[Jim Price]

MILLENNIUM MUSIC CONFERENCE WEEKEND RECAP 2/22/10 PART TWO

DAY TWO 2/20/10

Like the first day of Millennium Music Conference business sessions, this one also featured a schedule of panels and seminars, and more acoustic entertainment on the Pennsylvania Musician-sponsored acoustic stage.

Some 28 different performers and bands graced the acoustic stage throughout the day. Among the most impressive performances were those by New Jersey-based singer/songwriter Shaun Ruyman, New York City-based rock group New Day Dawn, Harrisburg singer/songwriter Mycenea Worley, Fredonia, New York-based Americana performers Paul’s Grandfather, Albany-based rock group Lunic (complete with singer/violinist and cello player), New York City-based band London Egg (displaying a Fab Four-like flavor), and Columbus, Ohio-based singer/pianist Bill Kurzenberger.

From Princeton, New Jersey, singer/songwriter Shaun Ruyman.

One of the new friends I met during this year’s Millennium Music Conference, New Jersey’s Kelly Carvin.

Again, Kelly Carvin.

Philadelphia-based singer/songwriter Nancy Micciulla.

From northern New Jersey, Dawn Botti of the band New Day Dawn.

Again, New Day Dawn. I liked their acoustic performance enough that I would have gone to see their showcase, had it not already taken place the night before!

Stunning me with her great voice on the trade show stage, Mycenea Worley. And she did “Low” again…Thanks Mycenea!

Returning to the trade show acoustic stage for the second straight day, Valerie Nicole. This time she didn’t bring her cajon player.

Again, Valerie Nicole.

Valerie Nicole entertains trade show visitors and passers-by.

Another band that gave a great performance on the trade show acoustic stage was Fredonia, Newe York Americana music group Paul’s Grandfather. Their harmonies were sweet!

Again, Paul’s Grandfather.

Turning in my favorite performance on the trade show acoustic stage this year, Albany, New York’s Lunic.

Again, Lunic. Their performance on the trade show stage almost forced me to change my plans to come see them on Saturday night. As it turns out, though, I was fortunate to see them here, as they were reportedly victimized by sound problems during their official showcase performance at Malone’s in downtown Harrisburg later that night.

Kaitee Page of Lunic. Check out that violin!

Armed with cello and violin, Lunic.

One more time, Lunic.

From New Jersey, Eryn Shewell.

Again flexing her potent, rangeful voice, Eryn Shewell.

The day after their excellent showcase set at The Quarter, California’s GrooveSession played a couple of unplugged songs on the trade show stage.

Based in Meiserville (upper Susquehanna Valley), singer/songwriter Tommy Wentz.

From New York City, London Egg. These guys demonstrated a style rooted in ‘60s-era British Invasion music, circa the Fab Four.

From Columbus, Ohio, Bill Kurzenberger. Bill attended this year’s Millennium as a solo performer, but also plays with a few Columbus-based bands.

Former Echoburn frontman Joey Dalto sang a couple of songs on the acoustic stage. Joey was at Millennium as a representative of the Pennsylvania Academy of Recording Arts & Sciences; he told me he has an original music project together, and will be recording a CD in the near future.

Bringing an urban flavor to the acoustic stage, Philadelphia rapper Dave Vegas.

Again, Dave Vegas.

A television cameraman arrived at the trade show stage during Dave Vegas’ performance.

The cameraman also caught footage of percussion-meister Fredrico playing along!

Chambersburg rockers SickleEye, showing what they can do acoustically.

Columbus, Ohio-based band Calendar For Preston.

Reading’s Johnny Action Figure performs on the trade show acoustic stage.

Wrapping up entertainment on the trade show acoustic stage as the business portion of Millennium concluded, York-based rock band The Pledge.

Once again, The Pledge. This was another band that was attending the conference, but not playing a showcase gig.

I attended another of the business panels; and actually, one I attended last year. The Music Industry Educators panel featured representatives and graduates from several regional colleges and universities with music business cirriculums. Panelists included Jeff Snyder of Lebanon Valley College in Annville, Paula M. Savastano of Drexel University in Philadelphia, Carole Knisely of Harrisburg Area Community College; and two graduates of Lebanon Valley College’s music program who have moved on to music industry careers – Matt Edgecomb, who engineers sound at Harrisburg’s Whitaker Center for Performing Arts; and Derrick Euston, who operates the Green Room Recording Studio in the Harrisburg area.

The panel offered insight to musicians about music business education and its advantages. The biggest advantage outlined by the panel was that education can potentially prepare musicians for career paths not just in music itself, but surrounding the music business as well. Education can potentially widen knowledge of other areas such as business, marketing, computer skills, and other areas that can make graduates more serviceable to a wider variety of endeavors. This can enable musicians to generate income streams and pursue careers through more unconventional paths, and even plot their own unique and inventive career directions. And wiser, more knowledgeable musicians also have a better capability to recognize and leap at niche career opportunities that musicians without the knowledge might not recognize. Advice offered to musicians included not limiting themselves to one career direction or endeavor, staying on top of technology, and to continue to educate themselves in as many aspects of the music business field as they can.

The Music Educators Panel, left to right: Matt Edgecomb, Jeff Snyder, Paula Savastano and Carole Knisely.

Traffic during the daytime portion of the conference was brisk this year, with a number of musicians taking part in the panels and discussions. It was interesting to observe how this event has changed since its beginnings in 1997. Back then, the emphasis seemed to be on preparing musicians to take their best shots at the music industry major leagues; per the business model of that time, where musicians tried to get signed to record labels and punch their way to superstardom. But with the way the music industry has been turned upside down in the past 15 years, the emphasis of Millennium now seems to be to provide musicians with information, resources and advice to help them to sustain themselves and survive in the current music industry climate. It’s now no longer about coming to the conference in hopes that the “record label fairy” will show up at your showcase and sign you on the spot. It’s now about coming to the daytime conference, learning and meeting people, and then playing your scheduled showcase set alongside like-minded bands and artists, networking with those artists and building bridges that might help with your overall career and longevity. More and more musicians seem to be learning that this event is about the networking and learning, and this ultimately is a good thing!

Numerous attendees browse and network on the floor of the Millennium trade show.

A number of musicians also took advantage of the mentoring sessions offered at Millennium.

Perking things up during the Millennium trade show were members of the D.C. Rollergirls female roller derby league; they had a table set up, and periodically skated around the trade show floor.

Again making her rounds, a D.C. Rollergirl.

The daytime portion of the Millennium Music Conference concluded with this year’s edition of what has become the conference’s most popular panel, the Smash Or Trash panel. Throughout the weekend, musicians were invited to submit their recordings to a drop box. Then, during the Smash Or Trash panel, a panel of music industry representatives would play some of the submitted recordings and offer their thoughts and critiques of the music; disclosing whether the song had the potential to be a hit, or if it was trash and/or needed major reworking. This year’s panelists included producer David Ivory (Halestorm, Patti Labelle, Silvertide), Ed Brennan of Wind Up Records, Ken Carson of local rock station WQXA 105.7 “The X” and Citadel Broadcasting, and 105.7 “The X” morning show co-host and music director Jen Shade. Some 17 different musical submissions were critiqued during the panel. None of the selections got seriously trashed, although some received more advice for improvement than others. Ken sneaked three national recordings into the mix, both to gauge the audience’s reactions to the newest songs by Airborne, Red and Sevendust; and to show the audience of musicians just what their recordings are competing against as far as national releases and their recording quality. There were several big “winners,” songs that passed the panel with flying colors and were deemed potential hits; those songs were submitted by Shaun Ruyman, The Chuck Schaeffer Picture Show, Bill Kurzenberger, The Trapps, and Shayna Zaid (who by the way, performed at Penn State Altoona several months ago).

The Smash or Trash panel, left to right: Ed Brennan, David Ivory, Ken Carson and Jen Shade.

The business portion of Millennium now over, I prepared for what was to be the final night of showcases in this year’s conference.

NIGHT THREE 2/20/10

As I’ve mentioned in years past, the biggest dilemma I face every year when I attend the Millennium Music Conference is deciding which bands and artists to go see on any given night of showcases. With some 270 different bands and artists scattered among 20-25 different Harrisburg area venues mostly over two nights, there is no way to see everybody. I had circled a few names I wanted to see, but as is often the case, at least a few of those names were performing at the same time on different stages; alas, I can only be at one place at one time.

This Saturday night, I had several different performers I wanted to see. However, they were scattered on different stages throughout the Harrisburg area. Some were playing in downtown venues along 2nd Street; going there would require paying a $5 parking garage fee. Did I want to pay a $5 parking fee just to see one or two bands and then drive off elsewhere? Or did I want to stick with one or two outskirt venues that were more spread apart, and didn’t require paying a parking garage fee?

I ultimately decided on the latter course. My simplified game plan would be to catch the first three bands performing at Jackson’s Junction in New Cumberland, and then head ten minutes south on Route 252 to the Field House in Etters to see the band I had most eagerly wanted to see this year, New Jersey hard rockers Rahway.

As it turned out, even this simplified game plan didn’t go quite as planned.

Although a few friends had advised me that the venue was somewhat hard to find, I did manage to locate Jackson’s Junction fairly easily just going by directions from the Mapquest website (I don’t yet have the luxury of GPS in my car). Jackson’s Junction is a small roadhouse-type establishment located in rural New Cumberland, “in the sticks.” I arrived early as the bands were setting up, ordered up some wings from the kitchen and chatted with members of SickleEye and Faith In Exile.

Soon SickleEye was ready to go. From the Chambersburg area, SickleEye introduced a hard-nosed brand of classic-geared heavy rock; with a sound not far removed from classic Led Zeppelin or contemporary Godsmack. Singer Sam Hudson, guitarists Ryan Nicholson and Chad Davis, bassist Fabian Marroquin and drummer Jason Brookens blended older and newer original numbers; among them “The Day My Old Man Dies” and “Tremble” (songs that have received airplay on Rocky 104.9’s “Homegrown Rocker” local music program), “Hard Questions” and more. For their last song, SickleEye broke out a cover, doing Theory Of A Deadman’s “Bad Girlfriend.”

SickleEye.

Chad Davis of SickleEye.

Again, SickleEye.

Ryan Nicholson of SickleEye.

Sam Hudson of SickleEye.

Next on the bill was another band I was seeing for the first time, Pottsville quartet Faith In Exile. Their sound leaned slightly more modern and aggressive, blending darker alternative and metal tones. The group’s song material was consistently hard-hitting and volatile, with explosive and angry choruses, dark melody lines and instrumental intensity on all fronts. Drummer Ron Gubala was especially a beast behind the kit; this guy hit fast and hard! He and bassist Allan Buehner established the explosive foundation for lead singer/howler Rob Allison and guitarist Brandon Poti to launch their assaults from. Faith In Exile were exciting to watch and hear, and their set went over well with the growing crowd.

Faith In Exile.

Again, Faith In Exile.

Rob Allison of Faith In Exile.

Brandon Poti of Faith In Exile.

Allan Buehner of Faith In Exile.

Once again, Faith In Exile.

Another band I had circled on my schedule would follow; Big Apple-based rockers Finespun. I had seen this band twice before perform acoustically during the Millennium trade show; now I would finally get to see them plugged in. Comprised of lead singer/guitarist Oren Barak, guitarist Patrick Brennan, bassist Doug Tammany and drummer Ed Grazi; Finespun generated a dark-toned, melody-geared brand of hard-hitting rock recalling Soundgarden and Alice In Chains. I didn’t catch too many of their song titles other than “Lie to Me” (not the Jonny Lang hit). Their melodies and vocal harmonies were strong, and their instrumental execution precise, especially Brennan’s heated guitar work. As with the first two bands, Finespun drew appreciative applause from the Jackson’s audience, and they stated their case impressively on the stage.

From New York City, Finespun.

Oren Barak of Finespun.

Again, Finespun.

Again, Oren Barak of Finespun.

Doug Tammany of Finespun.

More of Finespun.

Patrick Brennan of Finespun.

Oren and Patrick of Finespun.

I had hoped to depart Jackson’s Junction at this point to try to locate the Field House. However, the stage manager of the next band, Graffiti Thrill, approached me and politely requested my assessment of their band when they performed, and also handed me a complimentary copy of the group’s EP. Much as I wanted to see Rahway at the Field House, I decided to hang around at Jackson’s and see what Graffiti Thrill was about. Hopefully I would get another chance to see Rahway further down the road.

As it turned out, I didn’t make a bad decision, as Graffiti Thrill offered a quality performance. From Connecticut, this foursome did straightforward classic-styled rock’n’roll. Singer/guitarist Justin Brown, guitarist Tony Salvatore, bassist Chris Bonner and drummer Zach Eldridge offered a sound rooted in the mainstream rock’n’roll tradition of the Eagles and John Mellencamp. They offered simple, catchy melodies, strong vocals and vocal harmonies, crisp execution and an upbeat presentation that even inspired some audience members to dance. Some of their songs included the hard-driving “Fever,” the slower ballad “Syracuse” and “Sarah.” Graffiti Thrill offered a strong enough performance to prompt calls for an encore when they finished; the group responded with a read of Creedence Clearwater Revival’s “Born on the Bayou” to close out the night.

From Connecticut, Graffiti Thrill.

Tony Salvatore of Graffiti Thrill.

Again, Graffiti Thrill.

Justin Brown of Graffiti Thrill.

More of Graffiti Thrill.

Again, Justin Brown of Graffiti Thrill.

Zach Eldridge of Graffiti Thrill.

Justin and Tony of Graffiti Thrill.

Millennium Music Conference seemed to fly by this year, and it was hard for me to believe that it was already over. Or so I thought. Little did I know as I returned to my hotel room that I had yet more Millennium-related performances to experience.

NIGHT FOUR 2/21/10

With no Millennium Music Conference showcases officially scheduled for Sunday night this year, I awoke on Sunday morning thinking I would check out of my hotel room, find breakfast somewhere, record an interview with a future band guest on my “Homegrown Rocker” program, make my annual pre-spring raid on the Bass Pro Shop complex at the Harrisburg Mall, touch base with two other friends that live in the Harrisburg area for dinner, and then return home.

The Radisson Penn Harris Hotel and Convention Center was offering a Millennium Sunday brunch special. Initially I was going to pass on it, but after being handed a complimentary ticket by my Pennsylvania Musician editor, Robin Noll, I decided this was a good option for breakfast. A number of other Millennium participants were in attendance at this brunch as well; and as it turned out, a few of them were in the right place at the right moment.

I was seated with my magazine colleagues Robin and “RachelRocks,” Millennium organizer and mastermind John Harris, regional band and show promoter Jim Fetzer, radio personality “Number One Son” from 105.7 “The X,” and another musician or two. We were chatting and enjoying brunch when members of two bands showed up at our table. One of the bands was a British entry at Millennium called The Stella Frays, and the other was Reading-based punk and psycho-billy rockers The Dead End Cruisers. The Stella Frays disclosed that their scheduled air flight out of Harrisburg wasn’t scheduled to depart until 2 a.m. Monday morning, and they wondered aloud if there were any possible places they could perform for one more night. Members of The Dead End Cruisers then echoed this sentiment. Cell phones went into action, and a quick game plan came together. With the phone number provided by RachelRocks, Jim Fetzer got in contact with the person in charge of booking bands at the Appalachian Brewing Company, Jersey Mike, and bounced the idea of putting together an early Sunday evening show featuring the two aforementioned bands, plus an acoustic artist or two. After a few minutes, Fetzer’s phone rang, and Jersey Mike gave the plan the go-ahead. The unofficial Millennium Music Conference post-party would happen from 8 to 11 that evening at the Appalachian Brewing Company, and would feature The Dead End Cruisers, The Stella Frays, acoustic performer Kelly Carvin, and perhaps another performer or two. Elated that this plan had come together, The Dead End Cruisers quickly set about promoting the show through social networking sites, to see if they could assemble an audience for this show on such short notice.

I went about the rest of my day as planned, with the only change in plan that I was now sticking around for the newly-organized post-party that night. I had hoped all along that there might be a show to check out on Sunday night like in years past, so I had received my wish.

I arrived at the Appalachian Brewing Company just prior to the scheduled 8 p.m. start, and although not crowded, at least a few fans and friends were present to enjoy the festivities.

Starting off the show was Kelly Carvin, a singer, songwriter and guitarist from central New Jersey I had met earlier in the weekend. Her nearly 30-minute set featured a blend of acoustic rock, folk, country and blues; as she sang original song material plus her own remake of Janis Joplin’s ever-classic “Me and Bobby McGee.” Carvin demonstrated a potent and passionate voice, and a relaxed and confident presentation. Some of her original songs included the country blues-flavored “Hushings,” the anti-war “Calling You Out,” “Revolution” and “The Fire Song.” Her heartfelt performance quickly won fans, and applause grew louder for Carvin as her set progressed.

Central New Jersey’s Kelly Carvin.

Once again, Kelly Carvin.

Next on the bill was a two-song performance by a guest group called Where Eagles Dare. This group featured one member from The Dead End Cruisers, guitarist Psycho Benny, plus a singer, bassist and drummer. The group did two punk-styled numbers, exhibiting a sound reminiscent of early Social Distortion.

Where Eagles Dare.

Where Eagles Dare’s singer.

Once again, Where Eagles Dare.

The atmosphere in the room was running high. The Stella Frays and The Dead End Cruisers had hit it off as friends during Millennium, and that camaraderie permeated the atmosphere in the venue. Both bands bantered and joked with each other throughout the night; The Stella Frays were fascinated with the idea of Greasy Phil of the Dead End Cruisers living in a trailer park; while later The Dead End Cruisers took credit for introducing The Stella Frays to Pabst Blue Ribbon Beer. Clearly a trans-Atlantic friendship had evolved from this year’s Millennium Music Conference.

The Stella Frays soon took the stage. From Leeds, U.K., this trio did an amped-up blend of British-flavored pop and punk vigor. Lead singer/guitarist Stuart Cook, bassist Gareth Hughes and drummer Rich Priestley played gritty, hard-driving songs chock full of infectious hooks and singalong choruses. Their melodies showed the influence of British rock forefathers like The Who, the Beatles and The Clash, driven forth by an explosive modern-day punk adrenaline. Some song highlights included their boisterous opener “Our Society,” the upbeat “The Sunshine’s for You,” the punk-fueled “Sort It Out,” “Hold Ya Own,” the fast-firing “Get Back in Line” and more. The Stella Frays’ infectious song hooks, explosive energy and British wit made them instant hits with the audience, and cheers were abundant throughout their set.

From the U.K., The Stella Frays.

Stuart Cook and Gareth Hughes of The Stella Frays.

Again, The Stella Frays.

Stuart Cook of The Stella Frays.

Gareth Hughes of The Stella Frays.

Rich Priestley of The Stella Frays.

Once again, The Stella Frays.

Again, Stuart Cook.

Stuart and Gareth of The Stella Frays.

One more time, Stuart and Gareth of The Stella Frays.

Reading’s Dead End Cruisers then closed out the show with a lively, high-octane set of punk-fueled rock and psycho-billy. Lead singer/guitarist Greasy Phil, lead guitarist Psycho Benny, bassist Jay Daddy and drummer Sweet Jonny mixed songs from their debut CD, A Thousand Miles of Whiskey and Sin, with newer tunes. Their overall presentation was fast and furious, often hinting a shotgun marriage of the Stray Cats and Bad Religion, with the Reverend Horton Heat presiding. The group picked up momentum as they went along, and the crowd likewise became rowdier and more appreciative as the set progressed. The Dead End Cruisers had elevated the mood of this event so high that nobody wanted this party to end!

But it eventually did, and the curtains were drawn on another Millennium Music Conference.

Greasy Phil of The Dead End Cruisers.

The Dead End Cruisers slam the lid on the Millennium post-party.

Psycho Benny and Greasy Phil of The Dead End Cruisers.

Again, The Dead End Cruisers.

Sweet Jonny of The Dead End Cruisers.

The Dead End Cruisers, keeping folks happy.

More of The Dead End Cruisers.

Psycho Benny of The Dead End Cruisers.

One more time, The Dead End Cruisers.

Yours truly and RachelRocks, enjoying the festivities. (Photo by Kathleen Falcey.)

After the show; members of The Stella Frays, Dead End Cruisers, Kelly Carvin, Jim Fetzer, yours truly and RachelRocks gather together onstage for a picture. (Photo by Kathleen Falcey.)

Another zany group shot. (Photo by Kathleen Falcey.)

More craziness with The Stella Frays, Dead End Cruisers and the guy who assembled this last-minute show, Jim Fetzer (in front).

Again Millennium was a rewarding experience for me, as I met new friends, touched base with old ones, enjoyed a number of excellent bands and performers, networked and learned. I offer sincere kudos and big thanks to Millennium mastermind and organizer John Harris for his dedication to keeping this thing running every year through thick and thin, also to Jim Fetzer and everybody else who has a hand in assembling this event. Millennium weekend has virtually replaced Christmas as my favorite holiday season; I anticipate this event for months in advance, and am always disappointed when it ends for another year!

But fortunately, the preliminary word is that there will be a 15th edition of the Millennium Music Conference in 2011. Needless to say, barring death, I will be there…

VS. THE EARTH @ PELLEGRINE’S, ALTOONA 2/21/10

I had mentioned in my Millennium coverage that Chris Vipond & the Stanley Street Band were the only Altoona representatives to perform at this year’s conference. While technically that is true, some other Altoonans did perform at the conference; however, they are now based in Baltimore. Of course, I’m talking about Vs. the Earth, who showcased at the conference on Friday night in the host hotel, the Radisson in Camp Hill. Because I was checking out the bands at downtown Harrisburg’s The Quarter that night, I could not be at the Radisson to see Vs. the Earth. Then again, I knew that the band was playing back at home at Pellegrine’s on Sunday night, so it wasn’t urgent that I see them in Harrisburg this weekend.

However, I made those plans with the assumption that there would be nothing going on in Harrisburg on Sunday night, and that I would be home in time to see all of Vs. the Earth’s Pellegrine’s show. But when the Millennium post-party at the Appalachian Brewing Company came together at the last minute, I decided to remain around Harrisburg to see that show. I knew that if the show actually was done by 11 PM, I could – with some efficient driving with minimal stops – make it back home to see at least the last set of Vs. the Earth’s Pellegrine’s performance. The show was over by 11, so it happened. I did the straight line route back home to Altoona, only stopping once at the Duncannon Sheetz to get gasoline and a mug of coffee. My wheels pulled into Pellegrine’s parking lot at 1:25 a.m., giving me enough time to catch roughly the last half hour of Vs. the Earth’s performance.

Why the hurry to get back home to see Vs. the Earth? If you read the “General Discussion” thread on Rockpage, you may have learned that Vs. the Earth recently inked a recording contract with E1 Records (formerly Koch Records), one of the country’s biggest indie labels, whose distribution is handled through Epic Records. I wanted to get back to witness the group’s local party to celebrate their recent good fortune, also keeping in mind that once their debut CD on E1 Records is released, it’s likely they will take to the road in support of the CD, possibly opening national tours for more established bands. And if that is the case, they may not be as available to play on nightclub stages, and might even phase that out altogether.

Vs. the Earth had the party well in hand as I entered the building, and a sizable crowd was in front of the stage and celebrating. Singer Adam Marino, guitarist Mike Ritchey, bassist Dawg and drummer Elliott Wiley mixed new and older original power pop/punk songs, plus favorites from Blink 182 and Lustra while I was there. Guest Pat Lang of the reformed All The Hype sang lead on Lustra’s “Scotty Doesn’t Know.” Vs. the Earth brought the party to a close with their popular slow-dance ballad, “Carolina Sky.”

From what I saw, a good time was had. And record company responsibilities pending, it might be one of the last good times Altoona audiences enjoy with Vs. the Earth for a while; we’ll see. Anyway, congratulations to this band on their career promotion, here’s hoping they achieve their ultimate goal of “lunchboxes and action figures!”

Vs. the Earth entertains a festive crowd at Pellegrine’s.

Again, Vs. the Earth and rabid fans.

Mike Ritchey of Vs. the Earth.

Adam Marino of Vs. the Earth.

Elliot Wiley of Vs. the Earth.

Once again, Vs. the Earth and a happy crowd.

Again, Mike Ritchey.

After the show, Adam and Ritchey pose with one of their loyal fans, Shallow 9 drummer Zac Grace.
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[Jim Price]

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