Works
on
Blue:
Live
at
the
9:30
Club,
Washington,
DC
"The
music
and
mood
during
the
set
actually
sent
shivers
up
my
arms.
It's
been
a
while
since
live
music
has
done
that
to
me
-
but
I
suspect
the
energy
of
the
crowd
combined
with
the
band's
non-attitude
was
so
clean
and
pure
that
it
left
me
with
something
almost
tangible.
Works
on
Blue
gives
off
a
great
power
groove
feel
for
the
swaying
type
-
and
the
intensity
of
the
performance
was
overwhelming.
The
band
definitely
subscribes
to
today's
alt-rock
stylings,
but
it's
not
generic.
The
drums
are
more
inventive,
the
bass
is
funkier
and
more
elaborate,
as
is
the
guitar-work.
They
closed
with
a
real
rock-and-roll
song
that
built
itself
up
further
and
further
until
the
climax,
which
reinforced
the
band's
strength
and
stamina
as
a
unit.
I
felt
as
if
I
were
being
treated
to
"the
next
big
thing."
And
let
me
tell
you,
I
really
hate
when
writers
use
that
phrase,
but
the
English
vocabulary
is
too
short." -
Scene
Works
on
Blue: Opinions
"I
caught
this
Pennsylvania
trio
on
their
recent
west-coast
tour
and
was
suitably
impressed.
The
immediate
comparison
is
to
an
early
U2,
with
a
few
disclaimers
-
no
anthems,
singer
John
Frazier's
vocal
abilities
far
outshine
Bono's
and
Works
have
balls!
Their
debut
album,
Opinions,
captures
virtually
all
of
these
qualities;
only
the
sweetness
of
Frazier's
tones
seems
to
have
been
occasionally
misplaced.
There
agian,
his
guitar
work
more
than
makes
up
for
it;
from
a
jangle
worthy
of
the
Edge,
onto
delicate,
shimmering
leads,
finishing
with
a
psychedelic
power
of
his
own.
The
bass
and
drums
are
equally
adept.
Like
all
great
albums,
each
of
the
songs
shines
with
a
glow
of
its
own,
some
with
a
punky
edge,
others
with
an
almost
Celtic
strut,
some
are
quietly
intense
ballads,
others
are
outright
rockers.
Favorites
will
be
chosen
on
mood
alone,
because
there
isn't
a
filler
to
be
found." -
Alternative
Press
Works
on
Blue: Straight
To
My
Head
"A
weird
sound
that's
hard
to
pigeonhole
(to
say
the
least).
On
"Big,
Brother"
the
guitarist,
who
also
provides
the
vox
(he's
John
Frazier,
btw)
moves
from
floaty
Main-type
guitar
frippery
to
thunderous
primate
chords
to
squealy
distortion
that
would
make
Robert
Poss
proud
to
chink-chink
strumming
to
Van
Halenish
solo
squiddling
to
an
ending
of
Hendrix-styled
wah-solo
weirdness
that
segues
into
the
next
song.
The
scary
part
is
that
it
actually
flows
pretty
seamlessly,
no
small
feat;
theoretically
it
shouldn't
be
possible
to
roll
so
much
stuff
into
one
style,
but
Frazier
somehow
manages
it.
Must
be
a
sharp
guy... This
disc
holds
the
promise
of
an
intriguing
future."
-
Dead
Angel
WORKS
ON
BLUE:
DISCOGRAPHY
and
MP3s