Jim Price
Moderator
Joined: 07 Dec 2002
Posts: 4817
Location: Altoona, PA
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 Posted: Sunday Jan 18, 2004 |
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WEEKEND RECAP 12/8/03
BACKDRAFT @ THE HITCHING POST, ALTOONA 12/4/03
I suppose that stranger things have happened.
How often does it ever happen that this town’s three most prominent blues-related bands – Felix & the Hurricanes, Fat Vinny & the Wiseguys and Backdraft – are all playing in the ‘Toona on the same night? On a THURSDAY night, no less?
That was the scenario on this Thursday night. The Hurricanes were at Peter C’s, of course. Fat Vinny & co. were at the Clubcar Café, and Backdraft was at The Hitching Post. Any local blues-rock fan could take their pick(s) of the three, provided they weren’t spooked by the ominous weather forecast for a winter storm developing overnight. For me, the choice this night came down to the band out of the three I had seen LEAST recently. I saw The Hurricanes the previous week; I saw Fat Vinny in late August, but I hadn’t seen Backdraft since the Lakemont Park Wing-Off’s in July, before bassist Tim Kelly departed the band. So I decided to see what Backdraft was up to at The Hitching Post.
A small, but friendly and receptive audience was in attendance as I entered The Hitching Post and procured my first foamy brew, shortly into Backdraft’s first set. With veteran Altoona area keyboard man Harry Young taking over the vacancy left by Tim’s departure, Backdraft showed me this night that they are indeed very much back to full strength. As the night unfolded, I discovered that Harry not only capably replaced Backdraft’s bottom-end sound, but his colorful keyboard flavors also fleshed out the sound more, and his vocal abilities contributed to some nice two- and three-part harmonies throughout the night.
Harry, frontman/guitarist Brian Cupples and drummer/singer Phil Harpster displayed some swagger this night, and definitely had their groove on. The trio smoothly ventured between classic rock, blues, funk and country; opening the night with Toby Keith’s “I Love This Bar” before gearshifting into the Tom Petty double-shot of “Running Down a Dream” and “Mary Jane’s “Last Dance.” Phil handled the low-end vocal duties on War’s “Low Rider,” before Backdraft slowed it down for Chris Isaak’s “Wicked Game,” accentuated by Brian’s smooth guitarwork and Harry’s mood-establishing keyboard flavorings. The group then dug into the back of the rack for “Taildragger,” which featured some solo keyboard fireworks from Harry, before the Cream double-shot of “Sunshine of Your Love” and “Crossroads” sent the night into its first intermission.
The quote of the night belonged to Hitching Post main man Butch. As Backdraft retook the stage and was about to begin their second set, Brian urged patrons to get another beer and tip the wait staff, because, “The drunker you get, the better we sound.” Butch responded, “The drunker we get, the better Altoona looks!”
With that, Backdraft kicked off Round Two with Ronnie Earl’s “I Wish You Could See Me Now,” again digging a bit deeper to recognize music from an obscure blues artist the mainstream hasn’t heard of. Phil then fronted the group on Greg Kihn’s “The Break-Up Song,” and the group powered their way through a muscular version of Buddy Miles’ “Them Changes.” Backdraft then recognized another lesser-known artist, performing Robben Ford’s “Prison of Love.” The group followed by pulling out their first original song of the night, “Let Me Love You;” it was interesting to hear how Harry’s keyboard work added texture and depth to the song. This smoothly segued into Buddy Guy’s “Let Me Love You Baby.” Backdraft continued with Jonny Lang’s “Rack ‘Em Up,” and – according to Brian, a song “…Gone from the charts but not from your hearts” – Stevie Wonder’s “Superstition.” The group continued with another lesser-known artist, doing a song by Ray Combs, before finishing their second set with some Texas blues via Storyville’s “Blind Side.”
Backdraft was in good form. Brian’s voice is back to 100%, showing no signs of the throat problems he endured last winter. He, Phil and Harry were clearly three musicians operating on the same page; each blending with and complementing the other two. Their arrangements were lean and tight, but stylish and sassy as well. You could easily tell that this trio was having fun and enjoying their time onstage this night.
And I again enjoyed Backdraft’s eclectic songlist, as they mixed it up nicely between classic rock and blues favorites, R&B, funk, soul, country, honky tonk, and originals. And I always like Backdraft’s sense of adventure as they pull out the deep cuts and obscure names, seamlessly working them into the fabric of their overall presentation.
The group’s third set jumped off to a rocking start with Robin Trower’s “Day of the Eagle,” with Harry singing lead. Then we witnessed something probably not done on Altoona live music stages since at least the 60’s – a Zombies double-shot! Backdraft performed “Time of the Season” and “She’s Not There,” inspired no doubt by one lady who rose from her bar stool and started maniacally dancing to the Zombies tunes, and loudly praising Backdraft for performing them! The trio then ventured back into country territory, doing Brooks & Dunn’s “Neon Moon;” and started celebrating the holiday season with the Eagles’ “Please Come Home for Christmas.” Backdraft then pulled out their second original song of the night, the midtempo “3-Hour Trip.” A little early-70’s soul followed with Bill Withers’ “Use Me,” before Backdraft did their popular fast boogie original, “Gotta Go.” The group continued with Stevie Ray Vaughan’s “Pride and Joy,” before ending the night as they started it, reprising Toby Keith’s “I Love This Bar.”
The first snowflakes of what would eventually be a foot’s worth of precipitation were just starting to fall as I left The Hitching Post. But it was not bothering me; I was feeling good, inspired by Backdraft’s fun and feisty performance. This band is back and firmly into their groove; if you haven’t checked them out lately, you owe yourself the pleasure of catching Backdraft’s updated line-up when they hit a stage near you.
Their neon sign says it all…
Brian Cupples of Backdraft.
Phil Harpster of Backdraft.
The new guy, Harry Young of Backdraft.
Again, Brian Cupples of Backdraft.
Again, Phil Harpster of Backdraft.
BALISTIC/TRAUMATIC @ PETER C’S, ALTOONA 12/6/03
The season’s first big snowstorm had dumped a good foot of wet snow on the region the day before, and prevented me from catching any live band activity on Friday night. Now on Saturday night, the area roads were still largely a dicey proposition for anyone wanting to check out bands in our fair town. But they were still manageable enough for me to trek across town to Peter C’s to catch Balistic’s first visit to town in over 8 months.
As I arrived at Peter C’s, I was dismayed to see that not too many other people were braving the roads this night, and attendance was light. But I was pleased to see the debut of a new area band onstage this night, Traumatic, who were opening for Balistic and underway as I arrived.
This was a case of a new local band appearing virtually out of nowhere – I had no idea this band even existed prior to this night! (And local music guru that I am, it’s rare that a new local band comes along that I don’t know or hear at least something about!) A five-piece band together just three months, Traumatic features former Broken Neck bassman Bill Rickard, along with vocalist Jason, lead guitarist Scott, rhythm guitarist Shawn, and drummer Don. Traumatic effectively mixed nu-metal favorites with a number of impressive original tunes. Jason was full-force, intense and feral as he snarled and barked out the voice on Marilyn Manson’s “The Beautiful People,” Fight’s “Little Crazy” and Drowning Pool’s “Bodies; he was taking his game to the floor in front of the stage and sinking full intensity into his performance. And Jason and the rest of the band unleashed maximum beast on aggressive, dark, power-metal originals like “F**kaholic,” “The Way I Am,” “Til I Die” and more. Traumatic received a good response from the fans who were present; this set sent the message that a new metallic force had officially arrived on area stages, and that Traumatic will be a force to reckon with in the coming months.
The intermission allowed Balistic and soundman Rick Ramsey to get things ready to go. Balistic unveiled an intriguing dark backdrop onstage with dark angels, gargoyles and other interesting scenery. Soon, the sound of Beethoven’s 5th could be heard playing through the sound system, and Balistic was set to start.
Balistic opened the first of their two sets with the thundering original “Though the Gates.” As before, it was interesting to hear how Balistic’s older original songs have evolved since frontman Mark McNelley’s addition one year ago; and how his higher vocal range has added a new dimension to Balistic’s older material. The group then dug back to their roots, performing Judas Priest’s “Diamonds and Rust” and Iron Maiden’s “Wrathchild.” From their recently-released Transference CD, Balistic did “Power,” before introducing a brand new original song, the Fates Warning-flavored “Forsaken.” The group went back to Transference for “One of Seven,” before breaking out more roots metal via Megadeth. Rhythm guitarist Mike Bordner then took over lead mic duties to snarl the Phil Anselmo vocals to Pantera’s “Walk” and “Cowboys From Hell.” Balistic then did three older originals, “Darkness,” “Land of the Living” and “Hear My Prayer,” again demonstrating how Mark McNelley’s addition has given these songs more depth and dimension. The group then recognized their roots and influences again to close the set, first with Metallica’s “For Whom the Bell Tolls,” and then a jaw-dropping rendition of Iron Maiden’s “Two Minutes to Midnight” – Balistic’s version of this was stunning, from Mark’s lead howl to lead guitarist Brian Kneasel’s searing solowork.
Due to time constraints, Balistic’s nightcap set was a bit abbreviated, but the group made it count. Balistic kicked off with three originals; the older original “Psychic Man,” and two more from the new CD, “I’m A Liar” and “Purgatory.” In a moment of comic relief, the group then donned black cowboy hats (which could also have passed for gangster hats), as Mike Bordner again took over lead mic to front Balistic’s stormy rendition of “The Rodeo Song.” This remains one of my favorite highlights of Balistic’s show, with Mike’s angry snarl and the group’s stomping rhythms effectively pounding forth the imagery of the ultimate redneck from hell. Keeping things in the heavier vein, Balistic then concluded the show with their convincing and torrid treatment of Metallica’s “Master of Puppets.”
Though there was relatively little crowd in Peter C’s this night to conquer, Balistic succeeded in conquering it. With Mark McNelley now in the band a full year, the group has reached their full stride; their new song material is more vocally-geared than before. The base sound is still gothic- and progressive-leaning heavy metal; but vocal harmonies are more prominent, and the group’s earlier song lexicon has made the successful transformation into this current style and sound. Instrumentally Balistic was again strong this night, with Dave Fox’s sinister and resounding basswork and John Lohman’s hefty beats establishing the foundation for Mike Bordner’s tough rhythm chords and Brian Kneasel’s precision guitar leads. This band has only continued to get tighter and more confident since day one; the only disappointing aspect of the evening (besides the attendance) was the news that John would soon be leaving the band, and that a replacement was being sought.
This show was easily worth my slipping, sliding, and maneuvering on Altoona’s still-snow-covered roads to come check out (Memo to City of Altoona and Penndot, mix in a little more snowplow action and a few more cinders, those cinder piles aren’t there to look nice!), as I was soundly throttled by a veteran regional metal act, and served notice on the arrival of a new local metal act.
Frontman Jason and Traumatic, making their debut at Peter C’s.
Scott of Traumatic.
Jason of Traumatic.
Shawn of Traumatic.
Brian Kneasel of Balistic.
Mike Bordner of Balistic.
Dave Fox and Brian Kneasel of Balistic.
Brian Kneasel and Mike Bordner of Balistic.
Mark McNelley of Balistic.
Mark McNelley demonstrates fine headbanging form alongside Brian Kneasel and Mike Bordner of Balistic.
Once again, Mark McNelley of Balistic.
This man will tell you…Balistic rocks!
Bustin’ broncs at the rodeo with Mike Bordner of Balistic.
Brian Kneasel of Balistic sports his western look.
Also looking very outlaw-like, Dave Fox of Balistic.
Again, Dave Fox of Balistic.
Soon to be leaving the group, John Lohman of Balistic.
Balistic, putting pedal to the metal at Peter C’s.
POPTART MONKEYS @ PELLEGRINE’S, ALTOONA 12/7/03
I was able to escape the workplace relatively early following the “Backyard Rocker” this night, and hastily made my way over to Pellegrine’s to let the Poptart Monkeys slam the lid on my weekend.
It had been a little while since the Poptarts’ last visit, and I was anticipating a good party; usually the case when they hit town. This night turned out to be a zany, riotous good time! As I arrived, I was pleasantly surprised to see Big Jim in the house, along with his friend, Ron. Big Jim works in retail, and with the holiday season in full swing, he is usually not often seen checking out bands this time of year. But the Poptart Monkeys brought Jim out to catch the festivities, at least for a little while.
Or, as it turned out, for the whole night! More on that later…
The Poptart Monkeys had just completed a version of Rick Springfield’s “Jessie’s Girl” as I arrived, and already had a number of revelers on the dance floor and having a good time. After a few current favorites and a song off their new Secret Decoder Outfit CD, the Poptarts launched one of their now infamous “medleys from hell.” This one was a whopper, fusing together parts of at least 26 songs, and just about everything including the kitchen sink besides! Kicking off with Devo’s “Whip It,” this monster medley cranked through songs from Tommy James & the Shondells, Cyndi Lauper (with bassman James Balogach supplying the high-end vox), Eddy Grant, Romantics, J.Geils Band, Katrina & the Waves, Madonna, Michael Jackson, Rupert Holmes (yes, they included “Escape [The Pina Colada Song]”), Culture Club, Lipps Inc., The Proclaimers, Salt’n’Pepa, Vanilla Ice, B-52’s, Bonnie Tyler (yes, they did “Total Eclipse of the Heart”), Poison (yes, they went from “Total Eclipse of the Heart” directly into “Unskinny Bop,” with frontman Tyson Clark donning his best 80’s big hair wig), Quiet Riot, and a 5-song Bon Jovi medley to bring it to a close. Yikes! Tyson, James and guitar man Chris Kurtz adjusted a few of the lyrics for comedic effect during the medley, turning this part of the show into a free-wheeling, whacked-out good time! The Poptarts then brought the show to intermission with Jimmy Eats World’s “The Middle,” during which they brought a few female birthday celebrants onstage.
During the intermission, the Right Honorable Guv’nor Jesse was designated the Poptart Monkeys’ Official Mascot, and in UUU fashion, he was permitted to bring his table, chairs and beer pitcher onstage for the last set. The Guv’nor brought a guest along, Big Jim. The last set was going to be a maximum party!
The Poptart Monkeys picked up where they left off; mixing current, 80’s and 90’s favorites with select original songs, showcasing tunes from the new Secret Decoder Outfit CD. With Guv’nor Jesse and Big Jim kicking back some brews (and Big Jim eventually providing empty beer bottle percussion accompaniment), the Poptart Monkeys cranked up the party with favorites from Lit, James, Violent Femmes, Fountains of Wayne, Puddle of Mudd, Rage Against the Machine and more. The group kept the pace uptempo, slamming song after song with no down time or dead air. They kept the party at a feverish pace, and kept Pelly’s dance floor festive and happy the entire set. At set’s end, Pelly’s quickly demanded more, and the Poptarts delivered with their original tune “She Likes Girlz.”
The Poptart Monkeys again demonstrated this night that they are one of Pennsylvania’s premiere party machines. This group has it all – exciting tunes; tight, on the mark musicianship; fun and crazy personalities; fast-firing, well-coordinated setlists; comic moments; top-notch sound and lighting and more. Several months after taking over the lead mic position, frontman Tyson Clark has quickly stamped his signature on this band’s presentation; this man is a constant adrenaline rush at stagefront, constantly flying around the stage and taking the party to the masses. He, James and Chris were constantly playful and upbeat, ad-libbing off one another and mixing in frequent highjinks among the energized tunage. Rob Hampton serves as the consummate timekeeper behind all this craziness, providing the steady beat in seemingly effortless fashion. The Poptart Monkeys are four musicians clearly operating on the same page; and they brought their ‘A’ game this night.
This was an excellent blowout to slam the lid on the weekend, as the Poptart Monkeys put on a wild, freewheeling performance that delivered the maximum good time to the Pellegrine’s masses. Based on this night, expect to see more frequent Poptart Monkeys sighting on Pelly’s stage in 2004.
Posing with the group’s new official mascot, Guv’nor Jesse, Chris Kurtz of Poptart Monkeys.
The Guv’nor and his Poptart Monkeys welcoming committee.
Tyson Clark of the Poptart Monkeys.
Helping a fan celebrate her birthday, Tyson Clark of Poptart Monkeys.
Big Jim joins Guv’nor Jesse and the Poptart Monkeys onstage.
Big Jim and his beer are saluted by Chris Kurtz of the Poptart Monkeys.
Tyson Clark of the Poptart Monkeys takes the party to the fans.
Chris Kurtz of the Poptart Monkeys, pointing something out to the Pelly’s crowd.
After making his point, Chris Kurtz of the Poptart Monkeys.
Like clockwork, Rob Hampton of the Poptart Monkeys.
James Balogach of the Poptart Monkeys.
James Balogach and Tyson Clark of the Poptart Monkeys.
Again, Rob Hampton of the Poptart Monkeys.
Again, Tyson Clark of the Poptart Monkeys.
Tyson Clark of the Poptart Monkeys engages Guv’nor Jesse in a posedown.
Again, James Balogach and Tyson Clark of the Poptart Monkeys.
Guv’nor Jesse looks on while Big Jim provides beer bottle accompaniment.
After the show, James Balogach of the Poptart Monkeys signs an autograph.
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