Jim Price
Moderator
Joined: 07 Dec 2002
Posts: 4817
Location: Altoona, PA
|
 Posted: Friday Feb 20, 2004 |
|
|
WEEKEND RECAP 1/19/04
MATT WAGNER @ THE HITCHING POST, ALTOONA 1/15/04
Having heard a lot of favorable reviews of up-and-coming area acoustic performer Matt Wagner, I decided to kick off my weekend by catching Matt’s performance at Altoona’s Hitching Post.
Hitching Post bartender Shane had advised me to arrive early, as Matt has been attracting a steadily growing legion of fans, and seats would likely be hard to come by if I arrived late. Although I did arrive relatively early during Matt’s first set, seating was never an issue. Old Man Winter’s combination of a troublesome snowfall the night before and frigid temperatures this night kept attendance lower than usual. Still, there was a jovial audience of Hitching Post regulars and a few curious fans in the house to see Matt.
As the first chapter of Matt Wagner’s musical sojourn unfolded, I found Matt to be a product of the current generation of singer/songwriter/guitarists, with a style and sound rooted in Dave Matthews and Matchbox 20. Matt performed a number of songs from both of those artists as the night went along. But Matt showed other flavors of his musical persona as well; including new, classic and original. As I arrived, Matt was performing a version of Peter Gabriel’s “In Your Eyes.” Demonstrating a sandy, passionate voice and full-sounding guitar style, Matt did modern day ballads such as Green Day’s “Good Riddance” and Bush’s “Glycerine;” also Fuel’s “Shimmer,” the Pearl Jam take on “Last Kiss,” Poison’s “Every Rose Has Its Thorn,” Peter Paul & Mary’s “Leaving On a Jet Plane,” an original song called “Hey Mister” and more.
Matt’s second set likewise featured select songs from Matchbox 20 and Dave Matthews; including the hits “Push” and “3 AM” from the former, and the latter’s “Too Much” and “All Along the Watchtower.” Matt also featured songs such as Counting Crows’ “Mr. Jones,” Dispatch’s “General,” Eric Clapton’s “Wonderful Tonight,” Blues Traveler’s “Runaround” and more. Matt performed two more original songs, “Cycle” and “You Never Know;” both of these songs had simple but effective melodies, plus thoughtful, observational lyrics. Matt threw in a few unusual twists and turns during this latter set; including a risqué, tongue-in-cheek number (I believe called “Sailor”), plus a version of Guns’n’Roses’ “Patience” with an unexpected plot twist at song’s end. A few of Matt’s female fans arrived during this set and made a few requests that Matt honored, including a repeat performance of “Leaving On A Jet Plane.” Matt drew the evening to a close with versions of Van Morrison’s “Brown-Eyed Girl,” Pink Floyd’s “Wish You Were Here” and CCR’s “Have You Ever Seen the Rain.”
Overall, Matt Wagner’s performance was interesting and varied, as he ran the gamut from relaxed and understated to full-blown and passionate; a few times within the course of the same song. His guitarwork was busy and often edgy, and he kept things moving forward. And it dawned on me that while his main influences seem to be from contemporary artists like Dave Matthews and Matchbox 20; that Matt’s ability to unite new and older song material into a cohesive performance succeeds in tying several generations of music together, and keeps some of the older material alive and pertinent for his fans and peers to discover.
I came away from the Hitching Post this night with a wider picture of Matt Wagner and his musical scope, and agree with the consensus that I’ve heard; that Matt is a promising performer with a style and edge who is worth keeping an eye on as he continues to establish his presence on area stages.
Matt Wagner, entertaining at The Hitching Post.
WHATEVER/WISKERBISKET @ PETER C’S, ALTOONA 1/16/04
I was in the mood for some unadulterated rocking rowdiness this night, and just the right band was in town to provide that for me, Wiskerbisket with their CD/DVD-release gala at Peter C’s.
Another factor that drew me to Peter C’s was that, initially, Harrisburg rockers Vicious Cycle, were slated to make their first area appearance and open the show. But for some reason, they were not in the house this night, and instead, State College’s Whatever opened the evening shortly after I arrived. But as singer/guitarist Rich Clouser, lead guitarist Burk, bassist Jerry Ross and drummer Al Stever kicked off their set with Nirvana’s “Breed;” it was quickly apparent that with Peter C’s usual soundmen not in attendance this night, the sound was too loud and oppressive, and I had to break out my foam ear plugs. Whatever battled other sound issues early, including feedback squeals and clipping and cutting out. With only a light crowd in attendance early on, the sound problems drove a few patrons out the door, diminishing the audience even more. Eventually the audio issues were somewhat resolved (although the sound remained excessive for the duration of the night), and Whatever played through songs by Puddle of Mudd, The Clarks, Lit, Beastie Boys, Coldplay and more, finishing with Helmet’s “Unsung.” Together just two months, the group was on the same page instrumentally for the most part; but their vocals clearly needed work. Rich handled the lion’s share of lead vocals, with Jerry and Al each singing lead on one song. All three weren’t particularly strong singers, and their voices couldn’t handle higher ranges especially. The group also came off as timid and nervous, and never seemed comfortable during this set. Hopefully more practice and onstage experience will tighten and improve this group, but for this night, Whatever didn’t leave a particularly strong first impression upon the Peter C’s crowd.
Fortunately, relief was on the way, and Wiskerbisket soon took the stage. With fishnet stocking-clad singer/guitarist Doug Snook yelling “WAKE UP!!!” to the somewhat complacent Peter C’s audience, Wiskerbisket roared into their first set with the Greg Kihn Band’s “Break-Up Song,” commencing a high-energy barrage of rocked-up new and old songs. The group continued with Jimmy Eats World’s “The Middle,” and guitarist John Everly took over lead mic for Devo’s “Whip It” and Blur’s “Song 2.” Doug and Wiskerbisket then dug into the oldies archives for their rowdy, punked-up versions of Ben E. King’s “Stand By Me” (which appears on the group’s new self-titled 4-song EP), Eddie Cochran’s “Summertime Blues” and “Do You Want to Dance.” After the Ataris’ take on Don Henley’s “Boys of Summer,” Wiskerbisket broke out their first original song of the night, the dual-speed “Killer.” The group rawked up Men At Work’s “Down Under,” before celebrating redneck music with their high-powered, slamming takes on Steve Earle’s “Good Ol’ Boy,” John Denver’s “Take Me Home Country Roads” and Alabama’s “Mountain Music.” Wiskerbisket’s velocity continued into Van Morrison’s “Brown Eyed Girl,” and bassist Troy Neff assumed lead microphone duties on Tom Petty’s “You Wreck Me.” John again sang lead voice on Puddle of Mudd’s “She Hates Me,” and the group continued their blend of high energy rock and hyjinks on The Clash’s “Should I Stay or Should I Go,” Violent Femmes’ “Blister In The Sun” and Good Charlotte’s “Lifestyles of the Rich and Famous.” Harry Bleyer then thundered out a drum solo, which led to the final song of Wiskerbisket’s first set, Chuck Berry’s “Johnny B. Goode.”
Alongside Emily’s Toybox, Wiskerbisket may well have the zaniest, wildest show currently making the rounds on this region’s stages. Principal ringleader Doug Snook threw caution to the wind, running amok around Peter C’s like a crazed wildman, barking out the agitated words to the group’s song arsenal, and occasionally mixing in antics and bursts of humor; including a rant about the Jehovah’s Witnesses during the first set. Likewise, John Everly also made several journeys throughout Peter C’s during the set, while bassist Troy Neff and drummer Harry Bleyer anchored things on stage. Wiskerbisket kept this show firing at an over-the-top, high velocity pace; yet executed tightly on their instruments and harmonized well on the voices.
Although Wiskerbisket had a better handle on the sound during their two sets, the sound was still oppressively loud, enough so that I left my earplugs in for the duration of the night.
Although still not crowded, at least a few more fans showed up by the time Wiskerbisket launched their nightcap set. This audience was fired up and ready to party as Wiskerbisket commenced with their raw-edged take on Dion’s “Runaround Sue.” The group proceeded with the Beastie Boys’ “Fight for Your Right (To Party);” before unleashing a rapidfire Motorhead-styled original song from their EP called “6 Finger Flip.” The band kept things uptempo with fast and rowdy versions of Bob Seger’s “Old Time Rock’n’Roll,” Billy Joel’s “You May Be Right” and the Kinks’ “You Really Got Me.” Wiskerbisket then broke out their best-known original tune, the heavy-handed “Skank;” followed by another song off the new 4-song EP, “Be My Lover.” Doug demonstrated his best dirty-dancing moves throughout the venue (and accepted dollar bill tips, stripper-style, inside his knee-high boots) during this song’s Survivor-“Eye of the Tiger” midsection. As more people were now populating Peter C’s dance floor, a guest named Brian joined Wiskerbisket onstage to sing lead on Puddle of Mudd’s “She Hates Me,” before the group brought their rowdy party to a close with the Ramones’ “I Wanna Be Sedated.”
Wiskerbisket again proved this night that they are not your conventional party band. Current, classic, oldies and country tunes rawked up to breakneck speed; delivered with reckless abandon and a smile. Wiskerbisket threw caution and convention to the wind; resulting in a fresh, off-the-wall presentation that left people buzzing about it at the end of the night. Wiskerbisket kept their show on edge and unpredictable; keeping the audience guessing as to where things would veer next. For those who like their musical parties on the wild side, Wiskerbisket throws out the rulebook and does things their way. If they can keep things fresh, adventurous and unpredictable, Wiskerbisket should continue to open eyes in these parts; and hopefully their new fans this night will drag a few more new faces to see this group when they return to Peter C’s on April 2.
Whatever, opening the night at Peter C’s.
From a different angle, Whatever.
Rich Clouser of Whatever.
Al Stever of Whatever.
Wiskerbisket steps up the pace at Peter C’s.
Doug Snook of Wiskerbisket.
John Everly of Wiskerbisket.
Again, Doug Snook of Wiskerbisket.
Harry Bleyer of Wiskerbisket.
Doug Snook and John Everly of Wiskerbisket.
Troy Neff of Wiskerbisket.
Again, John Everly of Wiskerbisket.
Wiskerbisket, with special guest Brian on voice.
513 @ PETER C’S, ALTOONA 1/17/04
It is a fact of life in these parts during the winter months that the weather can affect and change plans. I had planned to venture up the mountain to catch RetroActive at Ebensburg’s Castle Pub; but 2-3 inches of snow during the afternoon and evening (and a forecast for possible sleet and freezing rain after midnight) scuttled those plans. I did decide, though, that 2-3 inches of snow wasn’t enough to keep me away from live music this night, and with several bands in town, I braved the Altoona roads to check one of them out.
Once I got out on the roads, I realized they were in very lousy shape (Hey City of Altoona and Logan Township, could you spare us some cinders and a snowplow if you get the chance?), and relatively few other vehicles were out and about; surely it was going to be a slow night for bands hoping to attract crowds. Snow-covered and slick as the streets were, I decided I didn’t want to tackle any hills or bridges, thus ruling out The Hitching Post and Aldo’s options. I had just seen Vs. The Earth and Wake Up Screaming recently, ruling out the 4D’s and City Limits options. I ended up returning to Peter C’s, not only because it is a relatively flat and hill-less trek, but also because a new band I had yet to discover was playing there – 513.
As expected, Peter C’s was pretty empty when I arrived shortly into 513’s first set. But drummer/singer Angelo Pompa, guitarist/singer Bob Gray and bassist Josh Yahner didn’t let it bother them; their mission was to give the people who did show up a good time. With Angelo and Bob splitting lead vocal duties, 513 mixed it up nicely with rocking favorites from the 60’s to present. The group was in the midst of Spin Doctors’ “Little Miss Can’t Be Wrong,” and proceeded with Black Crowes’ “Hard To Handle,” with Angelo singing lead. Bob then demonstrated sturdy vocal work fronting 513 on the Doors’ “L.A. Woman.” Angelo then announced the group was throwing a change-up at the small Peter C’s crowd, and fired off a ‘chic’ song by Sheryl Crow. With Angelo offering a tongue-in-cheek apology for interrupting the rock with a bit of fluff, 513 continued into Rick Springfield’s “Jessie’s Girl.” Bob then took over lead mic duties for Maroon 5’s “Harder to Breathe;” and the group then continued in a somewhat eclectic vein by breaking out a tune by Eagle-Eye Cherry. Following a funk/jam number, 513 closed out their opening set with Incubus’ “Drive,” with Bob again singing lead.
I liked what I had seen so far from 513. This trio was tight and strong as a unit, both instrumentally and vocally. Both Angelo and Bob could hold their own on the lead vocal front; and Angelo served as the confident emcee of the proceedings from behind his drum kit. Bob executed clean, fluid soloing on his guitar, and capably mixed up the flavors on his instrument with effective use of pedals and effects. And, unlike the night before with Wiskerbisket, 513’s sound was just right; Angelo and designated soundman Andy McConnell mixed it appropriately loud, but not overpowering and oppressive. My earplugs stayed in my coat pocket.
Speaking with the band members during the intermission, I learned that 513 wasn’t complaining much about the weather; this night was still going smoother for them than the night before, when their equipment truck broke down 100 yards from George’s Tavern in Dysart, and the group had to make sudden alternative arrangements to transport their equipment, both from that venue and to Peter C’s this night. Angelo told me that 513 was striving to learn a wide variety of material, old and new, so they can satisfy any crowd or situation, from those desiring classic and older rock to younger crowds wanting today’s sounds. As they performed this night, Angelo solicited requests from the audience, offering to attempt any song if any of the three band members knew it.
And bad as the roads were in the Altoona area this night, I was blown away to find out that two of 513’s fans followed the band down the mountain from Northern Cambria – nearly an hour away – on the dicey roads to party with them at Peter C’s this night! Talk about dedication!
513 resumed the action in their second set with Buckcherry’s “Lit Up,” with Bob on voice. Angelo then sang lead on Seven Mary Three’s “Cumbersome” and the Stones’ “Honky Tonk Women;” before tossing lead mic duties back to Bob for the Doors’ “Roadhouse Blues,” Alice In Chains’ “Man in the Box” and AC/DC’s “Dirty Deeds Done Dirt Cheap.” The group shifted into 80’s metal mode for the Angelo-sung version of Ratt’s “Round and Round,” the Bob-sung version of Twisted Sister’s “I Wanna Rock” and Poison’s “Nothing But a Good Time,” and back to Angelo for Judas Priest’s “Breaking the Law.” Angelo then once again prepped the small Peter C’s for another sinister change-up, as they shifted from 80’s metal to 80’s pop, and Joe Jackson’s “Is She Really Going Out With Him?” 513’s second set then drew to a close with Pearl Jam’s “Black.”
A few more folks arrived during the second intermission, including one lady celebrating a birthday. As Bob and 513 commenced their nightcap set with Wild Cherry’s “Play That Funky Music,” the birthday girl and her friends provided the first dance floor action of the night. Angelo thanked them afterward, telling them that they provided 513 with a service, by “not giving us a dancefloor shutout!” The group continued with Pink Floyd’s “Young Lust” and Sublime’s “What I Got,” and triggered further dancefloor action with Violent Femmes’ “Blister In The Sun.” Angelo sang lead on versions of Men At Work’s “Down Under” and Van Morrison’s “Brown-Eyed Girl;” before Bob took over lead mic for 513’s celebration of “hillbilly pride,” Lynyrd Skynyrd’s “Sweet Home Alabama.” The set then took a harder edged direction into the homestretch with the Bob-sung version of Ozzy’s “Crazy Train,” and Angelo singing on Cold’s “Stupid Girl.” Although the crowd was small, they wanted more, and called for an encore, prompting 513 to end the night with AC/DC’s “Highway To Hell.”
Although the lousy road conditions initially made me question my decision to head out this night, 513 ultimately made it worth my while with a solid, sturdy performance. Every flavor the group tried sounded good and on target, and the group kept the show moving forward with a busy pace and few interruptions. 513 wasn’t flashy or frilly; they kept things simple and basic, rock’n’roll without the tedious bells and whistles. After witnessing these three sets, I understood why this band was quickly becoming busy on area stages. For fans of solid rock’n’roll without the nonsense, add the name of 513 to your lexicon.
Bob Gray of 513.
Angelo Pompa of 513.
Again, Bob Gray pf 513.
Josh Yahner of 513.
Again, Angelo Pompa of 513.
Once again, Bob Gray of 513.
Again, Josh Yahner of 513.
GREEN EGGS @ PELLEGRINE’S, ALTOONA 1/18/04
Day job duties prevented me from arriving at Pellegrine’s until well after midnight, just before Green Eggs commenced their third set. With local road conditions much improved from 24 hours before, a healthy crowd was in the house to party down.
As Green Eggs resumed the action with their take on Nine Inch Nails’ “Closer” (this band still does the best version of this tune out of any cover band I’ve seen), I procured my first brew and headed stageward. As expected, Pellegrine’s dance floor was quickly busy once again as Green Eggs mixed it up between current and classic favorites, rap/hip-hop side journeys and more. Keyboardist Brian Nicarry, bassist Brad Nicarry and guitarist Steve Nelson all took their respective turns singing lead on their seemingly nonstop barrage of uptempo tunage; jumping from James’ “Laid” to Snoop Dogg rap to Jimmy Eats World’s “The Middle,” Papa Roach’s “Last Resort;” a short 80’s medley featuring Rick Springfield’s “Jessie’s Girl,” The Outfield’s “Your Love” and the Buggles’ “Video Killed The Radio Star;” Tom Petty’s “American Girl,” Kid Rock’s “Cowboy,” Limp Bizkit’s “Rollin,’” Drowning Pool’s “Bodies” and Rage’s “Killing In The Name.” Instant encore demanded from happy Pelly’s dance floor crowd at night’s end, answered promptly with a version of the Beastie Boys’ “Brass Monkey.”
Once again, Green Eggs proved their artistry at being able to take a group of songs and styles; and weave them into a cohesive, tight and steady set that kept the populated dance floor continually moving and grooving. The group never stayed in one place for too long, changing up the flavor and keeping the crowd attentive and interested. Their performance was steadily exciting and upbeat, yet smoothly executed and airtight.
While Green Eggs has figured out their formula for continued success on northeastern stages, they’ve continued to stay on top of their game by platooning new songs in and out of the mix from night to night, varying their setlists, and keeping it fresh. The results continue to be happy dancefloor crowds like the one at Pellegrine’s this night, and Green Eggs staying continually busy with gigs on this state’s stages.
Steve Nelson of Green Eggs.
Brian Nicarry of Green Eggs.
”Now can you hear me?” Brian Nicarry of Green Eggs.
Brad Nicarry of Green Eggs.
Again, Steve Nelson of Green Eggs.
Brad Nicarry of Green Eggs, apparently after sipping a bitter beer.
Brian and Brad Nicarry of Green Eggs.
Once again, Brad Nicarry of Green Eggs.
”Take our picture!”
_________________
http://pamusician.net |
|
