[Jim Price]

FINAL CUT REVIEWS & CHICANERY: MAY-DECEMBER 2007

First, my broken record disclaimer…My apologies for taking forever to get a new edition of The Final Cut posted. Yes, I have been THAT busy! And as I usually like to throw a few commentaries in with my normal pablum of CD reviews, I didn’t really have any strong takes that I wanted to devote Final Cut space to. However, I finally do have some short takes on burning issues I’ll throw in…

SOME DRUG-INSPIRED COMMENTS

Drugs impacted the headlines over the past couple of months. In November, the Mitchell Report was issued, reporting the findings of Senator George Mitchell's 20-month investigation into steroid use in Major League Baseball. Several more major baseball names were fingered in the report, most notably Roger Clemens, Andy Pettitte and Miguel Tejada. Needless to say, the report puts a darker black eye on modern day baseball, putting the integrity of the game over the past few years in doubt. While the report will lead to changes to clean up the game, I think the damage is done and is largely unfixable. Some folks will call for the disqualifications of players, records, and even World Series championships impacted by the steroid era. But my question is: How do we know who all was using 'roids, and when and for how long they were using them? And how can we know for sure what all was impacted by steroid use? I think you let the records and stats stand, but footnote them with the fact that they occurred while steroids and performance-enhancing drugs were running rampant in the sport.

The other drug-related news recently was the revelation that Quiet Riot singer Kevin DuBrow's death was caused by a cocaine overdose...or as the official report put it, an "accidental cocaine overdose." Accidental? What happened, did Kevin mistake the stuff for sugar and "accidentally" sprinkle it on his cornflakes or stir it into his coffee? Granted, it's still a tragic death to be sure; but I think any consenting adult in this day and age who chooses to put the white stuff up his or her nose, does so with the knowledge – even in the back of his/her mind – that a date with the grim reaper might be a possible result of that action. So I tend to disagree that DuBrow's death was an accident if he indeed was using. He becomes another rock-and-roller whose demise comes under the heading "death by misadventure."

THE B-C-MESS!

This past Monday night, LSU was crowned the national champions of college football for this past season, after their big win over Ohio State in the BCS National Championship Game. But as anybody who followed college football this past season knows, LSU didn’t become national champions because they dominated the rest of the college football world and uananimously were vaulted into the title game; they did so because after the dust settled following this crazy college football season, they (and Ohio State) were the two schools least unqualified to play for the national championship. Ohio State lucked their way into the game because they finished their season with only one loss, and as members of the Big Ten Conference, didn’t have to play in a conference championship game (and risk losing that contest); and the teams ahead of them in the rankings all lost. With two losses, LSU was mired in a pack of two-loss teams, all claiming they deserved to be in the championship game…Georgia had two losses, which prevented them from playing in their conference championship game; USC had two losses, one of those to a putrid Stanford team; Missouri had two losses, both to eventual Big 12 champions Oklahoma; Virginia Tech had two losses, but played in what was deemed a weak Atlantic Coast Conference this year. West Virginia had two losses, falling out of the championship picture after their disappointing season-closing home loss to Pitt. LSU got the nod because their two losses were both triple-overtime defeats to eventual bowl teams. In essence, LSU and Ohio State got to play in the national championship game because, as far as standings, rankings, wins and losses, they were in the right place at the right time.

The bottom line – this past season, more than any of the past few years, cried out for a bonafide playoff scenario for Division 1 college football. The national championship debate should be settled on the field in a playoff format, with perhaps the top 8 teams in the country entered into a single-elimination playoff scenario. The BCS doesn’t work. Yes, it guarantees a Number 1 vs. Number 2 game at the end to determine a champion, but it doesn’t guarantee that the best two teams in the country actually play for the title. A playoff system would be a positive move towards that goal.

BRITNEY SPEARED

Britney Spears has been in the headlines lately, for the wrong reasons…messy divorce, possible drug and alcohol abuse, losing custody of her kids, a career that’s toppling downhill after achieving superstardom.

I can’t help but feel a little sorry for her. She is just another example of a young person who catapulted to fame and fortune too fast, and wasn’t ready for it. She becomes the latest statistic in the list of child and teen actors and entertainers who had problems after achieving superstardom early in their lives.

Of course, she had her mother to guide her; you know, the mom who was about to put out the book offering parenting expertise, but was thwarted after Britney’s problems and her younger sister got pregnant. Yeah, their mother’s parenting skills apparently weren’t quite enough…and I like that this mom is essentially trying to gravy-train off her daughter’s success. Would anybody want to read a book on parenting techniques if she wasn’t the mom of BRITNEY SPEARS!?

While I feel a little bit sorry for Britney and her difficulties, I can’t empathize too heavily…After all, even after all this life-shattering controversy in her life, the royalty checks she earns off her hits will still likely provide her with more moolah in one year than I’ll see after busting my butt for the next 20 in the radio biz!

AND NOW, SOME CD REVIEWS FOR YOUR READING PLEASURE…

(And there are a bunch of them…backlogged since last spring! Enjoy…

RUSH – SNAKES & ARROWS (Atlantic) Rush's eighteenth studio album, Snakes & Arrows, shows that the Canadian progressive rockers are again at the top of their game. Rush picks up right where they left off five years ago on their last studio album, Vapor Trails, roaring with a vengeance over this album's baker's dozen tracks. Rush sounds more focused than ever, efficiently using their complex musicianship to craft dynamic, concise and intelligent songs that deliver more impact with each listen. Neal Peart's drumming again is intricate yet intense, his detailed beats pounding with force and authority. Alex Lifeson's guitar work steps up the tension and angst at just the right moments to wrench the maximum effect out of each song; he also shows more of an acoustic presence here, including an acoustic instrumental called "Hope," and even breaking out mandolin and bouzouki. These instrumental dynamics serve as the vibrant backdrop to bassist/frontman Geddy Lee's reserved voice, singing Peart's thoughtful lyrics about keeping faith and hope in today's troubled times. The opening track and first single, "Far Cry," acknowledges today's messed up world, but resolves to not give up on it. "Armor and Sword" considers how blind faith in any belief system can lead to distortion and detriment; while the tempestuous "Spindrift" ponders holding onto faith and hope against the stormy winds and crashing waves of a disagreement. The blues-underscored "The Way the Wind Blows" compares current times with the Crusades of the Dark Ages, as religious fanaticism leads to war. "Faithless" and the album closer "We Hold On" champion holding onto one's own beliefs and not being swayed in the face of adversity. Besides Lifeson's acoustic instrumental, Rush gives us two other instrumentals as well, the exploring and adventurous "The Main Monkey Business" and the harder and booming "Malignant Narcissism." Producer Rick Raskulinecz allows Rush's sound to be busy and detailed without being cluttered, so every component of the band's arsenal serves each melody. He and Rush frequently find that fine line between control and chaos, and ride that line to maximum impact. Although the prevailing sound is full and thunderous, this album can also comfortably sound gentle and tranquil when it needs to. Snakes & Arrows blends bracing music and intelligent lyrical themes into a tight and focused package. This album is a stimulating listen from start to end, and is as strong an effort as Rush has put out since their Permanent Waves and Moving Pictures period.

OZZY OSBOURNE – BLACK RAIN (Epic) Ozzy Osbourne proves that in between doing reality television shows, heading up his annual celebration of heavy metal, Ozzfest, White House visits and otherwise cheating death, he still has time to create music and record albums. His latest, Black Rain, shows that through it all, the legendary Black Sabbath frontman can still deliver some powerful metal-edged music. With its abundance of slower-tempo, weighty fist-pounding stomps, Black Rain almost sounds like a Black Sabbath album at times. Along with his frequent bursts of rapid fire guitar shredding, Zakk Wylde offers up some monster riffs throughout the album, with various distortion effects giving them a darker, more sinister demeanor. Steadied by processing and effects, Ozzy's voice is in respectable form, as he avoids excessive strain and stays within his range. Ozzy's lyrics are more outspoken this time out, as he offers edgy commentary about the Iraq war on the thunderous title song "Black Rain" and "Civilize the Universe," along with a doomsday forecast on "Countdown's Begun." His Ozzness offers defiant statements of purpose on the opening salvos of "Not Going Away" and "I Don't Wanna Stop;" rants about corporate greed on the lengthier "The Almighty Dollar," and addresses crystal meth addiction on the fast rocking "11 Silver." Ozzy's two ballads, "Lay Your World on Me" and "Here For You," are odes to his wife Sharon stemming from her recent bout with cancer. Producer Kevin Churko, who also produced Osbourne's recent cover song album Under Cover, helps give the album's metal thunder a polished and consistent sound. Ozzy Osbourne doesn't reinvent the wheel here, and Black Rain won't eclipse his legendary Blizzard Of Ozz or Diary of a Madman period. But this is a solid, hard-rocking album that shows that despite often leading a cartoon-like existence beyond music, Ozzy still knows how to get down to business and deliver the goods when it counts.

PAUL McCARTNEY – MEMORY ALMOST FULL (MPL Communications) On his last album, 2005's Chaos and Creation in the Backyard, the legendary Paul McCartney proved that he could still step outside of his comfort zone to create darker and edgier music. Having purged some demons and fears on that album, Sir Paul takes time to count his blessings and acknowledge his position in life on his new album, Memory Almost Full. This album displays a generally brighter, happier and more reflective tone, as Macca looks back over his past, from his childhood and Beatle years to past loves and more. Reminiscence is a prevalent theme on the album; on the first single, "Ever Present Past," Paul acknowledges how the time has flown by, and he hopes he will have time left to enjoy his accomplishments while he is still here. With a whimsical sound reminiscent of his peak work both with the Beatles and Wings, "Vintage Clothes" establishes that the past is part of who we are, with the adjacent "That Was Me" finding Paul celebrating flashback moments in his storied life and career. On "The End of the End," McCartney acknowledges his mortality, and expresses his desire to be remembered fondly through stories and anecdotes. Much of the album contains an optimistic vibe, from the simple happy sentiments of the catchy opening tune "Dance Tonight" and the bright and adoring "See Your Sunshine" to the thankful tone of "Gratitude," an apparent ode to his latest ex, Heather Mills, even in the midst of a nastily-publicized divorce. McCartney also provides some harder-rocking moments on "Only Mama Knows" and the agitated closer "Nod Your Head." Through it all, Paul shows he still has the gift for songcraft and melody; as each song is distinct and stands on its own; yet with the varying styles throughout the album, it gels into a cohesive set. Paul McCartney looks back fondly on his life on Memory Almost Full; accepting what is behind him, and stopping and smelling the roses while he still has time left to do so. This is an ultimately uplifting and strong album, and one of the best that this former Beatle has created since the 70's.

ANN WILSON – HOPE & GLORY (Zoë Records) With Heart in the midst of down time between albums and touring, Ann Wilson takes the opportunity to issue her first solo album, Hope & Glory. Rather than doing an album of her own material, though, Wilson does a cover song album, offering only one of her own creations, the closing acoustic-geared number "Little Problems, Little Lies." In addition, Hope & Glory is largely a duets album, with Wilson pairing with several names from the rock, country and folk worlds. In the album's liner notes, Ann explains that she picked songs that are close to her soul, including her longtime favorites and more recent songs that have impacted her. Much of the song material deals with war and troubled times, including the album-opening spin on Pink Floyd's "Goodbye Blue Sky," one of three songs featuring sister Nancy Wilson. Ann pairs with Sir Elton John on the latter's "Where to Now St. Peter," and tackles a Bob Dylan anti-war song, "A Hard Rain's A Gonna Fall," with guests Shawn Colvin and Rufus Wainright. Several of country music's leading women help Ann on much of the remainder of the album; including K.D. Lang on Lucinda Williams' "Jackson," Wynonna on "We Gotta Get Out of this Place," Gretchen Wilson on Creedence Clearwater Revival's "Bad Moon Rising," Alison Krauss on Neil Young's "War of Man," and Deana Carter (with Wynonna and sister Nancy) on the Youngbloods' "Get Together." Ann pays homage to Led Zeppelin's influence with her update of "Immigrant Song," and also offers her own slant on another Youngbloods song recently covered by Robert Plant, "Darkness Darkness." Ann's voice is strong and clear through it all, and she sings this material with her usual authority. The various guests all represent well, and add flavor and depth to the album. Ultimately, though, some of Ann's interpretations work better than others; and her stripped-down, acoustic- and Americana-flavored renditions are more effective than her modern rock-geared takes, which tend to sound over-produced and cluttered. While Hope & Glory is listenable, it is inconsistent, and the listener mileage will vary depending on individual tolerance of Ann's interpretations on time-tested classics. This album reveals some of Ann Wilson's soul and inspiration; but her renditions won't eclipse the original versions. For diehard Wilson and Heart fans only.

JOHN FOGERTY - REVIVAL (Fantasy) On the surface, it would appear that John Fogerty is merely taking a nostalgic trip back to his Creedence days on his latest album, Revival. But after several listens, it becomes clearer that Fogerty is revisiting his past to help listeners deal with the present. The album's dozen tracks all offer reminders of the types of swamp rock, blues, and honky tonk that made Creedence Clearwater Revival a household word. But besides the obvious sound similarities, Fogerty also captures some of the fire and vinegar of that era, and uses it to address today's world and political climate. He longs for the simplicity of the past on the light and bouncy opener "Don't You Wish It Was True," before symbolically addressing more dangerous times and the need for border security on "Gunslinger." Fogerty publicly embraces the magic of his famous former band on "Creedence Song," and reminisces the charged dynamic of changing times on the heavier-rocking "Summer of Love." In his more outspoken vein, the swamp-rocker "Long Dark Night" openly blasts the Bush White House with open references to 'Georgie,' 'Brownie,' 'Rummie' and 'Dickie;' and with a rapid fire rock'n'roll sound reminiscent of "Travelin' Band," "I Can't Take It No More" is Fogerty's agitated tirade against the Iraq War. Paris Hilton-like primadonnas also earn Fogerty's wrath on the honky-tonking "It Ain't Right." Arranged and produced by Fogerty, the Creedence dynamic is captured throughout the album, from Fogerty's trademark vocal howl and guitar stylings to the finishing touch of reverb that adorns every song. Revival is John Fogerty unapologetically acknowledging and embracing his past, and tapping the mood and dynamic of that era to address our current troubles and hope for a better future. Ultimately, it's pure Fogerty from start to end, and fans of classic Creedence should find Revival an invigorating listen.

THE EAGLES - LONG ROAD OUT OF EDEN (Eagles Recording) Almost 30 years since their last studio album, The Long Run, and 13 years since issuing their studio/live reunion effort, Hell Freezes Over, The Eagles have finally returned with a new studio album, the two-disc set Long Road Out of Eden. Nowadays the foursome of Glenn Frey, Don Henley, Joe Walsh and Timothy B. Schmit; The Eagles musically pick up where they left off, offering their trademark blend of rock, pop and country flavors. Much of the first disc, in fact, sounds like it could have been recorded at any point during the group's successful 70's run. The first single, "How Long," is driving country-rock in the vein of the Eagles' 1972 breakthrough hit "Take It Easy." "Busy Being Fabulous" and the punchy Joe Walsh-fronted remake of Frankie Miller's "Guilty of the Crime" could have been recorded during The Long Run sessions; and the funky "Fast Company" would have made a good companion to that same album's "Disco Strangler." A number of more acoustic- and country-geared ballads also populate the first disc, including the Glenn Frey-penned/sung "What Do I Do with My Heart," "No More Cloudy Days" and "You Are Not Alone;" and Henley's lengthier "Waiting in the Weeds." The centerpiece of the album, the ten-minute title track epic "Long Road Out of Eden," kicks off the second disc; it is Don Henley's biting essay on the screwed-up state of our country's current psyche, with a sound reminiscent of his 80's solo material. Two other Henley-penned numbers, "Frail Grasp on the Big Picture" and "Business as Usual," are edgier and his most caustic work since "Dirty Laundry." The Joe Walsh-penned/sung "Last Good Time in Town" takes on a Steely Dan funk/jazz flavor, while "It's Your World Now" closes the album with a mariachi flavor. All the material over both discs is executed smoothly and seamlessly, and the entire package fits together as a cohesive whole. The band's production finds a comfortable medium between bright melodies and instrumental finesse, and everything works to serve the overall effect of the songs, without cluttering them up with too much polish and gloss. Long Road Out of Eden shows that even after their lengthy hiatus and some of the publicized dissension between band members, that when the Eagles come together, they can still do what they do very well. The group successfully recaptures the essence of what made them household names to begin with, and this set stands sturdily alongside their best previous work. Longtime Eagles fans will find this well worth the long wait.

ICARUS WITCH – SONGS FOR THE LOST (Cleopatra Records) On their first full-length CD, 2005's Capture the Magic, Pittsburgh's Icarus Witch stunned heavy metal circles with a sound that convincingly resurrected the power, might and majesty of classic melodic heavy metal. Their follow-up, Songs for the Lost, confidently charges forward from where the previous album left off. The songwriting is stronger overall; with consistently lethal, dark-flavored melodies and a more varied palette of tight and powerful arrangements to carry them. Instrumentally, the twin-guitar tandem of Quinn Lukas and Steve Pollick shows constant virtuosity with surgically-precise lead solos and concise, on-the-mark dual-guitar harmonies. Jason Myers' busy, throbbing bass works in tandem with Pro-Pain drummer Eric Klinger's booming beats to propel the sound. And singer Matthew Bizilia shows incredible vocal power, range, grit and character, topped with a dramatic and sinister edge that sells the songs' often gothic, mystical and macabre lyrical themes. All ten Songs for the Lost are killer with no filler. Icarus Witch fires off anthemic, fist-pounding rockers like the album-opening charge of "Out for Blood," "Written in the Stars" and "Devil's Hour;" and crafts deeper and gloomier Sabbath-like soundscapes on "The Sky Is Falling" and "House of Usher." "Smoke & Mirrors" closes the album in a milder, more somber vein; with strings and guest backing singer Katherine Blake of Medieval Baebes adding depth and mystique. And the group welcomes one of their heroes, former Rainbow, Deep Purple and Yngwie Malmsteen vocalist Joe Lynn Turner, to sing on their rousing update of Def Leppard's "Mirror Mirror." Eric Klinger's production brings out the power and might of the song material, and cleverly applies detailed layering and studio effects to supplement the song' moods and depth. If Icarus Witch had surfaced in the 1980's, their name would probably be regularly spoken in the same breath as heavy metal legends like Black Sabbath, Iron Maiden, Dio and Judas Priest. But based on the quality, artistry and strength of Songs for the Lost, this band is a serious threat to draw new attention to this vein of rock, and trailblaze their own path to eventual glory. (To obtain the CD, visit Icarus Witch's website, www.icaruswitch.com.)

VS. THE EARTH – THE INITIATIVE (no label) Their first full-length album since relocating their homebase to Baltimore and changing their name to Vs. the Earth (from Nevermoure), The Initiative shows that although their location and monicker have changed, this former Altoona group's style of energetic, hard-rocking ear candy has not. Containing ten songs and clocking in at just over half an hour, The Initiative is chock full of infectious melodies, as Vs. the Earth introduces new songs and updates previous favorites. Singer/rhythm guitarist Adam Marino, lead guitarist Mike Ritchey, bassist Dawg and drummer Elliot Wiley craft odes about the ups and downs of boys, girls, life and love. Their gift for song hooks is intact, evidenced by immediately catchy new songs such as the high-octane pop/punk opening combo of "Better Off Dead" and "Who He'll Be Tonight;" and the especially infectious "Lightswitch" and "Story of My Life." Established Vs. the Earth song favorites such as "Psycho" and "The American Teenage Anthem" are updated with new arrangements, guitar layering and vocal effects, courtesy of producer and engineer Steve Greenwell. Adam's tender ballad about love realized too late, "Carolina Sky," is fleshed out by Jon Leidersdorff’s keyboard effects and piano. The performances are mostly charged and enthusiastic, maintaining this band’s bounce-off-the-walls velocity and edge. Adam Marino’s voice sounds full and confident; complemented by tight harmonies and some vocal layering along the way. The guitars sound hard, lean and steady, and Eliott’s stripped-down, to-the-point drumming effectively propels these songs along. With its minimal touches of production gloss, The Initiative raises the bar a little higher for Vs. the Earth, as the group further develops and hones their hard-driving sound. This album should please the group’s longtime fans, plus win a few new ones along the way. (The CD can be purchased at shows or through the group’s website, www.vstheearth.com.)

TED McCLOSKEY – TECHNICOLOR THIEVES (Voodoo Records) Happy Valley’s Ted McCloskey continues his prolific musical output with his fourth solo album in five years, Technicolor Thieves. Over the album’s fourteen songs, McCloskey again raises the bar with some of his most edgy and captivating creations yet. And even more so than his past output, he gets some issues off his chest through observational and often witty lyrics. The hard-rocking opener “Out with the Old Queens” calls for a change at the top, while “The Lowest Common Grain of Salt” offers a slam against the purveyors of today’s pop culture. In a reflective vein, the country-flavored “The Last Independent Record Store” laments the near extinction of hometown indy music brokers and the passage of a special era. Ted shuts out the outside world and its problems for an evening on the punchy “Drinking In Tonight,” vents about broken promises on the agitated “Wait, Wait,” and muses about the workplace daily grind on “Zombie for Rent.” In a lighter vein, “Mermaid in a Bar” offers a portrait of a tavern seductress, while “Passing in Stereo” captures a tranquil moment on an interstate highway. Once again, Ted McCloskey shows his knack for sharp songcraft with lean, focused melodies that get to the point quickly. As a singer, he sells his lyrical themes with a convincing coyness and a snide demeanor, riding on tight instrumental backdrops generated by Ted, drummer Daryl Branford and bassist Rene Witzke. McCloskey's production skills shine again, giving clarity to each component of the sound; supplemented by layering of guitars, occasional studio effects and backing singer Molly Countermine's timely accents and vocal arrangements. Crowning an already impressive resume, Technicolor Thieves is Ted McCloskey's strongest set to date, blending focused pop melodies, musical variety, and edgy and thoughtful lyrical messages into a vibrant, stimulating listen. Simple stated, it's one of the strongest albums to emerge from the state's music scene this year. (To obtain the CD, visit Ted McCloskey's website, www.tedmccloskey.com.)

CHAPTER 5 – A GREAT DAY TO DIE (Heartless Mockery Records) Altoona's Chapter 5 has been delivering their brand of bristling, aggressive punk-meets-hardcore-fueled rock for over a decade. On their third CD, A Great Day to Die, Chapter 5 again charges forth with a hard-hitting, angry, full-throttled attack over the disc's eight songs. Singer/bassist Tim Mort, drummer Bill Mort, and the twin guitar tandem of Shaun Barr and Tom Noel generate rampaging, motorpsycho roar backdrops for Tim's vicious Doberman howl, as he vents on themes of deceit, deception, inner torment and pain. Most of the songs get to the point quickly, featuring simple melodies capped with volatile gang shout choruses. The album launches at a breakneck pace with the opening barrage of "Inside Out" and "Buried," before offering the two-speed tension-and-release "Hollow Song." "Self Inflicted" rages along an escalating chord progression, before giving way to the swift and forceful "Compromised." "Same Old Thing" offers another dual-speed assualt, before the album shifts key with "The Only Way," and races to the finish with "Stand Alone." The disc also features a bonus track, Chapter 5's remake of the Misfits' "Die Die My Darling," which appeared on last year's Heartless Mockery Records compilation Tribute to Misfits. Most of these songs charge along at a similar tempo and key, which might make the album blur together for the casual listener; but Chapter 5's constant velocity, rawness and intensity prevent things from getting dull. The performances are tightly executed and inspired, as the band passionately goes for broke and unleashes full fury on each song. Engineered and mixed by Matt Winrick at FaceOff Muzik Studio in Altoona, A Great Way to Die sounds appropriately sharp, jagged and powerful; capturing the essence of Chapter 5's volatility and intensity. Chapter 5 has become angrier, harder, leaner and meaner with age; A Great Day to Die, offers their most convincing no-holds-barred thrill ride yet. (The disc can be obtained at shows, at Custom Skin Art in Altoona or through Heartless Mockery Records' Myspace site, www.myspace.com/heartlessmockeryrecords).

LUMPY GRAVY – GRASSHOPPER (no label) The Williamsport-based jam band Lumpy Gravy first formed in 1998, and issued their first CD, Mango, in 2002. The current edition of the group features founding members Owen Macdonald on guitar and vocals and Doug McMinn on guitar, sax and vocals; along with Jimmy Lovcik on bass and Aaron Sauers on drums. Their second CD, [Grasshopper, serves up a spicy gravy of sounds, as Lumpy Gravy mixes elements of rock, jazz, funk, blues and reggae over the album's dozen tracks. As jam-styled music goes, this is a tight album that displays concise, direct grooves. The rhythms are constantly busy, with Lovcik's animated bass work riding along Sauers’ steady and playful beats, and the guitars and sax efficiently surrounding and coloring in the sound along the way, with nary a note wasted. Lumpy Gravy demonstrates a variety of styles within their jam-based context here, from the driving funk-rock of the opener “Read All About It,” “Think of a Summer Day” and “Guitar Diner” to the Chili Pepper-ish tones of “Bar Song;” from the jazz/funk-informed title song “Grasshopper,” “River” and “Joy” to the Stonesy country/blues rock of “Your Loss;” and from the delta blues-flavored “Headin’ North” to the reggae tastes of “Go ‘Head” and the playful “Cowboy George.” Each song is a keeper, with Lumpy Gravy’s instrumental nip-and-tuck constantly serving the melodies, without the wasteful noodling often associated with jam music. Recorded at Green Valley Recording in Hughesville and produced by Doug McMinn, Grasshopper sounds clean and well-balanced, with all the instrumental voices clearly heard in the mix. Lumpy Gravy serves up some delicious and zesty grooves on Grasshopper; a flowing and consistent album that fans of Allman Brothers, Red Hot Chili Peppers and Blues Traveler-like musical adventures should savor. (The CD can be obtained through Lumpy Gravy's Myspace website, www.myspace.com/lumpygravyband.)

REAL BE EASYS – LOST PARADISE (no label) Get the funk out! That’s what the New York City-based trio Real Be Easys do on their scorching debut CD, Lost Paradise. Singer/guitarist Evan Jaffee, bassist Paul Testagrossa and drummer Zachary Thomas (since replaced by California Leighton) deliver hard-driving funky rock and rocking funk over the disc’s ten tracks. Their sound brings to mind a younger and hungrier Red Hot Chili Peppers, with a tip of the hat to 70’s-era funksters like Kool & the Gang and the Ohio Players. All three musicians craft tight, edgy, infectious grooves that never stay in one place for long; there’s ample instrumental nip-and-tuck to keep things continually interesting. This backdrop provides the launching pad for Evan’s sassy, raspy vocals; he has the gift of gab, and isn’t afraid to apply it to the group’s often poetic and psychedelic-leaning lyrics. This album sizzles from the get-go; laying down the ground rules on the funk-rock collision “Defunkt,” displaying a heftier swagger on “Maniac,” and laying down the razzle-dazzle with the especially infectious and playful “Ipso Facto.” The album continues the spicy grooves with “Pop Bottles,” “Bullet” and “On the Road,” before showing a slightly darker persona on “Life with My Knife.” Real Be Easys show their acoustic side on “Jam On,” before finishing with a pair of live tracks, “High Beams” and “Rick Rubin,” recorded last September at The Hook in Brooklyn. The disc also includes a lengthy bonus track jam interlude that further demonstrates the group’s freewheeling instrumental experimentation. The overall sound of Lost Paradise is sharp and raw, with occasional vocal effects, touches of reverb and spacey atmospherics along the way. Real Be Easy’s energy, playfulness and swagger make Lost Paradise a rousing, fun listen; its spicy grooves are real be easy to enjoy! (The CD can be obtained by visiting Real Be Easys’ Myspace website, www.myspace.dom/realbeeasys.)

THE VICTORY IN HEAVEN BAND – V.I.H. V (Full Force Music) No one can accuse The Victory In Heaven Band of resting on their laurels. The group has issued five albums in their seven years of existence. And their latest, simply entitled V.I.H. V, proves that this group is not resting musically, either. This album takes a decisively funkier departure from past Victory In Heaven efforts, proudly brandishing 60's and 70's funk and soul influences. But while those influences are obvious over the album's eleven tracks, the group doesn't sacrifice much, if any, of their gritty gospel/blues-rock swagger; instead deftly combining all these styles into a sharp, driving sound. This style shift reflects the evolution of V.I.H. into its current edition, with drummer Larry Baudoin and bassist Kate Koch generating the tight and spirited rhythmic foundation for lead singer/steel guitarist Sterling Koch and keyboardist Larry Adam to interact and shine. The group gets heated up with a rip-roaring read of Robert Randolph’s instrumental “Ted’s Jam” to open the album, with Sterling’s steel guitar fireworks front and center. V.I.H.’s jubilant funk fest then officially lifts off with the rousing “On Time;” showcasing tight execution, three-part harmony vocals and the colorful nip-and-tuck between Sterling’s stinging steel work and Larry Adam’s horn section-like keyboard fills. Other funk-flavored workouts ensue, including the feisty update of Sister Rosetta Tharpe’s “Can’t No Grave” with its Sly & the Family Stone references, the strong and sturdy “Don’t Fool Yourself,” the Funkadelic-tinged rendition of Willie Johnson’s “Trouble Will Soon Be Over” and an uplifting adaptation of Sam & Dave’s “Hold On…,” ending in a ‘purple haze’ of glory. V.I.H. generates a snappy disco/funk groove on “I’m Gonna Stand;” and shows their solid blues footing is still intact on renditions of Tom Waits’ “Jesus Gonna Be Here,” Robert Randolph’s “Pressing My Way,” “Everything’s Gonna Be Alright” and the album-ending treatment of “Amazing Grace.” Recorded between several studios and mixed and engineered by Bret Alexander at Saturation Acres in Danville, V.I.H. V sounds full, balanced and complete, with all the components of the Victory In Heaven Band’s sound fitting tightly together. Sterling Koch’s gritty vocals and constant steel guitar presence, plus his bandmates’ shining and inspired performances, help tie this album nicely together into a cohesive, smooth-sounding whole. The church of rock and soul is clearly in session on V.I.H. V, a vibrant album sure to get spirits raised and toes tapping. (The CD can be obtained through the Victory In Heaven Band’s website, www.vihband.com.)

STEEL – HAMMERED (Diamond Plate Records) The four seasoned members of the Mechanicsburg-based band Steel; lead singer Chris Redding, bassist and chief lyricist Dave Magaro, guitarist Aaron Zimmerman and drummer Trevis Becker; developed their hard-rocking chops in previous bands such as Ashley Krump, Karetaker, Savage Bliss and Scary Mary. Not surprisingly on their debut CD, Hammered, Steel defines their musical turf as classic-styled hard rock and metal. Over Hammered's ten tracks, Steel proudly exposes their roots, crafting hard-hitting sounds in the 70's and 80's traditions of Van Halen, Iron Maiden, Judas Priest, UFO, Dokken and more. The group sounds competent on it all; they deliver driving party anthems like the rampaging Van Halen-ish boogie of "SNAFU" and "Face for Radio," plus the rowdy ode to a conniving femme fatale, "Black and Blue." Steel shows ample muscle on the Priest/Maiden-ish classic-flavored metal of "Tornado Alley," as well as detail and delicacy on power ballads like the riches to rags story "Thunder and Lightning" and the sullen "Sheer Emptiness." The group also rocks hard and tough on the mid-tempo anthems "Visions" and "Fading Memories" with their hints of UFO and Dokken. Steel displays stellar musicianship throughout the album, from Trevis' busy and explosive drum thunder to Aaron's frequent guitar solo fireworks; and bass fans will relish Dave's rapid fire low-end acrobatics on the 9-to-5 lifestyle commentary "Working Class Society." Chris demonstrates a strong, brassy voice through it all, frequently backed with solid two- and three-part harmonies. The performances are genuine and from a band that appreciates this vein of rock, not contrived or "retro" to be fashionable. Produced by Steel and recorded at Hunchback Studios and Right Coast Recording, Hammered sounds sharp and concise, with all elements of the group's attack coming through clear in the mix. Although the hard-rocking styles vary through the album's course, Steel's consistently sharp performances give the album cohesion. Hammered is a treat for anybody who misses 70's and 80's era hard rock and metal; from musicians who cut their teeth in this era, and respect its dynamics and tradition. (The CD can be obtained by visiting Steel's website, www.steelrocks.com.)

THE APRIL SKIES – HOW IT ALL PLAYED OUT (WiAB Records) On their new album, How It All Played Out, Hershey’s The April Skies pick up where they left off on their last CD, Flood, further exploring and expanding upon their 80’s-rooted sound. Again, The April Skies tap into the 80’s alternative/pop traditions of R.E.M., The Replacements, Elvis Costello and U2; and use that foundation as a launching pad to craft their own brand of 80’s-informed modern rock and pop. The group’s sound is again often defined by a wall of swarming guitars from frontman Jake Crawford and Andy Book, sewn and stitched together by Mark Higgins’ atmospheric keyboard tones. These components are the prominent driving forces of edgy rockers such as the album opener “X,” “Shots,” “My Love Is In This House” and “The Weight.” The group also layers electric, acoustic guitars and keys to incorporate texture and mood into numbers such as the uplifting “Grace,” the escalating 8-minute “Always Never Finished,” and the ethereal closing number “Unstoppable.” The April Skies indulge a jazzier, acoustic-based flavor on “Amnesia,” and an ambient-sounding keyboard instrumental in “Pure.” Once again, The April Skies craft alluring, detailed melodies that build and fully sink in with repeated listens. The instrumental details and variation, layering and clever production edges by the band, Jeff Mowery and Matt Beck provide various nuances that keep this album captivating and interesting throughout. The April Skies again show their knack for intelligent songcraft on How It All Played Out, a focused set that further defines this group’s musical world and the steady evolution of their unique style and sound. (The disc can be obtained through the group’s website, www.theaprilskies.com).

LOWJACK – LOWJACK (no label) State College's Lowjack formed a year ago from the ashes of just-retired Happy Valley favorites Katsu. Two Katsu mainstays; singer, songwriter and acoustic guitarist Dennis Fallon and bassist Frank Yarnal; teamed with former Voodoo Bullet guitarist Burk, keyboard player Jeremiah Reyes and drummer Jonathan Hoffman, and Lowjack was born. On their official self-titled debut EP (after a hastily-recorded, limited edition demo issued last fall), Lowjack introduces a straight-ahead, driving rock'n'roll sound; defined by simple, catchy melodies and relatable, easy-to-digest lyrics about life, love and heartache in blue-collar America. A majority of the disc's six tracks (plus bonus track) concern boys, girls, and relationships; on the opening romp "Runaway," Dennis offers advice and an alternative for escaping an abusive relationship. "Kiss Her" addresses the turning point where boy either goes for girl or surrenders to fears of the consequences; and "Baby Run to Me" diagrams a recurring messy relationship. On "Vacation From Everyone," Dennis seems to make a lyrical break from his Katsu past. The CD's bonus track, "Please Don't Start," which appeared on the group's initial demo, was featured on the CW television show Veronica Mars. Lowjack gets to the point quickly on each song with hard-nosed, driving rhythms, with Jeremiah's keyboard fills adding flavor, shape and texture. Dennis sells his lyrics with a hearty, robust howl, a gift of gab and a touch of cynical wit. His production keeps things simple and to the point, with bare bones arrangements and a raw, in-your-face edge. The result is a crisp, catchy and hard-rocking calling card that introduces Lowjack as a fresh departure from Katsu's shadow. Lowjack successfully defines this group's direction and drive, and again establishes Dennis Fallon's knack for clever songcraft. (The disc can be obtained at shows or through the group's website, www.lowjackmusic.com).

X-TERRA – X-NIHILO (no label) First formed in 1985, the Wilkes Barre-based band X-Terra have brought their brand of positive message heavy rock to stages in Pennsylvania, New York and New Jersey; and have recorded four self-produced albums. Their latest set, X-Nihilo, continues to define X-Terra’s musical terrain as classic 70’s- and 80’s-styled heavy metal and arena rock, tempered with an occasional acoustic folk conscience. Singer/guitarist/keyboardist Bill Hunt, bassist/backing singer Anne Kachline and drummer/backing singer Bob Kachline perform dynamic, often lengthier compositions; driven forth with booming rhythms and chunky guitar riffs, and topped with cavernous reverb. These backdrops set the stage for positive, often Christian-themed lyrics that address everyday issues and societal ills. The anthemic “I Will Survive” and “Don’t Knock the Rock” are both about standing up for one’s faith and convictions; while X-Terra offers common-sense life advice on “Who You Step On.” The patriotic-themed “Purchased in Blood” offers a metal/acoustic-flavored tribute to the sacrifices made for liberty and freedom; while the thunderous “Feather Tank” champions the underdog. The group offers some commentary on our troubled world on the blues-flavored “This World” and “Hello;” and presents hard-luck stories on “The Runaway” and “Don’t Give Up.” In the folksier vein, both “You Are the Reason” and “Dear Lord” are acoustic-geared songs of praise. The performances are sharp and consistent throughout, with the Kachline rhythm section delivering the rigid, bonecrunching backdrops for Hunt’s piercing vocal wail and scorching guitar work. Recorded and mixed by Hunt and produced by the band, X-Nihilo sounds clear and deep throughout; successfully giving each component of X-Terra’s sound its own bare-bones voice without overdoing the gloss and reverb. A few songs tend to ramble on a little longer than they need to, making the album’s 73-minute duration challenging to get through. But overall, X-Terra does what they do well on X-Nihilo, an interesting and often thought-provoking album that fans of classic-styled metal and arena rock should savor. (The CD can be obtained through www.cdbaby.com).

ACALASIA – WHAT MAKES YOU A MANIAC? (no label) Calling both Altoona and State College its home bases, newcomer force Acalasia introduces listeners to their brand of hard-hitting melodic modern rock on their 6-song debut CD, What Makes You a Maniac? Drummer Cory Aboud, bassist Stephen Wells, and guitarists Ryan Sheehan and Neil Deyarmin generate busy, boisterous, sharp-edged backdrops, serving as the launching pad for singer Krystal Shore's clear, siren-like voice. Acalasia weaves an interesting mix, with the group’s often agitated and swarming metallic arrangements balanced and tempered with Krystal’s smooth and melodic voice, singing lyrics that ponder conflicting emotions, complex personalities, relationship dynamics and more. Five of the songs display this unique counterpoint; including the alluring leadoff track “So Much for the Railcar,” the driving and catchy radio single “Contradictory” and the climactic closer “Based on True Stories.” “There’s No Place Like Home” and “Maniac Parade” exhibit more extreme Jeckyl-and-Hyde dynamics to emphasize their stormier lyrical themes. Acalasia shows a different side of their personality on “Unused,” a well-crafted, acoustic-geared power ballad that is fleshed out with a keyboard presence. Recorded and mixed by Dave Villani at Altoona’s Data Music Services, the overall production effectively displays Acalasia’s teeth and jagged edge, while also supporting the group’s melodic side with vocal harmonies and layering. Krystal’s voice could be a little stronger in the mix, and her voice is occasionally overwhelmed by the instrumentation. But overall, What Makes You a Maniac offers a strong introduction to Acalasia’s blend of agitation and melody; and sets a sturdy foundation for this young band to build and expand upon. (The CD can be obtained at shows and through Acalasia’s Myspace website, www.myspace.com/acalasia.

MILKSHAKE JONES - GALA DAYS (Paisley Pop) On their second album, Gala Days, Harrisburg's Milkshake Jones hones their brand of edgy, hook-laden pop rock over ten tracks. Singer/guitarist/songsmith John Micek, guitarist/singer Mark Burke and singer Marni Micek craft a 60's-rooted modern guitar pop sound that shares common ground with the Gin Blossoms and R.E.M.; yet defines its own identity with its blend of electric and acoustic guitar textures, smooth vocals and full, layered harmonies. But while the overall sound of the album is vibrant and catchy, Gala Days also displays an intriguing balance between upbeat melody and lyrical melancholy; as John's thoughtful lyrics often explore relational crossroads, issues of the heart, emotional burdens and more. "(Where You Goin') Suzanne?," for instance, paints a picture of dead-end married life atop a playful, jangly rhythm. The acoustic-driven "The Veil" urges the casting off of emotional baggage; while "Remember How to Smile" and the closer "A Crowd in the Face" are humble pleas for forgiveness and another chance. The title song "Gala Days" offers reflection on an age of innocence before real life got in the way. The album's musical flavors range from bright rockers to punchy alt-country stylings; to somber acoustic tones and more. John's sturdy and clear voice, Marni's supportive backing harmonies and the consistency of the ringing guitar hooks and musicianship ties this album together into a cohesive whole. The production and mix by guest bassist and keyboard player Michael Giblin stays basic and simple, keeping the overall sound full, crisp and uncluttered. Ultimately, Gala Days offers songcraft that is catchy, versatile and clever; and it is an album that offers lyrical depth and substance beneath its obvious ear candy. (To obtain the CD, visit Milkshake Jones' Myspace website, www.myspace.com/milkshakejones.)

ZELAZOWA – POLYMORPH (no label) Every so often, that one band comes along that truly generates their own aura; they discard the perceived rulebook established by the rock that has come before, and proceed to define the genre on their own terms. Philadelphia's Zelazowa is fast emerging as one of those bands. With its blend of power, angst and melody, the group's full-length 2005 debut CD, Rest Easy, set their edgy musical turf with varying angles of attack, ranging from sharp and agitated to sullen and calculated. In the midst of a relentless touring schedule, Zelazowa issue Polymorph, a 4-song restatement of purpose and a glimpse of things to come. Singer/guitarist Bryan Weber, singer/bassist Ian Sharkey, guitarist Kyle Weber and drummer Terry Sharkey commence by reprising and updating one of the obvious highlight tracks from Rest Easy, "1,000 Smiles." From there, Zelazowa explores outward with three new songs; the galloping "When the Sky Imploded," the milder jazz/blues-informed "Interlope," and the driving, high-octane "Generation Mantra." The trademarks of Zelazowa's signature sound remain constant; clear, soaring and powerful vocals, concise and focused melodies, and crisp, go-for-broke execution. Grammy-winning producer John Seymour provides the finishing touches, preserving the sound's rawness while giving the guitars and harmonies fullness and depth. Consistent with this sampler's title namesake, Zelazowa has nurtured this organism that is their music, and enabled it to grow and transform into new shapes and directions, without sacrificing the identity of the original prototype. Polymorph captures the progress of a band whose fluid musical personality continues to develop. (To obtain the CD, visit Zelazowa's website, www.zelazowa.com.)

WAY DOWN EAST – SUMMON THE SEA HAG (no label) Delivering the thunder of an army of monster trucks, Way Down East roars back into action with their long-awaited sophomore album, Summon the Sea Hag. The McConnellsburg quartet picks up where their Modern Day Outlaws debut left off, delivering eighteen powerful new assaults that clock in at over an hour. Singer/guitarist Paul Wilson, guitarist Charles Harr, new bassist Horse Gelvin and drummer Randy Wilson hone their brand of booming, redneck-flavored heavy rock; blending the jagged firepower of Pantera, Motorhead, Corrosion Of Conformity and Clutch with the southern-styled swagger of ZZ Top and Jackyl. The weighty drum and bass rumble, topped by abundant buzzsaw guitar riffage, sets the backdrop for Paul's fierce and proud razorback roar as he muses on a variety of topics, many championing his rural roots. He extols the virtues of small-town country life on the boisterous opener "My Home," exhibits agricultural might on "Where Alfalfa Grows," and expresses his fear of the big city on the Motorhead-like speed burner "Caught in the Crosshairs." "Hillbilly Rock n Roll" is the group's sassy statement of purpose, while conquest is on their mind on the title track "Summon the Sea Hag." The group offers humorous odes to a golf course misadventure on "Jager Shots for Par," and late night ladies on "3 in the Morning." In a more serious tone, the Pantera-like "He-Haw Jehad" denounces religious extremism, and Paul weighs in on Washington bureaucracy, media brainwashing and our own apathy on "Law of the Land." Way Down East sounds confident throughout the album, with the group's swaggering delivery nicely complementing Paul's hearty bluster. The album's production gives Way Down East ample thunder, while leaving jagged edges and allowing Paul's voice to cleanly display its full force and fury. Way Down East further defines their rural-rooted brand of punishing rock on Summon the Sea Hag, a rowdy, loud, proud and superior follow-up well worth checking out. (To obtain the CD, visit Way Down East's Myspace website, www.myspace.com/waydowneast06.)\

TURNING POINT – LET YOUR MONEY COME DOWN (no label) After logging time in other band projects in the York area, singer/guitarist Brandon Rial, lead guitarist Kenneth Fernsler, bassist Bob Heldibridle and drummer Dave Heldibridle converged into the band Turning Point. Their debut full-length CD, Let Your Money Come Down, introduces us to Turning Point's brand of melody-based, hard-nosed rock; marked by rigid rhythms, roaring riffs, and rugged but tuneful vocals. The group's sound reveals roots in 70’s/80’s hard rock, but also shares common ground with more recent names like Pearl Jam, Creed and Nickelback. The songs are direct and to the point, including industrial-strength rumblers like the disc-opening “Give It to Me,” “Waterstone” and the album-closing “Born to Lose;” brazen, faster rockers like “Two Minute Warning,” “D.U.I.” and “Bitch Slap;” and a pair of acoustic-geared ballads in “Beauty of You” and the Creed-like “Everything.” The performances are solid and tight overall; these guys take care of business without getting flashy or fancy. Ken’s lead guitar work is clean and serves the melodies, while Brandon’s vocals are strong and mid-ranged if not particularly impassioned; some occasional layered harmonies bolster the impact during a few songs. Recorded at Harrisburg’s Seventh Wave Studio and engineered by Jason Rubal, Let Your Money Come Down sounds clear and balanced, with all components of Turning Point’s sound given a clear voice in the mix; and devoid of clutter, bells and whistles. Turning Point’s debut is a solid statement of purpose; Let Your Money Come Down successfully conveys this group’s basic, no-nonsense, hard-rocking approach. (To obtain the CD, visit Turning Point’s Myspace website, www.myspace.com/turningpointrocks.)

THE NIGHTCRAWLERS – BLUE SILVER (no label) On their first full-length CD, Blue Silver, State College favorites The Nightcrawlers expand upon the musical adventurism and exploration they introduced on their self-titled, five-song EP. The Nightcrawlers’ musical playground again stretches from Americana, country and rockabilly hills and dales to jazz, funk, blues and worldly musical territory. Through Blue Silver’s dozen tracks, The Nightcrawlers deftly use their musicality to weave these various musical flavors into a cohesive, flowing, colorful and alluring style all their own. Steve Arnold’s tight, controlled, jazz-informed drumming collaborates with solid bottom end from four different bass players – Mike Leitzel, Rene Witzke, Jason Ebersole and Peter Jogo – to gently guide these compositions on their winding journeys. Displaying his Mark Knopfler-like technique, guitarist and singer Noah Figlin and keyboardist, flutist and singer Adrienne “Aeb” Byrne demonstrate constant virtuosity, blending and improvising on their instruments to color the often elaborate melodies. Among the new songs are the title “Blue Silver,” which displays a slight Dire Straits flavor; country- and rockabilly-rooted exercises such as “Place in the Dark,” “Open Doors” and the album closer “On My Way;” the soaring and playful “The Grasslands,” the jazz/blues-flavored instrumental “Three Rivers,” and the Aeb-penned and sung bluesy piano ballad “So Many Stars.” Also included are updated versions of the five songs from the debut EP; including the upbeat album-opener “Lover’s Test,” the group’s popular worldbeat-flavored showstopper “African Echo,” the darker and mysterious “Desert Sun” and the shadowy and gritty blues workout “Black Hole.” “Latin Groove” returns with a new name, “Como Nuevo,” now beefed up with horns courtesy of guest sax player Chris Byrne (Aeb’s father) and trombonist Chris Gamble. Produced by Figlin and recorded and mastered by Figlin and Aeb Byrne, Blue Silver features busy arrangements that are never stationary, with creative instrumental and vocal layering effectively fleshing out the sound. The overall set sounds crisp, bright and balanced, enabling all the nuances and detail of The Nightcrawlers’ presentation to shine through. Blue Silver fulfills the promise of The Nightcrawlers’ debut EP, further elaborating on this group’s exciting musical world and demonstrating their widespread talents. An excellent album, and an engaging, captivating listen. (To obtain the CD, visit The Nightcrawlers' Myspace website, www.myspace.com/thenightcrawlersband.)

DASHBOARD MARY – SOMEBODY’S IN HERE (no label) From the Scranton/Wilkes-Barre area, Dashboard Mary formed seven years ago, and two years ago arrived at their current line-up of founding guitarist Rob Roman and bassist Joe Del Rosso, singer/guitarist Chris Langan and drummer Keith “Shroeder” Eckstein. Dashboard Mary’s debut CD, Somebody’s In Here, introduces listeners to the group’s blend of hard-driving rock and quick-hitting pop songcraft. These nine songs are generally short, sassy and to the point. Dashboard Mary’s primary flavor is lean and edgy hard rock, demonstrated on the disc-opener “No Turning Back,” “Beat Down,” “Matter of Fact” and “Frustrated.” But the group displays some variation along the way; playing with a Sublime-ish flavor on “Release Me,” alternating funkier and heavier textures on “Nothin’ But Love,” and conjuring Brit-flavored pop on “She Don’t Love Me” and the piano-underscored Beatlesque closer “Picture.” The overall sound is bright, punchy and upbeat, topped by Chris’ confident, rangeful vocals, strong two- and three-part harmonies, and Rob’s clean and dazzling lead guitar solo work. The band’s production keeps the sound lean, focused and uncluttered; allowing these melodies to shine without dulling the sharp, hard-rocking edges in the process. Dashboard Mary delivers an impressive calling card with Somebody’s In Here; a crisp, crunchy, and ultimately fun and enjoyable debut. (To obtain the CD, visit Dashboard Mary’s website, www.dashboardmary.net.)
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[Jim Price]

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