Jim Price
Moderator
Joined: 07 Dec 2002
Posts: 4817
Location: Altoona, PA
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 Posted: Tuesday Sep 09, 2008 |
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WEEK/WEEKEND RECAP 8/18/08 PT. 2
METAL MASTERS TOUR w/JUDAS PRIEST/HEAVEN AND HELL/MOTORHEAD/TESTAMENT @ POST GAZETTE PAVILION, BURGETTSTOWN 8/16/08
I had this date circled on the calendar for most of the summer, as the Metal Masters Tour was coming to Post Gazette Pavilion (“Star Lake”) near Pittsburgh. On paper, this was a metal fan’s dream line-up; featuring Judas Priest, Heaven and Hell (the Ronnie Dio-fronted edition of Black Sabbath), Motorhead and Testament.
My road trip contingent came together during the week, and was ready to depart town for the show by 2 PM. Shawn the wheelman, the brothers Mitchell (Grant and Brian) and yours truly did a pre-concert chicken feast at the Ebensburg KFC, before proceeding westward to the venue. We were riding open-air in Shawn’s jeep, and sitting in the back seat, I got pummeled by air currents through the entire trip…Well, at least until we reached Pittsburgh’s Parkway, where traffic slowed to a crawl twice for Penndot road construction.
The Penndot-related gridlock delayed our arrival, and by the time we had driven back to our section of the lot (remote outpost section N, somewhere near the Ohio border), Testament was already under way, and we decided we weren’t going to rush our way to the ticket gate just to get inside to hear one song. So we kicked back a few brews, and entered Post Gazette Pavilion once we heard Motorhead starting their set.
By the time we cleared the ticket window and entrance gate security, and proceeded to the front of the already crowded lawn area, Motorhead was several songs into their set, and just finishing up “Killers,” following with “Metropolis” and “In the Name of Tragedy,” which featured a Mikkey Dee drum solo. Next, the legendary Lemmy introduced “Going to Brazil,” before the group fired into the song I most anticipated hearing, “Killed By Death.” Out of this, Phil Campbell fired off a guitar solo, before Motorhead slammed into their ever-famous “Ace of Spades.” Coming out of this, Lemmy introduced the other band members, before growling to the audience, “Don’t forget us…We’re Motorhead, and we play ROCK AND ROLL!” Motorhead then closed out their set with “Overkill,” which ended with Lemmy and Phil positioning their instruments against their amps, hitting their final chords and cranking the amps up for a cacophony of distortion that rang out for several moments until a road crew member silenced it. It was typical Motorhead doing what they do best, kicking ass and taking names with their straight-ahead brand of gritty, high-velocity rock. Lemmy talked minimally between songs, and when he did, he made it count with his gruff voice and wit. Motorhead still kicks it, and they left the Post Gazette crowd cheering and satisfied.
Motorhead (taken from the front of the lawn area).
Motorhead’s Lemmy in front of cheering fans.
The one and only Lemmy Kilmister.
Phil Campbell of Motorhead.
Mikkey Dee of Motorhead.
Again, Lemmy.
Again, Motorhead.
The rest of my concert travel entourage, Shawn, Grant and Brian. Grant and Brian are obviously Motorhead fans!
After Motorhead’s set, we headed into the concession area to visit the rest room and perhaps procure a beer. In a story I’ve already mentioned numerous times, I was waiting outside the men’s rest room for the rest of my entourage, when area musician Phil Claar spotted me and we began chatting. After a few moments, Phil asked what section I was sitting in, to which I replied lawn. Phil reached into his pocket and presented me with a pit ticket for four rows back from the front of the stage! Phil said he had bought a pair of tickets for his wife and him to attend, but she was unable to go to the show, so he brought her ticket along to present to the first deserving person he ran into. I was that lucky person! Thanks again Phil!
Excitedly, I went to the ticket area and obtained my pit bracelet, before making my way down front to my new seat. I would get to see Heaven and Hell and Judas Priest from four rows back, the closest I had ever been to the front at this venue – incredible!
Soon the lights dimmed, and Heaven and Hell went into action on a darkly-lit stage adorned with various winged gargoyles, claws holding crystal balls and a metallic backdrop. The Ronnie James Dio-fronted inception of Black Sabbath; Dio, guitarist Tony Iommi, bassist Geezer Butler and drummer Vinnie Appice opened with “E5150/Mob Rules,” and the crowd went wild! Ronnie Dio next introduced “Children of the Sea,” followed by “I” off Dehumanizer. Next was one of the songs I most looked forward to hearing, “Sign of the Southern Cross,” which led into a Vinnie Appice drum solo, into “Time Machine.” Ronnie then introduced another classic off Mob Rules, “Falling Off the Edge of the World,” which featured an extended Tony Iommi guitar solo. This was followed by “Die Young.” At this point, if you can believe it, I heard some tool a few rows behind me yell out “Free Bird!” Heaven and Hell fortunately did not oblige that request, instead finishing out their set with what else? – “Heaven and Hell!” As the group departed the stage, the audience roared for an encore, and Ronnie and the group soon returned to do one more, “Neon Knights.” Dio still has the voice and ability to command the audience at the age of 66; he still delivered great range and power, and was reverent and respectful to the appreciative audience. The rest of the group was very much on their game. Geezer Butler looked a little nervous and stiff, but his bass work was solid alongside Vinnie’s booming rhythms. And Tony Iommi showed he is still a riffmaster, but also impressed with his solo work, particularly on the lengthier epics. It was an excellent performance, and this group appeared happy and gracious to be performing in front of the Post Gazette crowd.
Ronnie James Dio of Heaven and Hell.
Again, Ronnie James Dio of Heaven and Hell.
Geezer Butler of Heaven and Hell.
Ronnie Dio in front of one of the onstage gargoyles.
Again, Geezer Butler.
Geezer Butler and Vinnie Appice of Heaven and Hell.
Once again, Ronnie James Dio of Heaven and Hell.
Once again, Geezer Butler of Heaven and Hell.
Vinnie Appice of Heaven and Hell.
Again, Vinnie Appice of Heaven and Hell.
Continuing his drum solo, Vinnie Appice.
Heaven and Hell.
Tony Iommi of Heaven and Hell.
Once again, Heaven and Hell.
Again, Ronnie James Dio.
Again, Tony Iommi.
Setting off some pyro, Heaven and Hell.
Yet again, Geezer Butler.
More Heaven and Hell.
Even more Heaven and Hell.
When they exited the stage for the final time, both Geezer Butler and Tony Iommi walked along the front of the stage and tossed guitar picks out to the fans up front. Although I was four rows back, I was one row too far back, and several picks feel just short of my outstretched hands. I looked around on the floor, but whatever picks that landed on the floor didn’t remain there long.
After about a half an hour intermission, the lights again dimmed, and a backdrop displaying Nostradamus with moving and glowing eyes lit up. Guitarists K.K. Downing and Glenn Tipton, bassist Ian Hill and drummer Scott Travis started into the opening combination from Judas Priest’s new album, Nostradamus, “Dawn of Creation” and “Prophecy.” Shortly into the latter, Rob Halford emerged onto the upper rear level of the stage platform, decked in a shining metallic robe and holding a staff with the Priest trident on the end. Out of this opening salvo, Priest segued directly into “Metal Gods,” which brought a loud response from the crowd. Judas Priest proceeded through songs from throughout their catalog, including “Eat Me Alive,” “Between the Hammer and the Anvil,” “Devil’s Child,” “Breaking the Law,” “Hell Patrol” and “Dissident Aggressor;” before slowing things down for a number off the new CD, “Angel.” The group dramatically picked the tempo and firepower back up with “Hellion/Electric Eye,” following with “Rock Hard, Ride Free” off Defenders of the Faith, and “Painkiller” to close the set. The crowd wasn’t done yet, and loudly and quickly started howling for the encore. Soon a motorcycle engine could be heard revving, and Rob Halford soon rode onto the stage on his motorcycle, leading Priest into a rendition of “Hellbent for Leather.” The group then followed with “Green Manalishi” to close the first encore. The Post Gazette Pavilion again loudly demanded more. This time, Halford returned to the front of the stage and started leading the crowd on a vocalizing singalong, parading back and forth as he rallied the fans to sing back to him. After a few moments of this, the rest of Priest again returned, and the group kicked into the last number of the night, “You’ve Got Another Thing Coming.” As Judas Priest closed this song and their performance, the band members ran back and forth between the front of the stage and their elevated rear second stage level; one of the last things I witnessed as the show drew to a close was K.K. Downing raising his white Flying V above his head and kissing it. Priest was strong throughout the set, bringing full power and metal majesty to each song. Rob Halford still showed a good voice, although I noticed that he and Priest didn’t do either "Beyond the Realms of Death" and "Victim of Changes," hinting that extended high notes might not be as automatic for him as they used to be. Downing and Tipton were on the mark on their guitars, both delivering stinging solos and combining for some great dual guitar harmonies. It was a masterful set as only Priest can deliver it, and it blew me away enough that I shelled out some money for a Judas Priest T-shirt afterward.
The only downer of this night happened after the concert, when I arrived first back at Shawn’s jeep to discover that somebody had broken into it and ransacked all valuables from it. The stolen items included my notebook and notes about shows that I used for my Pennsylvania Musician and Rockpage write-ups, along with our beer cooler, a knapsack containing $70 worth of blood pressure meds that Brian had just purchased the day before, and a few other items. (We think the thief or thieves may have been some bootleggers or ticket scalpers who were casing the parking area shortly after we and other concertgoers arrived in this section; while they were trying to hawk bootleg shirts and other stuff, they might also have been noting potential cars to rip off while everybody was inside.) I was still so elated with getting to see Heaven and Hell and Judas Priest from in front of the stage that the theft didn’t leave me upset for long.
Theft notwithstanding, this was still an excellent concert experience, and I’m glad I was able to witness it!
The Nostradamus backdrop (with moving eyes) at the start of Judas Priest's set.
Rob Halford of Judas Priest as he first appears during the opening combo, "Dawn of Creation/Prophecy."
Again in his robe, Rob Halford.
Performing in front of the Nostrodamus backdrop, Judas Priest.
Rob Halford and Scott Travis of Judas Priest.
K.K. Downing of Judas Priest.
Scott Travis of Judas Priest.
K.K. Downing and Glenn Tipton of Judas Priest.
Again, K.K. Downing of Judas Priest.
Again, Rob Halford of Judas Priest.
Showing full dome, Rob Halford of Judas Priest.
Once again, Judas Priest.
K.K. Downing and Scott Travis of Judas Priest.
Making full use of the stage area, Judas Priest.
More Judas Priest.
Rob Halford arrives on his motorcycle for the start of the first encore, and "Hellbent for Leather."
Glenn Tipton and Ian Hill of Judas Priest.
Again, Rob Halford.
Glenn Tipton of Judas Priest.
Again, Scott Travis.
Again, K.K. Downing.
Once again, K.K. Downing of Judas Priest.
Once again, Scott Travis of Judas Priest.
Yet again, K.K. Downing.
Here's a goofy Rob Halford facial expression as he leads the crowd in a singalong before Priest's second encore.
Again, Rob Halford.
Yet again, K.K. Downing.
More Rob Halford.
Once again, Rob Halford.
Yet more K.K. Downing.
Yet again, Scott Travis of Judas Priest.
K.K. Downing and Rob Halford.
K.K. Downing and Scott Travis.
Instigating the crowd singalong, Rob Halford.
One more time, Judas Priest.
THE HALLMARKS @ OUR LADY OF MT. CARMEL POLISH PICNIC, LILLY 8/17/08
To cleanse my soul after watching/hearing bands called Judas Priest, Heaven and Hell and Testament just hours before at the aforementioned Metal Masters Tour concert, I spent this Sunday doing a church festival mini-tour.
Actually, that wasn’t my initial game plan. I had planned to go see The Conniptions perform at a festival in Blairsville, but got too late a start and had to abort those plans. I remembered that there was some live music entertainment advertised at the annual Our Lady of Mt. Carmel Polish Picnic in Lilly. I was especially interested in seeing Pop Harker’s Raging Slagg, a band I had not seen in years; but they had just finished prior to my arrival, and local polka favorites The Hallmarks were performing under the pavilion. So I stuck around and watched them. (Only in my world can I go from watching Motorhead, Heaven and Hell and Judas Priest to watching a polka band within a 24-hour span!)
While I enjoyed the picnic’s halupki and pierogies, I watched The Hallmarks do their thing. Featuring Lawrence and Larry on trumpets, Joe on saxophone and clarinet, John on drums, Stan on accordion, keys and vocals and Bernie on bass and vocals; The Hallmarks triggered some lively dancing with their repertoire of polkas, waltzes and obedeks. But they also stepped outside the polka realm to do nice work on a number of pop, jazz and early rock’n’roll standards, including Glenn Miller’s “In the Mood,” Willie Nelson’s “Always On My Mind,” Dion’s “Runaround Sue” and more.
The Hallmarks’ performance was tight and together, and their horn section was kicking it up nicely! These guys looked like they were having fun, and the largely older audience was appreciating their efforts.
So yes, I wrote about a polka band. Let that be a warning to ya…Someday, one too many political jousting threads will push me over the edge, and it will be ALL POLKA JP’S CORNER! I swear I’ll do it!
The Hallmarks, entertaining at Our Lady of Mt. Carmel’s Polish Picnic.
The Hallmarks’ horn section; Lawrence, Larry and Joe.
A special guest joins The Hallmarks.
Stan and Bernie of The Hallmarks.
FLOOD CITY BRASS @ ST. BERNARD’S CHURCH FESTIVAL, HASTINGS 8/17/08
After departing the Our Lady of Mt. Carmel picnic, my church festival mini-tour excursion brought me to the annual St. Bernard’s Parish Homecoming celebration in Hastings, where Johnstown’s Flood City Brass was closing out the festivities.
I attended this event for the first time last year. I remembered three things about last year’s visit; an absolutely great hot sausage sandwich, Flood City Brass’ fun and feisty performance, and…rain. Last year’s heavy rains resulted in Flood City Brass performing in “St. Bernard’s creek” running under the tent, and I remembered feeling a bit nervous as some of the creek “tributaries” were meandering close to where the electrical wires and plugs were sitting. To address this situation during the off-season, Father Thaddeus at St. Bernard’s constructed a modular platform stage for the group to play on.
Flood City Brass put that stage through the workout, as they delivered three exciting sets of brass-flavored 60’s, 70’s and 80’s classics. Flood City Brass had a slightly different look this night, with guest Dave Nichols filling in for Josh Covert on guitar alongside bassist Andy Heinze, drummer John Homerski Jr. and keyboardist Luis Gonzales; and guest trumpet player Matt Barabas and trombone player Paul Walker joining saxophonist Jen Shuty and trombonist Jim Bilitski. The group kicked off their first of three sets with Spencer Davis Group’s “Gimme Some Lovin,’” and continued with favorites from James Brown, Sam & Dave, Van Morrison, Loggins & Messina, Stevie Ray Vaughan, Jimmy Buffett and more. Highlights during this set were numerous, as singer Tom Pavic cranked up the soulfulness on renditions of James Brown’s “I Feel Good” and Sam & Dave’s “Soul Man,” and brought the swagger on “Just a Gigolo.” The horn section was kicking it up nicely as well on Van Morrison’s “Domino,” The Casinos’ “Then You Can Tell Me Goodbye,” and the set-ending rendition of the Ides Of March’s “Vehicle.”
That horn section continued to tear it up to start the second set, bringing the fire on the Sanford Townsend Band’s “Smoke From a Distant Fire,” before funking out on Average White Band’s “Pick Up the Pieces.” The group continued this set with tunes from Bruce Springsteen, Four Tops, Tommy Tutone, Wilson Pickett, Wild Cherry, Van Morrison and more. More highlights abounded, such as Tom’s convincing David Clayton Thomas vocal on Blood Sweat & Tears’ “You’ve Made Me So Very Happy,” guest Jaime Dubetsky (The Critics) stepping up to sing lead on the Joe Cocker variation of “The Letter,” and another strong horn section work on the set-closing rendition of Chicago’s “Beginnings.”
Although Flood City Brass was doing a good job and not battling adversity from the weather elements this year, they did find themselves competing with a loud PA announcer who started announcing gift basket winners towards the end of this set. I could see band members looking skyward as they heard the tinny PA speaker blasting out.
Flood City Brass threw in a different twist to kick off their third set, launching into a 70’s disco medley that fused together K.C. & the Sunshine Band’s “Shake Your Booty,” “That’s the Way I L:ike It” and “Get Down Tonight.” The group then shifted into funky mode with Sly & the Family Stone’s “Dance to the Music,” during which John drummed out an “Innagaddadavida”-like solo display. John’s brother, Tim Homerski, then joined the group on backing vocals for “Ain’t Too Proud to Beg.” Flood City Brass continued with Stevie Wonder’s “Superstition,” before slowing it down for Billy Vera & the Beaters’ “At This Moment.” Another guest, Night Train frontman Don Duriez, joined the group onstage to sing lead on the Doobie Brothers’ “Long Train Runnin,’” before the group closed out the performance with John Cafferty & the Beaver Brown Band’s “On the Dark Side.”
As expected, it was another fine and fun display from Flood City Brass, as the group brought energy, soulfulness and smoking musicianship throughout all three sets. Dave Nichols sounded perfectly at home on the guitar front, and the slightly altered horn section was together and bringing the heat. The St. Bernard’s crowd’s cheers were constant throughout, and a few folks even cut the rug during the course of the show. Flood City Brass was such a hit again at St. Bernard’s that they’ve already been booked back for next year’s Homecoming. And I wouldn’t be the least bit surprised if I find myself returning to see them at this celebration next year.
Flood City Brass.
Tom Pavic of Flood City Brass.
Luis Gonzalez of Flood City Brass.
Again, Tom Pavic of Flood City Brass.
Jim Bilitski of Flood City Brass.
Again, Flood City Brass.
Tom Pavic of Flood City Brass with special guest Tim Homerski.
Once again, Flood City Brass.
The Flood City Brass horn section.
Guest Jaime Dubetsky (on right) sings with Flood City Brass.
Once again, Tom Pavic of Flood City Brass.
Flood City Brass keeps the party going.
Guest Don Duriez sings some Doobie Brothers with Flood City Brass.
Again, Don Duriez.
Dave Nichols, Matt Barabas, Jen Shuty and Jim Bilitski of Flood City Brass.
Filling in on guitar, Dave Nichols.
Matt Barabas and Jen Shuty of Flood City Brass.
Once again, Flood City’s Brass: Matt Barabas, Jen Shuty, Paul Walker and Jim Bilitski.
RISE PHOENIX RISE @ PELLEGRINE’S, ALTOONA 8/17/08
Following Flood City Brass’ performance, I ended up chatting with several northern Cambria music scene members, and comparing notes with a fan wearing a Motorhead shirt procured at the previous night’s Metal Masters concert. Eventually I got on the road back to the ‘Toona, and arrived at Pellegrine’s in time to catch the last set of the night from Rise Phoenix Rise.
Not surprisingly, the cast of singer Gibson, guitarist Chris Bishop, bassist Ronnie Williams and drummer Rob Hampton quickly had a contingent of folks congregated and grooving in front of the stage as they fired off tunes from Sublime, Bon Jovi, James, Lynyrd Skynyrd, Metallica and more. Highlights during this last set included the group’s freewheeling, uptempo take on Oasis’ “Wonderwall,” and a medley that started off with Deadeye Dick’s “New Age Girl” and Gary Numan’s “Cars” before shifting into several unexpected directions.
What I heard sounded good, and again Rise Phoenix Rise demonstrated strong musicianship, plentiful energy and a knack for the unpredictable; not staying in one place musically for long and throwing caution to the wind. The Pellegrine’s crowd again enjoyed it, and it provided a good close to another weekend.
Ronnie Williams and Gibson of Rise Phoenix Rise.
Gibson of Rise Phoenix Rise.
Ronnie Williams of Rise Phoenix Rise.
Chris Bishop of Rise Phoenix Rise.
JP’s HAIKU
Metal Masters Tour
Judas Priest, Heaven and Hell
Four rows from the stage!
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