Sequencing is a vital task for record producers. Draw the listener in, keep him interested and sustain the momentum to a rousing conclusion.

The opening salvo of the leadoff track takes care of the first part of that equation on the new album by Bill Toms and Hard Rain. Bill delivers an infectious guitar riff that screams, "We mean business!" The full band kicks in to reinforce the message, paving the way for a tune so well-constructed that it has the listener singing along midway through his first spin of the disc.

The song is "Another Round for the West End Kid," and the album is named "The West End Kid." Its official launch by Bill and his band will be during a CD release party at 9 p.m. Saturday, Oct. 22, at Cefalo's, 428 Washington Ave., Carnegie.

The album is the fourth by Bill Toms and Hard Rain, or the fifth, if you count Bill's solo album, "One Lonesome Moment." Not only does "The West End Kid" pack a wallop right from the beginning, it manages to sustain the pace through nine well-crafted compositions. (Or 10, if you count the bonus jam from the opening track provided as a two-minute treat at the album's conclusion.)

Bill creates a landscape for the album that ties in closely with his Pittsburgh roots. As he told me, this is a city that really lends itself to inspiration for songs, and that influence comes to the forefront on "The West End Kid."

"Another Round," for example, portrays the plight of a boxer who's well past his heyday - the album is "in memory of Perry Petrone, the real West End Kid" - and features lyrics that make no secret of the locale: "In a steel town you do what's expected/ No one here has high expectations."

The album abounds with characters written into the songs, with references to everyone from Frankie and Caveman at Paige's bar, to Jane the secretary, to Betsy, "who's only 16, there's darkness in her soul." The net effect is to help convey the gritty realism of Bill's lyrics by helping the listener identify with the situations presented. (Springsteen comparisons probably are inevitable, but this album stands on its own merit without reading too much of other people's work into it.)

The playing is stellar throughout; as is the case with Bill himself, many of the guys in his band also are members of Pittsburgh mainstays the Houserockers. Speaking of which, Joe Grushecky co-produced "The West End Kid" and does a guest spot on the upbeat rocker "She Takes Me Home."

And speaking of production, the album's sequencing carries the listener through a stylistic rollercoaster, showcasing the band's versatility. The roar of the opening track meshes into the catchy, if melancholy, sax obbligato by Phil Brontz on "This Is Nowhere." A subdued drum shuffle by Joffo Simmons leads off the next track, the relatively quiet "I Was in Love With You," in which Bill draws effectively from the Dylan-Knopfler school of vocals.

Then it's time for heavy riffs again, with the epic "I Don't Live There Anymore," which features an extended jam that shows just how much this band can cook. From there, it't time to explore a bit of country blues (musically, at least) with "Satan's On My Shoulder (Jesus Ain't Nowhere in Sight)," with guest Marc Reisman on harp. Then Joe Pelesky's piano provides a funky lead-in to the R&B-flavored "I'll Take My Pride."

Bill shares one writing credit on the album, with guitarist-singer Tom Breiding (from Peters Township) assisting on "In the Paradise," a song that would be right at home on one of Tom's own albums.

"I'm Walking With An Angel Tonight" closes out the proceedings (besides the jam coda), with Jill Simmons providing backing vocals on a highly atmospheric piece.

Whew! That all makes for a heck of a journey, and I'd recommend that anyone who likes good music - particularly of the homegrown variety - take it with "The West End Kid."

Bill Toms and Hard Rain: B.T., vocals & guitar; Tom Breiding, guitar & vocals; Joe Pelesky, keyboards & vocals; Art Nardini, bass; Phil Brontz, saxophone; Joffo Simmons, drums; Bernie Herr, percussion