Let's start this month off with a collection of funk/soul tunes that seep under your skin and take hold. They also nod to the past, and look to the future. Redbone has a voice that singes when it needs to, or purrs like a kitten, well, if that kitten were Eartha Kitt. The dozen tunes here range from funky grooving, "Vineyard," to folky soul, "Underdog," to super bad, "Boyfriend," with its Isley-like liquid-fuzz guitar solo. Redbone's humor is evident in that last song as well, as she tells the tale of meeting a man at a Starbucks, only to find out he's gay. But a platonic relationship clicks until "I caught him wearing my dress, and looking better than me." Though the undercurrent is classic Sly and the Family Stone, Isley Brothers, Roberta Flack, etc., there are spots that point to the future of funk and soul. And apparently, it's in good hands. www.martharedbone.com

Somewhere between the rage of bands like Linkin Park and the teenage smirk of bands like Blink 182, come TBS with an emotional disc, angry as much as wistful, one that rocks and reels. The Long Island quintet features vocalist Adam Lazzara, guitarists Eddie Reyes and John Nolan, bassist Shaun Cooper, and drummer Mark O'Connell, all who meld together to produce one of the better examples of the current punk-band movement. Lazzara has the necessary whine in his voice, that sense of exasperation that pleads with the listener, while the guitar duo does more than just chord its way through the numbers. Instead, they mix picking with leads for a nice sound as on "Ghost Man on Third." Lyrics are interesting as well, and not your average punk-band tripe. Similarly, there's a variety to the songs, from up-tempo jaunts to the slower stuff. Definitely at the head of the pack. www.takingbacksunday.com

Oy. When you get about 25 pages of press on a band, you tend to think something ain't right. And, sure enough, there's enough redundancy in the pages to drive a copy editor nuts, and like all good press releases, there's enough praise of the band to drive a reviewer nuts. Do they live up to the hype though? Well, this quartet from Minnesota plays hook-driven rock, just like the press says, but the first couple of songs feel like someone is holding their finger on the record, slowing the tempo just a bit. And though I was screaming "pick up the pace" at the disc player, it never happened. But the music, well, it's likeable enough, a kind of rootsy, mid-American feel to it, somewhere between the lines of the Foo Fighters and Tom Petty, though not as up-tempo and energetic as the former. Instrumentation and vocals are fine, and there's also a Hammond organ rambling about, but the keyboard player has since left the band. Oh well. www.epichero.com

You know, everyone needs a little variety in their CD collection, and this disc would be a good grab for those looking to venture beyond the rock-and-roll canon. Darcyl, raised in Argentina by her French dad and Romanian mom, combines the best of both romance languages (French and Spanish, in case you nodded off). Her voice, well, absolutely oozes like a jazz sex kitten purring, whether the material is a Gershwin tune or a Jobim number. Heck, she even does "La Vie En Rose," though it's not anything like when that little sparrow Edith Piaf did it. Instead, we're treated to more of a conservatory version than a gut-busting bar blast, but it still sends chills when the syllables fall from Darcyl's lips. She closes the disc with a modern version of "Autumn Leaves," and by the time the songs ends, the only thing I'm thinking is play the disc again. A nice debut. www.jazzsingers.com/ondinedarcyl

Though the name is probably not the best pick for a band (for myriad reasons), this trio kicks, and the ride from track 1 to track 8 is a blast. The three members are all serious players, as guitarist Ben Phillips was once voted "Maine's Best Guitarist," bassist Mark Damon has played for Bim Skala Bim and done some session work, and drummer Tommy Vinton was with punkers Too Much Joy, and now is a sergeant for the NYPD up in the Bronx. There's nothing sloppy about the songs here, and the sharpness of the instrumentation is enough to cut through steel. The music lies on the heavy side, but not at the expense of the hooks or melody. It's a layered sound (well, duh, with just a trio and so many guitars), kind of like early Goo Goo Dolls. The guitar work is stellar, both chording and lead work, and the only thing that might be hard to take is Phillips' vocals, but I like 'em just fine. A splendid offering. www.famoustheband.com

What would you call a horn player who doesn't solo like crazy over 16 bluesy tunes? Short answer is Al Basile, of course. Like his first disc, he uses Duke Robillard and his band, and with a lineup like that, it's pretty hard to fail (and for those unfamiliar with Robillard, shame, shame, shame). Basile seems to have vacillated in his career between writer/poet and horn player, and the fact that he doesn't play too much on the disc might lead some to think he's lucky that he writes. But a quick check of his bio shows he cut his teeth with Roomful of Blues, so you know he's got the chops. So why make a blues disc? That's the burning question, and I suppose he might say "because I can." The results, though, are worth the effort, as the 16 tunes swing and sway with a relaxed ease, Robillard's guitar work is above reproach, and there's such a cool Memphis horn vibe from time to time, that it's hard not to like it all. www.albasile.com

There's a fine line between good melodic pop and worthless moronic pap. Sometimes that line is the width of one beer can. And when "Beauty Queen" started playing, I sensed there might be a beer can in my future (if only horse races were as easy to predict). But Phil Mann and company have dispelled any thoughts of the music sucking (in fact, the only sucking you'll hear is me and my beer can). Mann has secured some heavy hitters for this disc, like bassists Will Lee and John Conte, keyman Andy Burton, and guitarist Andy York. Together, they make rock and roll American style, which is to say they've sort of evolved from bands like Springsteen, Tom Petty, and similar groups who were in their heyday many moons ago. What's nice about the songs is they all have a driving feel to them, as you can sense the movement of the rhythm section, and the songs don't drag one iota. Damn glad to meet you too, Phil. www.myfinefriendphil.com

In case you missed this CD the first time it came out in '95, it's back, along with two additional cuts. A jazz-infused groove fest, it'll have your subwoofer working overtime, as the deep house style of music (as labeled by the press release) rolls its way along. And though it does groove, in a smoke-an-unfiltered-cigarette kind of way, that aforementioned subsonic boost does get in the way, particularly with headphones (hey, the kids were sleeping). In that respect, it's more of a migraine maker, with a constant thumping that will have you wishing for soft rock or bluegrass or perhaps a bottle of Excedrin PM. But through the big speakers, it's easy to imagine a dark club, thick smoke, really expensive drinks (where you have to buy at least two), and a few people speaking in a foreign language. Yeah, it's cool, suave, and hip enough for your DJ friends to grab onto.

It's alt-folk alt-country alt-blues territory, a strange yet easily accessible place, where minimalism rules. With production clear as a bell, all it takes is to sit back and wait for the various instruments and vocals to randomly pop up and fly by. Vocalist/guitarist Emily Zuzik has a friendly voice, very inviting, though on a tune like "Bitterroot" she does manage to get a bit gruff. When she shares vocal chores with Bunko (who also covers the guitar, accordion, and banjo chores), it sounds a bit like X, had they been folky and acoustic. The lead guitar work of Chris Mulhauser is quite nice too, playing only the notes needed for effect, and not wandering all over the fretboard in a nomadic fashion. Kudos to the band for doing a way cool version of "Baby Please Don't Go," which sounds more like Sonny and Cher's "The Beat Goes On," but when you hear it you'll know it. Cool stuff off the beaten path. www.mothersdiscontent.com/sexfresh.html

Steve Heger and Tom Jacob are both studio musicians. They've backed some big-name musicians in their time, and eventually formed the core of Hey Stevie. Studio cats getting together is nothing new. Sometimes they can land big hits and fame (remember Toto?), and you can rest assured that there's nothing sloppy about the playing. Unfortunately, there are times when it doesn't click, where virtuosity can't make up the slack between a good song and a great song. And after the first three cuts, I'm still waiting for a decent hook, something to sing along with. And it ain't happening. The sound of the band, for lack of a better example, could be called G-rated, in that it's clean and clear, no angry notes, nothing to cut yourself on. The '80s new-wave kind of sound might have worked then, but now, nah. The notes also mention the title is a reference to the collapse of the Berlin Wall. Stuck in the '80s, guys? Sorry, Stevie. www.heystevie.com

Well, well, a delightful little mix of songs, kind of a like Weezer, Nirvana, and XTC, with some Beatle influence somewhere in there. Without a doubt, there is a solid Brit influence found in the layered verses or choruses that waft about, though it doesn't sound ripped off, pursuing instead a more modern tack. A song like "Bottom Feeder," which utilizes a slightly dissonant guitar riff, soon gives way to a '60s psychedelia, and you could swear there's a hookah pipe somewhere. Then you're hit with a tune like "O.C.D.," which has more of a straight-ahead roots-rock feel to it. The boys are equally adept at acoustic-flavored numbers, as on "My Rusty Trombone," about a sexual romp with an adventurous girl. All in all, it's a great disc, peppered with a variety of songs. Again, here's another case of a trio going the extra mile for your listening pleasure. www.imaginarybill.com

"How many times have you seen a black woman leading a rock band?..." begins the flyer that came with the disc, and if they all sounded as smoking as this disc, I'd reply, not often enough. Carol Thomas has a bold and powerful voice, plays a solid rhythm guitar, and with her bandmates fires up a mix of rocking and introspective tunes. On "Bass Line," the guitar leads by Mike Bloom positively sizzle as Thomas urgently advises a lover. And on the slower songs, like "Poor Orphelia," again it's the combination of lead guitar and vocals that are front and center and define the song. But let's not forget the rhythm section of bassist Jon Chazen and drummer Clyde Alford, who together lay a solid foundation. I'd hazard a comparison to Joan Armatrading, since both artists share a commitment to songwriting, crafting the musical and lyrical side intently. Here is a disc to savor, to be enveloped by, to fall into. Thanks to One & Twenty, the listener gets the feeling that the world's a better place. www.one-and-twenty.com

You know, I reviewed Woodall's last release, and I'd like to just plagiarize myself and insert it here, since many of the same sentiments apply. Not your traditional composer, well, not along the lines of say, Bach or Mozart, Woodall seems to enjoy the fringe benefits of living on the fringe. No borders, no rules, no regulations, just an ethereal kind of gait to the songs, as they swell and recede, instruments coming and going like supermarket traffic. For this disc, Woodall derives his inspiration from various artworks, such as Lichtenstein or Pollock, and the only shame is the listener isn't provided with the artwork to "follow along" as it were with Woodall. Eh, maybe it's a rights issue. In any event, the music is quite relaxing, interesting in that you notice it and don't notice it -- you can be doing something mundane with the music playing, only to stop for a second and be pulled in. A nice break. www.ewoodall.com

It's a kind of Goth industrial sound that pumps out of the speakers as the Torsion CD plays. But it's a curious mix, as on "How Can You Love Me," there are spots that sound almost like amateur new wave, despite a heavy beginning that portended something greater. And that's kind of the way the disc feels overall, a hit-and-miss attack on every song. When it clicks, it's way cool, as subsonic synthesizer bits interplay with a manic bass line, distorted guitar work, wild drumming, and the lovely vocals of Kathryn Matuch. Then you'll run aground on a song part that, while it doesn't sound out of place, simply isn't as strong or in character with the rest of the tune. On the bright side, this is only an EP and they do show promise, so with some road experience and more time banging out songs, there's a good chance they'll get better. www.torsion.net

At the end of the liner notes, the band writes, "P.S. This CD is dedicated to us. Fuck You!" And normally, a statement like that might give you pause. But after reading the liner, and more importantly, listening to the disc, I'm convinced that this quartet would be a blast to hang with, either getting drunk, listening, or both. There's a hard-rock sensibility, but also an ear for the melodic side, and the two clash quite well. On a slow-paced song like "Movie Songs," there's almost a country inflection as the song ambles along, a lead guitar slogging around. On an up-tempo number like "Venus," you might note a Paul Westerberg feel, maybe Tom Petty, but it's a rootsy, Midwest kind of flavor coming from these Brooklyn cowboys. It's nice to feel both the beat and the emotion from the numbers, and again, the mix of melody and harmonies make this disc well worth listening to. www.thedryheaves.com

Oy. No press included on this disc; his website isn't up to speed yet; he doesn't mention who plays on the disc, and I've got a deadline, damn it! That said, Sculisi seems to aim for a mid '80s MOR sound, part clean, Rick Springfield-type rock, part heavy-metal big-hair ripping-guitar leads kind of sound. Personally, it's not my cup of tea, as those kinds of bands never really grew on me. But is he successful? Well, this is where it gets a bit gray, as the songs seem to fall behind the beat, dragging, like when you get out of bed too early after a late night. Technically, the instrumentation is fine, but the songs lack inspiration, lack that feel of spontaneity and fun that make music, um, happy. "You Don't Have To" is a pretty good rock ballad that sounds like it could have come off a GnR disc, and is probably the best cut on the album. www.sculisi.com

As "Come Over F/Tori Fixx," the first cut on the disc comes out of the speakers, the Prince influence hangs in the air like too much cologne. Yet, unlike that analogy, there's nothing wrong with too much of a good thing. And as the title suggests, this is an alternative hip-hop experience, and not your run-of-the-mill stuff. There's a nice groove to many of the songs, more R&B and soul than hip-hop, or at least outweighing the latter. Marcel takes a more minimalist approach than some of his hip-hop contemporaries, and what is played is well thought out and well placed. A number like "The Morning Song" is more of an acoustic ballad, and again, the debt owed to Prince is quite large. But it's a lovely song nonetheless. My only complaint is several songs had a nasty midrange scratching that came through in both speakers and headphones, leading me to believe I got a bad disc. Let's hope so, as this disc shows promise. www.thegallerycircle.com

If you put on a disc and it positively rages, chances are it's on the Roadrunner Records roster (God bless 'em). The latest is no slouch, as this time they mined the clubs of Alaska to find another heavy rocking outfit. Alaska? Could be the freezing weather makes the band angry and play fast. In any event, there are the requisite features of the heavy bands, the screaming vocals, machine-gun drums and bass, heavy-hitting guitar, but the band actually provokes more interest when they tone things down, or are in transition between the lighter parts and full-bore machinations. Frontman Brock Lindow has an urgency in his voice and emotes well (when he's not screaming), guitarist Steve Holt plays some wicked lines in addition to the big chords, and bassist Mick Whitney and drummer Thomas Noonan deposit a solid foundation. "An Agreement Called Forever" shows the maturity in their songwriting abilities, without resorting to rage until late in the number. www.36crazyfists.com

If you're waxing nostalgic for that big-hair rock of the mid-'80s, wipe the tears from your eyes, as Atello are here as your heavy-metal savior. Though the genre is often parodied, several listens to this disc reveal a band that invests way more time in practicing their chops and writing songs than picking out the proper mousse. The songs don't lay flat, incorporating a good deal of melody that, in concert with the hard-charging rock, lead to a big thumbs up. Vocalist Larry Atello has a bit of a Vince Neil sound to his voice, without too much nasal whine. Guitarist Paul Danni's playing is deceptive in that it's very good and very clean, but when raunch is needed, he's there. The rhythm section of T. Motts on drums and R. A. Heiss works well together (though don't ask me why they use initials in place of first names). If a song like "Dirty Mind" doesn't convince you that the band can write and play well, it's time for you to switch over to AM radio talk shows. www.atello.com

Along the lines of Linkin Park come the Poptart Monkeys, mixing crush grooves with dynamic shifts in the music, going from soft to hard in a heartbeat. With just a contact sheet, I head over to their website for more info, only to click numerous times and get nowhere. Web design flaws aside, I really grew to like these guys, maybe because they use hooks in the choruses that make the songs fun to listen to. Apparently the raging metal stuff is on the decline, and bands once again are finding the value of melody (seems that way this month anyhow). Despite the kabuki makeup and a parental advisory for lyrics on the cover that might indicate screeching profanities galore, the boys actually are more on the pop side, as on the radio-friendly "This Trip." While "Voices" shows a funkier rock edge. A good mix of tunes. www.poptartmonkeys.com

Two demos adding up to eight songs from this NYC bar band. The style is straight-ahead rock and roll, no gimmicks, no studio tricks, just songs that could find a home on several different radio stations. In the photos, singer Russ Caputo looks like Scott Stapp from Creed, but his voice doesn't have that metallic twang to it, and is instead slightly gruff, yet capable of a harder edge when needed. While bassist Jeff Miller and drummer David Di Nino provide an adequate backdrop, it's the guitar work of Wagner Previato that really seems to move the songs from simple demos to something bigger. One of the demos is from '99, the second more recent, allowing for a glimpse of how they've progressed, and the difference in tightness and sound is substantial, almost to the point of sounding like two different bands. Good news for the listener is the new stuff really cooks. Now, if they could only get a full-length CD together.... www.shadenyc.com

Let's save the best for last this month. Great name, and perhaps the funniest press I've ever read concerning a band. Suffice it to say that the original members of the band played together for 19 years, then recruited new members to carry the torch (kind of like the pirate in the movie The Princess Bride). The good news is they're raunchy like the Dictators were, humorous, as song titles like "Do-able Mommies" and "My Little Rugburns" would lead you to believe. And they just plain out rock. You'll also be treated to a good dose of lead guitar, something which has been on the endangered species list as of late. And though the songs deal mostly with some aspect of sex (and the stick figure with the boner on the liner is worth the price of admission alone), it's the music that pulls me. Raunchy rock and roll, loose and tight at the same time, it's a blast, and well worth hunting down. www.tequiladave.com