Jim Price
Moderator
Joined: 07 Dec 2002
Posts: 4817
Location: Altoona, PA
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 Posted: Tuesday Feb 17, 2004 |
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WEEKEND RECAP 1/12/04
BANDITOS @ THE HITCHING POST, ALTOONA 1/8/04
It’s a question I have been asked before by musicians and fans of the area music scene, and a question I have even asked myself from time to time when assessing the area music scene. In this age of rock and roll diversification, when seemingly everything falls into some sort of subgenre, WHO DOES REAL ROCK’N’ROLL ANY MORE? In other words, who does rock’n’roll that doesn’t fall into any sort of subgenre, such as rap rock, punk rock, punk pop, heavy metal, nu-metal, alternative, hip-hop, etc.? There are a few names locally that jump out at you when considering the possible answers…Half Tempted, whose specialty is straight-up-the-gut classic-geared rock. Although they all lean towards the blues side of the spectrum, Felix & the Hurricanes, Backdraft and Fat Vinny & the Wiseguys all do varying degrees of ”real” rock and roll. Newcomers Loose Change do classic-geared rock’n’roll as well. But evidenced this night at The Hitching Post, there is another prominent area name that does old and new straight-up-the-gut rock and roll without all the subgenres. Their name: B-A-N-D-I-T-O-S.
In mid-December, Banditos had indicated on their band listing on Rockpage that they were throwing in the towel at year’s end, and were going away. The word was that bassist/singer Bill Nusom was filling the bass player void in Half Tempted left by Joe George’s departure at year’s end for a new career opportunity in Pittsburgh, and that Banditos was calling it a day. But the band members – as well as Bill – realized how strong a thing they had going in this project, and Banditos has survived into 2004.
I hadn’t even planned on seeing Banditos this night as I traversed through town to The Hitching Post. Amplified Heat had been on the Hitching Post schedule, and was listed in the Altoona Mirror as appearing this night. But upon arriving, I soon discovered that Banditos were in the house and set up, and that Amplified Heat apparently cancelled a few days before, and Banditos were there on short notice. So I stuck around to see what Banditos were up to.
The Hitching Post is fast becoming one of my favorite venues in the Altoona area, in no small part due to the hospitality of mainman Butch and his staff. This night was frigid cold as I arrived, with outside temperatures in the single digits with wind chill. Once inside the Hitching Post, Butch served me up with a complimentary bowl of hot soup along with my first brew – very cool!
The Hitching Post was lightly populated, with most of the attendees seated around the room’s central bar area. Banditos were just finishing up their first intermission, and soon took up position with their instruments, ready to perform. Nowadays comprised of bassist/singer Bill, singer/acoustic guitarist Wally Archer, guitarists Darrell Ruzzi and Phil Wagner and drummer Dave Russell; Banditos proceeded to perform inspired, genre-free new and old rock’n’roll. The group smoothly segued between new and classic rock’n’roll, but all the while maintained their focus as rock’n’roll.
The Who’s “Behind Blue Eyes,” Wild Cherry’s “Play That Funky Music” seguing into Black Crowes’ “Hard to Handle,” Lit’s “All the Small Things,” John Mellencamp’s “Pink Houses,” and Seven Mary Three’s “Cumbersome” established the midtempo, up-the-middle rock’n’roll flavor of Banditos’ presentation. Bassman Billy fronted the group on their title song, The Refreshments’ “Banditos,” before the group slowed it down for Stone Temple Pilots’ “Plush.” The group then fired into Grand Funk’s “Some Kind of Wonderful,” and wrapped up their middle set with Puddle of Mudd’s “Control” and Godsmack’s “Keep Away.”
Banditos were sounding strong this night. The additions of Phil and Dave appeared to have rejuvenated the group, and their execution was crisp and on the mark. There seemed to be a renewed sense of purpose to what this band was doing, and all five players seemed happy to be on the stage and cranking out the rock this night.
Banditos’ last set picked up where the previous one left off. After wishing Hitching Post regular Tommy a happy birthday, Banditos rocked the house with more no-nonsense rock’n’roll. Billy fronted the group on the Metallica take on “Whiskey In The Jar,” and the group continued in the southern rock vein with Lynyrd Skynyrd’s “I Know A Little” and ZZ Top’s “Beer Drinkers & Hell Raisers.” Weezer’s “Hashpipe” and Steppenwolf’s “Born to be Wild” kept things uptempo, before the group slowed it down on Pink Floyd’s “Wish You Were Here.” Billy again sang lead on Neil Young’s “Rockin’ in the Free World,” before Hitching Post staffer Faith stepped onstage to sing lead on the Eagles’ “Hotel California.” Banditos went uptempo again with Sugar Ray’s “Answer the Phone,” before Wally strapped on the acoustic guitar to sing Sammy Johns’ “Chevy Van” and Neil Young’s “Old Man.” The group then brought the night to a funky close, with Billy singing lead on Wilson Pickett’s “Mustang Sally.”
They don’t need no steenking subgenres…Banditos kept the smallish Hitching Post crowd happy with muscular, melodic, meat-and-potatoes rock’n’roll without the trendy gimmicks or labels. This observer left the Hitching Post at the end of the night with the satisfaction that Banditos are one band that is keeping their rock’n’roll real.
Billy Nusom of Banditos.
Darrell Ruzzi of Banditos.
Dave Russell of Banditos.
Once again, Billy Nusom and Phil Wagner of Banditos.
Once again, Dave Russell of Banditos.
Wally Archer of Banditos.
TYNE & THE FASTLYNE @ PHYRST, STATE COLLEGE 1/9/04
One of the pleasures of doing what I do in covering the music scene is discovering rising talent for the first time. There are always new names surfacing on the area music scene, from young performers who are just beginning their journeys in music, to closet veterans who have honed their skills in the basement for years, and just surface and blow everyone away. Every weekend has the potential to unveil a new performer or band to my eyes and ears that I have not yet experienced; and to inspire me to let the world know about that performer or band here on Rockpage and in Pennsylvania Musician.
On this night, I discovered the talents of Tyne Replogle. Tyne is the lead singer, banjo player and acoustic guitarist in Tyne & the Fastlyne, the band formed after singer Dawn Kinnard left Dusk Til Dawn to pursue a solo career and direction. A 20-year-old performer (who turns 21 in February) who hooked up with former Queen Bee & the Blue Hornet Band guitarist Mark Ross and drummer Jack Wilkinson plus former U.S. House Band bassist Pat McGinnis, Tyne has been playing music since she was 6 years old. She has been a member of a family group with her mother and grandmother, Three Generations On Strings. She studied banjo under some of the best banjo players in the country, including Tony Furtado, Tony Trischka, Don Wayne Reno and Craig Smith; and has been teaching banjo and guitar herself for six years. Tyne also studied Irish music and dance at the University of Limerick in Ireland, and currently performs with Vox Nova at Mount Aloysius College. Talk about a resumé! (You can read more on her website, www.banjotyne.homestead.com.)
It was a frigid, bitterly cold winter night as I arrived during the intermission between the group’s first and second sets. Since Penn State was still on holiday break and Phyrst was lightly populated, I easily procured a seat near the front of the stage and got set to discover what Tyne & the Fastlyne was all about.
As the group’s second set unfolded, the Phyrst audience was treated to a meeting of styles, and a demonstration of musicians playing in new terrain. The group opened with a traditional bluegrass song, “The Fox,” with Tyne showing not just her banjo talents, but also a healthy blues growl as well. The group then did a slow country/blues treatment on Woodshed Allstars’ “Willow.” These first two songs established a rural direction to the group’s sound, with the focus on Tyne and her abilities. The following song, “Before You ‘Cuse Me,” shifted things in a more bluesy direction – familiar terrain for former Queen Bee alumni Mark and Jack (who sang lead), and U.S, House Band alumnus Pat (playing an upright bass). The group then performed one of Tyne’s original compositions, the folksy “Midsummer’s Dream.” The group shifted back into the blues for Jimmy Reed’s “Bright Lights, Big City,” with Pat singing lead. The group then did Tom Rush’s “Galveston Flood” and the traditional bluegrass song “Man of Constant Sorrow,” before ending the set with “Love Someone Like Me.”
A fascinating display onstage was unfolding. The audience witnessed as Tyne stretched her talents into the blues, and enthusiastically embraced this new style, flexing her talents alongside her seasoned blues-savvy bandmates. But the audience also witnessed as Mark, Pat and Jack also stretched their talents into Tyne’s realm of Americana music, as they sampled bluegrass, folk, country and gospel. At its crescendo, the musicians came together and embraced these collective styles, and you could see by the smiles on their faces that all four performers were enjoying this adventure. It was also fun to witness as Tyne and Mark played off one another, blending and pushing each other to a higher level of performance. And although not crowded, the Phyrst audience was quickly “getting it,” and more people cheered as the performance progressed.
During the intermission, I got to speak with Tyne’s grandparents, who braved the bitter cold temperatures to travel from Roaring Spring to State College to watch their granddaughter perform. They were proud of Tyne’s accomplishments in music, and they were very much enjoying the musical magic unfolding on the Phyrst stage this night as well.
And I had to hand it to Mark Ross, this man has the Midas touch when it comes to discovering new talent! It was Mark who discovered Tonya Browne as a 19-year-old waitress at Carl’s Brickhouse Tavern in State College, who liked to get up and sing with the bands. Tonya eventually became the “Queen Bee” in Queen Bee & the Blue Hornet Band. Then he introduced the region to the incredible talents of Dawn Nolten (now Kinnard) in Dusk Till Dawn. And now, he’s helping bring the talents of Tyne Replogle to the attention of the region.
Tyne & the Fastlyne opened their third set with more traditional bluegrass, performing “Angelina Baker.” Here Tyne demonstrated her slide abilities on a resonator guitar; while Mark accompanied on an interesting-looking acoustic of his own. The group went into more blues (I didn’t know the song), with Jack singing lead and Tyne jamming along on banjo. This was followed by a rendition of the gospel standard “Will The Circle Be Unbroken,” another song the group described as “bluesgrass,” a traditional bluegrass instrumental, and the set-closing rendition of Woody Guthrie’s bluesy “Ain’t Gonna Be Treated This Way,” during which all four band members were able to showcase their skills.
Again, this was very rewarding to witness, as you could see the joy of musicians stretching into different styles, embracing those styles, meeting each other on the same page, and blending their individual talents together into a greater whole effort. You could tell all four performers were having fun onstage this night. I thoroughly enjoyed this show, as I discovered a new talent I had not witnessed before in Tyne Replogle; I experienced music I normally don’t encounter in my bandwatching journeys (thanks to the band for furnishing song titles and set lists); and I got to witness talented players blending their talents and exploring new musical ground together. If you’re in the mood for something different, Tyne & the Fastlyne performs every Friday evening at the Phyrst; usually performing the early slot (7:30 – 10:30 PM).
Drummer Jack was out the door quickly after the third set, for he had another gig to play this night with Maxwell Strait at Café 210, a few blocks away. For me, I stuck around the Phyrst and ordered some food upstairs at Ernie’s Steaks (you can order food upstairs, and the staff will bring it downstairs to you in the Phyrst; the Philly cheesesteak and fries ruled!), and watched as the nightcap band of this Phyrst doubleheader set up…
Pat McGinnis on upright bass with Tyne of Tyne & the Fastlyne.
Banjo Tyne...Tyne Replogle of Tyne & the Fastlyne.
Once again, Pat and Tyne of Tyne & the Fastlyne.
Tyne and Mark Ross of Tyne & the Fastlyne.
Tyne Replogle and Mark Ross: two musicians exploring new frontiers.
Mark Ross, firing off a solo.
Once again, Pat McGinnis with his upright bass.
Once again, Tyne and Mark of Tyne & the Fastlyne.
Pat McGinnis, singing lead.
MIKE SWAVELY & THE CHROME MAGNATONES @ PHYRST, STATE COLLEGE 1/9/04
As several downtown State College venues do, the Phyrst usually runs two separate bands on Fridays and Saturdays. The early band plays to the early evening happy hour crowd, while the later band performs to the normal Friday night barhopping crowd. Lately, the new band e-Nation has been playing the Friday nightcap show at Phyrst; but with the students still away, e-Nation had this particular Friday off, and Mike Swavely & the Chrome Magnatones provided the nightcap.
This band is always fun, and this night was no exception. Bassist Bill Stetz, guitarist Bill Wilgus and drummer Sean Hershey – The Chrome Magnatones – first took the stage to warm up and break in the crowd; first doing an instrumental, and then breaking out some railroad folklore with bassist Bill singing “Boxcar Row” (I believe, not sure of the exact title). After the song, Bill laughed and told the Phyrst crowd, “Boxcars, Texas, hoboes, folklore; it’s all here folks!” Plus rock’n’roll’s roots…The trio did another roots rock instrumental, during which they introduced “The Swave,” Mike Swavely. To quote the band’s bio, Mike is “the complete package: nervous energy, looks, and moves that got Elvis in trouble with Ed Sullivan back in 1956.” This man and his band LIVE this vein of roots rock onstage, performing it with the same spunk and zeal of rock’n’roll’s originators in the 1950’s. Mike and the Chrome Mags kicked into Johnny Cash’s “Folsom Prison Blues,” and proceeded with Richie Valens’ “Come On, Let’s Go,” which allowed Sean to flex on a “Wipe Out”-styled midsection. The group did a slower, more somber number (I believe called “Nobody Knows”), before bringing the tempo back up with “Maria” and Gene Vincent’s “Cruisin,’” ‘The Swave’ and his bandmates were hitting their stride as they did Carl Perkins’ “Blue Suede Shoes” and ended their set with Johnny Rivers’ “Secret Agent Man.”
A few more people were arriving at the Phyrst during Mike Swavely’s first set and ensuing intermission. Mike greeted fans during the intermission and worked his way around the tables. I was finishing up the huge plate of fries served up by Ernie’s; lots of fries, low price, can’t beat that!
The next set began much the way the first set did, with the Chrome Magnatones minus Mike performing a few numbers. Bill Stetz sang lead on the first; the second was an early surf instrumental (I believe by the Ventures); followed by another instrumental. Mike Swavely then returned to the stage to sing lead on Creedence Clearwater Revival’s “Suzie Q.” ‘The Swave’ was quickly back to full fire and fury on Buddy Holly’s “Rave On,” demonstrating his best 50’s-era swagger and voice. He and the group dipped back into the roots for “Freight Train,” and continued in a soulful vein with Bruce Springsteen’s “Fire.” Then George Jones’ “White Lightning,” and the Johnny Bond/Commander Cody classic “Hot Rod Lincoln.” The crowd was getting more fired up as the set went, and as the group reached the last song of the set, one lady stepped into the stage area and started bumping and grinding with Mike himself.
The night’s shortened final set featured more highlights, such as “Memphis Tennessee;” Del Shannon’s “Runaway;” and another Johnny Cash number. The group also broke out two original songs, both in the same rootsy early rock’n’roll vein: “The Last Time” (NOT the early Rolling Stones classic) and “Spy Vs. Spy.” The group ended the night with Elvis Presley’s “Suspicious Minds,” with a guest from the audience stepping onstage to help Mike sing the song. More members of the Phyrst audience stepped up front to dance and groove along, and by night’s end this had become a friendly rock’n’roll party.
This was an enjoyable show, as Mike Swavely & the Chrome Magnatones played this vein of early rock and country with excitement and enthusiasm, much in the spirit of the music’s originators themselves. Bill Stetz and Sean Hershey kept the rhythms upbeat and airtight, and Bill Wilgus demonstrated ample flare throughout the night on his guitar, capturing the tone, twang and flavor of roots rock, and also showing frequently dazzling solowork as well. As said before, Mike Swavely lives this music onstage, and convincingly captures the mood and swagger of early rock pioneers like Elvis, Buddy Holly, Carl Perkins and more. This band honestly appreciates the music they are doing, and their show is a celebration of this era of rock and the fire and spirit of rock’s early years.
The only lowlight of the entire night was the walk back to my car on this bitterly cold night. I was parked only half a block away from the Phyrst, but the temperature was near zero and downtown State College this night was a wind tunnel; do the math. By the time I reached my car, I was actually shivering; and I usually have a good tolerance for cold temperatures, but not this night! Needless to say, the Atherton Street Sheetz saw my patronage for a hot cup of coffee as I exited town, ‘nuff said!
Bill Stetz and Mike Swavely.
"The Swave," Mike Swavely.
Once again, Bill Stetz and Mike Swavely.
Sean Hershey of Mike Swavely & the Chrome Magnatones.
Once again, "The Swave," celebrating rock'n'roll's roots.
Mike Swavely & the Chrome Magnatones.
Once again, Bill Stetz and Mike Swavely.
Bill Stetz of Mike Swavely & the Chrome Magnatones.
DEVIANCE @ DOUGHERTY’S “TERRA” TORY, JOHNSTOWN 1/10/04
As I drove to Johnstown on yet another frigid and cold January night, I thought about what makes some of us humans do the crazy things we do. What makes a hockey goalie crouch inside a net and have hard rubber pucks fired at him at breakneck speed? What makes electrical workers or radio station chief engineers brave high heights and climb up on transmitter towers to work with high-voltage equipment? And what makes music-aholics like yours truly drive an hour away on a frigid cold night to see a band – two nights in a row!? At least it wasn’t snowing on this night; I can drive in cold temperatures if it isn’t snowing. If I ever reach the point when I decide to drive on a frigid night in a snowstorm to go see a band, you might want to consider locking me up!
In any case, I hadn’t seen Deviance perform for a while, and wanted to see what these Johnstown heavy hitters were up to, so I did the roadtrip to Dougherty’s “Terra” Tory to check in with them. Apparently many of Johnstown’s rock fans weren’t up for braving the cold this night, as Dougherty’s was lightly populated as I arrived. But as I quickly found out, the fans who were in attendance were the hardcore metalheads, and were clearly there to support live metal this night. I was quickly greeted by the Lost Ledny contingent of Matt and Ryan; and several members of Rennis were in the house this night, including bassman Steve Stull, only a few days removed from back surgery!
Onstage, Deviance was blasting forth a mix of nu-metal favorites and original songs. After his intense performance on songs from Sevendust and Disturbed, frontman Eric Voeghtly – nursing a growing Jagermeister buzz this night – asked the crowd if they saw the vein nearly pop out of his head. After a rendition of Korn’s “Right Now,” Deviance did two original songs, the driving title song to their forthcoming album, “Contagion,” and the brutal and thundering “Boiling Point.” Bassist Chad Straw rallied the stagefront crowd with his trademark monstrous “vo-kill” battle cry, before the group launched into a tune from Static X and did another original, “Violated.” The group then tore into a version of Metallica’s “Creeping Death” to close this set; highlighted by guitarist Jason’s incredible solo pyrotechnics.
During the set break, I was informed that Dougherty’s is apparently up for sale, and the future for metal at this longtime Johnstown venue is not a sure thing. I’ve seen a lot of good shows here over the years; here’s hoping whoever purchases and/or runs this venue decides to continue the live music tradition here.
Deviance launched into their nightcap set with their brutal take on Nine Inch Nails’ “Head Like A Hole,” before introducing another new original song, “Blind Leading the Blind.” This was followed by the sinister tension-and-release original song “Deceit;” after which Eric treated the stagefront crowd to a community Jagermeister team drink (although I think Steve Stull swigged half the bottle!). The group continued with ferocious metal from Coal Chamber, Stone Sour, Marilyn Manson and Slipknot; and then introduced another original song, “Tripwire,” before ending the set with Slipknot’s “Left Behind.” Although small in number, Dougherty’s crowd was big in voice, and instantly demanded an encore, which Deviance answered with Drowning Pool’s “Bodies” and a repeat performance of the original tune “Boiling Point.”
As expected, Deviance pounded. Bassist Chad and drummer Mike Torchia continue to anchor one of the meanest, darkest rhythm sections in western PA metal; bringing full thunder that rumbled Dougherty’s. Guitarist Jason was constantly on the attack, whether gnashing out savage power chord mayhem, or scorching off searing leads. Jason again demonstrated he is one of those performers who lets the intensity of the music take over, throwing his full body and soul into his instrumental assault. On the vocal end, Eric Voeghtly rode the rollercoaster from calculated wail to maniacal soul-venting, often within the course of the same song; while Chad accented each song with his bestial “vo-kills,” and often offered bestial narrative between songs to keep his Dougherty’s minion obedient.
Deviance kept the Dougherty’s stagefront audience riveted and involved in the show, and some friendly moshing erupted several times during the nightcap set. Johnstown’s hardcore metal fans were clearly in the house this night, and stayed on to support live metal the entire night.
Deviance is expected to release their Contagion album soon, before the end of winter. Based on the songs demonstrated this night, this has the potential of being one of the more impressive – and brutal – CD releases from the Keystone State this year.
Deviance bassist and vo-kill-ist, Chad Straw.
Mike Torchia of Deviance.
Once again, Chad of Deviance.
Powered by Jagermeister, Deviance frontman Eric Voeghtly.
Eric Voeghtly of Deviance, addressing the fans.
Two female fans, celebrating with a little 'deviance' of their own...
Once again, Mike Torchia of Deviance.
Jason of Deviance.
A deviant couple...Mr. and Mrs. Chad Straw...
JUICED @ PELLEGRINE’S, ALTOONA 1/11/04
Ah, the rigors of this business…One Sunday, you’re playing a venue in warm and balmy Key West, Florida, receiving tip money onstage from tourists and vacationers, and enjoying a veritable paradise. Seven days later, you’re entertaining drunks at Pellegrine’s on a slow night in the dead of winter.
It’s a week in the life of Juiced. Fresh back in frigid PA after a Key West roadtrip to begin 2004, Juiced was wrapping up the weekend at Pellegrine’s this night, on what was a slow night by Pelly’s crowd standards. Perhaps the bitter cold weekend kept everybody at home this night, but Pelly's didn't have the typical large audience that usually greets Juiced's periodic visits.
Juiced made the best of it, though, and set out to deliver the party to the folks who did attend. The group performed their trademark upbeat mix of current favorites, classic rock and 80's, hip-hop and more. At least a few fans populated Pellegrine's dance floor during the second set, as Juiced fired off tunes from Godsmack, Billy Idol, Fountains of Wayne, Beastie Boys, Wheatus, Rage Against The Machine and more. Highlights included Juiced's 'homecoming' rendition of Lynyrd Skynyrd's "Sweet Home Alabama (Pennsylvania)" seguing into Sublime's "What I Got;" keyboard man Doug Buch serenading Pelly's female populace with Neil Diamond's "Sweet Caroline;" and the rowdy set-ending version of Twisted Sister's "We're Not Gonna Take It."
Juiced's third set likewise was upbeat and festive, as frontlady Carrie and co. continued to provide the underpopulated Pellegrine's with the maximum party. No big surprises in this set until its heavy-handed finale, when Carrie led the group on Ozzy Osbourne's "No More Tears," which continued directly into Pantera's "Walk;" and a Sevendust tune to end the set. Although small in number, the stagefront celebrants loudly called for an encore, and Juiced answered with Drowning Pool's "Bodies," even if there weren't a lot of bodies hitting the floor at Pellegrine's this night.
So for Juiced, the Key West vacation was clearly over this weekend, and the group had to deal with the harsh reality of winter in PA, and its impact on the live music scene. But seasoned professionals that they were; Juiced still gave what crowd there was 100% full effort, and made it a worthwhile ending to the weekend for those who braved the elements to attend.
With a little help from some female fans, Greg Folsom of Juiced.
Carrie Rapaport of Juiced.
Again, being helped by the fans, Greg of Juiced.
Norm Marks of Juiced.
Once again, Carrie of Juiced.
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