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WEEK/WEEKEND RECAP 11/04/03
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Jim Price
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 Post Posted: Thursday Dec 25, 2003 
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WEEK/WEEKEND RECAP 11/4/03

“AN EVENING WITH RICK WAKEMAN” @ WHITAKER CENTER, HARRISBURG 10/28/03

As a youngster growing up in the early 70’s, one of the pivotal bands that first got me interested in rock music was Yes. My appetite for art-rock and progressive rock was whet early when my older brother used to bring home albums from college such as Yes’ “Fragile” and “Close to the Edge,” albums from Emerson Lake & Palmer, Pink Floyd and more. Through those Yes albums I developed a lasting appreciation for the talents of Yes’ keyboard god, Rick Wakeman. Rick’s powerhouse cathedral organ chords during the title epic “Close To The Edge” still give me chills to this day! And a few years later, I literally hogged the Altoona Area Public Library’s only copy of Rick’s solo album “The Six Wives of Henry VIII,” checking the album back out as soon as I returned it for weeks on end!

So when I recently learned that Rick Wakeman was coming to Harrisburg’s Whitaker Center, it was a no-brainer that I would be there! Although I left early from work to attempt to arrive on time, I arrived at the Whitaker Center late and missed the first 20 minutes of Rick’s first of two sets. Billed as “An Evening with Rick Wakeman,” the performance featured Rick doing selections from throughout his career; including some of his Yes work, pieces from his solo albums, other compositions he created, and even classical interpretations. In between selections, Rick told the audience stories from throughout his career.

As I entered the Whitaker Center and took a seat in the back of the room, Rick was in the midst of one of his humorous stories he was sharing with the audience, before he introduced his composition “The Meeting.”

One prominent theme of Rick’s performance was his endeavor to attempt to perform selections in the styles of various composers; in other words, how would this piece sound if a certain composer would have performed or arranged it? On his next selection, “Nursery Rhyme Concerto,” Rick did this on piano, interpreting the selection as Mozart, Debussy and Rachmaninoff might have done it. But there was a humorous side of this as well, as Rick poked fun at his Yes bandmates and their apparent attempts to play keys. In the midst of this selection, Rick went into a haphazard take on “Twinkle Twinkle Little Star,” complete with botched notes; portraying that part of the selection as how his Yes bandmates would have performed it.

Rick then told a humorous story of how his mother once brought folks from a rest home out to see his performance. As his performance was rock-geared, loud and energetic, he feared that this group of elderly audience members was not going to enjoy it. But he was pleasantly surprised when they informed him after the show that they did. Rick then introduced “Catherine Howard,” originally from “The Six Wives of Henry VIII” album, and dedicated it to his parents. Rick then briefly introduced the double-shot of “Journey To The Centre of the Earth,” which he performed on his full keyboard array; and “Dance of a Thousand Lights” from “Return To The Centre of the Earth,” which he performed on piano. Rick then closed his first set by enlisting some audience participation, recruiting a young lady named Sue to help him on the two-part “Merlin the Magician.” This turned into a humorous highlight, as after going over explicit instructions with Sue on what she was to do on his keyboard, some planned chaos resulted in a slightly altered game plan.

During the intermission, I took a few moments to study the Whitaker Center’s Sunoco Performance Theater, where the concert was taking place. This was a nice, modern facility, a quiet room with good acoustics, well suited for concerts of this sort. The seating enabled you to share a one-on-one experience with the performer, no matter where you were seated in the theater. Although I took a rear seat when I first entered (so as not to disrupt the concert while searching for my actual seat), I found that where I was seated in the back of the theater was just as good as where my actual seat would have been, 4 rows forward (actually, better, as my actual seat was off to the left side; the seat I first sat in was on the aisle).

Rick Wakeman had a surprise in store for opening his second set. After the theater lights dimmed, Rick entered from the rear of the theater, and walked his way past the crowd and up onstage, wearing a Soviet KGB uniform. Rick went on to relate the amusing story of how he got into some trouble while attempting to smuggle a black market KGB uniform out of the Soviet Union before the fall of the Iron Curtain. (To make a long story short, Rick’s/Yes’ management had to pay off a customs agent several thousand dollars and a Yes album collection to be able to leave the country with the uniform. When Rick met the same customs agent years later after the fall of the Soviet Union, the agent told him that KGB uniforms were now a dime a dozen. Rick told the agent that Yes albums were now a dime a dozen too.) This story led into a special piano composition Rick created for a benefit to help the young victims of the Chernobyl nuclear disaster, “Children of Chernobyl.” Rick then introduced another double-shot, piggybacking “The Hymn” from his collaboration with Tim Rice, “1984;” with his solo keyboard version of Yes’ “And You And I.” Rick then introduced “Morning Has Broken,” and explained to the audience how he came up with the famous piano arrangement for Cat Stevens’ 1972 hit, but never was credited by Stevens for contributing that arrangement. After his piano rendition of “Morning Has Broken,” Rick told another humorous story, this time about how he was busted for DUI in England a decade earlier, and how some gastrointestinal distress during his arrest led him and his arresting officer into the bathroom of a nearby house. And while Rick was seated and ‘relieving’ his disorder, a copy of “The Six Wives of Henry VIII” was slid under the door, with a request for an autograph! This led into Rick’s performance of “Jane Seymour” from the “Six Wives…” album. Rick then completed his set with a Beatles double-shot, done his way; performing “Help” and “Eleanor Rigby” as he envisioned two classical composers, Prokopiev and another, would treat them. After Rick left the stage, the audience quickly applauded and called for an encore, and Rick returned to do one more number on piano, “Clair de Lune.”

I was glad I made the roadtrip to the Whitaker Center to catch this concert. Rick was entertaining and engaging, and as a TV personality in England, he had no problem keeping the audience attentive with his stories and humor. It was interesting to hear his insight on his music and life on tour with Yes. His keyboard work was, as expected, remarkable; not just in his ability to dazzle on any keys he touched this night, but his lavish and creative arrangements of the music he performed. Rick Wakeman further verified his role as an absolute keyboard master in a variety of styles.

A short while after the concert ended, Rick came out to the Whitaker lobby and greeted and signed autographs for the audience. Rick was gracious, taking a moment to greet each and every person who waited to meet him, clear to the back of the line where I was standing. I only wish I had brought my camera along, as numerous other fans had photos taken with him (had I known cameras were allowed for the meet and greet, I would have brought mine…damn!)

It was a very rewarding evening, as I got to witness, and then meet, one of the pivotal performers who first whet my appetite for music. I thoroughly enjoyed this show, my first one in the relaxed and intimate setting of the Whitaker Center, and I hope to catch more performances there in the future.

ENTITY/LUCA BRAZI @ “SKELLERPALOOZA” @ THE RATHSKELLER, STATE COLLEGE 10/30/03

Up for another roadtrip this Thursday night, I headed to Happy Valley to check out this week’s installment of “Skellerpalooza,” the weekly original band showcase at the Rathskeller.

A dark cloud hung over the Rathskeller this week. As reported in regional news headlines, an ugly incident happened during the previous weekend. Although details were still sketchy this night, an apparent altercation between students and Rathskeller staff ended with one student dead. A lot of questions about this incident were being investigated, including the ramifications of what might happen to the Rathskellar staffers involved, and even the venue itself, pending the findings of what happened that night.

As I walked along Calder Alley towards the Rathskeller from the Pugh Street parking garage, a makeshift memorial for the fallen student could be seen alongside the building where the incident took place (a boutique business, facing the nearby Darkhorse Tavern). A young woman was sitting on the blacktop surface in front of the memorial, writing something in a notebook.

I proceeded into the Rathskellar, where music was the main purpose of my visit. Three bands were on the slate for this week’s “Skellerpalooza.” I missed the set by the opening band, New York City-based Chancer. At least one eyewitness account compared their sound a little to Radiohead.

Soon the second band of the night would take the stage, Entity. Based in the Williamsport area, Entity unleashed a set of heavy, moody, cerebral original rock of the Soundgarden/Tool variety. Singer/guitarist Ron Fleeger, bassist Travis Witmer and drummer Joe Coria mixed compositions from their latest CD, “Time Resistant Metamorphisis,” with newer and older song material. I didn’t catch too many song titles from Entity’s set list, but did hear such songs as the moody and darkish “Leaving Here,” “Bumper Sticker Propaganda,” “The Paradigm” and more. The trio varied between slower, moodier dirges and heavier, aggressive assaults; a few times combining those elements within the same song. Ron displayed the ability to vary his delivery between quiet and contemplative, and angry and full-vent. Instrumentally Entity was together and on the same page, effectively gearshifting between tempos and chord changes. Overall, their music and presentation were compelling, and Entity received unanimous approval from the gathered Skellerpalooza observers.

Ron Fleeger of Entity.

Travis Witmer of Entity.

Entity, stating their case onstage at Skellerpalooza.

Pittsburgh-based foursome Luca Brazi soon took the stage after a brief intermission, and took the Skellerpalooza audience in a slightly different direction. Four members strong, Luca Brazi blazed through a set of uptempo original songs, including tunes from their CD “The Stranger the Beautiful.” The group’s sound was punk-fueled but driving and melodic, reminiscent of Urge Overkill, early Goo Goo Dolls or Foo Fighters. From the CD, Luca Brazi did “Song for the Burnt,” the reggae-tinged “In Spite Of You,” “Isabela,” “Careful Tonight,” the harder and aggressive “Seen Sput Lately?,” “Tumble Weed,” and the title song “The Stranger the Beautiful.” Luca Brazi’s execution was rigid and tight; drummer Matt, guitarist Marshall and bassist Sam were sharp, direct and to the point on their instruments, with driving beats and edgy riffs that laid the groundwork for singer/guitarist Ben to sing his strong midrange voice. The songs themselves had catchy, simple melodies and effective payoff choruses; again short, sweet and to the point. Luca Brazi was all business this set, focused on leaving their musical calling card with the Skellerpalooza audience. It worked, as the audience responded well after each song; and it’s likely Luca Brazi won a few new fans at the Rathskeller this night.

Ben of Luca Brazi.

Luca Brazi showcases their music at Skellerpalooza.

Once again, Ben from Luca Brazi.

In the end, Skellerpalooza served its purpose this night, allowing three distinct and original bands to showcase their material, and enlighten a new audience of fans as to who they were and what they were about. With few venues willing to take chances on unknown, original bands; here’s hoping that the aforementioned altercation incident doesn’t eventually lead to the end of the Rathskeller or their weekly forum for original bands and musicians to get their music out to central PA music fans.

BAD DAZE/PNEUMATIC @ CLUB CAR CAFÉ, ALTOONA 10/31/03

The Halloween party season continued this night at the Clubcar Café, with the Q94 Halloween Party featuring Bad Daze and PnEumatic.

As I arrived, a number of costumed crazies were already in the house, including a bearded baby, Batman, another demonic dominatrix, several catwomen and schoolgirls, and more. “The Beer Hunter,” now with more beer cans around his neck since the Pellegrine’s Halloween Party five nights before, made an encore appearance. And as the night transpired, the Clubcar would see a gigantic cigarette, a cow, a Florida gator, Gene Simmons and Ace Frehley of Kiss, assorted demons and demonesses, hippies, flower children and other inebriated persons who were just scary without costumes.

And of course, the bands. At least partly costumed, PnEumatic kicked off the night with a set mostly mixing material from Pink Floyd, Tool, and a few other songs. Frontman Cramer, guitarist Colton, drummer Woo and bassist Scott (decked out as a Middle Eastern terrorist) did Floyd favorites such as “Time,” “In The Flesh” and “Comfortably Numb;” Tool tunes such as “46 and 2” and “Stinkfist;” and A Perfect Circle’s “Judith.” As happened at Peter C’s two weeks earlier, guest singer Julie joined PnEumatic onstage to sing lead on Evanescence’s “Bring Me to Life.” In all, it was a solid effort for PnEumatic, who picked up crowd support and momentum as they went along, and had the Clubcar crowd cheering their efforts by set’s end.

After a relatively short intermission, Bad Daze took the stage. Following the sudden parting of ways between the group and their previous bass player, Bad Daze imported a surrogate bassist, Dave Wise, all the way in from Virginia to provide the bottom end this night. Frontman Rob Carolus had warned me earlier that he would be in costume this night; but as their first set began, he was still dressed in a dress shirt and necktie from his day job. That wouldn’t last long, though; by midset, Rob had shed his shirt and tie to reveal a Superman outfit.

Rob and Bad Daze fired up the party with ample doses of current heavy rock and 80’s hair-band classics, unleashing tunes from Poison, Puddle of Mudd, Disturbed, Staind, Ratt, AC/DC, Bon Jovi and more. Through the course of their two sets, highlights included guitarist Kenny Murdick’s “Eruption” outburst into Van Halen’s “Panama;” and even with surrogate bassist Dave onstage, a still sharply-executed Motley Crue medley.

Bad Daze sounded solid this night. Substitute bassist Dave knew the material the group was doing, and was able to hold down the bottom end without any obvious glitches. Kenny Murdick’s guitarwork, as always, was on fire this night, and drummer Harry Rainey kept a tight beat. Frontman Rob diligently worked the crowd, using all of the Clubcar dance floor and adjoining railing to full effect to get into the audience’s faces and rally them onto the dance floor. Given their sudden personnel upheaval, Bad Daze did a very strong job overall this night.

The Halloween party was a huge success, packing the most people into the Clubcar that I have seen since this venue began running live bands a short time ago. Bad Daze, PnEumatic, and the enthusiastic costumed crazies in the house combined to make this one of the more fun and memorable shows of 2003.

Cramer of PnEumatic.

PnEumatic, kicking off the night at the Clubcar.

PnEumatic with guest Julie, singing Evanescence at the Clubcar.

SuperRob and Bad Daze at the Clubcar.

SuperRob of Bad Daze mixes it up with the fans, while a humongous cigarette looks on.

Gene and Ace of KISS join Bad Daze onstage.

Again, Super Rob Carolus of Bad Daze.

Bad Daze’s caped crusader, Rob Carolus, back to back with guitarist Kenny Murdick, himself firing off ‘super’ licks this night.

Once again, SuperRob.

SuperRob and his ‘Lois Lane.’

More Clubcar Halloween excitement: a Catwoman and a devilish lady…

A bearded baby looks on…

Another superhero, Batman, arrives on the scene.

Looking to bag more beers, the Beerhunter.

Smoking cigarettes this size can be hazardous to your health (and the cigarette probably wouldn’t like it much, either…

Don’t have a cow, but this bovine showed up for the Halloween festivities as well.

Poised to battle evil this night, SuperRob and Batman…

An evil-looking couple.

YUM @ WESTMONT GARDENS, JOHNSTOWN 11/1/03

For me, this was an evening when things didn’t go exactly as planned, and I wound up seeing a band I didn’t expect to see when the night first began. Misreading the listing in this particular weekend’s Johnstown Tribune-Democrat “Weekend” magazine, I had roadtripped to Johnstown’s Westmont Gardens fully expecting to catch hometown metalists Deviance in action. Upon arrival, though, I learned that I screwed up, Deviance was there the night before, and Johnstown party juggernaut Yum was in the house instead. No big problem; I simply changed my expectations from witnessing skullcrushing modern metal to instead seeing what type of craziness Yum would generate onstage instead.

I arrived during Yum’s first intermission, and got to talk briefly with guitarist Darren Buchko before Yum retook the stage for their second set. Employed by the Johnstown public school system by day, Darren informed me that he had recently been promoted, from teacher to principal at the middle school where he worked. Anybody who has met or seen Darren knows that he can look like an imposing figure onstage; I chuckled when I pictured the prospect of some kid getting into trouble at that school and being sent to the principal’s office and having to face Darren. If I was a student at that school, I’d make sure I behaved!

With Darren’s day job in mind, though, I thought it would be interesting to assess this Yum show report card style:

MATHEMATICS: Yum did well with NUMBERS this night. Westmont Gardens was near packed, at least enough so that I had to wait a little while to procure a table. And Yum’s EQUATION for party mayhem was correct this night; as they unleashed their kitchen sink mixture of current rock, classics and dance party favorites onstage, it pulled a large PERCENTAGE of women in the house onto the dance floor. ADD it up: Fun tunes, festive crowd, frontman Dan Vavrek’s haphazard craziness and special guest singer John Solinski from RetroActive during Cheap Trick’s “Surrender” resulted in a total SUM of fun party! Grade: B-plus.

SCIENCE: Yum excelled in CHEMISTRY this night. Onstage, the expanded line-up, now with bassist Shawn Mock and keyboard man Scott Barkhimer joining guitarist Darren, singer Dan and drummer Brian Scaletta, meshed well and was cohesive as a unit. Their song FORMULA worked well, too, as their unpredictable setlist of tunes from Jimmy Eats World, Nena, Ataris, Charlie Daniels, Men At Work, 50-Cent, Poison, Violent Femmes and many more triggered a vigorous REACTION on the dance floor. The night also offered a quick PHYSICS lesson during the second intermission, when two alcohol-fueled individuals near the bar found that they couldn’t occupy the same place (or woman?) at the same time, and at least one learned that when he threw fists, he couldn’t occupy space inside Westmont Gardens at any time, and was promptly shown the door by house security. Total Grade: B.

ENGLISH: Yum’s COMMUNICATION skills were solid this night, as their musical message of good times and Saturday night rowdiness connected with the Gardens audience. Their musical SENTENCES were basic and to the point; with RUN-ON SENTENCES and DANGLING PARTICIPLES kept to a bare minimum. Yum’s VERBAL skills were good, as the Gardens audience did nearly everything the band instructed them to. And YUM proved themselves proficient in several musical LANGUAGES this night; combining elements of current and classic rock, punk, funk, 80’s hair-band, Southern rock, hip-hop, rap and new wave into a colorful overall presentation. GRADE: A-minus.

SOCIAL STUDIES: Yum provided the catalyst for a SOCIAL gathering at Westmont Gardens, and guys and gals were STUDYing each other. And Yum’s wide-ranging mixture of party tunage seemed to appeal to a wide cross-section of Johnstown partygoers this night. Grade: A-minus.

PHYS. ED.: Yum’s party prompted lots of PHYSICAL activity on the Gardens dance floor, including some wildly ATHLETIC dance steps by the RetroActive contingent as the night progressed. The band themselves appeared well-CONDITIONED onstage, demonstrating ample movement and FLEXING their instrumental MUSCLES well. A little tightening between songs and TRIMMING of excess banter and fat should improve the pace of the party. Grade: B.

INDUSTRIAL ARTS: The students did fairly well in CRAFTing the PROJECTS they did on stage this night. Highlights included Yum’s rendition of Charlie Daniels’ “Devil Went Down to Georgia,” with Scott conjuring a pretty convincing fiddle sound from his keyboard; the aforementioned version of Cheap Trick’s “Surrender” with RetroActive’s John Solinsky on lead vocal, the vocal harmonies clicked well on this one; and the dual-speed rendition of Madonna’s “Material Girl” with its accelerated speedbanging choruses. On the other hand, the AC/DC medley was rough this night; frontman Dan’s attempted Brian Johnson polecat howl came off sounding like a bad INDUSTRIAL ACCIDENT injury. But overall, Yum’s onstage shop skills were more on than off this night. Grade: C-plus.

EXTRA CREDIT: The group threw in a few unpredictable twists and turns along the way that were above and beyond the requirements of their classroom assignment. And when the audience rowdily called for an encore at night’s end, Yum earned brownie points with an encore version of the Beastie Boys’ “Fight for Your Right (To Party).”

OVERALL: Yum applied themselves well in the Westmont Gardens classroom this night, and were generally strong on all subjects. They attacked their assignments with enthusiasm, and with their spontaneity and unpredictability received some good extra credit marks as well. With Shawn and Scott fleshing out their roster, Yum has expanded and grown, showing overall improvement in the classroom this night. The Gardens audience gave Yum a unanimous passing mark; and although I arrived there expecting the metal arts, I too came away pleased with this band’s freewheeling show. Bottom line: Yum passes with flying colors!

RetroActive’s John Solinski takes over Yum’s lead mic.

Brian Scaletta of Yum.

RetroActive’s John Solinski sings with Dan Vavrek of Yum.

Shawn Mock of Yum.

Dan Vavrek of Yum.

Darren Buchko and Scott Barkhimer of Yum.

Yum, stirring up the party mayhem at Westmont Gardens.

Darren Buchko of Yum.

Scott Barkhimer of Yum.

Again, Dan Vavrek of Yum.

Dan Vavrek and Darren Buchko of Yum.

The dancefloor crowd weren’t the only folks excited to see Yum this night…

SOMETHING FLUID @ PELLEGRINE’S, ALTOONA 11/2/03

Pellegrine’s again was the site for the conclusion of my weekend, and Harrisburg party force Something Fluid supplied the tunes.

Fortunately, while not a packed house, attendance was improved this night over the last time Something Fluid played here. Accompanied this night by my band guests on Q94’s “Backyard Rocker,” Halestorm, I arrived just before Something Fluid commenced their second set. Frontlady Gretchen displayed respectable voice on the group’s version of Evanescence’s “Bring Me To Life,” and renditions of the Bangles’ “Walk Like An Egyptian” and Toni Basil’s “Mickey” triggered action on Pelly’s dance floor, including a number of ladies dancing onstage during the latter song. Something Fluid continued with their fluid blend of current rock and hip-hop favorites and select 80’s hits; keeping the dance floor moving with tunes from Lit, Don Henley/Ataris, Violent Femmes, House Of Pain and more. The Bon Jovi double-shot of “Living On A Prayer” and “You Give Love a Bad Name” seemed to draw more female fans towards the stage, something Chris and Something Fluid exploited on the next song, Nine Inch Nails’ “Closer,” when they orchestrated a ‘fake orgasm contest’ among the female fans at stagefront. (Good, clean family fun abounded at this Something Fluid show!) The group then took the show to intermission with their take on Dexy’s Midnight Runners’ “Come On Eileen.”

Something Fluid’s nightcap set rocked into action with Metallica’s “Enter Sandman.” The group continued to mix it up, with 80’s tunes from Beastie Boys and J.Geils Band, and a rap/hip-hop segment fronted by guitarist Chris that led into a three-song medley from hell including tunes from Madonna, Vanilla Ice and Nirvana (plus a few teases for Jimmie’s Chicken Shack’s “High,” which the group never did). Tunes from Puddle of Mudd, Whitesnake, Wheatus and a Chris-fronted take on Rage Against the Machine’s “Killing in the Name” brought the set to a close. The Pellegrine’s dance floor crowd quickly demanded an encore, which Something Fluid quickly delivered, closing the night with Def Leppard’s “Pour Some Sugar on Me.”

As Something Fluid shows go, this one was pretty routine. With a bigger and more responsive crowd at Pellegrine’s this night, Something Fluid didn’t have to spend much time deliberating how to get folks on the dance floor; people were up and dancing quickly, and the group just kept the tunes coming to keep them there. The group gearshifted fairly smoothly through their setlist and kept the show moving. As usual, frontlady Gretchen deftly moved about the stage and constantly interacted with the stagefront crowd, establishing eye contact and keeping everyone involved in the show. Guitarists Chris and CJ, bassist Jerry and drummer Len kept it together and uptempo on the instrumental end; and in all, Something Fluid delivered the goods and provided a solid, action-packed rock-and-dance party. Good ending to the weekend.

Chris of Something Fluid.

Gretchen of Something Fluid.

Len of Something Fluid.

Again, Chris of Something Fluid.

Again, Len of Something Fluid.

Once again, Chris of Something Fluid.

Again, Gretchen of Something Fluid.

C.J. of Something Fluid.

Jerry of Something Fluid.

Gretchen of Something Fluid taking it to the fans.
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