I spent a lot of time at the Pennsylvania Renaissance Faire when I was a younger -- and less married -- man. Despite my fondness for swordplay and Shakespeare, much of the stagecraft grew old over the course of a season, as the actors settled into routine and the "improv" became less inspired. But the thing that would always draw me near was the music, and the band that always captured my ear was Double Indemity, an energetic quartet (or sometimes quintet) led by singer Carl Asch. Alas, that band's members parted some time ago under less than amicable circumstances, and their fans grieved in the aftermath.

Fortunately, Asch (who also plays whistle, guitar and a handful of other instruments) and singer/percussionist Lynda Kavy partnered up with sometimes bandmate Gary Mazzu (guitar, whistle, mandolin and vocals) and singer/fiddler George Klepac to form Empty Hats.

Anyone familiar with Double Indemnity will recognize this new incarnation, particularly because of Asch's aggressive, growly lead vocals. The enthusiasm and the tight arrangements are still there and, since the band seems eager to experiment a little more with new sounds and guest musicians (there are nine of them on this recording), I might be persuaded to say the breakup of Double Indemnity wasn't such a bad move after all.

It's a good album overall, but there are a few standout tracks -- beginning with the first one, a forceful rendition of "The Night Visitor's Song." Kavy takes things down a bawdy road with "The Widow & the Devil" before Asch leads a few punchy rounds with the "Blind Fiddler" and "Dunnenkirk & the Gypsy." On the quieter side, Asch sings a tender version of Andy M. Stewart's "Fisherman's Wife."

There is only a handful of instrumental sets here, but each is top-notch. The finest among them is a rollicking "Temperance Reel/Tam Lyn."

Maybe I've been living too long with the ghosts of a defunct band. It's been a long time coming, but Captured has convinced me that change ain't always so bad after all.

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