerings as Ray Charles’ “I Got A Woman,” Louis Prima’s “Jump, Jive and Wail,” Jackie Wilson’s “Baby Workout” and “I’ll Be Satisfied,” Etta James’ “If I Can’t Have You,” Jimmy Reed’s “Bright Lights, Big City,” Jimmy Rodgers’ “Muleskinner Blues,” Chuck Berry’s “You Never Can Tell,” Count Basie’s “Roll ‘Em Pete” and more. The lion’s share of lead vocal chores are shared out between Sanchez, Low, Lee and Skeete, with Sanchez’ and Skeete’s voices standing out the strongest. Skeete shines especially in her performance on the Beatles’ “Taxman.” The Rhythm Kings’ performance is rousing and upbeat throughout; the musicians gel well together and sound happy to be onstage, and the audience’s response indicates they were having a good time this night as well. The sound mix is clean, crisp and balanced; and puts the listener right up front and center. Live shows us that this former Rolling Stone is gathering no moss; Bill Wyman and his current bandmates are rolling on and having fun celebrating their roots. Although not as raucous or rowdy as his former band, Live shows us Wyman and his Rhythm Kings still work up plenty of gusto here, and the result is a document of a fun night with lots of soul and passion.

JETHRO TULL – AQUALUNG LIVE (Fuel) After finishing up their U.S. tour in Pennsylvania (including I.U.P.'s Fisher Auditorium) in November, 2004, Jethro Tull was invited to come to Washington, D.C. to perform their classic 1971 album Aqualung in front of a small audience, for XM Radio's Then Again Live series. The recording was recently released as Aqualung Live. On the surface, the release of Aqualung Live might seem trivial and a possible money grab by Jethro Tull, but upon listening to and examining the album closer, it is a worthwhile disc. First, a few of the songs hadn't been performed since Aqualung's initial release in 1971. Second, this is a different Jethro Tull roster from 1971; only singer/flutist/ringleader Ian Anderson and guitarist Martin Barre remain from the album's original studio recording, and current bassist Jonathan Noyce wasn't yet born when Aqualung was first released. Third, this live performance of Aqualung captures Jethro Tull in a setting rarely experienced; in front of 40 fans in an intimate studio setting. And fourth, all artist and publishing royalties from the album benefit charities for the homeless. Through the album's course, we hear that the current incarnation of Jethro Tull is clearly up to the task. Ian Anderson and Martin Barre sound in good form, and the rest of the current band – bassist Jonathan Noyce, keyboardist Andrew Giddings and drummer Doane Perry – are focused and on the mark. The performances sound slightly more controlled than on the original studio album on such rocking Aqualung classics as the title song, "Cross Eyed Mary," "My God" and "Locomotive Breath." A pleasant surprise is Jethro Tull's almost total reinvention of "Hymn 43," which starts out as a totally different arrangement. The disc finishes with some bonus track interview clips with Anderson and Barre, revealing interesting reflections and information on the original Aqualung and its recording. Ultimately, Aqualung Live offers an updated read of Jethro Tull's most classic work, along with some variations and insight, and a fuller understanding of the album and its creators.

BRAIN SURGEONS NYC – DENIAL OF DEATH (Cellsum Records) The original drummer of Blue Oyster Cult, Albert Bouchard, formed the Brain Surgeons with his wife, musician and music critic Deborah Frost, in 1994. The group's earlier albums were more eclectic in nature, showing Bouchard and his bandmates experimenting with different styles, and referencing Blue Oyster Cult from time to time (including a tongue-in-cheek Spanish language update of "Cities On Flame" called "Casa Del Sol" from their 1996 album Box Of Hammers). After losing their two guitar players (one of them, Billy Hilfiger, died from brain cancer in 2000) and going it as a trio temporarily, the group eventually hooked up with former Manowar guitarist Ross the Boss, and created their new album, Denial Of Death. The difference is immediate; over the album's dozen tracks, the Brain Surgeons embrace a more thunderous heavy metal direction that recalls the power and might of Ross' former band, as well as the darker mystique of Bouchard's former band. Ross' guitars roar and sizzle throughout, and Bouchard's drumming is more aggressive than ever; the sound fleshed out by Deborah Frost's rhythm guitar work and David Hirschberg's beefy bass. All four band members sing, with Frost's sassy and acidic voice standing as the most distinct. Fans of heavy rock will savor the assortment of hard-hitting flavors offered up here, from the metal battle hymn leaning of "Constantine's Sword" and the mini-epic "Tomb of the Unknown Monster" to the Motorhead-like speed assault "1864;" plus impressive mid-tempo rockers such as the opener "Rocket Science," "Dark Secrets," "Jimmy Boots Fetish," "Plague Of Lies," "Swansong," "Verboten," "Lonestar" and "Change the World Henry." The Brain Surgeons throw an interesting curve on the album's lone acoustic-geared number, "Strange Like Me," peppering the song with flamenco-like guitar work against a prominent drum beat. The performances are robust and agitated, and executed with strut and attitude. The production gives the Brain Surgeons a sharp, thundering and towering wall of metal sound. The strength of the song material, might of the performances and overall consistency and focus makes Denial Of Death a powerful and compelling listen.

4 DAYS DIRTY – RAISE YOUR HAND.IF YOU FEEL LIKE DYING (no label) After honing their hard-hitting style and sound on area stages over the past two years, 4 Days Dirty unleashes a powerful calling card with their first full-length album, Raise Your Hand.If You Feel Like Dying. Singer/guitarist Steven Danfelt, guitarist/backing vocalist Joe Neary, bassist Paul Greiner and drummer Justin Fair introduce us to their musical turf of bone-jarring rhythms, menacing guitars and emotion-packed vocals; executing forceful melodies with intriguing plot twists and gearshifting. 4 Days Dirty's rollercoaster of raw metal intensity and emotions is rooted in the alt-metal tradition of Deftones, Staind and Tool. But this group understands dynamics; shaping their sound with concise grooves that erupt into volatile and aggressive bursts, varying sonic colorings between subdued and enraged, and the visceral full-vent dual screaming of Danfelt and Neary. All eleven songs are distinct and hold their own well, from the more immediate explosiveness of "Blindside," "Wait," "Stone Cold" and "'Shot'Gun" to the more reserved tones of "Wanted" and "Loosen My Grip;" to the elaborately-crafted ode to cyber warfare, "Killbox," and the escalating intensity of "Downtime" and "Disguise." Recorded and produced by Dave Moses at his F.U.P. Studios in Hollidaysburg, Raise Your Hand. sounds appropriately raw, jagged and bristling. But Moses doesn't let the nuances of 4 Days Dirty's sound get buried in the heavy-hitting maelstrom; we hear the textures and layering of the guitars and the use of reverb to flesh out Steve Danfelt's controlled vocal tones. The end result on Raise Your Hand.If You Feel Like Dying is a convincing introductory set from 4 Days Dirty, that not just demonstrates the group's volatility and all-out metallic aggression, but also their detail and knack for dynamics and subtlety. This is an impressive debut that slams the exclamation point on 4 Days Dirty's coming of age, and should be one of the strongest albums to emerge from the area music scene this year. (The disc can be purchased at the group's shows, or by contacting the band through their website, www.4daysdirty.com.)

FLORD – THE NEXT LEVEL (no label) Central PA heavy metallists Flord set out to up the ante and intensity on their second studio offering; thus the album's title, The Next Level. Over the album's ten tracks, Flord dishes out more punishing, scathing, in-your-face heavy metal; anchored by new drummer Don Frye's rigid, pulverizing beats and the tenacious, nip-and-tuck swarming riffage of guitarist Phil Keith and bassist Tom Yannitelli. Atop this volatile instrumental backdrop, singer Butch Woodward picks up the anger, sternness and emotional intensity where he left off on Flord's self-titled debut; frequently elevating his delivery into enraged, explosive howls and roars as he vents lyrics about ignorance, deception, strength, personality clashes, integrity and more. Flord's impact is full and immediate on obvious blunt-force assaults such as the album-opener "Clearmind," the title track "Next Level," "Why You Hate Me" and "Sublime;" also on two rebellious shout-along anthems, "Respect" and "Get Up." Flord demonstrates a more brooding brand of metal intensity on "Questions" and "Broke and Defeated;" and incorporates a funkier presence into their aggression on the album closer "Outside." Recorded at Mud-Hut Studios in Sharon, and co-produced by the band and Bill Dodd, The Next Level sounds tighter, cleaner and fuller than Flord's debut, and maintains stronger momentum and consistency in its intensity from start to end. Flord successfully raises the bar on The Next Level, honing their hard-hitting, forceful sound to a sharper, leaner and meaner edge. Fans of bare-knuckled metal fierceness should be pleased with the goods Flord delivers here. (Can be obtained through the group's website, www.getflord.com.)

FAYTED – THE AFTERMATH (no label) Former members of the bands State Of Mind and Borderline, Inc. converged to form Fayted two years ago. On their debut album, The Aftermath, the Saxton-based quintet introduces listeners to their brand of melody-based, hard-hitting rock'n'roll. Fayted's sound borrows both from classic blues-rock and 90's grunge-rock influences; blending the strut and swagger of Aerosmith and the Black Crowes with the gruffer dynamics of Pearl Jam and Seven Mary Three. Fayted flaunts their knack for melody and muscle over The Aftermath's eleven tracks; combining both on midtempo exercises such as the tropical-themed "Margaritaville," "Midnight Drive," the anti-drug exposé "Crystal Creature" and the album closer "There It Goes." The group also shows a talent for anthemic-flavored numbers with the optimistic album opener "Keep Smilin'" and the anti-alcoholism public service announcement "Too Late." The album also features a fast-firing rocker in "Mama Said," the bluesy shuffle "Blame Yourself," two slower numbers in "Mystery Man" and the Pearl Jam-informed "Beaches," and a Clarks-flavored acoustic-geared song in "Search In The Dark." Fayted's performances are strong throughout the album. Rhythm guitarist Ron Horton, bassist Larry Bishop and drummer Zac Grace generate the crunchy and powerful backdrop; serving as the foundation for Kenton Sitch's busy and varied lead guitar work and Josh Lockard's gruff-edged vocals. Their playing is enthusiastic, and their gang shouts and vocal harmonies are on target much more often than not. The production on The Aftermath gives Fayted's sound weight and fullness, and all of the group's components sound clear and balanced. The Aftermath is a strong first chapter for Fayted; a fun, straight-ahead, hard-nosed rock'n'roll album. (Can be obtained at shows or through the group's website, www.fayted.com.)

RIK GOLDEN – RIK GOLDEN (no label) After playing guitar in several area punk and rock'n'roll bands over the past few years, Hollidaysburg's Rik Golden has released his own album. The self-titled Rik Golden album introduces us to this musician's world, as he dabbles in garage rock, punk, rockabilly, surf, and even country/bluegrass sounds. Through the album's dozen tracks, Rik sings and plays several instruments, including guitar, bass, drums, kazoo, banjo and more; assisted along the way by a variety of area musicians, including The Marauders, Rick Ramsey (who recorded the album), Silver Sunday drummer Todd Harshbarger and more. The prominent flavor on this album is rowdy, reckless, driving rock'n'roll rooted in Social Distortion and the Rolling Stones; demonstrated on the album-opening salvo of "Alone," "Something Else (In Mind)," and "The Gig Is Up," also "Brown Eye Mary" and "Still Sittin Home." Rik's former bandmates, The Marauders, back him up on the 50's-flavored "Ain't Gonna Change" and the drunk and rowdy ode to another former bandmate, "Jonny Leather Jacket." Rik taps into the rural side of his musical personality on several numbers; including a rockabilly-flavored update of "Don't Bother Me," first done by former area punk rockers the Full Time Kings; and on the country-flavored folk rock "Trouble Song." Rik digs even further into Americana with the bluegrass instrumental "Station Inn Song," helped by Rick Ramsey on banjo, Jen Harnett on fiddle and Matt Harnett on spoons and jaw harp. The album also features a surf-rock barnburner, "Cresson Gutter Bums," before ending on a lighthearted note with the playful "Nobody Cares." Recorded in locations in Bakerton, Ebensburg and New Germany, Rik Golden is a lo-fi affair that won't score many points with audiophiles. The mix is rough and at times uneven; but this ultimately serves to complement the reckless and punky spirit of the album, and also works well with Rik's rough-edged, gritty vocals. Through its varying flavors and unpolished, carefree approach, Rik Golden is a jewel in the rough that works well. It's ultimately a fun, lively album that captures the various mood swings of Rik Golden's musical personality. If you can get past the lack of gloss and polish here, this album contains style, grit and character. (To obtain this album, log on to www.rockpage.net and send a private message to "riksylvania.")

SHERRI MULLEN – ON THE EDGE (no label) On her 2002 debut album, Mask, Middletown-based singer, songwriter and guitarist Sherri Mullen explored and indulged a wide range of styles and emotions, from introspective acoustic sounds to hard-driving anthemic rock; in the process establishing her own wide expanse of musical turf. On Mullen's sophomore offering, On The Edge, she stretches and pushes the edge out even further, breaking more new ground and revealing a more adventurous musical personality. There are wider extremes on this album: supported with firepower from Harrisburg modern rockers Hierosonic, the title song "On The Edge" and the venomous revenge ode "Now You'll Hurt" show fangs and sharp edges - while the reminiscent, rural-flavored "Daddy's Girl" and a cozy acoustic remake of "Somewhere Over the Rainbow" show Mullen at her most gentle yet. In between the extremes, we hear an eclectic selection of styles and sounds; from the piano-driven plea for acceptance, "Will You Be My Friend;" to the boisterous punk-fueled ode to dysfunctional domestic life, "Modern Day Loving Family;" to the blues-rocking statement of perseverance, "Satisfaction." The album closes out with a bonus track treat for Mullen's longtime fans, the reggae-informed "Do You Wanna Walk Good (Hey Mon)." Sherri Mullen sells her wide range of song material with a voice that demonstrates strength, elegance, soul and emotion; expressing well-composed, easy-to-digest lyrics. Although recorded in several studios and a living room with several producers, and displaying more overall edginess and diversity; On The Edge succeeds in maintaining a consistency, with Mullen's rangeful, clear voice and catchy song hooks constantly front and center. Sherri Mullen expands her parameters and stakes new musical and lyrical turf on On The Edge, further establishing herself as a rock diva unafraid to explore new directions and frontiers. (The album can be obtained through Sherri Mullen's website, www.sherrimullen.com.)

DAVE BLACKLEDGE – SPREAD IT ON THICK (no label) Bloomsburg-based singer, songwriter, guitarist and humorist Dave Blackledge has carved a unique niche in the state’s music scene over the past few years with his blend of acoustic folk melodies and comedy. On previous albums such as Straight From the Gut, You Ain’t Gettin’ No Cherry and Corned Beef Rehash, Dave applied differing acoustic and electric arrangements to his material, with varied results. But on his newest release, Spread It On Thick, he hits a clear-cut home run. On this album, Dave teams up with ‘Some Drunk Bar Band,’ whose members include Badlees guitarist Bret Alexander and drummer Ron Simasek, Scott Fritz on fiddle and banjo, and Dan Greak on blues harp. The result, over the album’s ten tracks, is Dave’s humorous song material being more fully developed and fleshed out by the band, giving the songs bolder contexts and moods that amplify their comic impact. Dave’s rowdy and rugged voice, coupled with the group’s rollicking and rocking backdrop, boosts the comedic impact of such songs as the album opener “Whoops, I Pooped My Pants,” “Drama Queen,” “I Blew Up My Date,” “She’s Not Bad for an Old Bar Hag” and “Your Butt’s Too Fat to Dance Like That.” Conversely, a reserved acoustic folk arrangement is a perfect set-up for Dave’s deadpan introspective examination of having to get it all out of his system on “I’m Not This Fat, Just Constipated.” An acoustic folk blues arrangement helps paints the perfect smoky bar setting for “You Ain’t Gettin’ No Cherry,” while a country sound puts us in the pasture for Dave’s bovine daydream “If I Was A Cow, I’d Be Mad Too.” Recorded at Saturation Acres Recording Studio in Danville, Spread It On Thick sounds full and complete, yet basic and to the point, allowing Dave Blackledge’s comic observations to be front, center, and in your face. Spread It On Thick slams the exclamation point on this performer’s advertised credo: “The guy AIN’T right!” This album makes the perfect introduction into Dave Blackledge’s twisted mind and world; a good-sounding set that brings new life to this performer’s best song creations. (The album can be obtained through Dave Blackledge’s website, www.daveblackledge.com.)

SODAJERK – SODAJERK (no label) Pittsburgh’s Sodajerk first came together in the late 90’s when singer/guitarist Bucky Goldstein met drummer/singer “Poppa” John Tucker in the coffee shop where Bucky worked. The group’s self-titled fourth album offers a high-octane blend of country-flavored rock and rock-driven country, delivering equal doses of rawness, edge and twang. Over the album’s baker’s dozen tracks, Sodajerk gives us tear-in-your-beer music with wallop and a bite, with prevailing song themes of heartache, heartbreak, screw-ups, lies, loneliness and loathing, all delivered with a touch of wry sarcasm and lyrical references to liquor close at hand. The group offers varying textures in their rock-meets-country mix; they rock full-tilt on several numbers, such as the charged album opener “Dear Disappointed,” the boisterous “Lonely in the City,” the angrier “The Ugly Truth,” the punk-fueled “Final Resting Place,” “You Must Be Stopped” and “Getaway Car.” On the more twangy side of the spectrum, Sodajerk offers a feisty cow-stomper on “I Know You Will,” and a brooding lament on “Breaker, Breaker.” In between, we hear a sound reminiscent of R.E.M. on “Handcuffs” and “The Long Drive,” a Stones-styled swagger on the brassy “Tonight’s Gonna Bury You” and the closer “The Life We’ll Fake,” and Johnny Cash-tinged rockabilly on “Heartache By the #’s.” Recorded and mixed by Rick Witkowski at Studio L in Weirton, West Virginia, the album has a full, balanced and crisp sound, with the guitars given ample grit and bite, and the drums and bass appropriate rumble and punch. Guest Randy Baumann’s keys help flesh out the sound in spots. Sodajerk further defines their musical turf on their self-titled album, blending rock, country, song hooks and modern edge into a fun package. Sodajerk offers alt-country with attitude. (The CD can be obtained at the group’s shows, or by visiting their website, www.sodajerkcountry.com.)

(VARIOUS ARTISTS) – TRIBUTE TO MISFITS (Heartless Mockery Records) What do such area bands as 4 Days Dirty, Chapter 5, At Hopes End, The Marauders, Suicide Switch and Second Offense all have in common? They were all inspired – and to various degrees, influenced – by seminal punk band The Misfits. That fact is celebrated on the compilation disc, Tribute to Misfits, issued by Altoona-based indie label Heartless Mockery Records and FaceOff Muzik. The CD features seven Misfits classics interpreted through the voices of the bands just mentioned. The risk with compilations like this often is a disparity in quality of the remakes, as some invariably always come off as stronger and more viable than others. Fortunately. Tribute To Misfits avoids that problem; all seven interpretations sound heartfelt and sincere, and in each band’s own voice, distinct and original. Many of the renditions here are true to the punk adrenalin and ghoulish spirit of the original versions, demonstrated on 4 Days Dirty’s album-opening “We Are 138,” Chapter 5’s rampaging “Die Die My Darling,” At Hope’s End’s raw venting of “London Dungeon,” Suicide Switch’s careening “Ghoul’s Night Out” and Second Offense’s piledriving read of “She.” The most compelling of the disc’s offerings, though, are The Marauders’ rapidfire roots rock treatment of “Astrozombies,” and FaceOff Muzik’s urban-flavored hip-hop read of “All Hell Breaks Loose.” The production and mix are appropriately jagged and forceful, capturing both the punkish rawness and spirit of the original songs, and each band’s respective savagery and slant. The only down side of the disc is its short duration at just over 15 minutes; but for the $3 price tag, Tribute to Misfits is a worthwhile purchase that celebrates the original Misfits, and their inspiration to some of the hardest hitters on today’s area music scene. (The CD can be purchased at Custom Skin Art tattoo shop in Altoona, or through FaceOff Muzik’s Myspace website, www.myspace.com/faceoffmuzik.)
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