THE CD: “MORNING OVER MIDNIGHT” (Virgin)
PERFORMER: Fivespeed
WEBSITE: Here

After getting signed to Virgin Records in 2002, Belle, W.Va. native Brad Cole and his band Fivespeed finally have a major release that hit stores January 24, and it doesn’t disappoint. After a rough couple of years of lineup changes (one in the middle of the Vans Warped Tour), having all of their equipment stolen in Detroit, and recording in both Vancouver, Canada and New York City, I have to say it’s amazing to finally have the disc in my hand.

While only 10 songs long, the album shifts easily thru every style Fivespeed has without exhausting any one sound. The album starts with the solid track “Fair Trade,” which kicks in with a much stronger, though still melodic, sound than the band’s previous EP releases.

The next track, “The Mess,” is the first single and is getting some good rotation around the country. The band also has a video for the song and if you like pumpkins you will like the video (I’m not gonna explain that, you’ll just have to check it out). According to the band, the video was filmed at about 4 a.m. somewhere in California with plenty of people (and pumpkins) on hand to help. It must be getting some air time somewhere because many of the reviews of the song on Itunes mention seeing the video and then buying the single because of it. OK, long story made short — it’s a really good song.

Some other good tracks on the album (also my favorite) are the pseudo-ballad “Blame It On You” and the down-tempo tracks “Touch of One” and “Misery Loves Company,” all of which are good choices for the next single. The disc also has some other good rock songs on it as well, such as “Lost Vegas” and “Wait Forever.” While many of the songs seem to be about personal relationships one has to wonder if the line in “Wait Forever” that says I have yet to find a low is really about getting this album released finally.

The only song I wish was a little different is the title track, “Morning Over Midnight,” which is such a nice sounding title and, I guess I’m still used to the 80s trick of making the title of the album whatever the strongest track on it was. Again, long story made short — not the strongest track, but still a really good song.

All in all “Morning Over Midnight” is a nine out of 10 for sure. If you like the upbeat rock of the last couple years such as Taking Back Sunday or Fall Out Boy, take that sound and kick up the guitars, throw in the range of Dashboard Confessional lead singer, write some good songs and enjoy pumpkins, you will definitely enjoy Morning Over Midnight. Check out Fivespeed on Itunes or leave them a message on www.myspace.com/fivespeed.

– by Mark Totten

THE CD: “Shawn Camp: Fireball”
PERFORMER: Shawn Camp

Shawn Camp is a Nashville veteran who made his major label debut in 1993. Since then, his songs have been recorded by Ricky Skaggs, Ralph Stanley, Brooks & Dunn and Garth Brooks, among others.

Camp, who performs on Sunday’s “Mountain Stage” at the Cultural Center in the state Capitol Compex, has a new recording, “Fireball,” that shows his versatility as a singer, musician and songwriter. From the very danceable title cut, a wide variety of different moods and colors ensues — and fun. Camp plays guitar guitar, mandolin, fiddle, bass and dobro, in addition to his songwriting.

And the lyrics? Take “Hot Wired, ” an ode to Miss Demeanor:
“My baby’s got a talent/she don’t like to talk about/they sent her daddy to the pen and he still ain’t got out/it runs in the family like some kind of burning fire/ her kin can get a free ride/it don’t matter where they are.”

Or “Just As Dead Today” (with Camp’s bluesy country fiddle):
“He’s just as dead today as he’ll be tomorrow/might as well just plant him where fell/let the preacher say some mournful worlds of sorrow/and pray that them bones ain’t bound for hell.”

OK. Steinbeck, it ain’t. Who cares? These tunes are pushed along by a band. Camp has assembled a crew of fine musicians, including rock ‘n’ roll legend Billy Burnette, who plays guitar and drums on two tracks (and also helped to engineer and co-produce.)

Another song, “Would You Go With Me,” is in full newgrass mode, with Scott Vestal on five-string banjo. Speaking of bluegrass, “Beagle Hound” has a snippet of the late, great Jimmy Martin and his hunting dogs. Camp also released a fine bluegrass album, “Live at the Station Inn,” in 2004.

“Fireball” came in the mail Monday, and has been in my CD player all week. This is some knockout music from a very talented songwriter and musician.

DETAILS: “Shawn Camp: Fireball” will be released March 21 on Skeeterbit Records. PO Box 550, White Bluff, Tenn 37187.

– Paul Gartner

PERFORMER: Legbone
THE CD: Different Path (Rock Ridge)
WEBSITE: Legbone.com
LISTEN: here

Legbone is a 5-member skatepunk outfit from Ohio. You may have asked yourself ‘Why do Ohio drivers drive so obnoxiously?’ It’s probably ’cause they’re listening to Legbone. The group’s second CD, “Different Path” is a veritable cookbook for aspiring punk bands. The opening riff on “Swallowing Razorblades” may mislead some punx with it’s dirge sound, but it kind of sums up the band’s flirtation with heavy metal, as the genre winds its way into some songs.

Legbone seems to have taken the best hooks, lines, and yes, even sinkers from punk songs and incorporated them into the tracks on “Different Path” quite deftly. The songs move in a seamless “path” from first to last. These guys could’ve plugged in and recorded this CD in one setting, if you listen to the guitars. No experimental songs here, just hardcore punk. If you tied this CD on a string and tossed it into the Town Center, you’re liable to land a couple of punk kids on it.

One disturbing trend in the punk genre, of late, has been to find the most pansy-sounding post adolescent male, and make him the singer of a punk band. . . with profitable re$ult$. Not these guys. “What You Are” and “Do You Choose” are tight and fast, with lyrics that are about more than getting dumped by your first girlfriend. “Blazin’ Urethane” and “Different Path” are also along these lines; tough, yet smart.

“Mind Your Business” is perfect for someone with my kind of attention span, jumping right in with some high-speed rockin’. “Productive Coughing” opens with heavy, slow riffage, but picks up tempo, I promise. “C*ck Blocked” (a power-pop punk ditty) and “Dirty Sanchez” provide some comic relief on the CD, ala NoFx.

Joey Ramone once said “It’s all in how you suck it in,” when describing the Ramones enigmatic mix of influences and cover songs. These guys really know how to suck, and that’s a good thing.

Total time for the 15-song CD: 24:41. If that ain’t punk, I’ll come to Ohio and kiss your you know what.

– By Nick Harrah

The CD: “Pretty Little Head” (label to be determined)
Performer: Nellie McKay

In a move typical of the slumping record industry, Columbia Records dropped eclectic songwriter/musician Nellie McKay from its artist roster a couple of weeks ago, after sending out review copies of her new album, “Pretty Little Head,” but before the CD’s planned release date of Jan. 3. The reasons for this are not entirely clear, but not totally unexpected.

McKay had been fighting with the label for weeks over the length of the album. Columbia sent out a 16-track version to reviewers, while Mckay was loudly protesting that they should release the full 23-track album that she submitted. That situation, coupled with the exit from Columbia of the man who signed her to the label — and the fact that Columbia couldn’t figure out how to promote such an hard-to-categorize artist who would not be touring to support the project — made it a foregone conclusion that the relationship was doomed.

McKay is said to have left on decent terms — with ownership of the masters — and will be looking into alternate means to distribute the album. But those plans are on hold as she prepares for a run on Broadway in “The Threepenny Opera.”

Meanwhile, we’re left with the Columbia Records edit of the album, which is quite striking. There are some phenomenal songs on this CD, and the production is as varied and surprising as McKay is herself. (”Mountain Stage” listeners may recall her appearance on the show a couple years back as a precocious, effervescent, sometimes potty-mouthed 17-year-old).

The CD kicks off with “Cupcake,” a tune about gay marriage, which manages to sound like a long-lost cut from the Mamas and Papas and The Bangles at the same time. That sets the tone for the CD, as many of the cuts show so many varied influences that you can almost play a game trying to figure out where this stuff is coming from. Musically, it’s all over the map, and lyrically McKay is just filled with inspiration. A short jazzy interlude, “Pink Chandelier,” follows, and manages not to be jarring, despite being a complete musical departure from the previous tune.

“There You Are In Me” manages to sound like Jane Siberry and vintage King Crimson at the same time. You have to wonder if the still very young (21 years old) McKay was raised in a used record store or something.

The masterpiece of the CD is “The Big One,” which could have been a huge hit single in the hands of the right promotional team. About a tenant’s rights activist, this tune sounds like it was co-produced by Dr. Dre, Kate Bush and They Might Be Giants. Yet it works. It’s got a hip-hop vibe, with a killer horn section and a piano line that may just be the best hook I’ve heard in ages. This song has “hit” written all over it.

After that epic sonic blast, the CD smartly takes a mellow turn, as the next four tunes showcase McKay’s sweet vocals in a less bombastic setting. “Gas” is just under two minutes of pleasant, piano-driven Beatlesque pop. “I Will Be There” is a lounge/samba tune that has a killer chorus and also sports some very Beatle-y sounding chord progressions. “The Down Low” has a Beck-ish drum pattern underneath a very clever little piano ditty, with sparkling vocals.

“Long And Lazy River” is a laid-back meandering slice of light jazz, again with very clever lyrics. Next up is “Bee Charmer,” a quirky duet with her “Threepenny Opera” co-star, Cyndi Lauper. Of course, it sounds like vintage Lauper with a lot of unexpected turns and spoken word interludes that belie its very commercial vibe.

“Real Life” is pure early-80s New Wave. I could reel off half-a-dozen bands that this sounds like, but nobody’s ever heard of them. It’s a kick that this sounds like it could have been recorded 25 years ago. It’s an aggressive little tune with strong power-pop leanings. This is followed by the slow, jazzy “I Am Nothing.”

Up next is a duet with KD Lang, “We Had It Right.” This is another one of those eclectic tunes that sounds like so many different things that you can’t really pinpoint all the influences. This song has quiet piano interludes, shimmering vocal arrangements and hints of British Tin Pan Alley.

As we approach the end of the album, McKay has established her own style that equals more than the sum of her many varied influences. The CD ends with the goofy “Tipperary,” which, though fun, is a bit extraneous.

Columbia’s eagerness to jettison such a unique artist is symptomatic of why the music industry is currently in such dire straits. Reportedly, when McKay was called by Columbia to be told that the album wasn’t coming out, the person who broke the news had to confess to never having listened to the CD, and further said: “This isn’t about the music. It’s a business decision.” Funny, I thought music was their business.

Let’s hope that this CD gets a proper release soon. It’s an amazing work. It’d be a shame to see the music industry run off a rare talent who could bring us decades of incredible music. After the split, Mckay told one reporter: “All that matters to me is that I can continue to make irritating music which will baffle and enrage.”

— By Rudy Panucci

CD: “First Impressions of Earth”(RCA)
PERFORMER: The Strokes
NOTE: Parental advisory for explicit content

The Strokes third studio album “First Impressions of Earth” continues the band’s strategy of not sweeping people off of their feet. We get the Strokes’ usual winning recipe — clean-sounding, syncopated guitars over singer Julian Casablancas droning about relationships and young-adult apathy.

But like the band’s last album, 2003’s “Room on Fire,” the dry, pseudo-pop sound of “First Impressions” somehow isn’t as easy to swallow as it feels it should be. “You Only Live Once” opens the album with a jaunty Cars-like riff. Instinct urges you to tap the steering wheel or sing in the grocery store, but the song cuts those basic pop reflexes short. The song trainwrecks from verse to chorus. Casablancas’ sounds slightly off rhythm as if he didn’t have time for a second take.

Meet the Strokes’ signature sound. This raw, unrehearsed (almost amateurish) sound helped their 2001 debut, “Is This It,” thunder in with a herd of critical acclaim. It earned plaudits as the rock fan’s salvation after years of bubble-gum-teenie-pop a la Britney Spears and the Backstreet Boys.

Now, it seems clear that the desperation to escape that Mickey Mouse club-induced hell forced non-pubescents to latch on to any gritty band with “the” in their name without really knowing the band. Pop culture rolled vastly different bands such as the Hives, the Vines, the White Stripes and the Yeah Yeah Yeahs into one genre: garage rock.

The Strokes make great music. Don’t be fooled by the oft-bouncy tunes: the songs on “First Impressions” go further than simple pop. “On the Other Side” professes happy misanthropy against a semi-sea chantey roll similar to the dark/light musings of the Doors. The song “Ask Me Anything” harnesses another pop Kafka, Nico, with a simple sonata played over an ode to insignificance. (Casablancas croons over again, “I’ve got nothing to say,” for a nice trivial chorus.)

The Strokes never do what’s expected of them, which might annoy people expecting love at first listen. Give “First Impressions” three or four chances to win you over.

Available at all local record stores.

–by Morgan Kelly

THE CD: Kicking Television — Live in Chicago”(Nonesuch)
PERFORMER: Wilco
WEBSITE: www.Wilcoweb.com

“Kicking Television” is Wilco’s 33-song, 2-disc embodiment of the perfect live CD. Recorded May 4-7, 2005, at Chicago’s Vic Theatre, this CD proves that these Grammy-winning alt-country rockers (headed by Jeff Tweedy and formed out of the dissolution of Uncle Tupelo) don’t suck live. It also serves as a greatest hits for their previous releases. All of your favorites are here: “Shot in the Arm,” “Jesus, Etc.,” “Ashes of American Flags,” and “Heavy Metal Drummer.” Yesss!

I bought Being There after reading a review of it in some no-name music publication. When my dad and I were both like ‘That CD rocks’ (It was actually the tape) — the power of rock sent my mind reeling. Since then, I’ve been a Wilco fan. That epiphany-inducing moment stands in stark contrast to the dire situation our parents may have found themselves in when their parents found their rock records back in the day: ‘Are you on drugs, Jimmy?’ Yes he was, and he was waiting for a band like Wilco to come and blow his mind.

“Misunderstood” (the acoustic dirge which opens “Being There”) opens the live set with a 6-minute jam in honor of rock and being back in your old neighborhood. When Tweedy sings “But you still love rock ‘n roll. . . you still love rock ‘n roll,” the crowd goes nuts; goosebumps ensue. It’s the next best thing to actually being there. Before “Handshake Drugs” Tweedy puts some jerk yelling KAAANSAS CITYYY!!! in his place — ‘How dignified is it to come from K.C. to Chicago to see Wilco?’

Whoah, whoah, whoah. . . don’t just rush out and buy “Being There” — you first need to check out my favorite CD, Summerteeth. Also; Yankee Hotel Foxtrot and A Ghost is Born — then you’re ready to rock, brutha.

The band’s immersion in synthesizers and an even more Pink Floyd-ish sound may take you by surprise if you don’t heed my warning. If someone tells you they’re an acoustic band — go upside their head once for me; some of their synth-based sounds can make you sick. Sonic discordance rearing its head, inside of well-written acoustic-based songs, is definitely on tap with Wilco.

It behooves me to mention that “Via Chicago” got rave reviews from the Windy City crowd. “Radio Cure” seems too fast, losing its mellow effect, in a way. I don’t have the space to go into Tweedy’s vocals and lyrics, or the direction the band will now take without multi-instrumentalist Jay Bennett. Whether it’s solo or with Wilco, Tweedy’s songs will find an audience anywhere. Wilco closes with “Comment” (originally sung by Charles Wright and Yusef Rahman), a gospel-tinged ballad. Here’s my money. . . SAVE ME, WILCO!

I know what you’re asking, ‘If they’re so great, then why don’t they play Charleston, maaa-nn!?‘ They did a few years back; I and fellow LocalMusic blogsman MarkT were in attendance. Wilco made a short, sweet appearance on Mountain Stage — I know, because I was there, man! After that, I had to hear their version of Woody Guthrie’s “California Stars“. Let’s bring these guys back ASAP — and get me some free tix, gazzeditor man! (Depends on if you clean up your room. Ed)
Available at all local record stores.

THE CD: “29″
PERFORMER: Ryan Adams
WEBSITE: click here
LISTEN: here

Whenever people ask me what I’m listening to these days, I always have to mention Ryan Adams. Of course, people always look at me strangely and say ‘Bryan Adams?’ to which I say, “No, Ryan!!” And then, they tell me they’ve never heard of him.

Never heard of him — the critically acclaimed, eccentric, rock ‘n roll, folk, and country artist rolled into one? The former Whiskeytown singer who managed to put out three albums this year, barely able to play after falling off stage and breaking his wrist in 2004?

‘Oh, isn’t he that guy that sings Summer of 69?’ No, NO, NO!

Ryan Adams is someone else indeed, and his album “29″ sounds as if it were his first instead of third release for the year. Of course, much of this may have to do with dropping the country sound of the last two albums, “Cold Roses” and “Jacksonville City Nights” and going with more of, well. . . a Ryan Adams sound.

The album starts with “29″, which also happens to be the only up-tempo track on the album. While it does feel a lot like “Truckin,” with lines like I spit in his face, the bastard knocked me out, you know you’re not listening to the Dead.

From there the album goes into Adams’ signature gloomy but inspiring sound. Tracks like “Strawberry Wine,” “Caroline Rain,” and “Starlite Diner” are quiet and stripped down songs, usually with just Adams and a lone guitar or piano.

Just when it seems like he has exhausted every possible way to write a sad song, the seventh song, “The Sadness,” has a Spanish sound mixed with Adams’ favorite themes of loss and personal problems galore: The sadness is mine, it’s why you’re not helping me, he sings in contrast to the somewhat upbeat music or the track.

The last two tracks, “Elizabeth, You Were Born to Play That Part” and “Voice” are strong but down-tempo and depressing as well. Pretty good, though.

While it’s safe to say “29″ is not Adams best album ever, it’s no slacker either. It’s an inspired album that mixes storytelling with personal tales of love and loss. To Ryan Adams fans this is probably a must have, but the new listener may find it way too much. I would definitely go back and pick up “Gold“, “Demolition” or “Love is Hell” — which to many, myself included, are some of his best CDs.

Listening to “29″ first may initially turn many new listeners away. Listening to his previous work and this CD together, however, you will think ‘Wow, this guy really has some issues.’ From then on your friends will say, ‘Who has issues — Bryan Adams?’ Then you can scream “No, Ryan Adams!”

– by Mark Totten

THE CD: “Patti Smith Horses/Horses” (Arista/Columbia/Legacy)
PERFORMER: Patti Smit

This album was high on my playlist back in the early 1980s. It sounded great, blasting out from my old tube amp stereo. Smith wasn’t the first woman to front a garage band by any means, but she brought literary tradition and intelligence to punk. I never regretted missing the punk thing, but Smith and company made me wonder.

This 30th anniversary release includes a remastered first disc of “Horses,” with a second disc featuring a live reworking of “Horses” from the Meltdown Festival in London. On my first listen, I was a little disappointed. Vinyl is alive; CDs aren’t (and ne’er the twang shall meet). No matter. How many thrash bands have come and gone since these guys? “My Generation” is a pretty faithful turbocharging of the Who original, with Smith front and center on the edge of the abyss. Like she said in 1975: “We created it, let’s take over.”

The live versions of the original tunes, recorded in London in 2005, features Lenny Kaye and Jay Dee Daughtery from the original band, along with Flea, Tom Verlaine and Tony Shanahan.

Smith’s voice is deeper, and the Lou Reed cadence is intact, but the pace isn’t quite as frenetic. Age, perhaps. Thirty years down the road, “My Generation” takes on new meaning: “We had dreams, man,” Smith roars, “and we f***ing created George Bush…Make change, the world is yours”

Smith endures. Buy this or not, but play it loud.

— By Paul Gartner

THE CD: “Fancy Fiddle” (CNT Tri-Agle-Far CDTR7 PERFORMER: Curly Herdman
WHERE: Available from CNT Tri-Agle-Far Records, P.O. Box 4112, Dayton, Ohio 45401. Or from this site.

This album from Curly Herdman, the late Ohio contest fiddler was recorded in 1967. Among the backup musicians is younger brother Troy Herdman. The guitarist helped to judge the Vandalia gathering contests for many years. Herdman was born and raised in Jackson County in 1918, started fiddling at age 9 and grew up playing local square dances. He worked in radio in the 1930s, inlcuding a stint at the Renfro Valley Barn Dance.

Herdman was a prolific composer of fiddle tunes. Six of the 12 selections here are originals. As befitting a former Ohio state champion, Herdman is firmly rooted in the contest style, with lots of fancy bow work and rich tone. “Rachel” gets a pretty good workout, as does the very familiar sounding “Run, Rabbit, Run.” (According to Ivan Tribe’s liner notes, the latter tune is an original.)

“Dixie Hoedown” and “Big Tracy” feature some nice three-finger banjo counterpoint from Joe Tanner. “Running Bear” has some wonderful long bow pulls and notey passages that end right on time! “Rocus’s Reel” gives the whole band a chance to trade breaks.

For lovers of contest fiddling, this CD is a nice look back at an early standard bearer. The transfer to CD sounds like it came from the original vinyl LP, not tape, and sounds just fine.

— By Paul Gartner