Jim Price
Moderator
Joined: 07 Dec 2002
Posts: 4817
Location: Altoona, PA
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 Posted: Friday Sep 03, 2004 |
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WEEK/WEEKEND RECAP 7/26/04
BANDITOS @ CITY LIMITS, ALTOONA 7/21/04
I get to check out live music on a Wednesday night TWO WEEKS IN A ROW? Amazing!
Actually, this night I didn’t luck out as I did the week before; I actually did have to put in a relatively late night in the workplace. But after finishing work at 11 PM and catching an hour pizza supper break at Pellegrine’s, I knew that Banditos were performing a rare Wednesday night at City Limits, so I headed there to catch the last few songs.
The occasion was a summertime promotion by Molson and City Beverage of Altoona, the “Hump Day Happy Hour.” Molson drink specials were available all day, and Banditos were performing as an added incentive for people to come out and take in the promotion this night.
While it was a small audience, it was at least an audience that was observing Banditos as I arrived. Singer/guitarist Wally Archer, bassist/singer Bill Nusom, guitarist Phil Wagner and drummer Dave Russell were mixing it up between current and classic rock favorites. I observed as the group fired off versions of Sugar Ray’s “Answer the Phone,” Buckcherry’s “Lit Up,” Blink 182’s “All The Small Things” and ZZ Top’s “Beer Drinkers and Hell Raisers.” The group then performed Neil Young’s “Rockin’ in the Free World,” featuring a Bush “Everything Zen” midsection. The group continued with Violent Femmes’ “Blister in the Sun,” and then winged it through Tommy Tutone’s “867-5309/Jenny,” conceding it was their first time doing this song onstage. The group continued with a Foo Fighters number, before ending the night with Tonic’s “If You Could Only See.”
Banditos appeared to have a good party going on, and the vibe was like an intimate living room rock’n’roll get-together with good friends. The band sounded sharp as expected; with both Wally’s and Billy’s voices in good form, Phil’s guitarwork crisp and on the money, and Dave’s drumbeats confident and strong. Overall, a good show, and given the usual lack of live music in Altoona on a Wednesday night, a welcome show.
Banditos, rocking City Limits on a Wednesday night.
Phil Wagner of Banditos, in the first of two bands I would see him perform with this weekend.
Once again, Banditos.
J.R. & KATIE/SWEET PEA FELTY @ TUSSEY WING CHALLENGE, TUSSEY MOUNTAIN SKI RESPORT near BOALSBURG 7/22/04
I broke with tradition on this Thursday. Curious to see Sweet Pea Felty for the first time, I decided to go out of town for my wings, heading to the Tussey Wing Challenge at Tussey Mountain Ski Resort.
The set-up for the Tussey Wing Challenge is a little different than for Lakemont’s wing-Off’s. Tussey uses tickets instead of tokens. And the wings are cheaper here, 4 for $1 instead of Lakemont’s 6 for $2.50. Beer and other food choices are sold by tickets as well.
It wasn’t particularly crowded as I arrived for the Wing Challenge, due in part to threatening cloudy and rainy weather. The rain would eventually arrive during the latter stages of the Wing Challenge, but for the moment, it was just overcast.
Acoustic duo J.R. & Katie were performing as I arrived. At first, I thought that perhaps Sweet Pea Felty had cancelled, or that I misread the schedule and had the wrong week. State College music scene veteran J.R. Mangan strummed on acoustic guitar, while Katie sang. The pair played a mix of favorites and original songs; the originals I heard included “Paper Dolls” and “Mad Girl,” along with songs from Paul Simon, Jimmy Buffett, Faith Hill, Pretenders and more. J.R. & Katie’s voices were in good form, and their presentation was warm and friendly. The pair even offered candy at the front of the stage for youngsters to come down and help themselves to.
I procured my first batch of wings during the intermission, sampling the hot and butter garlic wings from the Main Street Pub in Alexandria. Sweet Pea Felty was ready to go by the time I had defoliated the wingage. One disadvantage of the Tussey Wing Challenge compared to Lakemont is the lack of tables to sit and eat wings. And the several plastic/metal tables that are available are positioned on the hillside heading down towards the stage, and sit on a slight slant. With the slick plastic table surface, you need to hold your wing plate in position, or it will slide off the table! And if there are several people sitting on either side of the table, beware if the folks on the uphill side of the table decide to get up, or you might find yourself and the table falling backward down the hillside!
Back to Sweet Pea Felty. This is the new band formed earlier this year by former Badlees singer/guitarist Jeff Feltenberger. Knowing that Jeff’s previous side project, Echotown, took a rootsy and rural-flavored style and direction, I wasn’t surprised to discover that Sweet Pea Felty also followed in this general direction. Jeff sings most of the lead vocals and plays guitar. Mike Morrison plays lead guitar, Chris Novak keys, Craig Cady bass, and former Foxxy drummer Kevin Thomas staffs the kit. After opening with a harder-edged country-rock original, the group revved up the engines and let rip on Jeff’s Echotown ode to NASCAR, “A Dinner with Richard Petty.” The group performed four more originals; the harder and slower “Sacred and Sin,” the faster, country-geared “Poolside,” “One Taste of the Bait Is Worth the Pain of the Hook” and a ballad (the title I didn’t catch). The group then wrapped up their first set with two remakes, a swamp-rock take on Bobbie Gentry’s “Ode to Billie Joe,” and Rufus Thomas’ “Walkin’ the Dog.”
The wing-eating audience grew steadily during the first set, and a healthy crowd was on the grounds as the group reached intermission. I went for my second round of wings, this time gravitating towards the shortest line this night, at the Penn State Sub Shop stand. As I found table space and sat to consume my wings, I got a chuckle out of the mechanical bull tent, where the operator beckoned passers-by to ride the bull. A few bold college student types took him up on it (more people became bolder once they had a few beers in them). I wondered if there were any problems with bullrider wannabees who ate wings before their ride and wound up not being able to hold their meal down afterward. I also chuckled as the operator’s microphone kept crapping out on him. The bullriding announcer was not ignored by Sweet Pea Felty; several times they would answer some of his announcements they heard while onstage.
Soon Sweet Pea Felty returned to the stage, and the show took a different twist. Several members of this band teach music to students on the side, and Jeff welcomed two of his teenaged students, Lauren and Jenny, onstage. The group did several songs that both ladies penned, with each lady singing lead on her respective songs. The two ladies even performed a duet on one song. I thought this was very cool, as Sweet Pea Felty used their show to showcase up and coming young talent, and give these ladies their first taste of the limelight before a large and supportive audience. (A few rowdy college student-aged males even roared approval from up on the hillside.) After the student showcase was complete, Sweet Pea Felty finished out the night with several selections, as a light rain began to fall on the grounds. The group did versions of U2/B.B. King’s “When Love Comes to Town and The Band’s “Up On Cripple Creek;” followed by two original songs, the Jeff-fronted “I’m Gonna Get Out of This Someday” and the Chris-fronted “She Belongs To Me.” The group slammed the lid on the evening with their own torrid take on “Hot Rod Lincoln.”
I came away impressed with Sweet Pea Felty. The group’s more rural flavor distinguishes it from Jeff’s previous band; yet the roots and foundation are similar. Their performance was strong overall; and their mood laid-back, relaxed and jovial. Their original song material was strong, and it was clear to me that Sweet Pea Felty was the next logical step beyond Jeff’s Echotown project (which Mike and Chris were members of). The group has their own distinct style and focus, and are moving forward with it.
Although the ending became rain-soaked and soggy, I enjoyed my first foray into the Tussey Wing Challenge, and since this event runs one week later than the Lakemont Park Wing-Off, I knew I would be back for more in a few weeks.
Sweet Pea Felty, with guest Lauren onstage.
Guest Jenny sings one of her songs with Sweet Pea Felty.
Both Lauren and Jenny sing one together.
Without onstage guests, Sweet Pea Felty.
Chris Novak of Sweet Pea Felty.
Jeff Feltenberger of Sweet Pea Felty.
Mike Morrison of Sweet Pea Felty.
Once again, Sweet Pea Felty.
Again, Mike Morrison of Sweet Pea Felty.
POPTART MONKEYS @ BEERBELLIES, DUNCANSVILLE 7/22/04
Originally, my game plan was an ambitious one; from State College, I was going to zip down I-99 to Bedford to catch the “Battle of the Bands” at The Warehouse. Unfortunately, heavy rains moved into the region as I made my way southward from State College, and at the Route 764/22 exit of I-99, I decided to move to Plan B, abandon the rainy roadtrip to Bedford and head instead to Beerbellies to catch the Poptart Monkeys’ first appearance there.
A full-throttled party was under way as I arrived just shy of midnight. Beerbellies was packed, and a mass of humanity was crowded at stagefront as the group was in the midst of a Bon Jovi medley. Just about their whole set was a medley, as the Poptarts went nonstop into Don Henley/Ataris’ “Boys of Summer,” Lynyrd Skynyrd’s “Sweet Home Alabama,” and Garth Brook’s “Friends in Low Places” with a member of the audience, Jesse (not the Guv’nor) helping with backing vocals. The group commenced a new medley, this time starting with Bad Company’s “Feel Like Making Love,” and seguing through the unlikely shotgun musical marriage of Danzig’s “Mother” and Stroke 9’s “Little Black Backpack.” The group then introduced a new original song, with guitarist Chris Kurtz singing lead and singer Tyson Clark spotting drummer Rob Hampton a break behind the drum kit. After teasing Slayer to answer an audience member’s shouts for it, the group entered another medley, this time featuring snippets of Sister Hazel’s “All for You,” Blues Traveler’s “Runaround, Greenday’s “Good Riddance” and more; before breaking out an original tune from their Secret Decoder Outfit CD, “Who You Are?” The group dug back to their Just Like Me CD for “Nashville Hooker,” before ending their set with Rage Against the Machine’s “Killing in the Name.”
Obviously the Poptart Monkeys were making their impact, as copies of Secret Decoder Outfit and the group’s T-shirts were flying out of the merchandise case during intermission. The group informed me that they were already recording tracks towards their next CD in Atlanta, and that the new CD would see the light of day sometime in early 2005. The group also reported that they had completed a video, which would air soon on MTV2. Clearly the Poptart Monkeys remain busy, and are doing all that they can to get their name and music out there.
The crowd began to thin out some as the band commenced their final set of the night. The group again mixed original songs with a kitchen sink mix of modern, classic rock and pop favorites. From Secret Decoder Outfit, the group performed “Adore Me” and “7:30.” They fired off crisp renditions of songs from Good Charlotte, Linkin Park, Smile Empty Soul and Blink 182. The group also turned Violent Femmes’ “Blister in the Sun” into a medley that included Sublime’s “What I Got,” the Strangeloves’ “I Want Candy” and Jimmy Eats World’s “The Middle.” Bassist James Balogach was given the honors of risking a hernia by attempting the high falsetto vocals on The Darkness’ “I Believe In a Thing Called Love,” before the group capped the evening by introducing a new original song, “Valerie.”
The Poptart Monkeys came, saw and conquered a new room this night, convincingly winning over the Beerbellies crowd and management with their high-energy, spirited, fun performance. Singer Tyson Clark provided the expected nonstop energized voice and highjinks; improvising and playing off his bandmates and crowd. Guitarist Chris Kurtz and bassist James Balogach also delivered their assortment of craziness while keeping their instrumental presentation tight; and drummer Rob Hampton kept the beats steady and uptempo behind it all.
As has come to be expected from this band, it was a damn good party, and future visits to Beerbellies would appear likely.
Tyson Clark of Poptart Monkeys.
Taking a turn behind the drum kit, Tyson Clark of Poptart Monkeys.
Brandishing megaphone, Tyson Clark of Poptart Monkeys.
The Poptart Monkeys party down at Beerbellies.
James Balogach of Poptart Monkeys.
Chris Kurtz of Poptart Monkeys.
Rob Hampton of Poptart Monkeys.
CUCUPLEX/4 DAYS DIRTY/BIKINI CONTEST @ PETER C’S, ALTOONA 7/23/04
For the record, as a music journalist and photographer, my main mission at Peter C’s this night was to report on the phoenix-like appearance of CuCuPlex. But in trying to photograph the stage, a bunch of very scantily-clad, attractive ladies got in the way.
Yeah, right!
Like many other red-blooded males in the Altoona vicinity, I too was drawn to Peter C’s to catch the latest installment of Bikini Contest 5, and to check out the band afterward. I only learned after arriving at Peter C’s that there was an opening band this night, 4 Days Dirty, featuring some former members of Saucemonster. I heard good reviews of their performance from several observers; I’ll have to make a point to see them soon.
Next was the bikini contest. There were ten contestants in all, mostly representing Altoona’s exotic dancing establishments, The Palace and The Tin Cup. Peter C’s main man Big John introduced the contestants one-by-one, to the cheers of the house; and then gave the crowd the opportunity to cast their ballots for the contestant they liked the most. When the votes were counted and a subsequent tie was broken, Kayla from the Tin Cup won top honors; Rachel was the runner-up.
With much of the crowd still in the house, CuCuPlex quickly took up positions and commenced their performance. Singer Scott Russell, guitarist Phil Wagner, bassist Bill Rickard and drummer Dave Russell opened with Stone Temple Pilots’ “Unglued,” and kicked into a set of mostly 90’s rock favorites. The group broke out some tunes I hadn’t heard in a while, such as Live’s “White…Discussion,” Green Day’s “Brain Stew,” Candlebox’s “You,” Silverchair’s “Pure Massacre” and more. The group also dug into their Broken Neck catalog to perform “The Gat Song;” and also performed tunes from Pearl Jam, Godsmack and more.
CuCuPlex’s performance was confident and sharp; this group sounded like they had never been away. Based on what I had seen in the first set, I wondered why these musicians didn’t just keep this group together full time; obviously they had their act together.
Eventually, CuCuPlex returned for the nightcap set. This time, they mixed things up a bit more, giving the remaining Peter C’s crowd 90’s rockers like Soundgarden’s “Spoonman,” Rage’s “Killing in the Name” (with Traumatic frontman Jason Gates helping out with vocals) and Red Hot Chili Peppers’ “Suck My Kiss;” and with Hair Force One frontman Victor Synn in the house, Bon Jovi’s “You Give Love a Bad Name” and Poison’s “Unskinny Bop” (with Victor singing lead on the latter). The group broke out Led Zeppelin’s “D’yer Maker” and another Broken Neck original, “Drive By.” The group stepped up the intensity for Metallica’s “Master Of Puppets” with the stagefront crowd singing lead; before wrapping up the night with Def Leppard’s “Pour Some Sugar On Me,” with both Victor Synn and Jason Gates sharing lead voice duties.
CuCuPlex’s phoenix-like appearance was a good one, and provided a good follow-up to the bikini contest excitement. Based on their strong performance this night, I wouldn’t mind seeing this phoenix arise out of the ashes a little more often.
Peter C’s main man Big John interviews a contestant during the Bikini Contest.
Big John and the Bikini Contest contestants.
Sitting down on the job, Big John and the Bikini Contest contestants.
The winner, Kayla (in the black), and runner-up Rachel (with hands raised).
Scott Russell of CuCuPlex.
CuCuPlex, back in action.
Scott Russell of CuCuPlex, firing up the fans.
Phil Wagner of CuCuPlex.
Hair Force One frontman Victor Synn makes a cameo appearance during CuCuPlex’s last set.
Now with Victor Synn and Traumatic frontman Jason Gates singing, CuCuPlex.
Victor Synn and Jason Gates.
Once again, Victor Synn and Jason Gates during the final stages of CuCuPlex’s show.
Peter C’s CEO Bandit, looking content after another successful night.
“SUMMERFEST” @ THE OLD COUNTRY BARN near KNOXVILLE 7/24/04
For several years, the members of the band Backstreet Law had been telling me about the annual Summerfest event they put together every year in their neck of the woods, Wellsboro. In previous years, Summerfest drew an average of 800 to 1,200 fans for a day of live regional bands. Last year, however, the event ran into a problem when new owners took over the venue where Summerfest was staged, and decided that they didn’t want the rock’n’roll crowd populating their new acquisition. So Summerfest didn’t happen in 2003, while Backstreet Law searched for a new venue to stage the event. This year, they found that venue, The Old Country Barn, located on a farm near Knoxville (north of Wellsboro and near the Pennsylvania/New York border).
I had been curious about checking out Summerfest, but the prospect of driving 3 hours to and from the event in the same day dissuaded me in previous years. But Backstreet Law sweetened the prospect for me this year, offering to take care of my overnight hotel accommodations if I came up to cover the event. That worked for me, I was there! (Thanks guys!)
Due to my monthly Pennsylvania Musician article-writing duties, I got a late start heading to Summerfest, and after the anticipated 3-hour roadtrip, I found The Old Country Barn and arrived in time to catch four bands, including the show hosts. As I arrived, Corning, New York’s Brainbell Janglers were just finishing up their set, doing so with a lively, hard-nosed take on Led Zeppelin’s “When The Levee Breaks.” I didn’t get to hear much, but what I did hear sounded good, and the crowd seemed to like it.
The crowd seemed on the light side, certainly not the 1,000-plus people this event had reportedly drawn before the interruption and hiatus. Apparently, the interruption and relocation broke some of Summerfest’s momentum, and the event will need to rebuild that momentum in this new location.
Still, a few hundred people were in attendance, including a number of metal fans, who gathered at stagefront for the day’s next band, Hyphema. Obviously this crowd was stoked for Hyphema’s performance; they started moshing before the band’s set even began! I was curious to see Hyphema’s set myself, to witness what this band was like in front of an actual crowd (unlike the two performances I saw Hyphema do in front of an empty Aldo’s).
Hyphema took the stage and began their set of volatile modern metal, and the stagefront area quickly erupted into a jubilant moshpit. The group played an almost all-original set; introducing original creations such as “Eight,” “Winter,” “Disassociation,” “Burn It Down” and more. The group was clearly fired up to see the stagefront fans getting crazy; singer Ryan Hoke was so intense that he gave himself a bloody nose with his microphone! The moshing up front got a bit too intense in spots, as one drunken and out-of-control mosher got tossed from the concert, and was quite vociferous about it as he was being evicted. And during Hyphema’s lone cover song, Rage Against the Machine’s “Bulls On Parade,” the parading bull got stopped dead in its tracks by some mosh-related fisticuffs, and the group had to restart the song once yellow-shirt security dealt with the fracas. No doubt fueled by the crowd, Hyphema delivered an enthusiastic, powerful and hard-hitting set.
Hyphema rocks the fans at Summerfest.
Ryan Hoke of Hyphema.
Once again, Hyphema at Summerfest.
Once again, Ryan Hoke of Hyphema.
It was a different type of square dancing going on at the Old Country Barn during Hyphema’s set at Summerfest.
Hyphema and metalheads, getting it on at Summerfest.
After the intermission, I would get my first look at another New York-based band, Agony Hill. This band was interesting and off the wall. After kicking off with a tongue-in-cheek tune laced with lots of naughty words (a la Emily’s Toybox), Agony Hill launched into a fast-rocking take on Cat Stevens’ “Wild World.” This set the stage for Agony Hill’s set to follow, as the group mixed modern-edged original songs with unpredictable, free-wheeling remakes of favorites. The moshpit came back to life as Agony Hill launched into a fast-rocking original tune. Another original tune later (I didn’t catch the title), Agony Hill broke out an angst-ridden take on Hootie & the Blowfish’s “Hold My Hand.” Another original tune led into an aggressive, fast take on The Cure’s “Just Like Heaven.” The group then delivered Rocket From the Crypt’s “On a Rope,” before singer Eric introduced a new original tune called “Spent.” After another song that featured all four band members singing, Agony Hill broke out their most off-the-wall remake of the evening thus far, a swing-flavored rock take on Judas Priest’s “You’ve Got Another Thing Coming;” before ending their set with the title tune from their latest CD, Just Add Alcohol. At the center of it all, Agony Hill was an essentially tight, high-octane rock’n’roll band. Lead singer, guitarist and ringleader Eric Bleiler mixed strong, charged lead voice with witty banter in between songs, keeping attention focused front and center on stage. Agony Hill’s blend of fiery rock’n’roll and off-the-wall unpredictability kept the crowd entertained and fired up, and served as a good lead-in to the show’s headliners, Backstreet Law.
Eric Bleiler of Agony Hill.
Again, Eric Bleiler of Agony Hill.
Agony Hill rocks the fans at Summerfest.
Once again, Eric Bleiler of Agony Hill.
Dickie Haberkern of Agony Hill.
Joe Wakefield of Agony Hill.
One more time, Eric Bleiler of Agony Hill.
Two Summerfest revelers wanted their picture taken. Done!
Now if I may go Andy Rooney for a moment…An observation and a question that arose in my mind while I was watching Agony Hill’s set…Why do people bring dogs and babies to rock concerts? I saw people who brought both to Summerfest. Here it is, getting dark and chilly in the boonies near the New York border, with numerous drunks moshing and stumbling around, and bands dropping four-letter bombs onstage, and I see some young woman carrying a 1-2-year-old child around…Nice! Like that kid has any idea or appreciation what a rock concert is, or any concept about why people are drinking foamy substances and stumbling around, some crashing into each other…and what do those words mean that the guy onstage is singing/shouting? What does a kid that age gain out of being at a rock concert, especially one like this? And close by, some guy had his dog with him; the dog was doing its best to avoid getting trampled, drooled and spilled upon by stumbling drunks. And of course, the pooch’s owner suddenly found himself having to hang on for dear life when his mutt spotted another mutt (a bigger one, looking like a pit bull or Rottweiler) several yards away. Just what we need at rock concerts, dog fights! Don’t get me wrong, some concert events are cool to bring kids and dogs to, but this wasn’t really one of them. Use some common sense, people!
The crowd swelled up towards the front of the stage as Backstreet Law’s performance neared. Although I’ve seen Backstreet Law numerous times in the past few years, I had never seen them in an all-ages show situation, or in an actual concert event situation such as this one. And I hadn’t yet seen Backstreet Law in an outdoor situation where soundman Jeff Morral and the group’s massive sound system could really cut loose and levy some thunder. So I was looking forward to Backstreet Law’s Summerfest performance as much as the rest of the assembled fans.
Soon Backstreet Law took the stage, and it was ON! As the group kicked off their set, the stagefront crowd immediately came to life; headbanging, moshing, stagediving, grooving, and cheering wildly. As expected, Backstreet Law mostly showcased their original song arsenal, and introduced a few new originals along the way. An early highlight was during the new heavy-rocking original “Frustrated,” as the stagefront crowd launched into a moshing frenzy as the song hit its first chorus. Frontman Goody and Backstreet Law fed the frenzy by launching into the mosh-friendly “Party in the Parking Lot.” On the less intense original “Sharks,” the emphasis went from moshing to stage-diving and body surfing. (Goody explained to the fans that they should choose one or the other, the two don’t tend to mix too well.) The group introduced another new original, the milder “I Don’t Feel You Anymore,” before stepping the intensity back up with the title track to Hollow. The group introduced another new song, “Follow Me,” from their 3-song EP. From their Special Delivery CD, Backstreet Law set the stagefront masses moshing again with “Six Feet Under,” followed by the Madonna remake from that same CD, “Like A Virgin.” After “Shake” from the Hollow CD, Backstreet Law introduced another new song from the 3-song EP, “Right Here Right Now.” At this point, the ladies were getting rowdier, and one in close proximity to me showed her appreciation for the band by “flashing the goods” from atop her boyfriend’s shoulders. Goody again beckoned the stagefront moshpit to get active as Backstreet Law launched into “Hockey Helmet, followed by the Jamie Morral-fronted rendition of Pantera’s “Walk;” and the set’s final song, Backstreet Law’s popular erotic-flavored favorite, “Seatbelt,” prefaced by some public service lovemaking advice from Goody. This song erupted into a wild shout-along, ending with Jeremy Edge’s guitar blasting out a stream of feedback and reverb as he and the band exited the stage. The Summerfest crowd wasn’t ready for this party to end just yet, and calls for the encore immediately began. Soon Backstreet Law returned to the stage, and Goody took the opportunity to reward the stagefront pit participants for their loyalty – instructing the yellow-shirt security contingent to step back from the stage, and let the moshers have some space to get wild during the encore. Backstreet Law then gave the moshers ample reason to get nuts, launching into a Metallica medley featuring “Enter Sandman” and “For Whom the Bell Tolls,” bridged by a “Creeping Death” interlude. The stagefront erupted into a wild and festive melee of moshing, headbanging and exhuberent cheers and fist-raising, and the crowd celebrated band and metal. And although the show had seen some fisticuffs earlier in the day, this time everybody seemed to get along in the pit. Backstreet Law left the crowd with one more song, an original from early in their career, “Apes**t.”
Summerfest had reached its conclusion, and fans caught their breath after being soundly rocked by Backstreet Law. Backstreet Law started this set on a feverish high, and maintained the excitement all the way through. The group and crowd fed off each other’s energy, keeping this set at a constant high. Instrumentally the band was on; Jeremy Edge’s guitar attack was firing on all cylinders; with varied flavors, effects and solos constantly giving Backstreet Law’s sound added edge. Bassist Jamie Morral’s basswork was just plain evil, his ominous bass tones given ample thunder by brother Jeff and his massive sound array; and his monstrous bellows capably augmenting the more metal moments of the set. Drummer Choke’s beats were steady and explosive, and also given appropriate strength in the sound mix. And Goody enthusiastically worked all parts of the stage, his confident presentation a blend of controlled singing and savage snarling. Not surprisingly, this was probably the strongest set I have seen from Backstreet Law yet, and why wouldn’t it be? The group was playing a concert set, with full production, in front of hundreds of hometown fans!
The northern PA night chill was quickly setting in as fans began to disperse from the concert grounds. Although attendance was not what Backstreet Law had hoped for, Summerfest was still ultimately a good time, and enabled me to see some new bands, plus Hyphema and Backstreet Law on their home turf. According to Backstreet Law, this event will be back next year; I won’t rule out a return visit, based on what I experienced this year. Thanks again to Backstreet Law for the overnight accommodations and hospitality; Summerfest was a fun time!
Backstreet Law kicks off the finale at Summerfest.
Goody and Backstreet Law fire up the fans at Summerfest.
Jeremy Edge of Backstreet Law.
Once again, Backstreet Law and wild fans at Summerfest.
Goody and Jamie Morral of Backstreet Law.
Once again, Goody and Jamie of Backstreet Law.
A stage diver, executing a perfect swan dive from the stage during Backstreet Law’s set.
Again, Goody of Backstreet Law.
Jamie Morral of Backstreet Law.
Jeremy Edge and Goody of Backstreet Law.
Once again, Goody of Backstreet Law.
Again, Jamie Morral of Backstreet Law.
Backstreet Law fans getting crazy.
One Backstreet Law fan getting crazier.
MIDNIGHT FARMERS @ A FESTIVAL OF ART, CORNING, NY 7/25/04
How did I wind up in Corning, New York to see a band at 11 AM on a Sunday morning? Let me tell you the story…
Following Summerfest, I inquired with Backstreet Law about the hotel room they were setting up for me. Due to unforeseen circumstances, the original hotel accommodation idea had fallen through. But the band handed me $50, and sent me to the Comfort Inn in nearby Mansfield to stay the night, expecting that they would have some rooms available. I arrived at the Comfort Inn to learn that they were filled up for the night; but they sent me down the road to a “mom-and-pop” hotel called the Starcrest Hotel, who still had one non-smoking room available for the night. I drove to the Starcrest – in two words, trucker hotel! Although the toilet flushed extremely slowly and there were stains on the upholstery, it was lodging at least, and still better than “Hotel Hell” in Daytona a few years ago. And the price was right, Backstreet Law’s $50 covered it.
The following morning, I woke up, and decided that while I was in the neighborhood, I was going to do some things I had always wanted to do. Later on, railroad fan that I am, I would ride the Tioga Central excursion train near Wellsboro. And since it was also close by, I would visit the Pennsylvania Grand Canyon later in the day as well. But first, my game plan after checking out of the hotel was – since I was so close to the state border and had never done so before – drive into New York state for the first time and get some breakfast.
I figured there had to be some restaurants serving up breakfast in and around Corning, so I headed there. Upon taking the exit into Corning’s downtown area, though, I accidentally drove into a dead-end parking area, which turned out being for Corning’s annual arts festival, “A Festival Of Art.” Curious and already in the parking lot, I parked and strolled to the festival to see what was up.
I took in some of the crafts and art vendors along the street, and happened upon a plaza where some musicians were setting up, The Midnight Farmers. And from the soundcheck, it sounded like they would be doing some rock’n’roll. Located near the stage, a food court with local businesses and organizations selling all sorts of grub. I purchased a barbecue chicken dinner for breakfast, situated myself at a café table in front of the stage, dined and took in the band. Life was good!
And the band was pretty good. Three members strong, the Midnight Farmers did a mix of classic-geared rock, blues, jam and reggae; with each song evolving into an extended jam workout. I watched as the group did five lengthier exercises, including jam treatments of Stephen Stills’ “Love the One You’re With” and Stevie Wonder’s “Boogie On Reggae Woman.” The group’s guitarist (name unknown, I couldn’t find a website or any info about these folks online) sang, and offered commentary to the audience between songs; advocating the consumption of organic foods and talking about the upcoming election. Chit-chat aside, he and the Midnight Farmers did a decent job overall, and soon had several fans grooving to them in front of the stage.
I could have stuck around and took in more of the Midnight Farmers’ performance, but decided to move on because I had a rail excursion, the Pennsylvania Grand Canyon and at least a 3-hour drive home ahead (actually closer to 4 hours from Corning altogether). So I departed the Midnight Farmers and Corning arts festival upon conclusion of my meal. This arts festival was a nice event, and I wouldn’t rule out coming back here for this festival sometime if I’m in the neighborhood for a future Summerfest.
The Midnight Farmers at Corning’s Arts Fest.
The singer and guitarist for Midnight Farmers.
Once again, the Midnight Farmers.
Later on, the excursion train arriving at Tioga Central station near Wellsboro.
And also later in the day, the Pennsylvania Grand Canyon; I'd like to check this place out in the fall when the leaves turn!
TIN PAN ALLEY @ PELLEGRINE’S, ALTOONA 7/25/04
The rest of my day in the great Pennsylvania north went quite well; and departing the Pennsylvania Grand Canyon at 6:15 PM, I made it back to the ‘Toona at 9:15 PM; in plenty of time to grab a power nap and head to Pellegrine’s for the weekend finale with Tin Pan Alley.
I overslept slightly, and arrived as Tin Pan Alley was under way with their third set. Frontlady Chrissy, guitarist Doug, keyboardist Scott, bassist Craig and drummer Joe had a good party going as they fired through a mix of favorites from Guns’n’Roses, Blur, Ozzy, Bryan Adams, Def Leppard, Joan Jett and more. Chrissy displayed a voice that could handle it all; her huskier, lower range voice handled Ozzy’s “Crazy Train” well; yet she also broke out a steady and solid higher vocal range for “Welcome to the Jungle” and the set-closing version of 4 Non Blondes’ “What’s Up.” Her instrumental support cast executed tightly and kept the show’s energy level high. Keyboard man Scott spotted Chrissy some vocal relief by singing lead on Neil Diamond’s “Sweet Caroline.”
The set featured an additional highlight, sort of…A lady named Nikki, celebrating her 21st birthday, was in the house, and soon in front of the stage…and soon on the stage! Nikki was obviously celebrating, and was pretty slopped up. Fortunately, she didn’t fall into any equipment during her celebration (I thought I saw Chrissy propping her up a few times to prevent that from happening).
The Pelly’s crowd wanted an encore, and they got one. Tin Pan Alley capped the evening with Good Charlotte’s “Lifestyles of the Rich and Famous,” and Evanescence’s “My Immortal.”
In all, it was a solid performance from Tin Pan Alley, and a good time.
Scott of Tin Pan Alley.
With birthday gal Nikki teetering onstage, Doug and Tin Pan Alley.
Doug of Tin Pan Alley (with soused birthday girl in background).
Doug and Chrissy of Tin Pan Alley, with drunken birthday girl accompaniment on tambourine.
Craig of Tin Pan Alley.
Executing a near-perfect vertical chug, Guv’nor Jesse.
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