THE BRITZ @ BURGI’S ROUNDHOUSE, ALTOONA 4/1/05
I had a few options to select from on this particular Friday evening; and I decided to attempt something I hadn’t done in a long time – the trifecta – three shows in one night!
The evening began with an early show at Burgi’s Roundhouse. I had heard about The Britz, the new collaboration between Mick Jagger’s “evil twin,” Skip Stone, and veteran area guitarist Andy Rhody. This pair often performs up the mountain, but this night landed the dinner performance slot at Burgi’s, after the originally scheduled performer cancelled due to illness.
As I arrived and located an open table, Andy was performing a solo rendition of Don McLean’s “American Pie.” Skip then joined Andy, and the Stones fest was on! Alternating between electric and acoustic, Andy and Skip mixed various Rolling Stones classics. During this set, the focus was on the Stones’ 60’s catalog, including tunes such as “The Last Time,” “Time Is On My Side,” “Dead Flowers,” “You Can’t Always Get What You Want,” “Play with Fire,” “Satisfaction,” “Under My Thumb” and more.
The Britz mixed more 70’s Stones classics into their second and final set, again mixing electric and acoustic presentations on “Start Me Up,” “Tumbling Dice,” “Wild Horses,” “Get Off Of My Cloud,” “Jumping Jack Flash,” “Honky Tonky Women” and more; eventually closing with “Sympathy for the Devil.”
This pair did a very good job. Andy captured Keith Richards’ various guitar stylings and textures, plus programmed in additional guitar, percussion and other nuances into the backdrop to give the presentation a convincing Stones feel. As expected, Skip was ultimate Mick, giving his best Jagger-esque touch to the material. The Burgi’s audience responded favorably to the duo more and more as the evening progressed, with a few revelers even yelling “Go Mick!” during the latter set.
In lieu of a full-blown Rolling Stones tribute (which Andy and Skip both said they’d still like to put together), The Britz did a good job bringing the sound and style of the Stones to the smaller stage. Based on this show, I expect to see more of this duo at Burgi’s down the road, as well as other smaller stages throughout the region.
Skip Stone and Andy Rhody, a.k.a. The Britz.
Mick Jagger’s undocumented evil twin, Skip Stone of The Britz.
Once again, The Britz.
THE COLLECTIVE @ THE CASTLE PUB, EBENSBURG 4/1/05
With The Britz ending their performance by 9 PM, I had plenty of time to make my way to the second destination of my attempted trifecta – Ebensburg’s Castle Pub, where popular eastern-PA-based modern fink/R&B/hip-hop ensemble The Collective was making their first appearance.
The Castle Pub was surprisingly empty when I first arrived, considering The Collective hadn’t played a show in this region in the better part of three months. But a contingent from Altoona’s 4D’s Lounge had made the roadtrip up, and a few locals were in the house as The Collective completed setting up.
The Collective was short one person this night, as guitarist Neil Nicastro wasn’t available. Drummer Matt Smallcomb, bassist Iggy Schiavo and special guest keyboardist Joe O. still effectively provided the funky backdrop for frontmen Kermit Alphonso and Xavier Ashe to ignite the dance floor party. The Collective’s first set started out more in the funk/R&B vein, as Kermit and Xavier broke the ice with this new Ebensburg audience. The audience was quiet and shy in the early going, but soon some of the Altoona 4D’s contingent took to the dance floor and set the example, and soon other dancers followed suit. The Collective mixed original material with funk/dance/hip-hop favorites, along the way performing versions of Bob Marley/Eric Clapton’s “I Shot the Sheriff” and Cameo’s “Word Up.”
The Collective probably hadn’t seen an empty room scenario like this Castle Pub first set in a long time. But even with a small crowd, this band worked their magic, breaking the ice at first and then stepping up the beat and the party as more participants hit the dance floor. During the intermission, the band members mingled with the crowd to break the ice further, and more people began to arrive.
By the time The Collective’s second set was ready to start, a good-sized crowd was in place at the Castle Pub, and it took considerably less time for the dance party to re-ignite. I stuck around for about half of the second set; and satisfied that The Collective had conquered this new room and audience, headed back down the hill to Altoona to catch the third show of my Friday night trifecta.
The Collective introduce their party to a new room, The Castle Pub.
It didn’t take too long for The Collective to fire up the Castle dance floor.
Xavier, Kermit and drummer Matt of The Collective.
Matt Smallcomb of The Collective.
I ENEMY @ CITY LIMITS, ALTOONA 4/1/05
Ever since their ads began appearing in Pennsylvania Musician several months ago, I was curious about the eventual return to stage action of I Enemy after a few years away. Their official return took place this night at City Limits, and I headed there to witness their last set and see what I Enemy 2005 was all about.
A good-sized crowd was at City Limits as I arrived. (I understand it was even larger when the night first began.) The new incarnation of I Enemy – founding members Erick and Matt Carlson on vocals and drums respectively, plus guitarists Andy Auman and Dave McKinley, and bassist Deryl Moore – were just under way with their third set, and it was quite a spectacle. Since their last stint on area stages, I Enemy has added an entire visual side to their presentation. Erick was painted up Maynard Keenan style, half white and half black. A large projection screen and projector were set up, with I Enemy’s logo projected on the screen behind the band. An assortment of colored lights and lamps were arranged around the stage, providing more visual impact and mood to the show.
Musically, I Enemy essentially picked up where they left off a few years ago, with their emphasis remaining heavy modern rock. This time, though, the group has put together a few original songs, several which they performed. Erick went full Maynard in singing two Tool selections, “Eulogy” and “Forty Six and 2;” and he and the new I Enemy also did songs from Filter, Rob Zombie, System Of A Down, Slipknot and more.
Performance-wise, the new I Enemy did a respectable job. Erick can still quickly shift from understated and detached to angst-ridden and enraged on the vocal end, and seems to have even more stage presence and mystique to him now than before. (Although I missed it, I understand Erick did an interactive dialogue-type exchange with some video screen images top kick off things during the first set.) The rest of the band was instrumentally solid if not flashy; I detected a little bit of tentativeness and nerves, likely a result of this being the long-awaited first night.
But overall, based on the final set of the night I had just witnessed, this new incarnation of I Enemy showed a lot of potential. The new visual aspect added a fresh edge to I Enemy; and with original songs now a part of the equation, I can see potential for I Enemy to progress, innovate and take things forward. It was an exciting start – if they can keep it together and move forward with it, I Enemy could evolve into something very unique and special on area stages.
Erick Carlson of the new I Enemy.
Again, Erick Carlson of I Enemy.
I Enemy, ushering in their new audiovisual era at City Limits.
Erick Carlson and Dave McKinley of I Enemy.
Once again, I Enemy.
Once again, Erick Carlson of I Enemy.
Long time no see! Sterling (right) and her friend celebrate I Enemy’s return at City Limits.
Q94’S “SPRING MEGAFEST” w/SPENCER DAVIS/JOEY MULLAND (BADFINGER)/RICK DERRINGER/MITCH RYDER & THE DETROIT WHEELS/THE GUESS WHO @ THE JAFFA SHRINE, ALTOONA 4/2/05
It was the first bonafide rock concert to take place at Altoona’s Jaffa Mosque (now called Shrine, the preferred name of the facility since 9/11) since the early 90’s. Five famous rock’n’roll names of the late 60’s and early 70’s converged on the Jaffa Shrine, courtesy of my broadcast employer, Q94.
Although Q94’s “Spring Megafest” was advertised as the celebration of the end of winter, apparently Mother Nature didn’t pay attention, as temperatures were dropping and light rain showers would convert to snow showers later in the evening (and a winter storm up the mountain). It was raw as I wheeled into the Jaffa parking lot and helped register people to qualify for Q94’s new Harley, being officially unveiled in front of the Jaffa this night.
I was hopeful that the evening would lift my spirits, as earlier in the day I had learned of the passing of local guitar great Jeff Wallack at age 40. I ran into several other musicians outside the Jaffa, including Steve Oswalt and Ron Dalansky, who themselves were in a state of shock over Jeff’s passing.
As the concert’s start time drew near, my boss, Adam Erickson, and I entered the Jaffa and went backstage and then onstage to introduce the concert and the first performer of the night, Spencer Davis.
As it turned out, the Detroit Wheels – Mitch Ryder’s legendary backing band – was the back-up band for the first four performers; Spencer Davis, Joey Mulland of Badfinger, Rick Derringer and Mitch Ryder. The Wheels backed each artist on four songs each; with each artist using this mini-set to showcase his greatest hits. Spencer Davis’ four-song set including the hits “I’m the Man” and “Gimme Some Lovin,’” a rendition of “Tulsa Time” (during which he wailed some harmonica), and a fourth song. Spencer then introduced Joey Mulland of Badfinger, whose four songs were Badfinger’s biggest hits: “Come and Get It,” “Baby Blue,” “Day After Day” and “No Matter What.” Joey then made way for Rick Derringer, who opened with “Still Alive and Well,” continued with a solo guitar rendition of “The Star Spangled Banner,” performed his 60’s McCoys hit “Hang On Sloopy” before finishing with “Rock and Roll Hoochie Koo,” during which he showcased a fiery guitar solo. Rick in turn then introduced Mitch Ryder, who – despite walking with a cane and facing hip replacement surgery – rocked the house with five songs: “It Must Be In Her Jeans,” and the hits “Jenny Take A Ride,” “Little Latin Lupe Lu,” “Sock It To Me Baby” and “Devil with a Blue Dress On.” During “Devil…,” Mitch invited the previous three performers back onstage, and all rocked along and waved to the audience, drawing the show to intermission before the headliners, The Guess Who, took the stage.
Rick Derringer performs at Q94’s Spring Megafest.
Mitch Ryder and the Detroit Wheels.
Mitch Ryder welcomes Spencer Davis, Joey Mulland and Rick Derringer back on stage.
Mitch Ryder.
Once again, Joey Mulland (behind guitar player on left), Mitch Ryder, Rick Derringer and Spencer Davis salute the Altoona fans during Q94’s Spring Megafest.
During the intermission, the station staff and their families got to go backstage and meet the performers. I had brought along a vinyl copy of Rick Derringer’s 1973 album, All American Boy, in the hopes of getting it autographed. As soon as he spotted the album, Rick broke out his silver Sharpie, walked over and autographed it for me, while Spencer Davis and Joey Mulland busted Rick’s chops about how young and boy-ish he looked on the album cover. I got my ticket stub autographed by Spencer, Joey and Mitch. Eventually, a few of the performers ventured back out in front of the stage to meet the audience and sign autographs. All four performers were friendly, cordial and appreciative; and seemed to be enjoying this opportunity to celebrate their careers and heritage.
Eventually, it was The Guess Who’s time to perform. For those not familiar with The Guess Who’s history, the group has seen a number of line-up changes over the years since forming in the early 60’s. Their commercial peak in the late 60’s and early 70’s was when Burton Cummings sang for them and Randy Bachman played guitar. Various incarnations of The Guess Who have existed since the group faded from view in the 70’s; such Guess Who line-ups performed at Cisco’s in Altoona and Bland’s Park in Tipton. A rift developed between the group currently performing as The Guess Who and the group’s two most famous members, Cummings and Bachman. Cummings and Bachman wanted to tour this year, but cannot legally use The Guess Who name because of the existing group, which features founding bassist Jim Kale and drummer Garry Peterson. Some purists call the Cummings/Bachman model the “real” Guess Who, and the other line-up “the clones;” it was this latter line-up with Kale and Peterson that performed at the Jaffa Shrine this night.
Kale and Peterson; along with singer Carl Dixon (former singer for Coney Hatch, he sang on that group’s classic “Monkey Bars”), lead guitarist Bobby Bilan and keyboardist Leonard Shaw; performed a nearly 90-minute set showcasing most of The Guess Who’s biggest hits. Opening with the 1974 hit “Clap for the Wolfman,” The Guess Who performed such classics as “Star Baby,” “Laughing,” “Undun,” “No Sugar Tonight/New Mother Nature,” “Runnin’ Back to Saskatoon,” “Albert Flasher,” “Shakin’ All Over,” “Heartbroken Bopper” (with Jim Kale singing lead), “Hand Me Down World,” and to close the set, “Share the Land” into “American Woman.” The group also did a version of Dave Mason/Joe Cocker’s “Feelin’ Alright,” during which Carl Dixon introduced the other band members. The Jaffa audience immediately cheered and called for an encore, and after a few moments The Guess Who returned to the stage, and finished the evening with two songs – “These Eyes” and “No Time;” during the latter tune, a good portion of the audience either stood up or even headed up front and danced before the stage.
While it may not have been all of the legendary Guess Who line-up of the late 60’s and early 70’s, this particular model of the band did a very good job. Carl Dixon demonstrated a clear, rangeful and powerful voice, and handled the Guess Who hits well. The band’s performance was tight and spirited, and Bobby Bilan often showcased some amazing guitarwork throughout the set. Their performance went over very well with this Altoona audience; and the group sold CD’s and photos and signed autographs after the show.
The audience was not huge; perhaps around 1,500 people were in attendance. But the consensus from that audience was that this was a good show, and they appreciated it. It was cool to see rock and roll back in the Jaffa Shrine; here’s hoping the Altoona area doesn’t have to wait another decade to see it happen again.
Carl Dixon of The Guess Who.
The Guess Who, rocking the Jaffa Shrine.
Once again, The Guess Who.
IN @ CITY LIMITS, ALTOONA 4/2/05
My original game plan was to head up the mountain to catch a show after the Spring Megafest concert ended. But with snow showers now falling outside the Jaffa Shrine as I headed out to my car, I wasn’t about to travel uphill to the mountain winter wonderland. I remained in town instead, and headed to City Limits to meet up with some friends and see what In was up to.
It was a full house as I arrived, procured my first brew and caught up with my Monday night wing gang cohorts at one of the rear tables. In had the place rocking, with a full dance floor moving as they fired through favorites from Fountains Of Wayne, Toadies, Eve 6, Green Day, Violent Femmes, Bon Jovi, and a lengthy “medley from Hell” to wind the set to a close. In was sounding confident and sharp, and fueled by the festive audience, was in their groove and firing on all cylinders.
After a reasonably short intermission, In was back for the third and final round, firing the party back up with Living Colour’s “Cult Of Personality.” The group soon had the dance floor again filled as they rocked with tunes from Cheap Trick, Jet, Tom Petty, Black Crowes, and Aerosmith’s “Walk This Way,” during which guitarist Matt Day put on a fretboard clinic with his amazing solo display. After a brief hip-hop interlude, In finished out the party with tunes from Harvey Danger, Jimmy Eats World, Smile Empty Soul, and Disturbed’s “Sickness” to close the night.
This show offered further evidence that In’s party is indeed on the rise! In has become an area party force, and continues to draw bigger and bigger crowds locally. This was the strongest performance I had witnessed from them so far; demonstrating energy, enthusiasm, tightness and style. Frontman Greg Locke excitedly worked the stage and kept the party fired-up and stoked. Drummer Rob Bonsell and bassist Adam Zimmer kept the rhythms tight and upbeat, and Matt Day again dazzled the house with his guitar finesse and precision.
In has become an area party force, and this show was another step towards this band’s conquest of the Altoona market. Expect to see bigger and bigger crowds locally, as In continues to bring the party, kick ass and take names.
Greg Locke and Adam Zimmer of In.
Greg Locke of In.
Matt Day of In.
Rob Bonsell of In.
In, keeping a full dance floor happy at City Limits.
Matt Day and Greg Locke of In.
Greg, Rob and Adam of In, bringing the party to City Limits.
Again, Matt Day of In.
Again, Rob Bonsell of In.
Again, Matt Day and Greg Locke of In.
Once again, Greg Locke of In.
Once again, “Robthedrummer” of In.
NONE OTHER @ PELLEGRINE’S, ALTOONA 4/3/05
The last time I reported on Floridian/Altoonan rockers None Other, they appeared to be turning the corner to finally getting acceptance from the often fickle Pellegrine’s Sunday night crowd. The last time None Other was there, it was a large crowd and a busy dance floor. People appeared to be turning on to this band after several visits there.
This particular Sunday night, though, indicated that None Other hasn’t yet conquered Altoona, and still has some work ahead of them.
The group did a decent enough job on their second and third sets, as they again blended uptempo current and classic rock favorites, fired off with the group’s own slant and edge. Len LeChene’s driving drumbeats again were thundering and powerful, and the group’s presentation was tight and charged as they performed songs from The Clash, Steve Miller, White Stripes, Violent Femmes, Jet, Tom Petty, Sublime, Everclear, their trademark song intro medley and more.
But they ran into the brick wall of indifference that is often the Pellegrine’s crowd when a band is not yet fully established there. This crowd should have had their pulse readings taken to see if they hadn’t died, this crowd was dead and offered little or no response to None Other’s presentation. The dance floor remained empty during the whole third set, despite None Other’s attempts to light a spark under the crowd’s butts to get up and move. The Pelly’s crowd couldn’t be bothered this night. Wintry weather doldrums, perhaps? Who knows?
None Other learned this night that the Altoona crowd is not a sure thing, and that they still need to work to win this market. More shows, more schmoozing between sets, more promotion and continued kickass performances should eventually wear down the resistant and indifferent Sunday night audiences. But it will take work, time, effort and patience to do so. Hang in there. As said before here on Rockpage, Altoona makes you EARN your fan base…
