Start with a foundation of the Beatles, sprinkle in equal parts of NRBQ, Los Straitjackets, and Bill Kirchen, and bake for 17 songs. This trio from Rochester -- guitarist Greg Townson, bassist Todd Bradley, and drummer Jim Symonds -- rips through 17 numbers that range from swampy instrumentals ("Goin' Mad"), to '50s Chuck Berry/Beatles rock ("That's Gotta Be My Baby"), to even drinking songs ("Johnny, Jim, and Jack"). And though the rootsy rock may be simple 1-4-5 arrangements, there's nothing simplistic about it. Production is as clear as a Canadian stream, Townson knows how to wrangle notes and tones from his Telecaster, Bradley's voice is solid, and Symonds, well, a modern day Ringo -- clean, simple, and dependable. The only knock, though minor, is some of the lyrics get a bit goofy, like on "Gruesome Twosome." But when you're having so much fun, you let it slide. www.hirisers.com

Every city sooner or later seems to get its 15 minutes of fame. Seattle was big with grunge for a while. Nashville is country. And now Garage Pop Records showcases Rochester, NY with 18 bands, and quite frankly, who knew there was such a talent pool way up there. As with all compilations, production qualities vary, but overall this disc is better than most. There seems to be a tendency toward garage rock in general here, though there are a few cuts that smack of Iggy Pop, not to mention some rockabilly influences and surf rock. But what makes listening fun is a sense of balance throughout the album. Whereas some compilations can be jarring from tune to tune, these 18 songs could well be a long set on a college radio station. Could Rochester be the next big music scene? Details at six, film at eleven. www.garagepoprecords.com

Also from Rochester (hey, when it rains, it pours) come the Quitters with a sound that is predominantly '60s garage. And one thing you can say about this band is it's prolific. After seeing tons of five- and six-song EPs, the Quitters are like Tolstoy on a bender, ripping off 23 tunes (and just one cover!). The good news is there's no filler here, no throwaway tunes. From the opener, "Monkee Suit," which should have you contemplating a velour V-neck and a bowl cut, onto "I Got You Babe" (not the Sonny and Cher hit), with its punkish Blondie "One Way or Another" guitar chords, the disc takes off and just keeps giving. Though they stray (successfully) from the '60s sound into more pop territory with "Someone Else's Life," you're never too far from a dirty guitar sound and a Farfisa organ. "How to Mummify a Cat" is a weird spoken piece, but aside from that, it's all good fun here. www.garagepoprecords.com

There's a late-'70s country rock feel to this disc, with a lazy lap steel guitar slithering around, reminiscent of David Lindley. The upshot to the songs is Langston's wicked sense of humor as well as his twists with language, as on "Smile (The Things I Cannot Be)", with lines like, "You emotional hemophiliac, you frighten me," and "I loved the shitty way you made me feel, with regularity," adding later, "But I miss your smile." Heck, even his press photo shows him eating a bowl of cereal, cigarette in hand, Heineken on the table, a Telecaster strapped to his back, while a "what the fuck" look on his face peers out at you. The music, for the most part, is up-tempo alt-country, which makes the cynical lyrics seem that much smarter and a delight to listen to. Langston's wit also shows through on the CD package, mimicking a Chinese restaurant menu on the back. Smart stuff like this usually falls through the cracks, but I hope Langston keeps on going. www.grantlangston.com

One second it's jingly jangly acoustic guitars; the next thing you know you're awash in strings, big reverb-fattened vocals, like Oasis or another English band that currently escapes me. Did I mention they're only 22 years old? Maybe that's no big deal to Hanson or Aaron Carter, but the sound of their music seems so, hmmm, sophisticated and mature. Like what the Beatles did on their later albums. And I'm not equating them to the Fab Four (heck, there's only three of them anyway), but there is a smartness to the tunes, to the arrangements, that would lead you to believe they've been at it much longer than they have. Aside from some minor production glitches, I'd recommend this for fans of that big swoopy Euro rock sound. www.kineticrecords.com

There's nothing pretentious about Washburn -- at least that's what you can gather from the first cut, "It's Alright." When he sings the title, his voice raises in the register and kind of wavers in and out of tune. What? No Pro Tools to clean it up?!? Nah, not here. Washburn is 100% natural, and his music has an American, Woody Guthrie/hobo country lilt to it. His voice might remind one of Mark Knopfler, though not as gravelly, and prone to that waver here and there. But that's okay, as his integrity makes up for the occasional near miss on notes. Adding fire to the tunes is some wicked lap steel by Josh Ray Brown. "Wait (A River Song)" is probably the pick of the disc, a sad, haunting number, as Washburn contemplates the weight of the world on his shoulders. Not all the tunes are as sorrowful, but this ain't a peppy disc for the glee club. www.johnwashburn.com

Russo has a deep, heavy voice, and doubtless you'll be thinking Patti Smith when you hear her sing. Her music is droning, throbbing, a hypnotic cross between Sonic Youth and the Velvet Underground. It's a weird kind of mix, but neither unexpected or unfamiliar for fans of that style of music. "Adored" has a heavy brood to it, that could have easily been overproduced, but Russo manages to keep it raw and pulsing. And if "League of the Brigands" doesn't smack of the Velvets, I don't know what does. Yet for all its darkness and heaviness, Russo has put together a disc that stands out, a real NYC disc, with a sound that captures the feelings and atmospheres of single digit streets and lettered avenues. www.randirusso.com

Though from the name I half expected some Midwest coffeehouse singer, this jersey trio seems poised to produce quality indie rock. The disc nearly hits the mark in terms of songwriting, musicianship, production, etc., falling just short of the bar across the board. If that sounds too caustic, that's not the intent, as the band is headed in the right direction. One knock is the opener, "Ariana." It's a wee bit too drony to start a disc with, and the hook of the chorus just doesn't grab that hard. Singer Joe Tristano's voice is edgy and smoky enough, like an older Peter Gabriel, and the songs do get better further along. The ballad "Stranded" shows the trio can gel when needed, and a number like "Frayed" shows they know how to arrange intelligently. The foundation is there, and if they keep at it, their sophomore release should be a gem. Don't give up. www.copperdalton.com

The opener would lead you to think the disc is going to be a folky foray of introspective, haunting numbers. But then, surprise, for the second track Violet steps on the gas pedal and electrifies things, with a rhythm and beat not unlike They Might Be Giants. For the most part, Violet is Meredith Minogue and Jim Barry, the former handling the vocals, the latter guitar. And oh what a voice Minogue has. Big, pure, deep, the kind of voice that can send chills down your spine. And over the eclectic mix of songs they play here, that voice is the constant that holds it all together (though Barry is no slouch on guitar). Call it post-modern folk if you must, but it's cool stuff indeed. www.violetsong.com

One thing Resistant seem to have over other hardcore bands is a keen sense of funk. Oh sure, there's more heavy pounding here than a herd of harp seals meeting their maker prematurely, but a cut like "Refuse/Resist" shows the band has more up its sleeve than just straight time and noise. And, hey, you'll even hear Native American chanting (though no translation is provided), like on the opening of "Ball and Chain." And on that tune, while the primary vocals are deep, guttural, and satanic, the backing vocals are in the upper register like munchkins, and it sounds like old Zappa. Though lyrically they seem a bit miffed with the ways of the world and would like to live in the past, their funkiness gives them an edge that other hardcore outfits don't have. www.resistantculture.com

They were a quartet over a year ago when I reviewed their second disc (I remembered because they included my quotes in their press pack), and here's their third offering. The sound is tighter, the production better, and for a band trying to make it on its own, the guys are doing well. They still maintain a "corporate rock" kind of sound (and there's nothing bad about that, just a label, boys) and the maturity in their songwriting is evident in the hooks found throughout. Alex West sounds like a young Peter Frampton, and bassist Dan Morris and drummer Danny Little maintain the rhythm section just fine. So what's next for the band? They could use a big label pickup, the services of a producer who could help them squeeze that extra something out of the sound, and sure, then they could all buy houses, Ferraris, and date models. They're close as it stands now. They just need a break (oh, and thanks for the keychain). www.seasonsend.net

From L.A. come Earshot, a heavy band along the lines of Soundgarden, Helmet, and Quicksand. Says so right in the bio page, and I'll go along with that. It's a heavy disc, pounding, with verses giving way to choruses that crash in like a Brinks truck barreling through a china shop. There's also a definite Tool influence (like you've never heard that before), as the band cuts its way through 11 numbers. Two of the better tracks are "Not Afraid" and "Ordinary Girl," with the former building up from a simple heavy groove to metal chaos, the latter pretty much heavy all the way through. If there are any quibbles about the songs it's that they exhibit a certain sameness, but then again, if you want variety, go to Baskin Robbins. These boys are here to rock.

Pop rock in the spirit of Blink 182, but with more dynamics and less blasting. While the first cut "Alone" begins with heavy guitar and drums, vaguely reminiscent of the Sex Pistols, the second track, "Someday" includes enough acoustic guitar to set off the folk warning lights. And if there's a word to describe this outfit from San Diego, it'd be "happy," since the songs are just so much good-natured fun. They do at times get heavy, but at heart they're a solid pop band, solid hooks, solid guitar work, solid production. They easily shift from the soft and quiet to a controlled kind of loud and crunchy, as on "Things I Say to Her," a Pixie-like number, or on "Taken Away," an anthem-like song that is also good. Great name too. www.gohappyhour.com

Jackalope Junction present a pleasant mix of acoustic electric folk/country rock. Think country before it went Hollywood pop, or think of groups like the Little River Band, or the Eagles when they were backing up Linda Ronstadt. Nothing dangerous here, no sharp edges to cut yourself on, just good music to kick back and relax to. Although "Ain't Gonna Lift You Up (to Drag Nobody Down)" with Deb Novak on vocals is a bluesy, up-tempo number along the lines of Bonnie Raitt, and "By Heart" features Dave Isaacs doing an acoustic bluesy number, for the most part the sound is country light. And there's nothing wrong with taking it easy. www.jackalopemusic.com