If the title doesn't indicate a certain goofiness, then a quick listen will. Mix the music of a bunch of youngsters out of North Carolina with former Squirrel Nut Zipper sax man Ken Mosher, and you have one of the most interesting pop gems to cross this desk in a while. The kids blend Beach Boy harmonies with Queen and ELO-type arrangements, shifting gears from angry bombastic pop to hippie-like freedom in the blink of an eye. Another song may show a db's influence, or some '60s outfit from across the pond. The CD is a success for many different reasons. One is the anticipation of what's coming next, another is the youthful exuberance, and yet another is the serious degree of musical integrity exhibited. Given the fact that they're all young twenty-somethings (except for old man Mosher), their future should be a lot of fun to chart. www.b-sidesrswell.com

There's an interesting mix of soul, jazz, and trippy acid on this disc, without any clutter or overproduction that might prove distracting for listeners. Maybe the grooviness is due to the healthy use of a Fender Rhodes (and I'm a sucker for that sound – lugging them is another story). But first and foremost you have to contend with Lydia's vocals – and there is nothing wrong with her pipes at all, as she turns on a dime from breathy jazz phrasing to soul queen, hitting all points in between. The title track, which wavers from jazz to a reggae-influenced verse, is a cool number that just seeps out the speakers. Even a number like "Moon & Stars," with a clipping electronic thing going on, and Bomshot doing a rhyming rap, seems at home. If you're looking for something cool and refreshing, try a Hyptonic straight up. www.hyptonic.com

From the soft underbelly of the rock machine comes an offering from Boston's Reed Dickinson, who built his own studio, and then, surprise, cut this disc. And for fans who prefer the lighter fare like Al Stewart, Kenny Loggins, and the like, Dickinson's disc (careful if you say that five times fast) will fit right in. It'll take the edge off a caffeine buzz, with jangling acoustic guitar work, the occasional lead guitar, and a carefree tambourine shaking in spots. When he shares vocal chores with Kris Delmhorst, it's like a folk Sonny-and-Cher thing. Kris has the better voice of the two. Dickinson's voice is a bit nasally, though it would fit right in on a Celtic CD. But it's not offensive, and the songs, surprisingly, grow on you, like "Happy New Year," which for some reason reminds me of the Hollies. If he strengthens his voice a bit, his material will shine a little more. www.reeddickinson.com

Damn, it's the second song and I am in love with Rose. Her voice is at once rough and sweet, sexier than a 900 number, and blows away any female vocalist I've heard lately. She possesses a growl like Marianne Faithful, yet can quickly move from that to a dusty country singer-type drawl, and then off to an upper register Prince falsetto. If a song like "Good Man" doesn't turn you into a fan of Rose, check your pulse. It's a slow country ballad, with Rose sounding pensive yet hard edged, singing the tale of a bad relationship, blowing harmonica a la Dylan, as a pedal steel plays beautiful fills in the background. Later on in the disc, the country thing becomes more prevalent, and Rose and company sound like the bitter side of Lone Justice. When the last few songs slow down in tempo, it's like a sunset or curtain going down. A beautiful disc from start to finish. www.sanctuaryrecordsgroup.com

The Maryland-based quintet has released a double-live CD set (ah, I remember double-live records) that showcases their bright and up-tempo rootsy rock. Quite similar to bands like Dave Matthews or Phish, the endless jamming of the songs are showcased in a live environment, where jamming tunes sound best. There's the requisite frantic strumming acoustic, the chink-chink reggae chording of the electric, the heavy bass that walks, the snapping snare, and that saxophone that wanders all over. Come on, you know the sound, yes? And though bands like this aren't my cup of tea, I'd rather listen to them than DMB, since his nasally voice gets to me. The boys in O.A.R. are also younger, and as such, play a lot faster. And like the Grateful Dead, they have an open policy regarding taping at live shows, which accounts for their huge fan base. That said, if you're a deadhead, or fans of the jamming stuff, this double-disc set will do you righteous. Wicked cool website too. www.ofarevolution.com

Say, didn't this guy used to be in Bauhaus? Yeah, that's him. Murphy kicks off 2002 with the release of Dust, a trance-filled disc that mixes bits of rock with chunks of Turkish sensibility, resulting in a disc that, while not remarkable, is quite good. Though on the first track, Murphy waxes poetic in a soft speaking voice, on other numbers, his voice wails, sounding like a cross between Iggy Pop and David Bowie. And with the average track time around seven-and-a-half minutes, there's more than enough time to zone out, while you think of Middle-Eastern themes, open-air bazaars, camels, and so on. The lineup features renowned percussionist Mercan Dede, and the driving beat of the drums account for a large part of the trance feel. Though the disc is not for everyone, it's nice to get lost in a haze and just veg out from time to time. www.metropolis-records.com

Though I had a good chuckle with the title, there's nothing funny about the music. The boys from Toledo, Ohio rage on, always ready to go faster and louder with guitars heavy. Similarly, the vocals make the switch from quiet (well, relatively) to all out screaming. And you might hear a Pantera influence, or shades of Rob Zombie, but these guys are better than average when it comes to the rage metal, in part because they don't spend their whole time banging away. "Perfect Woman," for example, starts out as a spooky, almost reggae surf-sounding tune, before the heaviness sets in. And chances are, it's that variety that's going to interest you, as the nonstop full-bore approach doesn't always work. And sure, they do the scary lyrics thing, but for stuff like this, lyrics are almost an afterthought. www.lollipoplustkill.com

It's not often you hear a cello on country songs. In fact, that'll get you arrested out West. Well, maybe not, but Hillman manages to squeak a cello in on "Silver's More Pretty Than Gold," the opening cut on his latest CD. It's a bleak country landscape according to Hillman, who sounds like a reticent Dwight Yoakam throughout this release. And though the tunes may sound like a cowpoke crying in his beer, they have a redemptive quality that makes them endearing. Call it alt country, or country on the fringe, but this ain't what goes for country nowadays (which is more glorified pop combined with Cats-like showmanship). And if it sounds like I'm rambling, that's exactly the effect the disc will have on you, as its moodiness rears and drops its head, swooning like the aftershocks of a busted romance. The minimalist instrumentation works like a charm, and Hillman can pat himself on the back for this effort. www.theshq.com

Hailing from Brooklyn via New England are Carltonfisk with a rather strange mix of tunes. Take "Janeane," for example, a power-pop number that harkens back to acts like the Records, and has every line ending with an "een" sound. Or try "Please Michelle," which starts off with just acoustic guitar and vocals, and then bounds up a few notches as the electric guitars start pushing things around, with a Cars-like synth in the background. Or, hey, how about "Famous on the Moon," which has a more mainstream alt rock tinge to it. And don't forget the 45-second throwaway "Demi-god of Thunder," which doesn't merit description. Idiosyncratic and quirky, they seem to be searching for an identity. When they close the disc with the hectic "Allellu, you/a Prayer," they veer more toward the punk sound of southern California. www.cfisk.com

As the first song gets underway, a lead rips through, and I'm thinking this is going to be another shredder album. But hold on to those snap judgments there, mister. As Hale's voice fills the air, and the song gets bigger and bigger, there's a sound like early Bowie, and the groove kicks in. Well, not real early Bowie, more like around Station to Station. And in that respect, the searing guitar lines fit in, the keyboards build up, the drums flail like crazy, and dang if I don't like what I'm hearing. Hale hails from Miami as of late, and he and his band mates have recorded a diverse disc, and one that grows on you the more you listen. And like Bowie, there's a varied approach to songwriting, though Hale leans toward the theatrical rock side of things. Really a refreshing disc, and worth seeking out. www.transcendence.com

The band is Jon Schlesinger and Ken Dolman, who met in LA back in '98. Laying down tracks after hours at a studio led to performances at coffeehouses, and soon, voila, as the French say, the disc, she is here. Predominantly acoustic in nature, it's not your typical folk-flavored disc. Rather, the songs are propelled by an undercurrent of Velvet Underground influences, with light electric guitar work enhancing the strumming, up-tempo drumming pulsing the numbers, and slightly raspy, sleepy vocals laying on top of it all. The use of a banjo is a nice touch, giving it an Appalachian flavor in spots, and likewise the use of a lap steel gives it a hint of Americana. But this music is rock and roll, just channeled through a lot of acoustic instruments. Though an electric track like "Back to Ohio" sounds along the lines of Wilco, they're more successful when they stick to the acoustic flavor. www.nonorth.net

This is probably the happiest, peppiest disc to come this way in a while. A bright mix of '70s soul and funk, with shades of '80s Brit pop, plus the occasional nods to jazz and Latin rhythms. Singer Nicole St. Clair Stoops has a pleasant voice that meshes quite well with the disco grooves the band pumps out, as on a cut like "Downtown," which pulses and pushes and begs for a mirror ball. There's a lot of instrumentation going on here for a four-piece outfit, including keyboards and horns and bongos (oh my), and even a visit from a bassoon. But the production is seamless, and the songs flow as easily as water out of a pitcher. The band alternates styles over the 11 numbers. For instance, a tune like "Where Have I Been," is a moody piece, in the vein of a rock ballad. But they manage not to make the diverse styles clash at all. www.charmingpop.com

Get any thoughts of a sugary orange-flavored drink out of your head, because this trio, dare I say it, kicks ass. Bonnie Parker has an edgy voice, one that can be soothing, but is most often on the aggressive side, at times screaming, snarling and just plain screeching. Along with bassist Parker is guitarist Denny Colt, who plays guitar as good as she looks (and she's no slouch in either department). And drumming like a bat out of hell is Steve Werner. Though at times you might think L7, this trio barrels along on its own, and owes nothing to nobody. They rage, but they also manage some pretty harmonies, like on "The Illumination," which begins heavy and clipped, and finds the talk/singing vocals as if it were coming over a cheap AM radio. The chorus finds Colt and Parker singing together, and before you get too comfortable, Werner enters pounding the lugs off the kick drum. Rock on, I say. www.tangrocks.com

If you think the disc title is weird, you should see the picture on the front of the disc. Heh heh. This foursome out of Texas play a punkish power pop that is as infectious as it is fun to listen to. The CD contains ten songs -- two in the three-minute range, one fiver, and the rest all under three minutes. So the songs fly by with hardly enough time to get acquainted. But with successive replays, you will learn to love them, as I did. A song like "Something New" sounds like the Beatles' "Here Comes the Sun" done by Blink 182 or Weezer, and you just can't help smiling and bopping your head along with it. "Falling Off the Edge of the World," begins slowly and quietly, but soon explodes in distorted guitars, yet the vocals still shine through, and "January Stars" shows a Brit influence, almost XTC in quality. 30 minutes of pure fun. www.cherryblossomclinic.com

A quick look over the press kit and photos on their web site and you wouldn't think these guys could rock it up. Hell, they look more like your average joe than metal aficionados. But rock they do, in a '70s Black Sabbath or Rainbow kind of way, yet sufficiently sped up. And though the production is a little crowded in spots, and heavy on the midrange, you still manage to feel a ton of energy through the speakers, and chances are, these guys put on a hell of a live show. "Student of Misery" sounds like it could be an anthem for the longhair brigade, though the lyrics are a bit serious, dealing with a kid who goes on a shooting spree as he says, "Yes, I know that it's wrong but I don't care, what can you do to me. Yes, I know that I'm young and I'm a straight A student of misery." A pleasant surprise. www.ruderooster.com

Another in a series of metal/hardcore bands, but there is something about these lads from Massachusetts that make them more appealing than the bulk of acts such as this. Maybe it's that they don't rely as heavily on the hardcore aspect of the music as much as the metal bits. Oh sure, there's enough bloody-throat screaming to please any fourteen year old, but they seem to pull back more often than not into melodic stretches where the vocals aren't hoarse, and the guitars aren't just playing chords in quick staccato beats. Vocalist Jesse Leach has a great sounding voice when he's not doing the Satan impression, and it always makes me wonder why bands like this don't go the metal route instead, since the talent is there. Nevertheless, this is one of the better outfits if you like the heavy stuff. Brutal as it may be in spots, there's equal amounts of beauty to be found. www.killswitchengage.com

The 12 songs here could be called smart pop, as there's a lot going on. I mean a lot. By the third track, "There There," I felt like an epileptic in front of a strobe light. That's not to say I was having a bad time though. Despite the profundity of noises, beep, whoops, and myriad other background sounds, the duo of Thom Soriano and David Nagler churn out some heady numbers, but there are those that are relaxed as well. "I Got Lucky," for example, begins sparsely, with simple finger-picking on an electric. Soon a snare drops by, and midway it erupts like an XTC number. A tune like "Hey Carol" has a bright, They Might Be Giants feel to it, and dang if "Horse Song Part 1" doesn't remind me of Joe Jackson. All in all, it's an impressive if busy disc, sounding in spots familiar yet fresh. www.novasocial.com

Mix a little R&B with an alternative sound, and chances are you'll end up with a sound similar to Maroon5. The opening cut, "Harder to Breathe," is a funky-charged number along the lines of Lenny Kravitz, while the tune that follows, "This Love," has an almost Leo Sayer saccharine quality to it as it bounces along. Part of that comes from the vocals of Adam Levine, who is a bit whiny in spots. At other points, the whine turns to more of a metallic soul sound, though at neither point is it annoying. "She Will Be Loved," shows the softer side of the band, as the ballad weaves from minor to major chords, and Levine goes for the falsetto. "Tangled" sounds like a Backstreet Boys cut with one instead of five vocalists, but benefits from not sounding like overproduced bubble-gum pop. Funky fresh from start to finish. www.maroon5.com

If I dropped this disc in the player and fired up "World of Hurt," you'd probably say, oh, that's Bonnie Raitt. And though Raitt makes an appearance on the disc, it is Chapman singing, and she does a fine job. Perhaps better known for her songwriting (she helped pen "This Kiss" that Faith Hill took to the bank, and four other #1 hits), Chapman's voice is soothing relief for the ears. There are other guest spots, including John Hiatt, Vince Gill, Emmylou Harris, and John Prine, to name a few. And you don't get that kind of talent unless you've proven yourself (or have tons of money). But back to the music. "Soothing" is the word of choice to describe the music, as this would be the kind of disc to play when you have the day to yourself, and nothing to do but sit back and let time pass. And that would be a great day indeed. www.bethnielsenchapman.com

Howie Statland is the driving force behind this band, and you may remember him from Thin Lizard Dawn or the side project Low Flame. In any event, Statland writes rock songs along the lines of Paul Westerberg, the kind of ditties that can be either off the beaten path, or so full of hooks they stick in your head and refuse to leave. The sound here is edgy as well – guitars are often distorted, but not pushed so far in the mix as to inundate the listener. And Statland's voice can project emotions, anguish in "The Letter," bitterness in "Empire of Doubt (Wine and Roses)," or just plain cynicism as in "Pick & Choose." The good news is that it all clicks together. This is one of those rare rock discs in which each song is different, yet the whole package is a cohesive unit, allowing the listener to appreciate the difficult craft of writing a rock song. www.nycsmoke.com

With all the variety and crossover in musicland lately, you might wonder why no one ever culls the ranks of the jazz fusion movement of the mid '70s. Well, either Frogg Cafe are ahead of the curve or mired in the past, since their music sounds like a cross between Jean Luc Ponty and Frank Zappa. And sure, the mere mention of fusion rock can give you the shudders, even if you grew up loving it. But Frogg Cafe seem to persevere despite the potential associations with the genre. Their disc, while not something I'd rush out to buy, is a good example of the style. Phrases are established, repeated; someone takes a solo, and so on. FC also add in vocals, drawing comparisons to art rock groups like Yes, King Crimson, and Gentle Giant. This disc is probably geared more for the musician than the general listener, since it's kind of hard to dance to 11/8 time. Anyway, check them out. www.froggcafe.com

Listening to the band, you get the sense they tested the waters on a variety of styles, including hardcore, punk, and metal, and then stepped back ever so slightly, maintaining elements of all. You'll hear hooks galore, from the power-pop/emo spectrum. You'll hear fast, hard-charging chord changes from the Southern California punk school; you'll hear those violent, throat-ripping screams from the hardcore, and so on. The admixture of styles coupled with a relentless energy make for an interesting listen, though in some respects it's almost too much to take. On one hand, you can appreciate the blend of styles, the youthful enthusiasm, the melodic twists and turns. On the other hand, you want them to just relax, and calm the hell down. But kids will be kids, and I'll give them credit where credit is due, as they can kick it out. www.finchmusic.com

In the press kit, the band is described as "a sax-driven, energetic band for dancers, drinkers, farters, orgasmers and ninjas." And that's a good tip-off that they don't take themselves too seriously, or have aspirations of limos and crew sluts galore. Rather, there is a tongue-in-cheek sense of humor, a kind of disregard for potential criticism in their desire to just have fun. Just plain fun. I think that's what they're aiming for, and I think they hit the mark nicely. These aren't the kind of guys to mousse up their hair and sneer into a camera for a press photo; they're more likely the guy on the next bar stool who cracks you up, and then excuses himself to play a set for forty minutes. With song titles like "School Bus Bully" and "Sex For Fun," you're not getting Dylan or Springsteen, but the music is good; they can play their instruments, and they're funny. So there. www.fatcityexpress.com

What a great way to end the month. If you rode a Harley, didn't take shit from any one, drank beer, BNS would be your type of band. They rock hard, heavy metal, no frills, no gimmicks, no screaming, just balls-to-the-wall rock, man, and I'm digging it. You'll even hear dueling lead guitars reminiscent of Lynryd Skynyrd. And where are they from? Syracuse, of course. Where? Yep, that ain't a typo. And they have three, count 'em, three guitar players, so the sound is thick. But the guitars are not so thick that they obscure the vocals, or muddy up the mix. Rather, the production is great. It's the kind of disc for which you keep inching up the volume, and it keeps sounding better and better. If you're looking for that heavy-metal cure to ease your musical state of mind, look no further, BNS are your band. www.brandnewsin.com