Hello Everyone,

Here is the recap of the August 21 edition of Q94's weekly local music program, "The Backyard Rocker," which airs every Sunday night from 8 to 10 PM on WBRX 94.3 and WBXQ 94.7.

Thanks to Huntingdon rockers Anything Jane for being our guests this week. We met and got acquainted with the band members, and heard newly recorded songs from Anything Jane. The group also brought acoustic instruments and played a song live on the air as well. Along the way, we debuted new tunes from A.D. Chandler and Rhyne McCormick.

Here is this week’s playlist:

HOUR ONE:

FELIX & THE HURRICANES – “Backyard Rocker Rocks”
GRINNING MOB – “Black Walnut”
ANYTHING JANE – “Novocain”
CLOUD PARTY – “The Dreamer’s Disease”
ANYTHING JANE – “Backstage”
INFUSED – “Defused”
ANYTHING JANE – “Jenny Johnson”
A.D. CHANDLER – “Takes One to Know One”

HOUR TWO:

ISSUES – “Run from the Shadows”
ANYTHING JANE – “Save Yourself”
IMAGES OF EDEN – “Aladdin”
ANYTHING JANE – “Soldier’s Prayer” (performed live on air)
RHYNE McCORMICK – “Soul Dust”
COIL – “Crossfire” (1999, Local Music Flashback)
ANYTHING JANE – “Rock Star”

During our interviews, we frequently ask band guests what their long-term goals are in the music business. Often, the response is to get signed to a recording deal. Next Sunday night, we will explore bands and musicians from our region and state that achieved that goal, and got signed. We will hear music from some of the artists who achieved major success after getting signed, as well as many who did not. We’ll also hear comments and thoughts from a few area musicians on their experiences while they were signed. The “Signed to the Majors Special,” next Sunday night on the “Backyard Rocker!”

Forthcoming guests and specials include:

SEPT. 18 – SeVer
SEPT. 25 – Wide Open
OCT. 2 – Project Twelve(34)
OCT. 9 – Acoustic Jam Special 4
OCT. 30 – Inversion/Halloween Special
NOV. 6 – Michael Reich
NOV. 13 – John Charney
NOV. 20 – Fayted
DEC. 11 – Rhyne McCormick
DEC. 18 – Fat Vinny & the Wiseguys

The “Backyard Rocker” is happy to welcome on board our new sponsor, Atlantic Broadband, your local Digital Video/HDTV/and High Speed Internet Provider; take a test drive at the new local, retail store in the L. V. Mall Altoona.

The “Backyard Rocker” is happy to announce its partnership with “The Underground TV,” the new local/regional music television show airing on WWCP-TV Fox 8 Saturday evenings at 6 PM. Check out “The Underground” as it features different unsigned local and regional bands every week; and watch for “Backyard Rocker” updates on the show each week as well!

For regular updates on what is happening on the area music scene, pay a visit to Rockpage (www.rockpage.org). Rockpage features band links, a message board, "Backyard Rocker" updates, the online 'zine publication "The Final Cut," and other local music scene information.

Bands and artists interested in having music aired on "The Backyard Rocker" are invited to send their broadcast-quality recordings to: WBXQ Radio, 4000 5th Avenue, Altoona, PA 16602; ATTN: Jim Price. Or drop the recordings off at the station during regular business hours, Monday-Friday 9 AM - 5 PM.

Q94’s “Backyard Rocker” has been introducing listeners to the region’s best musical talent for over seven years, and we plan to do it for many more. Help guarantee the program’s future, and consider becoming an advertising sponsor of the “Backyard Rocker.” If your business involves music, a “Backyard Rocker” sponsorship can get your message in front of listeners interested in music. To inquire about becoming a sponsor of the “Backyard Rocker,” call Diane Boslet during regular business hours at (814) 944-9320, or email diane@wbxq.com.

Jim Price

In Local Music News…

The battle to preserve the popular Roxbury Bandshell in Johnstown continues. The Citizens Committee to Save the Roxbury Bandshell will deliver petitions with signatures from registered Johnstown city voters to the Johnstown city manager’s office this week. The over-800 signatures exceeds by over 500 the required number of signatures needed to place a referendum on the November ballot, allowing Johnstown voters to decide the fate of the famed bandshell. In late June, a last-minute court injunction saved the Bandshell from demolition. Built in the 1940’s, the Johnstown Municipal Music Pavilion at Roxbury Park (Roxbury Bandshell for short) has been the site of numerous concerts, musical and community events.

Former “Backyard Rocker” guests Spitshine won the opening slot for George Thorogood’s performance at Allentown’s Musikfest this past Friday night, after winning out over four other Lehigh Valley based bands last Wednesday night at “The Stars Of Bethlehem” band finals at Plaza Tropical in Bethlehem. In addition to the opening slot for George Thorogood, Spitshine also won $3,500 cash, a spot in next year’s Musikfest, and a recording contract with CMC Music. The “Backyard Rocker” congratulates Spitshine on their achievement.

As we enter the homestretch of the summer season, there are more music-related outdoor events to let you know about. Next Friday and Saturday, the 22nd annual Bellefonte Arts & Crafts Fair will take place in downtown Bellefonte. Some of the bands and artists performing at the Fair are Zupe, JR & Katie, Smokin’ Joe & the Wild Horse Band and The Nightcrawlers on Friday; and Dan Steven, Cliff Turner & the Afterburners and Rick Witmer on Saturday. Admission to the Fair is free.

And the South Fork Fishing & Hunting Club Historic Preservation Society will present the 17th annual Forest Hills Festival on Labor Day Weekend at Berwind Wayside Festival Park in St. Michael. Some of the bands and musicians performing during this year’s Festival include Personal Touch, Rosie & the Jammers, John Stiffler, Mercy Seat, Shades Of June, Rachael Allen and more. Admission to this Festival is free as well.

THE PROFESSOR'S CD CORNER (BACKYARD ROCKER EDITION):

BACKSTREET LAW – FRUSTRATED (Promt Records) Wellsboro-based rockers Backstreet Law have displayed a steady evolution since they began releasing albums in the mid-90’s. Their earlier efforts, including their 1997 album for Riviere International Records, Hockey Helmet, blended abrasive heavy metal with an urban rap edge. But along the way, each subsequent Backstreet Law release has demonstrated a stronger melodic presence and less rap, while retaining the group’s heavier metallic edge. The group’s latest album, Frustrated, continues this evolution. Backstreet Law delivers some of their strongest and most developed melodies yet, topped with pointed, direct lyrics and powered by their trademark metallic wallop. Frontman Matt “Goody” Goodreau turns in his strongest overall singing performance, pushing tension and release on each song without raging off the deep end. The group’s angriest moments are still handled by bassist Jamie Morral, whose monstrous bellows punctuate the choruses of several songs; Morral’s stern bass lines and guitarist Jeremy Edge’s hefty guitar chords underscore each song, with drummer Mike “Choke” Oakley’s steady and forceful beats propelling each number forward. Each of the album's ten songs can stand alone as a triumph; the prevailing mood is darker and somber, with textures ranging from the more melody-driven “Till’ December,” “Wasted Time,” “What’s Wrong With My Head” and “Right Here Right Now” to the heavier and more aggressive “Sorry,” “Right,” “Cross My Fingers” and the title track “Frustrated.” Produced by the band and mixed by Jamie Morral and Jeremy Edge at JGM Studios in Wellsboro, Frustrated sounds full, powerful and clean; with Goodreau’s vocal grit and his bandmates’ metallic muscle given equal prominence and bite. On Frustrated, Backstreet Law achieves just the right balance between modern metal edge and melodic accessibility, resulting in their most focused and consistent-sounding set yet. This album should continue Backstreet Law’s forward momentum, and is one of the best discs to emerge from the state’s music scene this year. (The album can be purchased at the group’s shows, or by visiting their website, www.backstreetlaw.com.)

BLIND JONNY DEATH – GIT DOWN ON THE FARM (no label) Blind Jonny Death was first formed in late 2003 by singer/guitarist Marc “Lumber City Slim” Prave and upright bass player Ed “Red” MacDonald. From Marc’s background in acoustic and roots music and Ed’s in hardcore metal, Blind Jonny Death came together as a celebration of the spirit of early roots rock and roll, country, blues, bluegrass, rockabilly and more. The addition of snare drummer Tom “T. Orris” Hipps earlier this year gave Blind Jonny Death additional rhythm and punch. The trio’s debut album, Git Down On The Farm, offers listeners a musical journey through rural America, and its pleasures and pains. The group’s songs offer lyrical odes to life’s simple pleasures, trials and tribulations. The album opener “Driver Blues,” for example, compares the longing to return home with the longing to leave home. The folksy “Long Way From Home” examines separation and distance; physical, mental, personal and man-made; looking at scenarios that separate people from the comfort zone called home. And the album-closing “Requiem to America” offers a view of a society that needs to reassess some of its priorities. Other songs are happier in tone. The upbeat footstomping title song hootenanny “Git Down Of The Farm” is a fun ode to the boys jamming out in the barn on a Saturday night; while “My Old Dog” salutes man’s best friend. And the skirt-chasing “That Girl Is Hot” taps into a sound reminiscent of early Ricky Nelson. Blind Jonny Death also includes two pickin’ and grinnin’ instrumentals, “Guitjo Tickets Here” and “My Brother Bill.” Recorded by John Wagoner and produced by the band and Wagoner, Git Down On The Farm is appropriately simple and to the point; a stripped-down blend of unplugged instruments providing the foundation for Prave’s farm boy croon. All three players provide a relaxing, rural backdrop, fleshed out by Prave’s occasional harmonica displays and guest Chris McGarry’s mandolin flavorings on three songs. The performances are warm and sincere, capturing the mood of friends jamming on the back porch on a warm summer evening. Blind Jonny Death doesn’t reinvent the wheel on On Git Down On The Farm; but their exploration of Americana results in a pleasant, laid-back debut that establishes the trio’s back-to-basics sound and their enthusiastic approach to this familiar musical turf. (The CD can be obtained at the group’s shows or through their website, www.blindjonnydeath.com .)


BRIDGES AND A BOTTLE – BRIDGES AND A BOTTLE (no label) Harrisburg’s Bridges And A Bottle was founded nearly two years ago by songwriting brothers Justin and Adam Smith, who both sing and play guitar, and lead guitarist Dan Yucha. Released late last year, Bridges And A Bottle’s self-titled debut CD introduces listeners to the group’s brand of song-oriented, hard-edged pop, marked by catchy, well-developed melodies; passionate, throaty vocals and frequent harmonizing. The group’s base sound is rooted in Beatlesque pop, but bolstered by elaborate arrangements and an acidic edge more suggestive of Oasis and U2. The group’s ability to effectively merge pop songcraft with variable textures and moods over the album’s ten tracks is what makes this an impressive debut; no two songs are the same. Bridges And A Bottle offers uptempo, rocking sounds on the opener “Powerplay” and the punkish “One Step Away;” an upbeat, revolving arrangement on “Carousel;” and more acoustic-geared melodies on “18” and “Old City Train.” The group shows a knack for involved, introspective ballads, demonstrated on “Ticket” and “Halos or Horns;” and explores angrier themes on the dark, tension-filled “Pistol;” the defiant “Changes” and the escalating closer “Storm.” Produced, recorded and mixed by Marshall Deasy at Progressive Enterprises in Elizabethtown and Stress Free Studios in Harrisburg, Bridges And A Bottle allows the group’s melodic capabilities to shine in the forefront, while allowing them to retain simplicity, grit and rawness. While a few studio effects are detectable, the bulk of this album stays simple, guitar-driven and to the point. Bridges And A Bottle delivers a strong calling card here, an album that is catchy yet passionate, with songs that balance ear candy with bite. (The album can be obtained by visiting the group’s website, www.bridgesandabottle.com .)


WISKERBISKET – SOMETHING NEW (MMF Records) Lewistown-based rock band Wiskerbisket has emerged into a regional favorite because of their freewheeling, high-energy rock’n’roll stage show. The group’s self-titled 4-song EP from last year possessed the energy, but lacked in overall sound quality and mix. But on their latest CD, Something New, the recording quality catches up to the group’s rowdiness and energy level. Recorded at Audio Images near Port Matilda and produced, engineered and mixed by Bill Filer, Something New sounds clean, balanced and thunderous; and enables Wiskerbisket to retain their rawness and edge. The group throws a curve to open the disc, though, with the power ballad “Just Like;” demonstrating the gentler side to singer/guitarist Doug Snook’s vocal personality, and allowing guitarist John Everly, bassist Troy Neff (who has since left the group) and drummer Harry Bleyer to display good harmonizing abilities. From there, though, this album rocks out with four straight fist-in-the-gut assaults, “Free,” “Killer,” “Alright” and an updated version of the group’s popular showstopper, “Skank.” Wiskerbisket indulges the redneck side of their personality on the last two tracks. They first offer a high-velocity, rip-roaring treatment of Waylon Jennings’ “Good Ol’ Boys,” retitled “Dukes Of Hazzard.” They then finish the CD by crossbreeding two popular foulmouthed redneck singalongs into the hilarious “Rodeo Mud,” complete with squealing pigs and a Deliverance-styled midsong bridge. Like their live show, Wiskerbisket’s presentation here is driving and go-for-broke; with the group holding nothing back. Harry Bleyer’s drumming is pummeling and powerful, and the guitars are fierce and snarling. On the vocal end, Doug Snook effectively shifts gears, intensifies and steps back the aggression in tandem with the mood swings of the songs. Something New is a good introduction into the wild world of Wiskerbisket; that shows both their volatile brand of hard rock aggression and their tongue-in-cheek redneck sass and attitude. Fans of this band’s live show will enjoy this CD, and newcomers hearing this CD will likely want to see this band perform live after hearing it. (The CD can be obtained by visiting the website www.wiskerbisket.com .)


FAT VINNY & THE WISEGUYS – TIGHT PLAY (no label) On their third studio album, Tight Play, Altoona-based blues trio Fat Vinny & the Wiseguys continue their exploration of blues-rooted sounds, this time loosely centered around the metaphorical theme of card games and poker. Singer/guitarist E. Vincent “Fat Vinny” Kelly, bassist Randy Ketner and drummer “Dutch” Jeff Van Clief again use blues as their launching pad to explore different styles and sounds over the album’s thirteen card-faced tracks (plus two bonus tracks; ‘jokers,’ as described in the liner notes). These various blues-based explorations serve as the foundation for colorful lyrical storylines dealing with the poker game of life, wheeling and dealing with the opposite sex, bars, the road and more. The album starts off with the surf-flavored “Bad Men On The Run,” highlighted by guest Denny Owens’ wailing harmonica accompaniment. The following song, “Just Some Things,” demonstrates a Chicago-like brassy flavor, courtesy of guest keyboardist/arranger Don Hughes and guest Tim Boland’s sparking midsong keyboard work to boot. The slow and lowdown “My Girl Or My Guitar” explores the tough choice between love and art. Fat Vinny & the Wiseguys’ apparent home turf remains boisterous blues-rock, demonstrated by the ZZ Top-flavored stomps “Barroom Floor” and “Feet Up on the Dashboard,” the Stevie Ray Vaughan-informed “Lucky Charm,” and the George Thorogood flavor of the comical “I’m Outdoors.” The group cleverly uses poker metaphor on the Van Morrison-flavored ballad “5th Street,” defining the moment where dream and vision convert to action and destiny. The group celebrates poker outright on the raucous and rowdy “Shuffle Up and Deal,” and for card-faced track ‘J,’ strips AC/DC’s “The Jack” (long a favorite of the group’s live show) back to its blues roots. The album’s only dark moment is the somber “Dark Places,” inspired by a friend’s sad-ending struggle with life’s hard challenges. Produced by Kelly and Dave Moses, Tight Play sounds loose and playful, capturing the Wiseguys’ spontaneity and live feel. The performances are sparkling yet at ease; Kelly’s varied guitar displays shine throughout the disc, and Van Clief’s drumming is busy but never overpowering. The guest musicians’ contributions spice and brighten the sound further throughout the album. Tight Play is the brightest and strongest album from Fat Vinny & the Wiseguys yet; an album that shows this trio’s flexibility and versatility, combined with a playful, lighthearted spirit. This band sounds like they had a blast making this album, and listeners should have a comparable good time listening to it. In my book, one of the best albums to emerge from the regional music scene this year – I recommend! (The CD can be obtained at the group’s shows, or by visiting the group’s website either via Rockpage or directly at http://www.angelfire.com/blues2/fatvinny/fatvinny.html .

BLOOMSBURG TO BANGLADESH – BLOOMSBURG TO BANGLADESH (Blue Buddha Records) Bloomsburg-based singer, songwriter and multi-instrumentalist Jeremy dePrisco first demonstrated a fascination with Middle Eastern and Asian music and ideas on his 1999 solo album debut, Mandala. Jeremy has continued to explore far Eastern musical frontiers, and has teamed with Bangladesh-born tabla player Bulu Rahman to form the project Bloomsburg to Bangladesh. Bloomsburg to Bangladesh’s self-titled debut album offers a varied mixture of western folk/rock, eastern music and fusions between the two. The results are often interesting and captivating, evidenced immediately by the catchy Eastern-meets-rock fusion opener “She’s A Zombie.” Rock also meets Eastern on the instrumental “Mangalam” and the character story “Mikey Might.” Also interesting are several fusions of Western and Eastern folk, such as the mariner ode “Men At Sea,” an interpretation of the Tom Waits/Kathleen Brennan instrumental “Pentangle,” the musical fable “Teasing the Toad” and the woodwind-flavored instrumental “Visions” (hinting an Ian Anderson/Jethro Tull flavor). Jeremy performs a western acoustic blues original, “Yesterday Is Here;” while Bulu likewise sings an eastern folk song, “Bistirno Dupare.” The album ends with a choral folk rendition of the Bangladesh National Party Anthem, “Prothom Bangladesh.” Engineered and produced by Jeremy dePrisco and recorded at Mothership Studios in Bloomsburg, Bloomsburg to Bangladesh sounds continually fresh and diverse as it showcases its musical and instrumental variety, with no two songs sounding the same. Jeremy demonstrates skill on a wide range of instruments, including guitar, mandolin, flute, tinwhistle, bass, keys and percussion; while Bulu exhibits his talents on tabla and harmonium. The two musicians explore new territory and establish common ground throughout the album’s eleven tracks; that common ground providing the consistency that glues this album into a unified set. Bloomsburg to Bangladesh successfully merges western and eastern instrumentation and styles into a hybrid musical territory that is exotic; yet accessible, listenable, and ultimately appealing. (Can be obtained by visiting the website www.mindspeak.com.)

SEARCHING FOR GLADYS – SEARCHING FOR GLADYS (427 Records) From the land where Yuengling is brewed – Pottsville – hails Searching For Gladys, who introduces their brand of melody-geared modern rock on their self-titled debut CD. Singer Patrick Burke, guitarist Jamie Rodgers, bassist Troy Lee and drummer Kevin S. Miller craft effective, hook-laden melodies and encase them in a hard, muscular modern rock sound not far removed from Fuel or Creed. The general tone of the album is serious, as Searching For Gladys explores themes of troubled relationships, personality conflicts and wars of words. The pace of this album is slower, with midtempo numbers and ballads comprising the bulk of the songs. The strongest of these is “Make Your Mind,” which builds from a soft beginning into a driving, irresistably catchy chorus. “Conversation” is a ballad reminiscent of Candlebox, and “Saja’s War (You Take Me Away)” explores the similarities between personal conflict and international warfare. Searching For Gladys steps up the aggression a few times, most notably on the tribal-beat underscored album opener “Lul,” the acid-tongued “Princess Mess” and the small-town soap opera observation “Dysfunctional County.” Recorded at Saturation Acres in Danville and produced by The Badlees’ Paul Smith, Searching For Gladys sounds clean, full and muscular, with a good balance of vocals, harmonies and guitar crunch. With its abundance of slower tempo numbers, the album tends to plod along in spots. But the group’s performances are strong and confident; and overall, Searching For Gladys is a respectable debut that establishes this band’s musical turf, and sets the initial foundation for them to grow and expand upon. (Can be obtained by visiting the website www.sfgband.com.)

URINAL PUCK MINISTRIES – GREATEST HITS VOL. TWO; TWISTED TALES FROM THE FALLOPIAN TUBE (no label) After hearing the band name Urinal Puck Ministries and taking in the title and cover of their debut album, Greatest Hits Vol. 2; Twisted Tales From the Fallopian Tube for the first time, you quickly come to the realization that this five-piece band from the Chambersburg area just isn’t right in the head! But that’s quite all right, as the 14 tracks of Twisted Tales reveal a hard-hitting, high-energy band with imagination and an appropriately sick sense of humor. Urinal Puck Ministries’ base sound is a collision of old-school punk and metalcore that disrespectfully tips the hat to S.O.D., M.O.D. and I’m the Man-era Anthrax. Guitarists Kingpin and Skeezer quickly catch your attention with their short, sharp riffage, backed by the tight rhythms of drummer Fudge and bassist Dogg. Lead throat Skin sings, howls, barks and yaps his words with ample wit and a snide demeanor, often surrounded by a cavalcade of gang shouts, toilet flushes, animal sounds and other soundbytes. The songs are short, sweet, and tongue-in-cheek, with only one clocking in at over 3 minutes. Highlights include several group manifestos, such as the opener “Born to the Ministry” (the toilet flush and television evangelist opening is classic!), the sermon shout-along “Slave to the Puck” and “Welcome to the Sewer;” also tongue-in-cheek rants such as “Mommy Can I Dance with the Devil,” the sissy-bashing “Mary Boy,” “Personal Meat,” “I Know Your Mother,” “Dismembered Member” (the “Gerbils!” shout had me howling!) and “Satan’s Hayride.” The production and mix are appropriately clean and jagged, giving this group’s presentation full sharpness and edge. This is fast-moving, deviant musical fun; Twisted Tales From the Fallopian Tube will leave you soundly rocked and with a naughty grin on your face by album’s end. One can only wonder what chicanery Urinal Puck Ministries provides when they bring this stuff to the live stage! (Can be obtained by visiting the website www.urinalpuckministries.com.)

URINAL PUCK MINISTRIES – GREATEST HITS VOL. TWO; TWISTED TALES FROM THE FALLOPIAN TUBE (no label) After hearing the band name Urinal Puck Ministries and taking in the title and cover of their debut album, Greatest Hits Vol. 2; Twisted Tales From the Fallopian Tube for the first time, you quickly come to the realization that this five-piece band from the Chambersburg area just isn’t right in the head! But that’s quite all right, as the 14 tracks of Twisted Tales reveal a hard-hitting, high-energy band with imagination and an appropriately sick sense of humor. Urinal Puck Ministries’ base sound is a collision of old-school punk and metalcore that disrespectfully tips the hat to S.O.D., M.O.D. and I’m the Man-era Anthrax. Guitarists Kingpin and Skeezer quickly catch your attention with their short, sharp riffage, backed by the tight rhythms of drummer Fudge and bassist Dogg. Lead throat Skin sings, howls, barks and yaps his words with ample wit and a snide demeanor, often surrounded by a cavalcade of gang shouts, toilet flushes, animal sounds and other soundbytes. The songs are short, sweet, and tongue-in-cheek, with only one clocking in at over 3 minutes. Highlights include several group manifestos, such as the opener “Born to the Ministry” (the toilet flush and television evangelist opening is classic!), the sermon shout-along “Slave to the Puck” and “Welcome to the Sewer;” also tongue-in-cheek rants such as “Mommy Can I Dance with the Devil,” the sissy-bashing “Mary Boy,” “Personal Meat,” “I Know Your Mother,” “Dismembered Member” (the “Gerbils!” shout had me howling!) and “Satan’s Hayride.” The production and mix are appropriately clean and jagged, giving this group’s presentation full sharpness and edge. This is fast-moving, deviant musical fun; Twisted Tales From the Fallopian Tube will leave you soundly rocked and with a naughty grin on your face by album’s end. One can only wonder what chicanery Urinal Puck Ministries provides when they bring this stuff to the live stage! (Can be obtained by visiting the website www.urinalpuckministries.com.)


KATSU – DISASTER (S.A.M. Records) On their second album, Disaster, State College’s Katsu picks up where their first album, 2002’s Gorgeous Mess, left off. Katsu steps up the swagger, aggression and muscle over Disaster’s ten tracks (plus bonus track); with bigger beats from drummer Keith Lingenfelter (replaced by Josh Troup since the album’s release); agitated, swarming guitars from Mark Klein; busier bass work from Frank Yarnal; and the bolder, more boisterous presence of frontman/acoustic guitarist Dennis Fallon. As the band’s lyricist, Fallon continues his loose explorations of life, love, broken hearts and lost innocence in blue-collar America. With the album’s harder edge serving as the cohesive foundation, Katsu varies their flavors from song to song. “Cold Stop” offers brash garage-styled punk to open the album; and punk also fuels “Change” and the Ramones-ish “Why Does My Heart Still Break?” The tongue-in-cheek “The Stalkin’ Song” takes on a lighthearted, folksy taste; while “Our Days” displays a slight hip-hop texture. “She Took” and “The Road” are fiery, uptempo rockers, and “Big Riff” combines happy-go-lucky reggae verses with thunderous, heavy metal-styled choruses. The album culminates in the fun, freewheeling and fast-firing cow-punk adventure “Prison Break.” Producers Bret Alexander and Paul Smith let Katsu rock out without overpowering their stylistic subtleties or Dennis Fallon’s bold, charismatic vocal style. As a result, while Disaster is edgier and more in your face, it doesn’t sacrifice melody or flavor; and gives a stronger definition of Katsu’s muscle and strut. Disaster is a confident, fun, and rocking sophomore effort that further establishes Katsu’s bold musical personality; and offers hard-edged, modern rock and roll with style and substance. (To obtain, visit the website www.katsuiswatchingyou.com .)

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

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

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

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

(VARIOUS ARTISTS) – LORDS A LEAPING VOLUME II (no label) Two years ago, several musicians from Centre and Clearfield Counties collaborated on a Christmas project called Lords a Leaping, with the idea of creating Christmas songs that might someday become part of the catalog of songs we hear every holiday season. The group recorded the first Lords a Leaping album, and quickly sold out of the 600 copies they produced. That success, combined with more inspiration and ideas to create Christmas music, brought these musicians back together for a sequel. Lords a Leaping Volume II features a dozen songs, including ten original Christmas compositions and two interpretations of Christmas favorites. Like the first album, this album also features a wide variety of musical styles, spanning traditional to big band jazz to rock, folk and more. Seven of the songs are written by Loudmouth singer/bassist John Cimino, who also sings, plays bass and guitar. Among John’s contributions are the tender and reminiscent “That Christmas Feeling” and “Magical,” both sung by Jennifer Bell; “Child of Mary” with its varying textures to depict the stages of Christ’s life; “Santa Boogie” with its big band, Andrews Sisters feel; an English-flavored sea carol, “Sailing Home;” the garage-rocking “Christmas Is Near;” and the hopeful album closer “All Things Great and Small,” featuring backing vocals from the New Life Tabernacle Choir from Greensburg. Dive singer/guitarist Adam Bell contributes two songs, the uplifting love song “Reconcile” and the ballad “A Christmas to Remember.” Acoustic roots music duo Blind Jonny Death also contribute a song, the folksy “The Greatest Gift.” Also included are two established holiday favorites, a piano jazz-flavored rendition of “Have Yourself a Merry Little Christmas,” and an atmospheric rock update of “God Rest Ye, Merry Gentlemen.” Recorded this past October at Philipsburg-Osceola Area Junior High School; and recorded, mixed and mastered by John Wagoner, Lords a Leaping Volume II is another stellar effort. The vocal performances sound hearfelt and inspired, and shine throughout the album. The instrumentation is well coordinated, from John Wagoner’s and Adam Bell’s electric and acoustic guitar flavors to Brett Albert’s warm piano sound, Kevin Roessner’s tasteful trumpet and Michael Hughes’ varying drum textures. John Wagoner’s arrangements masterfully conjure the perfect mood and effect on each song, from the Charlie Brown Christmas-like feeling of “Have Yourself a Merry Little Christmas” to the escalating arrangement of “God Rest Ye, Merry Gentlemen.” Lords a Leaping Volume II picks up where the first Lords a Leaping left off two years ago, and the result is another fine set of fresh-sounding holiday music to trim the tree to. If this ensemble of local musicians continue to create Christmas music as appealing and compelling as these first two albums, it might be only a matter of time before Lords a Leaping is spoken in the same breath as present-day Christmas music icons like Mannheim Steamroller and Trans Siberian Orchestra. Lords a Leaping Volume II is that good. (The album can be purchased at select stores in Clearfield and Centre Counties.)


(VARIOUS ARTISTS) – THE CENTRAL-PA CHRISTMAS COMPILATION (Susquehanna Entertainment) A new regional Christmas music album this holiday season is The Central-PA Christmas Compilation, issued by Susquehanna Entertainment. The album features fifteen tracks from various Pennsylvania bands and artists, including redone holiday favorites and original Christmas compositions. The album offers a lively mixed bag of sounds, spanning rock to blues to country/bluegrass to traditional. Fans of blues and blues-geared rock will find several reasons to celebrate here; including the Martini Bros.’ hearty blues/roots rock-geared treatment of Lieber and Stoller’s “Santa Claus Is Back in Town,” which opens the album. For a more traditional blues flavor, Bethlehem’s Thom Palmer Band offers a soulful, upbeat read to Mark Baldwin’s “Christmas Blues.” And Middletown singer/songwriter Sherri Mullen packs ample soul and emotion into her version of Charles Brown’s Christmas blues standard “Please Come Home for Christmas.” Several well-known regional rock acts contribute songs to the album. Popular comic rockers Emily’s Toybox offers one of the album’s biggest surprises with their read of “O Holy Night,” which gearshifts from a softspoken, slow introduction into a galloping punk/ska-driven romp. Lancaster-based Negative Space contributes an original song, “I’ll Be Home,” written about a serviceman’s anticipated return home for the holidays. Harrisburg’s Jellybricks give a crisp update of the Kinks’ “Father Christmas.” And the Berwick’s Poptart Monkeys perform a lighthearted version of “Mele Kalikimaka,” a Hawaiian Christmas song popularized by Bing Crosby and Don Ho. For a more whimsical flavor, Wilkes-Barre-based rock band Plus 3 interprets “The Chipmunk Song,” and State College favorite J.R. Mangan gives a convincingly condescending performance of “You’re a Mean One, Mr. Grinch.” Country fans will relish two contributions here; including Williamsport’s The Corral and their driving version of Daron Norwood’s “Working Elf Blues,” and the Patsy Cline-like interpretation of “Blue Christmas" offered by Hershey songstress Darcie Miner, backed by Sweet Pea Felty (the current band of former Badlees singer/guitarist Jeff Feltenberger). Harrisburg’s Flint gives a solemn read to “Angels We Have Heard on High;” Bobby & John Tombasco (current members of Jay Black & the Americans) offer a warm performance of their ballad “Next Christmas Day;” and the Lykens Valley Bluegrass Boys pick and grin the album to its close with Tex Logan’s “Christmas Time’s A-Coming.” Eleven of the songs were recorded at Scott Wray Studios in New Cumberland. Mostly produced and compiled by Jeff Feltenberger, The Central-PA Christmas Compilation sounds crisp, warm and bright. The performances are warm and friendly, each in their own unique voice and manner. The album flows comfortably, with the songs and styles nicely arranged on the disc to keep the mix fresh and moving. The Central-PA Christmas Compilation is a glowing collection of holiday songs that showcases a wide variety of Pennsylvania talent, each expressing the happiness and charm of the Christmas holiday season in their own distinct way. (The album can be obtained locally at area K-Mart and Walmart locations.)

SEVER – SEVER (no label) DuBois-based heavy metal foursome Sever first formed in summer of 2003. Their self-titled debut album introduces listeners to Sever’s brutal musical terrain, defined by the snarling guitars of Rich Emery, the pulverizing rhythms of drummer Paul Butler, the driving bass work of Jason Geer, and the enraged vocal bark of frontman Dave Harris. With Pantera as a reference point, Sever explores aggressive and dark sonic textures over the album’s nine tracks. For fans of straight ahead metallic aggression, Sever offers immediate gratification on the opener “Nothing,” “Fall Away,” “Torment” and “Gag Reflexx.” The group digs deeper both musically and lyrically on the album’s remaining tracks, implementing alluring chord and tempo shifts, shadowy guitar textures, and lyrics examining the thresholds between good and evil, heaven and hell, and sanity and madness. The strongest of these are “Empty Place,” depicting a soul’s arrival in Hell; and the dual-tempo “Presence,” exploring the fine line between innocence and guilt. The band’s performances are tight, focused and together; setting the appropriate hard-hitting backdrop for Harris’ vocal presentation, which varies from subdued introspection to anguished howls and defiant aggression. Sever’s overall production is slightly thin and sterile; a stronger bass presence and clearer backing vocals would have improved the final result here. But ultimately, Sever defines their angry and harsh musical terrain on their self-titled debut, a solid set should please fans of brutal metal aggression. (To obtain the CD, visit Sever’s website at www.2sever.com.)

PORK McELHINNY – THE BOY IN THE MAN (Arachnid Records) Singing and playing guitar since age 3, Brookville singer, songwriter and guitarist George “Pork” McElhinny previously graced western Pennsylvania live stages as a member of the regional bands Code Blue, Denny & the Twisters and 4 On The Floor. Now a solo performer, McElhinny has issued his debut album, The Boy in the Man. Through the album’s ten tracks, listeners are introduced to McElhinny’s easy-going blend of acoustic-geared rock, folk, country and blues. Besides singing, McElhinny also plays all guitars, bass and drums, with occasional assistance from drummer/percussionist Dave Foote and rhythm guitarist John McNeil. The songs are simple, thoughtful odes to life, the road, growing up, changing times and more. On the opening title track, “The Boy in the Man,” McElhinny contrasts boyhood adventurism and eagerness to manhood discretion and caution; realizing that to achieve goals, sometimes he has to reach back into that boyhood phase for inspiration and drive. He also explores the arrival at adulthood, and the urge to leave the comfort zone of home and see the world on the upbeat acoustic rocker “Slow Me Down” and the ballad “The Train.” McElhinny contemplates his music career aspirations on “Sink or Swim” and the album-closing “Spinning Circles;” and voices concern about the changing world on “Change and Rearrange” and his read of Lynyrd Skynyrd’s “Can’t Take That Away.” A vision of the Hereafter is offered on the country blues-flavored “Heaven,” and personal responsibility and accountability are addressed on the ballad “Easy Way Out.” McElhinny sings with a strong, clean, high-ranging voice, and convincingly conveys moods of happiness, wonder, concern and reflection throughout his performances. The album’s basic, stripped down arrangements place McElhinny constantly front and center. The Boy In The Man is a pleasant, thoughtful album where Pork McElhinny explores the transition between childhood hopefulness and adulthood reality. The resulting musical snapshot reveals his persona as containing elements of both. (To obtain this album, visit the website www.porkm.com.)


J.D. STRUM – JUST ANOTHER STORY (no label) Singer/guitarist Jeff Marks and guitarist/singer Drew Bentley first formed J.D. Strum four years ago, when Bentley accompanied Marks to perform at the 2000 Millenium Music Conference in Harrisburg. Since then, J.D. Strum has been performing in and around their native Pittsburgh area, and issued their debut CD, Just Another Story, this past spring. J.D. Strum defines their collective sound over Just Another Story’s thirteen tracks as a mix of acoustic and electric rock and roll, with an emphasis on catchy melodies, crisp vocal harmonies and warm, easy-to-digest lyrics. A number of songs deal with relationship ups and downs; the upbeat “The Way She Walks,” “Everything” and “Crazy Crazy Way” are happier in tone, expressing fascination and wonder about significant others. On the other side of the coin, the stern, harder-edged rocker “The Drag” lashes out at mind games and deception; “Heart To Pen” pleads for more time to make it work; and “It’s All Good” chalks up an ended relationship to life experience. The introspective opener “Still Chasing” examines personal drive and ambition, and the edgy “On And On” explores the music career dream. The group also includes one remake, an acoustic folk treatment of Madonna’s “Borderline.” The performances are tasteful, with Marks’ calm, mildly soulful vocal delivery coming through warm and clear; supported by Bentley’s jazz-flavored guitar licks and occasional sterner riffing. Assisting the duo are bassist Harry Carr, drummer Michael Shearer and percussionist Frank Bastone. Just Another Story introduces J.D. Strum as a straightforward, song-oriented group with a knack for catchy melodies and thoughtful, insightful lyrics. This is a pleasant, satisfying album likely to appeal to a wide range of listening tastes; for good songs and straight-ahead rock’n’roll, this is an album definitely worth checking out. (To obtain this album, visit J.D. Strum’s website at www.jdstrum.com.)

WHITE WITCH – THE POWER (Nightmare Records) White Witch’s story began in 1984, when the group first assembled in the Williamsport area to record some original songs. The result was an album, Hell Is Doomed, and a successful touring run of regional stages before the group’s four members went their separate ways in 1989. A phone call between members led to White Witch reforming in 2002, and this year releasing their comeback disc, The Power. White Witch’s sound is rooted in vintage 80’s-era heavy metal, with strong Iron Maiden and Ronnie Dio-era Black Sabbath flavors prominent over The Power’s eight tracks. The group is instrumentally strong, with bassist Jack Death and drummer Carl Berry generating sturdy, lean and thunderous rhythms to serve as a platform for Doug Lehman’s frequent guitar fireworks and the rangeful vocals of singer Jeff Pittinger. Lyrically, the group doesn’t venture beyond the basic cliched heavy metal themes of good and evil, devious vixens, temptation and doomsday. White Witch mixes up the styles of attack on The Power between basic and complex material. The group performs anthemic rockers like the album-opening title track “The Power,” the catchy “Marrianne,” the group’s title song “White Witch,” and “Rawhead Rex,” based on a Clive Barker horror story. White Witch also attempts more detailed exercises, such as the thundering and methodical “Cry of the Bain Sidhe,” the multi-speed epic “The Crutch” and the rampaging finisher “25 Hours to Live.” The group also updates Alice Cooper’s 1973 hit, “No More Mr. Nice Guy.” The production, done by the band and Joseph Paul Hauserman, is basic and bare bones; but ultimately hinders White Witch’s overall effect. The group could have benefited from fuller production and better usage of effects, particularly to smooth out Jeff Pittinger’s often uneven vocals. In the end, The Power shows that White Witch has rediscovered their spark and passion for old-school heavy metal; but this album could have been stronger had the band sweated the details a little more. (To obtain this album, visit White Witch’s website at www.whitewitchrocks.com.)


3 BROKEN DOLLS – WHAT HAPPENED TO THE AMERICAN DREAM? (no label) 3 Broken Dolls first emerged from Mount Union two years ago, and has become a frequent flyer on area stages. On their debut album, What Happened to the American Dream?, the group – singer/bassist Kevin Price, guitarist Dusty Sipes (who has since left the group) and drummer Mike Ross - introduces their brand of edgy, hard-driving rock. The group’s base sound is reminiscent of the punk-tinged style of Billy Idol, with some lyrical grit reminiscent of Nirvana and Everclear. As chief songwriter, Price addresses several social and personal issues on the album. The album opener and title track, “What Happened to the American Dream,” is a hard-hitting examination of our political system’s broken promises to the working class. “Walk Your Talk” offers the blue-collar message of earning life’s desires through hard work, while “Leave Me Alone” shouts down naysayers who stand in the way. The angrier “Life’s Too Short” addresses relationship red tape, while the album closer “Don’t Wanta Fade Away In a Bottle” depicts an introspective house-cleaning of emotional baggage. And the group swings bluesy on an ode to relationships on the rocks, “Fell Out of Love.” Recording the album at Altoona’s Data Music Services, the group embellished the song material with some detail, including layering of vocals, tricky timing and tempo shifts and Sipes’ colorful guitar phrasing. But the overall sound itself is a bit thin, and instrumental execution and timing aren’t always on the mark. Price shows a tendency to oversing and force his voice in spots, and shows a need for more control and restraint. What Happened to the American Dream? is at least a start, a modest set that introduces 3 Broken Dolls as a band with some interesting ideas and the willingness to experiment. Further development and honing of their skills will hopefully result in stronger future releases. (For information on obtaining the CD, visit the group’s website at 3brokendolls.com.)

HERBIE – HIGH IMPACT (no label) Since first forming four years ago at Lebanon Valley College, Herbie has evolved into one of east-central Pennsylvania’s most talked-about bands. Herbie’s studio debut album, High Impact, introduces listeners to the group’s frenzied hodgepodge of sounds. Guitarists/vocalists George Griffo and Jay Baab, bassist/vocalist Ben Eberts and drummer Jeff “Ffej” Herb blend elements of rock, funk, ska, reggae and blues into energized jam-geared workouts over High Impact’s seven songs (plus one untitled bonus song). But although Herbie leans toward jam-band tendencies, their songs and melodies are streamlined and tight, and largely devoid of the indulgent noodling or endless instrumental passages often associated with jam-geared rock. The group’s songs often shift moods and tempos, with a few unexpected side journeys to keep things interesting. Herbie opens High Impact with two tasty funk-flavored numbers, “Fudge” and “Inside;” both establishing the group’s base of musical operations somewhere between Sublime, Steely Dan and Phish. The group flexes their harder rock muscle on “Cool Ethan” and “T-Dog @ the Burger Star;” and exercises a more playful ska/reggae-geared vibe on “Zeke.” “Dr. Monster” offers a melodramatic mix of funk, ska and harder rock flavors, before Herbie closes the album with the lengthier funk/rock/jam epic “Brand New.” Recorded and mixed by Jason Drayer and Mike Washkevich, and co-produced by the band, High Impact sounds balanced and basic, with minimal studio gloss allowing Herbie’s presentation to retain its spontaneous feel and edge. On High Impact, Herbie successfully streamlines jam-geared rock to the bare essentials, in the process delivering a sound both jam fans and conventional rock fans should likely appreciate. (To obtain the album, visit the web site www.herbierock.com.)


NORMAN NARDINI – REDEMPTION (Moondog Records) Pittsburgh rock’n’roll icon Norman Nardini has been making music since the 1970’s. After the break-up of his 70’s hard rock band, Diamond Reo, Nardini embarked on a solo path, eventually forming Norman Nardini and the Tigers, who released two albums with CBS in the 1980’s. Nardini has continued to issue music, and has built a career and legend around his blue-collar brand of rock, blues, soul and country, plus his colorful onstage personality. Nardini’s new CD, Redemption, is a celebration of Nardini’s “Pittsburgh Rock’n’Roll.” On the album, Nardini and his band - featuring Hollidaysburg native Mark “Whitey” Cooper on drums and one-time Clearfield resident Harry Bottoms on bass – updated sixteen songs Nardini created between 1977 and 1988. According to the CD liner notes, since Nardini felt he hadn’t done the song material justice on earlier recordings, he and his group went into the recording studio seeking ‘redemption.’ The result is a grittier, bare-knuckles approach to the songs, more consistent with Nardini’s live performances. Nardini’s driving guitarwork and lively singing performances are at front and center; anchored by Cooper’s and Bottoms’ sturdy, solid rhythms. Fans of Nardini’s live show will recognize a number of songs here, including remakes from his Tigers inception such as “Can’t Kill Love with a Gun,” “That Girl,” ”Heat of the Night,” “High Times,” and “Love Dog;” as well as “Rock n’Roll City” and “Burnin’ Up.” Also updated are some less-heralded Nardini classics such as the reggae-flavored “A Man Like Me” and “Gorilla.” Nardini is helped out on the album by several noteworthy Pittsburgh music names, such as keyboard player Herman Granati (of Granati Brothers/G-Force fame), saxophonist Phil Brontz (8th Street Rox) and rhythm guitarist Vinny Q. Redemption presents these sixteen songs closer to the sound and style Norman Nardini first envisioned when he first wrote them. In the case of his Tigers material, especially, the results feature less studio gloss, bells and whistles than on the versions first released on CBS in the 80’s. Longtime Norman Nardini fans should enjoy this bare-knuckles update of Norman favorites, and for the novice, Redemption is a good introduction to Norman Nardini’s world of “Pittsburgh Rock’n’Roll.” (To obtain the album, visit Norman’s website, www.normannardini.com.)

DEVIANCE – CONTAGION (no label) As snarling guitar riffs and torrid drumbeats instantly launch the punishing opening track “Manifesting,” Johnstown-based foursome Deviance quickly removes any doubt over what they are about on their debut CD, Contagion. Two words: heavy metal. Over Contagion’s ten tracks, Deviance unleashes an intense sonic assault, defined by Jason Straw’s chainsaw guitar riffs and blistering solos, Mike Torchia’s hammering drumbeats, and Chad Straw’s rumbling bass lines and monstrous “vo-kill” roars. Atop this coarse backdrop, singer Eric Voeghtly (who has since left the group) sings words exploring dark emotions, deceit, tortured souls, rage and more. Voeghtly’s voice provides a tuneful counterpoint to his bandmates’ sonic maelstrom, accenting the melodic foundation of Deviance’s harsh soundscape, and enabling each of these assaults to be distinguishable. There are aggressive rampages such as the aforementioned “Manifesting,” the incendiary “Burn” and “Tripwire;” the midtempo title track “Contagion;” the multi-speed barrages of “Blind Leading the Blind” and “Boiling Point;” the deliberate and thunderous chordal progressions of “Confession;” and the Alice In Chains-like vocal textures of the brooding “Reverence.” The group also presents a scorching, sinister read of INXS’ “Devil Inside.” Engineered by Bill Filer and produced by the band at Audible Images near Port Matilda, Contagion is appropriately loud and pulverizing, and the mix enables Deviance to achieve full thunder and jaggedness. Contagion is a high-impact, volatile listen; and a convincing calling card as Deviance successfully merges brutal metal intensity with a melodic sensibility. (To obtain the CD, visit Deviance’s website, www.deviance1.com.)

PROJECT TWELVE(34) – SMALL ETERNITY (Basina Recordings) After Clarion-based rock band Ask A Stranger disbanded and went their separate ways in 1993, guitarist Dave Buzard stepped away from music for nearly a decade. Along the way, he eventually became interested in electronic music, and began to experiment in that genre. That experimentation has resulted in Buzard’s studio entity, Project Twelve(34), and that project’s instrumental debut album, Small Eternity. Over ten tracks, Buzard explores electronic and techno frontiers, merging these new worlds with various electric guitar flavors and effects. The results are hybrid forays into gothic, ambient, dancebeat, and even cinematic groove-styled realms, not far removed from the experimentation of Tangerine Dream, Kraftwerk, and Trent Reznor. The electronic stylings create the basic mood and foundation of each piece, and Buzard’s varied guitar work further defines the compositions with melodies, accents, tension and release. Every composition is different, evoking a different mood and flavor. Fans of melody will likely gravitate towards the chord-laden, murky album opener “Restless and Rusted;” and the faster, more direct “Terminal Torque.” Also intriguing is the funk-edged, sample- and loop-laden “Can’t Sleep (Can’t Cope),” with sampled voices depicting a restless journey through a dreamscape wilderness. “A.M. Heavy” finds bluesy electronica and organ serving as the platform for Buzard’s heated guitar shredding. Other exercises are more ethereal in tone, such as “Nocturnal Transitions,” and the darker-textured “Cold In Here” and “Miss Breakdown.” Written, produced and performed by Buzard, Project Twelve(34)’s Small Eternity sets moods and paints sonic backdrops. As such, casual listeners with short attention spans might not last through the album’s duration. But fans of electronica and musical adventurism may be intrigued by Buzard’s sonic tapestries. (To obtain, visit the website www.projecttwelve34.com.)

JOSA STEP – PEARLS (Oddio Records) Josa Step emerged from Greencastle in 2001 with their critically acclaimed debut CD, Speak to Dream, which introduced the group's edgy, guitar-driven modern rock sound. The group builds and expands on that sound on their sophomore offering, Pearls; in the process crafting a cerebral, sonically stimulating set. The group's base sound features jangling, echoing guitar undercurrents reminiscent of peak U2; serving as the platform for ambitious, experimental melodies and arrangements sometimes suggestive of Blue Oyster Cult. Singer/guitarist Sean Clever, guitarist/keyboardist Klaus Funk, bassist Sean Grove and drummer Matt Cole craft songs that gradually build in sonic intensity into full-out, oceanic walls of sound. Cole’s varied, intricate drum rudiments and rhythms help give each song its own distinctive flavor. Clever’s soaring vocals sing dark-edged, cerebral lyrics diagnosing relationship mind games, destructive personalities, self-examination and more. The results are frequently captivating and intriguing. Highlights include the opener “Hope” as it builds into explosive, acidic crescendos; the escalating arrangement of “Sophie,” the oceanic ebb and wane of “Alone” and “The Minimal;” “Mention” with its brash, punk-edged choruses; and the album-closing “Saving Us From Me” with its tranquil, ethereal homestretch. Produced by the band and John Wagoner, Pearls is continually busy and engaging, with constantly layered guitars and voices, varied ethereal effects and detail, all converging to maximize the overall impact of each song. This is intelligent, yet accessible and ultimately captivating, music. Pearls clearly shows Josa Step as a band with a clear concept and focus, and the chops and adventurism to take their musical vision to a higher level. (To obtain, visit the group’s website, www.josastep.com.)