I'm a sucker for good funk, and, literally, after a few seconds of the first cut, with a guitar chunka-chunking away, I am sold, and looking forward to the ride. Though today's youth may not be familiar with bands like Tower of Power or Sly and the Family Stone, this group is aware of the canon of work in the vaults, and carries on the tradition. From Kansas – yes, Kansas – comes a band that hits the grooves in an old-school way. I say that only because there are moments of scratching, though not enough to overpower the thrust of the music. What you do get is a solid attack of funk and R&B, a good mix of up-tempo rippers and laid-back slinky groovers. On "What Does It Matter," for example, you get an intro of record scratching with a guy scatting in the background, before the funk comes crashing in, distorted electric guitar chords contrasting with the horns, while bass and drums are locked tight together. A good disc to carry you through the summer and beyond. Too much fun. www.tbtstw.com

In the nine songs on this disc, you can hear the influences, however subtle, of old glam rock, old garage rock, even a tinge of the grunge thing, but this band is first and foremost about writing good songs, plugging in, and playing them loud. Guitar (Joe Penna), bass (Alex Emanuel), and drums (Brian Ertel), no frills, no exuberant effects, just straight-ahead rock and roll. And, as such, there's a rawness that pervades, that in-your-gut attack one gets from a powerful trio. Vocals are of the emotional type, as if the singers (Penna and Emanuel) actually believe the lyrics they are singing. And how often does that happen nowadays? "Goliath," which clocks in at just over two-and-a-half minutes, has an urgency to it, with a nice melodic twist in the chorus that might make you think of Paul Westerberg. While the longest cut, "Chemikalian," begins slowly, building a hypnotic feel before eventually giving way to some wrath. A good solid effort from what I am sure is a great live band. www.transitbelle.com

"Dis is dat guy!" I said out loud, when I learned from his website that Ippolito has been staking out a place in Central Park for years and years, singing and playing his guitar. For this studio effort, his fifth disc, Ippolito presents 11 tunes in a style somewhere between Jimmy Buffett and James Taylor. It's folky, squeaky clean, and though it's tough for me to admit to having a softer side (being a cynic for years will do that), I found I was able to spin the disc with little discomfort. The musicianship is solid; the arrangements good, and Ippolito's voice, though bothersome to me (and that's a personal problem I have; don't let it get in your way) is clean and clear, like a young JT. Ippolito even ventures into blues country with "Singin' in Central Park," and that's about as uptempo as things get. The title cut is the strongest, a comfortable song with some good movement, and bolstered by mandolin and accordion. For the headbangers out there looking for something on the quieter side, check out www.davidippolito.com.

With a logo that's lawsuit close to Jack Daniels', I expected southern rock along the lines of Lynyrd Skynyrd, Molly Hatchett, or the like. And, sure, the title cut delivers that, a swaggering number – you can almost feel the redness on your neck. Yet by the third track, the band is slowing things down – a bit too much – with a five-plus-minute tune that seems to drag. And while there were expectations that the band would just open up and cut loose, more often I was listening to introspective ballads, songs that felt like they were bogged down in some mud, and just couldn't get up and deliver. Oh sure, "Whores" woke me up, as it opens with a chunky riff and keeps on giving, but for most of the disc, it didn't happen. And that's a shame, because the production is great. Everything's clear and punchy, no instrument overshadowing another, and the players are all good. See for yourself at www.charlienice.com.

TC, the vocalist/frontman for this band, really enunciates his words. I make a point of saying that because after listening to the disc for a while, it really started getting to me. Similar to an actor singing on stage in a Broadway musical, or going way back, Ian Anderson of Jethro Tull, it's a minor thing, but, hey, that's what I write about. Minor annoyance aside, the band has an interesting approach to songs, in that the members don't seem to want to follow the current trends of corporate or punk rockers and produce a glossy, packaged product. That said, they bounce around stylistically from song to song, with a variety of influences shaping each number. On "Not a Moment Too Soon," for example, TC's chameleon-like voice shifted from Jon Popper to Steve Perry to Eddie Vedder, as the band belted away in the background. A song like "Over and Over" has a decent hook in the chorus, while "Kurt's Song" is a peppy, melodic radio-friendly cut with a Stones influence. www.contacthigh.biz

As vocal enormity goes, bands like the Beach Boys or Queen spring to mind, at the least, for their layering, and at times, for their harmonic and melodic movement. PRB seem to want to thrust the vocals out in a similar way, dense, as if there is no one singer with a strong set of pipes to create an identity. Musically, their arena is more like Todd Rundgren or the Tubes, where the musical roadmap is a bit more varied and exploratory than your average 1-4-5 blast. And while it sounds like they're onto something, it almost feels as if they are not quite there yet. They seem to be trying to balance the line between comical and serious (and I could be wrong on that point), unsure of which way to tack. And while musically the sound is lush, and there is quite a bit going on, it is hard at times to maintain focus. "It's a Really Happy World" might remind you of songs the Partridge Family cut in their garage (remember?), replete with cartoon noises weaving through. Overall, an interesting disc, more so for imagining where they could go on the next one. www.pushingredbuttons.com

Here is a strong studio gem, one where vocals come and go in varying strengths, where the songwriting is solid and interesting, and the instrumentation is all over the road. Put it all together, and you've got a disc that just kept me smiling the more I listened to it. "The Last Time I Felt Alive" has a CSNY vocal layering to it over what sounds like a lullaby, while "We're a Tag Team" has a '60s garage-band sound to it. "Greetings From Dubai" starts out funky before vocals pile up and a harmonica solo finds its way in midstream. The opener, however ("All Your Kitchen Ghosts"), provides a glimpse of where the band can really take things next. A big-production number, there are glimpses of the Beatles in both melody and arrangement, and yet it sounds surprisingly fresh. In fact, the more I listened to this, the more I was impressed by the depth of the songwriting and production, and if "Dog Out of Water" doesn't make you giddy, then, well, I don't know what to tell you. Right here at www.thecolorbars.com.

The disc's title might throw you off, and it's too easy to take cheap shots at it (like "...and destined to stay that way," for example), but simply put, Bekay is a white Jewish rapper out of Brooklyn. And chances are he gets comparisons to Eminem too many times to count, but I have to admit, the kid has fire. I mean, I'm not nuts about the profanity, and having some guy rap about getting his dick sucked, well, there are more creative wordsmiths out there. But, hey, the parental advisory is there, so you've been warned. As far as the music goes, Bekay has a good sense of timing and beats, and his rap is fast and furious. On "My Bitches," he alternates, "I think I love you bitches, I think I hate you bitches," which may sound misogynistic at first, but after Bekay catalogues a variety of types and celebrities, it rings more toward the confusion he is experiencing. Similarly, "Hip Hop Is Killin Me" addresses the conflict between the pure, unadulterated stuff and the generic, radio-friendly variety that is mired in its own commercial ways. The big question is why a label hasn't picked him up yet, as the tracks here show a serious talent. Be advised though, that the website, www.bekayrap.com, will drive you nuts.