"Geode" is defined as "a roughly spherical rock mass containing a cavity lined or filled with crystals that have grown unimpeded and so are frequently perfectly formed." And now, "Geode" is also the Phoenix Rising debut for The Recipe, a harmonic, poetic, improvisational albeit well-structured mix of percussive bluegrass, Cajun and psychedelic folk-rock.

    "Geode" is as bracing as a cool breeze blowing off the Appalachian Mountains of West Virginia that spawned the primal, earth-loving acoustic roots-rockers. Each of the set's 10 selections has its own sparkle like the varied crystals of the album's namesake. The opening tracks -- "Real Wilde Cinema," "Honeybee" and "Cajun Rose" -- seem to chronicle the more than professional relationship of founding lead vocalists Joe Prichard and New Orleans-raised Kristen Wolverton by zeroing in on the music of their Appalachian and Cajun homelands. Then there's the chamber music class and folk-blues charm of "One Day Away from the Cusp," the bluesy, funky Janis-meets-Aretha-in-New Orleans voodoo of "Witch Hazel," the bluegrass-driven, drummerific "Pinwheel," an eco-anthem about our ailing relationship with Mother Nature; the haunting "For Houdini," the down 'n' dirty romance of "Stardust Lovers," the beautiful, family-themed, '60s-inspired folk of "The Garden" and the aggro-delic, Jefferson Airplane-like epic "The Seed."

    The band's dynamic harmonies and rootsy instrumentation previously were heard on 1996's "Love Marble Hoe-Down" and 1998's "Night of the Porch People." But rather than continue with the live sound captured on those self-released efforts, Wolverton, Prichard and original percussionist Tom Wheland and longtime drummer Gregg Lowley took a strong new lineup into Erie, Pa.'s Midtown Recording to make a great studio album.     With Fiddler Hannah Ross, her mandolin-banjo playing little brother, Amos, and Mike Vitale, who'll soon be replaced by The Recipe's 14th bassist, the band unearthed some of the year's best music that's as entertaining and fun as it is environmentally, spiritually and politically conscious. In support of "Geode," The Recipe has been cookin' on the road since its late September release and will continue to do so through the new year. Many of the acts they'll have played with along the way came together in August for the Family Cookout, a festival in The Recipe's hometown of Morgantown co-organized by Walthers Productions, a longtime supporter of the band.     To learn more, visit www.therecipe.com or the fan site, www.porchparty.com. In the meantime, enjoy this chat with Wolverton and Ross.

How many members of the band originally are from West Virginia and how did those who aren't get there and together with the band?

    Wolverton: I'm from New Orleans and everybody else in the band is from West Virginia. I went to school at the University of West Virginia and graduated with a BFA, which is a Bachelor of Fine Arts or a 'big fuckin' attitude' in theater. I joined The Recipe after my junior year in college. I never knew where it was going to go. I just knew that it was going to be a great job, better than graduate school, and I was going to be able to do something with my performance degree. I was in a punk band and I would usually go home over the summer. But that summer I stayed, got a job and hung out at Terrapin Station, which is this little bar in Sunnyside where they do open mics. I hooked up with Joe one night, and we went out to Cooper's Rock and wrote song called 'Party People in a Can.'

Is that where the Porch People came from?

    Wolverton: No, that comes from everybody from West Virginia being an outdoorsman. Everyone in West Virginia really appreciates the outdoors. Everyone parties on their porches all the time. People would rather sit outside on their porch than inside.

Comment on how the dynamic male-female harmonies set the band apart.

    Wolverton: Everybody thinks I should be the lead singer, but I was put on this earth to create harmony. My sister trained me when I was 2 years old. She would sing a line and say, 'OK, now sing this a third above me.' For some reason at 2 years old, it clicked in my mind that that's what I was supposed to do. I like being the harmony person. Joe's voice is so unusual. He can do so many things with it, almost like stunt vocals and go off in left field. We just give each other a lot of room to be strange.  

I also love the combination of traditional Appalachian and Cajun music either played straight or mutated with Jefferson Airplane-like aggro-delic rock.

Comment on your creative process, how you blend the roots music of your Cajun and West Virginia homelands with psychedelic rock.

   Wolverton: I'm part Cajun so I just channel that. I wait for the energy in the universe. I'm a conduit and feel what's going on when the words come and the melodies and harmonies just come together. It's different every time. Sometimes a song just hits us. Sometimes Joe will come in with a melody or Hannah will. Or someone will play a lick in the van. Touring is insanity. It's like you're in a little tin box on wheels for 18 hours at a time. You've got to find some way to amuse yourself. That's where this song 'Lingerie,' which is a new song, came from. Everybody really liked it. We were driving to Nantucket. I got this dirty limerick flowing and Amos was playing the mandolin and singing this song, talking about underwear. What else are we going to do on the road...

Compare the results of that creative process on 'Geode' to your first two albums, particularly the more folky, acoustic-oriented 'Love Marble Hoedown.

    Wolverton: We wanted to go into the studio and try some new things. We tried to do something different. All our albums have been really different. I love the first one because it's so primal and there was some real backwoods magic in that CD. We just laid down a really cool sound and I really liked that. The second was more grassy, more weird, out there. The third one we tried to go for a more mature approach. Joe produced the album (with engineer Randy Heatherington). We just went about it different because it was for a label release. I think with the next one, we'll go back to being immature. At least I will. I think we'll do a comedy album. I'd love to put a secret tape recorder in the van and catch everything everybody says. We have a lot of fun with one another. Despite all the crazy things we've been through, the laughter flows like wine and it's wonderful.

   You seem to have become more of an equal singer-songwriter partner with Joe on this record.

   Wolverton: I've got a lot to say at this point in my life. Everything's changing, relationships are changing. I'm seeing things differently at 26. Every day, I see the world opening before my eyes. Everything is influencing me. If I have something to say, I say it. That's what my job is here on this earth: to observe and comment.

    I have this book, "The Secret Language of Birthdays." May 18th is labeled a day to establish activism, which means I have to say what I have to say even if it's not what everyone wants to hear. That's the punk in me too.

So would you say you're becoming more political?  

Wolverton: I don't know maybe. I think a lot of things are horrible. We're making decisions in our political process that have me worried because everyone is so issue-oriented. You have to be one thing or the other. It's very strange. I believe in more than two political parties. The way Ralph Nader was treated was disgraceful. To be not even allowed into the debates when he bought a ticket, that's not fair at all. He should have at least been allowed to attend. But money talks and bullshit walks.

I love the way the idealistic 'Garden' goes into the epic, conscientious 'Seed' to end the album. Comment on what inspired those songs.

   Wolverton: 'The Garden' was written by me and Joe and Joe's brother-in-law, John Yoak, and his sister, Stacie. John wrote most of the lyrics. The four of us were hanging out a lot, playing a lot of music together. Joe put on his capo, I sang the first line and John took it from there and wrote the rest of the words. It's just basically a reflection of family and how very important it is to not neglect your people.

    'The Seed' is our tribute to Jefferson Airplane. We just wanted to go with something very far out and it hit us one night at rehearsal. We wanted something hard-hitting and electric. I was like, 'I'm getting tired of all this hippie shit,' being a punk-rocker at heart.   

How does the crystal Geode apply to the album title, the band's music and the band's lifestyle?

    Wolverton: On the outside, the Geode looks like an ordinary rock but you bust that sucker open and it's the most beautiful rock, just perfect. It takes my breath away every time. You look inside and see every crystal, all the colors and different textures, the way they sparkle in the light. I think it's very spiritual. I think Geode rocks are very powerful.

Does the band use crystals?    

    Wolverton: I do. No one in the band doubts the power of the earth and the gifts the earth can give you. I definitely believe the earth is religion. It makes sense to me. I have a friend, Stephanie, who makes necklaces from Geodes. Every time I wear one, I feel such clarity.

Kristen, you,  Joe and Tom are the only original members of the band. How have lineup changes helped with the band's progression and chemistry, particularly Hannah replacing Mark Rapson and Joe back in the lead guitar spot playing what seems to be more electric guitar?

   Wolverton: It's had a great deal of impact. It's taught us how to have tolerance, taught us to be quick on our feet, very patient.

Hannah,  what 'Geode' song and pre-'Geode' song do you enjoy performing most and why?

    Ross: I like so many. They're so different, so many different styles. But I love bluegrass. I grew up playing bluegrass so I like 'Real Wilde Cinema' a lot because it's bluegrassy so it goes back to my roots. But then I like to do 'Seed' because it's totally different. I haven't done anything like that before. I can get out there and put a bunch of effects on my violin. I also like 'One Day Away from the Cusp.' I wrote an arrangement for a classical string quartet for that.

Are you a student of classical music?

    Ross: In college, I studied a little classical music, but I grew up playing fiddle music. That's why I like 'Affected Specimen' a lot from the second album because it's a real hoedown but then the middle part goes real crazy and get to do all this space stuff. It makes me stretch out to make sounds I've never before on that instrument. It's fun.

How does it feel to have stepped into a project just as it's taking off?

   Ross: I love it. I've seen the band grow for the last year and a half. It's encouraging to be making progress.

How did you get in the band?

    Ross: The bass player and I went to school together. He knew I played fiddle. He was auditioning for the band at the same time they needed a fiddle player so he mentioned me. I definitely admire all of them for sticking through the struggle in the beginning. I don't know if I would have. Violinist are not into that kind of thing too much. I admire everyone in the band for sticking around that long and making things happen. I'm glad they did so I can here now with them.

Being from West Virginia, how do you feel about playing the live radio show 'Mountain Stage?'

      Ross: That should be a lot of fun. I played it with my family when I was young. It was really nice so I'm looking forward to it.

Your family had a band?    

    Ross: Yeah, The Ebeneezer String Band with my Mom and Dad and my little brother, Amos, who's the banjo/mandolin player in the band now. He came in as a guest on 'Wilde Cinema' and 'Pinwheel.'

You are on a rather extensive tour. How did the lineup changes impact on your preparation?  

    Wolverton: They set us back a bit. Joe did all the teaching of the tunes to the new guys. He's tired of it. This band has gone through 13 bass players. I feel bad for Joe because it's been a nightmare for him. But this is our life and it's what we love to do. We never waiver. That's my new catchphrase for the week, 'Never waiver.'   

While the band's great and makin' some serious waves, it's still pretty tough to be able to afford touring so extensively at your independent level. How are you able to do it?

    Wolverton: We don't get paid very much. Every bit of what we have has to go to the band, to the van for repairs. I never realized how expensive it is keep a band on the road. Keeping merchandise in stock helps. We get to make enough and tour enough to sustain our business. We do have help from family members if we  get into a tight fix but they get paid back. We're hoping to get to the point where we have a life outside the band. Right now, there's not much else outside of that.

What do you think of Phoenix Records and what they've been able to do with the band?

   Wolverton: They've been getting us lots of national airplay and in Europe. We've been selling CDs steadily in Europe for three years. In Italy, we've sold quite a bit.

Do you think you'll tour overseas?

    Wolverton: Not yet. Phoenix wants to hook us up with that. Hopefully in the next year and a half, perhaps with another Phoenix band.

How did you hook up with Walther Productions and how have they been a big boost to the band?

   Wolverton: We were the first band from Morgantown to go to over to Baltimore when no one else would go. We went for $50 five or six times. That was when we were still pretty much all in school. Those shows were for Tim Walther. We went over there opening for Solar Circus (now Juggling Suns) and Stash, a Phish cover band (now focussing in originals as Cousin Fungus). Everyone seemed to really dig it. That was the first big market that we blew up in. It was a lot of fun.

    Tim's helped us out a lot. He's put us in a great deal of his festivals. He helps us keep our merchandise in stock. He's done a lot of negotiations for us with label people and potential managers. He's a really, really key piece to The Recipe puzzle. He's also our financier.   

Comment on the Family Cookout, how it came together, where it's going and why it's good for your band and the entire jam band scene.

   Wolverton: We mainly choose the bands to go on the Cookout. We like to have a lot of local flavor to our festival. We try not to bring everybody in from all over the place. There's a lot of bands we're friends with from West Virginia so the festival is going to stay right in West Virginia. We'd like to keep it a West Virginia thing.

    We just wanted to do a festival and felt it was time to do our own. We wanted to bring everyone to our house. After a real long time of going to everybody else's house, it was time to come to our house and have a good time  

Comment on the Porch People and what they bring to the band and the jam band scene, particularly in the way that they help with grass-roots promotion?   

Wolverton: They're the best. Everybody who comes to The Recipe's shows is a Porch Person, but there's this hard-core group of people. When they come to shows, they make everyone feel welcome. They came to our Halloween show and went out and bought a bunch of stage decorations and put them up with ours. They're the friendliest people I've ever met. Many of them have become really close friends. They put up fliers, run a website called porchparty.com, hold discussion groups, have meetings before Recipe shows either to party or have dinner. They are not exclusive and everyone is invited. That's what I really like about them. They're good people.

   How much have the Porch People grown since the release of 'Geode and the tour in support of it?

   Wolverton: Lots. It's nice to be welcomed in places we've never been before with 'I've been listening to you guys for three years. It's great to finally get to see you.' That's really neat.