Jim Price
Moderator
Joined: 07 Dec 2002
Posts: 4817
Location: Altoona, PA
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 Posted: Wednesday Sep 01, 2004 |
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First, to quote an oldies song, “A Little Bit of Soap”…box…
SOAPBOXIN’ WITH JP: FESTIVALS AND “FARCE”-TIVALS
If you live on either the Altoona or the Johnstown sides of the mountain, you have likely heard about the controversies surrounding popular festival events in both towns.
As Labor Day approaches, let’s discuss the Johnstown controversy first. After calling Johnstown’s Cambria City neighborhood home since the National Folkfest first arrived there in 1989, the Johnstown Area Heritage Association announced that they were moving Johnstown Folkfest from Cambria City to a new festival site across the Conemaugh River from Point Stadium.
The Johnstown Area Heritage Association cited growing pains as the primary reason for the move. They cited that with increased development in the Cambria City area (including a new Sheetz where the 10th Avenue stage had been), the space available for Folkfest was shrinking, while Folkfest itself was growing. So they felt a move to a new, flexible facility with growth potential was the answer.
A number of Folkfest fans and residents of Cambria City cried foul over this move. For many, Cambria City has been an important component of Folkfest’s appeal, and with its churches and ethnic heritage, this neighborhood contributed to the overall community spirit and homecoming atmosphere of Folkfest. Folkfest also brought attention and business into Cambria City.
Community leaders in Cambria City decided to do something about it. Several church and business leaders put heads together and decided to organize their own festival in Cambria City to replace Folkfest, and the Cambria City Ethnic Festival was born. And in assembling this new festival, the organizers decided to book local and regional entertainers, plus take this festival back in the more ethnic direction of the original National Folkfest.
I plan to be in Johnstown over Labor Day weekend to see how this new festival scenario plays out. But I think that ultimately, this may be a very beneficial development for Johnstown in the long run. This city gets another festival event over Labor Day weekend (making four festivals in all, including the Log Cabin Arts Festival and the Forest Hills Festival in nearby St. Michael). In addition, they get an ethnic-geared festival more in the tradition of the original National Folkfest, and a festival that supports local entertainers. According to the representative of Johnstown Area Heritage Association I spoke with, the new Folkfest site could ultimately be used to host other community events during the rest of the year. So while the initial announcement of Folkfest’s move stirred controversy, a lot of good could potentially come out of it.
Now, to the other side of the mountain…In Altoona, the Allegheny Mountain Convention and Visitors Bureau, operators of the annual Keystone Country Festival/Fair (was Festival, now Fair), announced that – after calling Lakemont Park home since the festival’s inception in the late 60’s, they were moving the event out of Lakemont Park after this year, and relocating it to the Blair County Convention Center.
As was the case with the Folkfest situation in Johnstown, a lot of people on the Altoona side of the mountain cried foul over this proposed move as well. Lakemont Park will lose a large source of revenue with the loss of the Keystone Country Fair. And with allegations of improprieties in their operation of the Blair County Convention Center, the motives of the Allegheny Mountain Convention and Visitors Bureau in moving the Fair to the Center are being questioned and scrutinized.
It is unclear at present what, if anything, Lakemont Park might do to try to address the loss of the Keystone Country Fair next year. Some people have suggested the possibility of the Park coming up with its own replacement festival/fair, but nothing official has yet been announced.
As far as I’m concerned, the Keystone Country Fair has been a farce for over a decade. This is an event that used to offer much more, including constant live entertainment for all ages on several stages, including teen dances and other entertainment. But this festival’s entertainment slate has been on a steady decline since the early 90’s, relegated to the Vicksburg Quartet gospel group and kids singing country karaoke. The Fair’s advertised “ethnic” food menu has been a joke. (Memo to Allegheny Mountain Convention and Visitors Bureau – take a trip to Johnstown on Folkfest weekend, and see what REAL ethnic food is all about!)
I sincerely hope that Lakemont Park puts together its own event to replace the Keystone Country Fair. Especially if they would book local musicians and entertainers at such an event, I would be glad to support such an event – something I’m not presently doing with the Keystone Country Fair.
As for the Keystone Country Fair, I say good riddance – and don’t let Lakemont Park’s gates hit you in the rear end on the way out!
SOME CD REVIEWS:
HEART – JUPITER'S DARLING (Sovereign Artists, Inc.) After their last studio album, 1993's Desire Walks On, Heart went on hiatus; as the group's sisterly backbone of lead singer Ann and singer/guitarist Nancy Wilson stepped away to devote energies to their acoustic project, Lovemongers, issue solo albums and collaborate on other musical projects. After their 2002 concert tour resulted in last year's live CD set Alive In Seattle, Heart has recorded and issued their first studio album in eleven years, Jupiter's Darling. The time off seems to have served the sisters well; Jupiter's Darling is their strongest and most focused set in years. Their songwriting is as sharp as it has ever been; with ample song hooks and poetic, edgy lyrics. As in their earlier 70's prime, Heart blends lush folk-geared acoustic numbers with harder-edged rock; with Led Zeppelin as the primary point of reference. The group makes no secret of their admiration for Zeppelin on riff-driven rockers like "Oldest Story in the World," "Vainglorious," "I'm Fine" and "Fallen Ones;" the Eastern-flavored folk of "Led To One," the slight Zep-country lean of "Things" or the soaring arrangements of "Enough" and "Lost Angel." But Heart reinvents their own distinct identity and vision on acoustic-driven rockers like "Make Me" and "The Perfect Goodbye;" and experiments with different styles on the modern-edged rocker "Move On," the bluesy foray "Down the Nile," the mandolin-fueled folk ballad "I Need the Rain," and the rural-flavored "No Other Love." Both Wilson sisters' voices are in top-notch form as they split singing duties throughout the album's sixteen tracks, and blend for some beautiful harmonies along the way, especially on the album-closing ballad "Hello Moonglow." This latest incarnation of Heart also features former Alice In Chains bassist Mike Inez, lead guitarist Craig Bartock (who co-produced the album with Nancy Wilson), keyboardist Dorian Sahanaja and drummer Ben Smith. Pearl Jam's Mike McCready and former Alice In Chains guitarist Jerry Cantrell make cameo appearances on the album. Heart returns to their roots with vigor and purpose on Jupiter's Darling; an album that re-establishes the group's rock-meets-folk turf and expands upon it. Not only is this album a convincing comeback album; it is arguably one of the strongest and most consistent sets of Heart's career.
CHRIS ROBINSON & THE NEW EARTH MUD – THE MAGNIFICENT DISTANCE (Vector Recordings) On Chris Robinson's first solo album, 2002's New Earth Mud, the Black Crowes frontman stretched out from the confines of the parent band and indulged his own muse further. On his follow-up, The Magnificent Distance, Robinson has retained New Earth Mud as his current band vehicle, and further stretches and explores his talents and visions. Often collaborating with guitarist Paul Stacey, Robinson ventures on deeper and darker journeys, and experiments with various styles and textures; all centered around his traditional blues and rock foundation. The album opener, "40 Days," is the most direct and immediate song on the album; a romping, uptempo rocker nicely underscored by George Laks' organ groan. It, along with "Surgical Glove" and the closer "Piece of Wind," bear the closest resemblances to Robinson's previous, now dormant, band. Robinson plays with soaring textures on "Girl on the Mountain" and "When The Cold Wind Blows at the Dark End of Night;" acoustic jam psychedelia on "Mother of Stone;" western-styled balladry and imagery on "Train Robbers" and "Like a Tumbleweed in Eden;" and a slight country/folk flavor on "If You See California." Robinson continues to evolve as a songwriter, dabbling in Dylan-like symbolism and Led Zeppelin-styled mysticism on several tracks. His voice is in fine form throughout, often resembling late Humble Pie singer Steve Marriott, and at times Rod Stewart and Paul Rodgers. On the minus side, this album becomes tedious and drawn-out in spots, and the abundance of slower numbers makes the album feel longer than its 66-minute duration. Chris Robinson demonstrates more growth and adventurism on The Magnificent Distance, painting a broader musical picture of this artist beyond the scope of the Black Crowes.
DOKKEN – HELL TO PAY (Sanctuary Records) Twenty years after their initial rise to prominence during the hair-band 1980's, Dokken is still around. The band's turbulent history has seen several guitar players come and go; former Warlock guitarist Jon Levin now occupies the guitar role previously held by George Lynch, Reb Beach and John Norum. Also new to the band's 2004 model is former Ted Nugent/Yngwie Malmsteen bassist Barry Sparks, joining group namesake/singer Don Dokken and original drummer Mick Brown. Dokken's latest album, Hell To Pay, reprises the blend of melody and metal that first put the band on the map in the 1980's. The dominant flavor of the album is darker-textured, midtempo, melodic heavy rock; best represented by the Led Zeppelin "Kashmir"-flavored opener "The Last Goodbye," the first single "Escape," the blues-rooted "Haunted," the substance abuse commentary "Prozac Nation" and "Can You See." Exceptions include one faster-paced rocker, "Don't Bring Me Down," the ballad "Care for You" (which appears twice, in plugged and unplugged versions), and the lighter, Beatles-flavored "Letter to Home." On the performance end, Don Dokken sings with less power and aggression than twenty years ago, realizing his limitations that have come with age and working within them. The band as a whole seems to have slowed a step, and although their execution is tight and tasteful, Dokken mostly cruises at a midtempo pace that borders on monotonous and bland. Levin's slicing lead guitar work helps save the day, providing the needed edge to keep things interesting. And Dokken's song hooks hit more than miss; the majority of tunes are relatively catchy and accessible. Hell To Pay won't return current-day Dokken to the glory they enjoyed in the 80's; but it is a respectable album with its fair share of moments.
RUSH – FEEDBACK (Atlantic) To commemorate thirty years together as a band, Canadian power-progressive trio Rush decided to throw an interesting curve. Instead of repackaging their music into a box set or another best-of set, Rush released a disc of remakes, Feedback. But don’t dismiss this as a mere cover song album; on Feedback, Rush celebrates the music that first inspired them to pick up and play instruments as teenagers. The eight songs are all from the mid- to late-60’s; and according to drummer Neal Peart’s sleeve notes, most of the songs were covered by the three musicians as teenagers and in their respective pre-Rush band projects. The magic of Feedback is that Peart, singer/bassist Geddy Lee and guitarist Alex Lifeson didn’t hastily spew out cover songs for a quick payday on the CD store shelves. Rush instead set out to capture the spirit and zest of the original versions, in their own distinct voice. The trio’s update of Eddie Cochran’s “Summertime Blues” recreates the frenzy of both the legendary Blue Cheer and Who treatments, served up with a touch of studio finesse distinctly their own. Likewise, the update of “The Seeker” is hard-hitting like the Who original, with Lee’s voice applying the Rush signature to it. Rush tackles two Yardbirds numbers, “Heart Full of Soul” and “Shapes Of Things;” with Lifeson’s multi-tiered guitar fury capturing the acid burn feel of the original versions. They also interpret two Buffalo Springfield classics, “For What It’s Worth” and “Mr. Soul,” applying their own spacey brand of studio psychedelia to both. Rush’s take on Love’s “Seven and Seven Is” is galloping and fast like the original, made fuller-sounding by Peart’s busy drum rolls and Lifeson’s swarming guitarwork. And the fireworks between Lee’s aggressive bass and Lifeson’s fret shredding put the trio’s disc-closing version of “Crossroads” over the top. In recording Feedback, Rush revisits their youth and channels back to their roots. In doing so, the group sounds genuinely inspired and having fun as they step outside their progressive rock persona and become the garage band they never were. Feedback shows us a thirty-year veteran band celebrating their roots, stepping outside their character and having fun.
UFO – YOU ARE HERE (SPV Records) First surfacing in 1969, The British heavy rock band UFO is perhaps best known as the band platform from which German guitar ace Michael Schenker lifted off to prominence. The group enjoyed their peak success in the mid-1970's with Schenker as their guitarist. After Schenker's departure in 1978, UFO continued to issue albums until 1983, before dissolving and reforming several times since. On their latest comeback album, You Are Here, remaining longtime UFO singer Phil Mogg, bassist Pete Way and keyboardist Paul Raymond are joined by renowned guitar shredder Vinnie Moore and drummer Jason Bonham. UFO's sound remains classic 70's era midtempo heavy rock, but reinvigorated by the new blood. Moore's bursts of solo virtuosity shine frequently, and his variety of guitar riffs and textures accentuate each of the album's dozen tracks. Bonham's booming beats give the sound added wallop, even approaching thunderous Led Zeppelin (the band of Jason's famous dad, John Bonham) proportions on "The Spark That Is Us," "Sympathy" and "Swallow." Mogg's vocals sound more inspired and soulful as well, even at times eclipsing Paul Rodgers of Bad Company. The new blood also seems to have added a spark to the overall songwriting on You Are Here, as UFO comes up with engaging melodies and varied styles of attack. Besides obvious hard-hitting arena anthems like the opener "When Daylight Goes To Town" "The Wild One" and "Call Me," UFO offers an acoustic-geared flavor on "Slipping Away" and "Baby Blue," and a heavy funk edge on "Jello Man." The group's revolving-door guitar player situation since the late 1970's has resulted in uneven album quality over the years. But You Are Here is a strong offering from this newest incarnation of UFO, and shows a rejuvenated band with a renewed sense of purpose.
LYNYRD SKYNYRD – LYVE (Sanctuary) Although the earliest edition of the band formed in Jacksonville, Florida in 1965, Lynyrd Skynyrd this year celebrates 30 years in the international eye. The group marks the anniversary by releasing Lyve, both as a concert DVD and live double-CD set. Six years removed from their last live album, 1998's similarly-titled Lyve from Steel Town, this latest live Skynyrd disc captures the group's triumphant concert from July 11, 2003 at Amsouth Amphitheatre near Nashville, in support of last year's studio album, Vicious Cycle. While the current edition of Skynyrd performs a few numbers from Vicious Cycle such as "Pick 'Em Up," the patriotic hit "Red White & Blue," "That's How I Like It" and "The Way," most of this concert inevitably features updated performances of Skynyrd classics. Most of the essential ones are here: "What's Your Name," "I Know A Little," "Simple Man," "That Smell," "The Ballad of Curtis Loew," "Tuesday's Gone," "Gimme Three Steps," "Call Me The Breeze," "Sweet Home Alabama," and – the epic by which all Skynyrd concerts are concluded – another live edition of "Free Bird." With Ean Evans replacing the late Leon Wilkeson on bass guitar, the current edition of Lynyrd Skynyrd celebrates the group's legacy with spirited and heartfelt performances throughout. Johnny Van Zant again sings with ample passion and grit, and exudes enthusiasm with the audience; backing songbirds Dale Krantz-Rossington and Carol Chase add colorful harmonies, and even lend a gospel-like flavor to several songs. Gary Rossington's, Rickey Medlocke's and Hughie Thomasson's guitars again blaze and smoke; while Billy Powell is ever-present with sparkling piano runs and a gentle organ underscore. A three-piece horn section adds the brass touch to "What's Your Name," while a six-piece string section lends elegance to "Tuesday's Gone." Long since established as the canon of Southern rock, Lynyrd Skynyrd's body of work has become a canon of American rock'n'roll as well. Lyve serves as an audio snapshot of the band's present incarnation, as they celebrate their legendary legacy, keep the faith and carry on the tradition.
TED McCLOSKEY – SIXTY CYCLE HUM (Voodoo Records) Altoona native Ted McCloskey has been active on the area music scene since the late 80’s, gracing local stages as guitarist for bands such as Back to Zero, Audio, Sideshow Bob, and currently, State College’s Maxwell Strait. In recent years, McCloskey has pursued his own muse and explored his own solo path. That exploration resulted in his 2002 debut solo album, One Man Misery Parade (and a group side project born from that album, The Misery Parade), and his newest release, Sixty Cycle Hum. A diversity of styles and influences converge around catchy pop melodies over Sixty Cycle Hum’s dozen tracks, giving every song its own unique flavor. A fusion of gritty blues guitar riffs and edgy, electronic-tinged funk result in the hard-rocking opener “That Much Closer To…” A more delta-bluesy flavor blends with a hefty beat and edge for a Kid Rock “Cowboy” texture on “Downright Wrong.” Country twang merges with an electronic backdrop and a Beatles-like melody on “With a Different Name;” and an Australian didgeridoo even shows up to help underscore the ballad “Wish You Were There.” The album also contains more conventional midtempo modern-flavored rockers like the Stonesy “Looking Good in the Coffin,” “Strange, Strange Girls” and “Misplaced Man.” And more Beatles-flavored melodies come to play on the ballad “Holding The Sun in My Hand” and “The Cynic of Sunshine Street.” At the center of every song are captivating melodies; and McCloskey’s witty, playful and observational lyrics, as he dissects personalities, social circles and the inner workings of his own creative mind. McCloskey sings and plays most of the instruments on the album. Several of his associates make cameo appearances here; including his Maxwell Strait bandmates Molly Countermine on backing vocals and Rene Witzke on bass, his Misery Parade drummer Daryl Branford, and former Maxwell Strait/Sideshow Bob collaborator Scott Mangene on backing vocals. Sixty Cycle Hum shows us Ted McCloskey stretching out further musically, and boldly venturing where he hasn’t gone before. The results are an edgy, catchy, and fun listen; and one of the freshest-sounding albums to emerge from the local area this year. (To obtain the album, visit Ted McCloskey’s website, www.tedmccloskey.com .)
DEVIANCE – CONTAGION (no label) As snarling guitar riffs and torrid drumbeats instantly launch the punishing opening track "Manifesting," Johnstown-based foursome Deviance quickly removes any doubt over what they are about on their debut CD, Contagion. Two words: heavy metal. Over Contagion's ten tracks, Deviance unleashes an intense sonic assault, defined by Jason Straw's chainsaw guitar riffs and blistering solos, Mike Torchia's hammering drumbeats, and Chad Straw's rumbling bass lines and monstrous "vo-kill" roars. Atop this coarse backdrop, singer Eric Voeghtly (who has since left the group) sings words exploring dark emotions, deceit, tortured souls, rage and more. Voeghtly's voice provides a tuneful counterpoint to his bandmates' sonic maelstrom, accenting the melodic foundation of Deviance's harsh soundscape, and enabling each of these assaults to be distinguishable. There are aggressive rampages such as the aforementioned "Manifesting," the incendiary "Burn" and "Tripwire;" the midtempo title track "Contagion;" the multi-speed barrages of "Blind Leading the Blind" and "Boiling Point;" the deliberate and thunderous chordal progressions of "Confession;" and the Alice In Chains-like vocal textures of the brooding "Reverence." The group also presents a scorching, sinister read of INXS' "Devil Inside." Engineered by Bill Filer and produced by the band at Audible Images near Port Matilda, Contagion is appropriately loud and pulverizing, and the mix enables Deviance to achieve full thunder and jaggedness. Contagion is a high-impact, volatile listen; and a convincing calling card as Deviance successfully merges brutal metal intensity with a melodic sensibility. (To obtain the CD, visit Deviance's website, www.deviance1.com .)
STRONGHOLD – PORTALS OF ILLUSION (no label) On their debut album, Portals of Illusion, Pittsburgh-based heavy metal quintet Stronghold recalls an era not long ago when metal meant shredding guitar solos, siren-like vocals, intricate song structures and powerful melodies. Portals of Illusion carries on the classic heavy metal tradition of Iron Maiden, Judas Priest and Dio over the album’s eleven tracks (plus bonus track, a heavy metal update of Abba’s mid-70’s hit, “S.O.S”). Singer Kevin Rasel provides the powerful, high-flying lead voice, reminiscent of classic Bruce Dickinson, Ronnie James Dio and Geoff Tate. Alex Demos’ lead guitar histrionics are a constant highlight; his solos are fast, clean and precise. The brotherly tandem of rhythm guitarist Dave Climo and bassist Dan Climo flesh out Stronghold’s sound with swarming buzzsaw chords and weighty bottom end respectively; and Chris Batton powers it all with explosive, hard-hitting beats and rapidfire double-kick bass drumming. The song material on Portals of Illusion varies between faster assaults like the album-opener “Power Rises,” the group’s title song “Stronghold” and “Cyclone;” more complex multi-speed exercises like “Enemy Within” and “Fractured;” midtempo romps like “Ironheart,” “Twilight” and “Before My Eyes Awake;” and one slower-tempo number, the contemplative “All That I Am.” The melodies are strong and majestic, strengthened by Rasel’s mighty vocal range and the group’s three- and four-part harmonies. The lyrics, mostly penned by Rasel, are largely symbol-laden forays into themes of light vs. darkness, good vs. evil, inner soul searching and more. Exceptions include “Lockdown,” about turning the page on one’s life; and an ode to space travel and exploration, “Ad Astra.” Produced by D.C. Cooper and co-produced by Rasel and Batton, Portals of Illusion sounds clean, balanced and powerful; giving all components of Stronghold’s sound their own clear presence in the mix. Fans of classic, old-school heavy metal will find plenty to celebrate on this album. Stronghold’s jubilant performances and technical savvy make Portals of Illusion a stimulating, action-packed listen. (To obtain, visit the group’s web site, www.strongholdmetal.com .)
JOSA STEP – PEARLS (Oddio Records) Josa Step emerged from Greencastle in 2001 with their critically acclaimed debut CD, Speak to Dream, which introduced the group's edgy, guitar-driven modern rock sound. The group builds and expands on that sound on their sophomore offering, Pearls; in the process crafting a cerebral, sonically stimulating set. The group's base sound features jangling, echoing guitar undercurrents reminiscent of peak U2; serving as the platform for ambitious, experimental melodies and arrangements sometimes suggestive of Blue Oyster Cult. Singer/guitarist Sean Clever, guitarist/keyboardist Klaus Funk, bassist Sean Grove and drummer Matt Cole craft songs that gradually build in sonic intensity into full-out, oceanic walls of sound. Cole’s varied, intricate drum rudiments and rhythms help give each song its own distinctive flavor. Clever’s soaring vocals sing dark-edged, cerebral lyrics diagnosing relationship mind games, destructive personalities, self-examination and more. The results are frequently captivating and intriguing. Highlights include the opener “Hope” as it builds into explosive, acidic crescendos; the escalating arrangement of “Sophie,” the oceanic ebb and wane of “Alone” and “The Minimal;” “Mention” with its brash, punk-edged choruses; and the album-closing “Saving Us From Me” with its tranquil, ethereal homestretch. Produced by the band and John Wagoner, Pearls is continually busy and engaging, with constantly layered guitars and voices, varied ethereal effects and detail, all converging to maximize the overall impact of each song. This is intelligent, yet accessible and ultimately captivating, music. Pearls clearly shows Josa Step as a band with a clear concept and focus, and the chops and adventurism to take their musical vision to a higher level. (To obtain, visit the group’s website, www.josastep.com .)
SCREAMAPILLAR – USERS AND ABUSERS (Shed Records) Taking their name from an episode of The Simpsons, Screamapillar first surfaced from the York area two summers ago. After some initial personnel changes, the roster of primary songwriter and singer Jackieraye, guitarists Jason Greenwood and Chris Rupp (who has since left the band), bassist Justin Boyd and drummer Ryan Waltemyer late last year recorded and issued their debut album, Users and Abusers. With the rest of the band supporting her with a punchy, contemporary rock sound, Jackieraye is Screamapillar's focal point, demonstrating a sultry midrange voice and swagger anchored in Madonna and Chryssie Hynde. She varies her delivery from low-key and seductive on the funk-geared album opener "Rendezvous," to anxious and vulnerable on "Why Haven't You Called Me?," to cynical and witty on the observational shout-along ode to barroom soap operas, "The Tequila Song." Other album highlights include two reggae-flavored numbers: "SUV," about sacrificing identity and personality to live the yuppie dream; and "A Day Too Late," about a strained relationship. Also strong are the playful rocker "8-Ball" and the punk-driven "Anymore." Screamapillar shows a knack for catchy and simple song hooks throughout the album, and the execution of their song material is sharp, powerful and confident. Recorded, produced, engineered, mixed and mastered by Greenwood, the album sounds crisp and edgy, with Jackieraye's voice sounding clear and prominent. Users and Abusers is a bright, fun listen; and an impressive first chapter that establishes Screamapillar as a band with a fresh sound and a promising future. (To obtain the CD, visit Screamapillar's website at www.screamapillarrocks.com .)
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