Jim Price
Moderator
Joined: 07 Dec 2002
Posts: 4817
Location: Altoona, PA
|
 Posted: Friday Oct 08, 2004 |
|
|
WEEK/WEEKEND RECAP 8/9/04
ALICE COOPER @ COMMUNITY ARTS CENTER, WILLIAMSPORT 8/3/04
It was an election year, and Alice Cooper was again running for office. I first saw Alice Cooper during America’s last presidential election year four years ago. His campaign tour stop then, at Pittsburgh’s A.J. Palumbo Center, was an excellent show, complete with many of Alice’s legendary tunes; his theatrical presentation; and during the encore performance of the hit “Elected,” candidates Bush and Gore wrestling onstage, while President Clinton – with pants around his ankles – danced. If Alice’s campaign tour this year was anything like that one, I had to journey to Williamsport’s Community Arts Center to check it out!
Wheelman Sparky D’Engineer and I arrived at the show during the latter half of the opening band’s set. A trio, Runner & the Thermodynamics performed high-strung, garage-flavored modern rock much in the vein of the Hives. While the group’s tunes I heard were respectable, this group seemed to get the ‘traditional’ opening band sound mix; and the vocals overpowered the instruments. But the Williamsport audience – at least those seated at this point – seemed to appreciate what Runner & the Thermodynamics had to offer, and at least politely applauded.
After nearly a half-hour intermission, the main event. As his band started into the set-opening “Hello Hurray,” Alice – with baton in hand – slowly elevated onto the stage, and immediately paraded the stage while twirling his baton and singing. Midway through, the song suddenly launched into “No More Mr. Nice Guy,” during which Alice tossed the baton out to the audience. Alice and his band then performed the punk-flavored “Man of the Year,” the current single from Alice’s latest CD, The Eyes of Alice Cooper. During this song, the fire alarm at the Williamsport Community Center suddenly went off – but due to the music, very few folks even noticed (except the ushers and a few of us sitting in the rear, such as Sparky and myself). The alarm continued to sound into “Billion Dollar Babies,” while Alice presented a fencing sword with bills impaled upon it. Alice paraded the stage during the song, tossing bills from the sword out to the crowd along the way. Alice and band then performed another song from the new album, “Between High School and Old School,” during which the Community Arts Center personnel eventually figured out how to shut off the fire alarm. Next were two Alice classics, “Muscle of Love” and “Be My Lover;” the latter turned into an audience clap-along. At this point, Alice and his band began digging into the back catalog for some deeper classics; next doing “Who do You Think We Are” from the 1981 album Special Forces. From the new album, Alice then performed “What Do You Want From Me;” before breaking out the 1971 hit “I’m Eighteen.” The show then started to become more theatric; during the next two songs (admittedly, two more obscure Alice classics I didn’t recognize), Alice’s daughter, Calico, made her first appearance, clad in yellow and brandishing a sword. She stalked her father as he sang, and eventually the two briefly wrestled, with Alice winning. At this point, Alice’s band took the spotlight, in particular drummer Tommy Clufetos. First, guitarists Eric Dover and Ryan Roxie took up positions on their own respective drums, and the three went to town on a drum circle display. Tommy eventually launched his own solo; demonstrating all-out power and ferocity that threatened to turn his kit into kindling! Out of this, Alice Cooper and his band commenced “Sick Things,” during which Alice broke out the live boa constrictor and stalked the stage, with snake draped over his shoulders and neck. Next was “Gutter Cats vs. the Jets,” with costumed gang members appearing onstage; they would eventually confront and do battle with Alice’s daughter, Calico. This erupted into “Backyard Brawl” off The Eyes of Alice Cooper. Calico was ‘slain’ during this mock gang battle, and fog enveloped the stage as the song ended. After a brief fog-laden interlude, the stage was set for “Cold Ethyl,” with Alice surfacing to have his way with the ‘slain’ woman’s lifeless body (now a mannequin). This song then made the transition into “Only Women,” prompting cigarette lighters into action around the venue. Alice’s daughter resurfaces to fight back against her father, and the song ends with him being placed in a straightjacket – setting the stage for “The Ballad of Dwight Fry.” Alice eventually works his way out of the straightjacket by song’s end, and dons a tophat for the set finale, “School’s Out.” With large balloons being bounced out into the audience, this song became a raucous audience singalong, ending with Alice tossing his tophat out into the crowd.
It was a forgone conclusion at this point that an encore would soon follow. The Williamsport audience quickly yelled for an encore, and Alice and his band were back onstage a minute later to rock some more. Alice’s encore commenced with his 80’s hit “Poison.” Alice then introduced his band members and daughter, before launching into “Under My Wheels.” This led to the moment I anticipated the most, Alice’s campaign song, the 2004 edition of “Elected.” Alice musically stated his case for the presidency, and then brought out his opponents, ‘Bush’ and ‘Kerry,’ midway through the song. The two candidates waved to the fans, before ‘Bush’ rips open ‘Kerry’s’ jacket to reveal a bra, and ‘Kerry’ responds by pulling down ‘Bush’s’ pants to reveal boxers. The song and show ended with all three candidates dancing around and waving to the ecstatic audience.
This was a great show, with Alice Cooper delivering all the showmanship, theatrics, props and drama one would expect. Alice’s voice was in very good form, and the man still delivers lots of stage energy and presence. His band was absolutely killer and played for keeps. Guitarists Eric Dover and Ryan Roxie, bassist Chuck Garric and drummer Tommy Clufetos kept things at an adrenalin rush high throughout the show; Tommy was an absolute animal behind the drum kit, high-sticking and hammering his kit relentlessly! This show was exciting, it was rocking, and it was fun – a mix of rock, theatre, the macabre, political humor and more. Alice Cooper and his band clearly stated their platform on the stage of the Williamsport Community Arts Center this night; and if they don’t win in November, I’ll gladly be back to support this campaign again when it stumps for votes in 2008!
YOUR DAD’S FRIENDS @ WING-OFF, LAKEMONT PARK, ALTOONA 8/5/04
I returned to Lakemont Park for the fourth installment of this year’s Wing Off’s, with musical entertainment by Your Dad’s Friends.
This would be my first chance to see Your Dad’s Friends, a band featuring two fellow area radio broadcasters. Longtime Altoona area radio guy and the voice of Penn State Radio Sports, Roger Corey, plays keys and sings. State College radio guy Don Bedell sings and plays bass. Dave Misera and Rick Herbster both play guitar and sing; and Brett Fanelli plays drums.
As their performance unfolded, Your Dad’s Friends did vintage rock’n’roll with the emphasis on the 60’s. The first set featured tunes from Spencer Davis Group, Del Shannon, Music Explosion, the Who, Beatles, Neil Diamond and more. The group did deviate from the 60’s setlist once to end the set, breaking out T.Rex’s “Bang A Gong (Get It On).” Don and Dave seemed to handle the lion’s share of lead vocal duties during this set, and both did a respectable job. The group blended decently on harmonies, and instrumentally were on target for the most part. Tim Kelly gave the group a good mix behind the sound console.
Your Dad’s Friends delivered more of the same for their second set, performing more 60’s favorites with the occasional 70’s tune mixed in. The group commenced with the Surfaris’ “Wipe Out,” which segued into the “Batman” TV show theme. The group also did Ritchie Valens’ “La Bamba,” The Monkees’ “I’m A Believer,” the McCoys’ “Hang On Sloopy,” Tommy James & the Shondells’ “Hanky Panky” and more. Roger Corey handled the Ringo-styled vocal on “You’re Sixteen,” and Your Dad’s Friends even demonstrated a little bit of choreography towards song’s end. At set’s end, the group “jammed out” on Creedence Clearwater Revival’s “Fortunate Son,” eventually shifting into Bachman Turner Overdrive’s “Taking Care of Business” to close the set.
Again, Your Dad’s Friends did a satisfactory job overall. Their vocals were respectable, and the group was steady on their instruments. The group weren’t flashy as players, and I detected the occasional miscue here and there, but for the most part Your Dad’s Friends got the job done and kept the wing-eating hordes content.
Your Dad’s Friends’ last set leaned more towards the 70’s, mixing in a pair of tunes from the Doobie Brothers (according to the group’s website, a fight broke out during this point of the show – how did I miss this? I must have been stuffing my grill with more wings…), along with the Beatles’ “Get Back,” and a show-ending medley including Joe Cocker’s “Feelin’ Alright” and Lou Reed’s “Walk on the Wild Side.” Roger handled lead voice on Johnny Cash’s “Ring of Fire,” and the group also broke out versions of Eddie Cochran’s “Summertime Blues” and the Yardbirds’ “For Your Love.”
My verdict on my first encounter with Your Dad’s Friends – good overall. They were a solid band – not flashy or frilly, but steady on their voices and instruments. Their performance was pleasant and entertaining, and seemed to hold the attention of the Wing-Off crowd. Their setlist and musical focus was consistent; overall it was a good presentation.
Your Dad’s Friends, bringing musical memories to the Wing-Off.
Rick Herbster of Your Dad’s Friends.
FELIX & THE HURRICANES @ PETER C’S, ALTOONA 8/5/04
After investing some time at the day job between shows, I headed to Peter C’s to catch the latter part of Felix & the Hurricanes’ Thursday festivities.
The ‘Canes were rocking out on Ted Nugent’s “Stranglehold” as I arrived. The attendance was relatively small this night; but as I would quickly learn, this crowd was enthusiastic, loudly showing their appreciation for the Hurricanes after each song. Felix, Jeff and Bob continued with songs by the Allman Brothers, Jimi Hendrix/Bob Dylan, ZZ Top, Dr. Hook and Dire Straits. They also did two of their own during the time I was there; the new Jeff-fronted “Cut That Line” and “Issues” to end the night.
As always, this trio smoked; three musicians again throwing restraint to the wind and playing these tunes full-out. The Hurricanes showed again this night that they deliver the same enthusiasm and drive, whether there’s 20 people or 2,000 in the house. Felix & the Hurricanes made it count once again, leaving this small Peter C’s crowd happy and wanting more at the end of the night.
The Hurricanes, putting on their usual clinic at Peter C’s.
Bassman Jeff Clapper of Felix & the Hurricanes.
HAIR FORCE ONE @ PETER C’S, ALTOONA 8/6/04
A long evening at the workplace resulted in a late start this night for me. Originally, I had an appointment to see a local blues trio entertaining at Aldo’s, but discovered they were already packed up and gone by the time I arrived just shy of midnight. Since that option didn’t pan out, I decided to instead take in Hair Force One’s official return to action at Peter C’s. This was the group’s first show back on stage with new guitarist, keyboardist and singer Phillip DaPussee, replacing popular kilt-wearing guitarist Jimi Hatt.
I arrived just before the start of Hair Force One’s final set. Attendance was relatively light by Hair Force One standards, especially given it was the group’s first show back after some time off. But at least some Hair Force fans were in the house and ready to make some noise during the group’s nightcap set.
New man Phillip (from France, so they say) made his mark off the bat, tapping out the keyboard intro to launch Bon Jovi’s “Runaway.” The group continued their 80’s metal playlist with Cinderella’s “Shake Me,” Iron Maiden’s “Run to the Hills,” Faster Pussycat’s “Bathroom Wall,” and the Skid Row double-shot of “I Remember You” and “Youth Gone Wild.” Hair Force One then shifted back into 70’s mode for Gary Glitter’s “Rock and Roll Part 2,” before soliciting audience participation via a beer bong drinking contest onstage. The group then rocked the set home with Def Leppard’s “Pour Some Sugar On Me” and AC/DC’s “You Shook Me All Night Long.” The Peter C’s audience wanted one more, and Hair Force One rewarded them with Kiss’ “Lick It Up.”
Hair Force One sounded in good form this night. New man Phillip fit his new role well; guitarist Michael J. Cox seemed to handle the lion’s share of lead guitar duties, with Phillip contributing occasional leads, plus rhythm guitar and keyboard work. Victor Synn again demonstrated his powerful high-ranging pipes, and drummer Hugh G. Rection and bassist Iva Biggin anchored the group’s sound with ample thunder.
Hair Force One’s performance was steady and boisterous, their presentation lively and upbeat. Although the attendance was lighter than expected, Hair Force One still turned the night into a high-octane party. Based on this night, the Phillip DaPussee era of Hair Force One should continue to deliver maximum 80’s rock, fun and excitement.
Hair Force One, making their official return to stage action at Peter C’s.
Iva Biggin and Victor Synn of Hair Force One.
The new guy, Phillip DaPussee of Hair Force One.
The Hair Force One party continues.
Iva Biggin of Hair Force One.
Once again, Phillip DaPussee of Hair Force One.
80’s decadence continues unabated with Hair Force One at Peter C’s.
“ROCK THE HOUSE” BENEFIT @ GREENHOUSE PARK, JOHNSTOWN 8/7/04
My attention this day shifted to Greenhouse Park near Johnstown, for the 2nd annual “Rock The House” benefit concert, helping out the IMAC Foundation. This show would feature a day-long slate of bands, alternating between two stages.
By the time I had arrived in early afternoon, I had missed the first four bands; Borderline Inc., Dubmissive, Alias J and Maryland's Disasterpiece. Double-O-Nuthin’ was performing on the main stage as I arrived. This was Double-O-Nuthin’s first performance in five months. The group was mixing it up, delivering an upbeat party with current favorites from Weezer, Jimmy Eats World, Sublime, Ataris/Don Henley and more, plus select 70’s, 80’s and 90’s hits from Nena, Prince, Presidents of the United States of America, Cheap Trick, Del Shannon, Garth Brooks and more. Frontman/bassist Geno Burkhard and bandmates generated a good vibe, and had a number of folks dancing in front of the stage by mid-set. Early on at least, Double-O-Nuthin’ was keeping a lid on the onstage swearing, mindful that young children were in the vicinity (this was an all ages event). For their first appearance in five months, Double-O-Nuthin’ did a decent job and elevated the mood of “Rock the House.”
Double-O-Nuthin brings the party at Rock the House.
Geno Burkhard of Double-O-Nuthin.
Once again, Double-O-Nuthin.
Double-O-Nuthin, keeping the fans happy.
Things would then take a more ominous turn musically as attention shifted to the second stage, where Deviance was set to devastate. I was curious to see Deviance with new frontman Joe Moore. As expected, Deviance pounded forth intense metal original songs from their recently issued debut CD Contagion; opening with the rapidfire “Manifesting” and also performing “Burn,” “Tripwire” and “Blind Leading the Blind” to end the set. Deviance also introduced a few new numbers, including “Closure;” and mixed in select remakes from Pantera, Slipknot, Sepultura and more. Instrumentally, Deviance was as intense as expected; Chad Straw’s rumbling, malevolent bass lines, Mike Torchia’s aggressive drum mayhem and Jason Straw’s savage guitar roar again combined for a rigid, menacing backdrop. Joe Moore’s voice sounded rough, particularly when he went for any higher notes or full snarling/roaring; I was wondering if he was going to last for the full set. (As it turns out, Joe’s tenure with the band would be short-lived; he was ousted after this show.) Deviance still inspired at least some moshing, and kept the crowd attentive with their full-out brand of metal; the jury was still out on their vocals at this point, and I had seen stronger displays from the group than this day.
Deviance throttles the masses from the second stage at Rock the House.
Bassist and “vo-kill”-ist Chad Straw of Deviance.
The temporary lead throat of Deviance, Joe Moore.
Jason Straw of Deviance.
Deviance, pounding out the metal at Rock the House.
Mike Torchia of Deviance.
Where did his face go? Jason Straw of Deviance.
Once again, Chad Straw of Deviance.
Once again, Joe Moore of Deviance.
The attention shifted back to the main stage, where John Denver Flight School was ready to perform. I had only caught a tiny portion of this group’s performance at last year’s “Rock the House;” not enough to get a real sense of what the group was about. John Denver Flight School’s set was interesting, to say the least. A fivesome with Pivot’s Jason Kirshner filling in behind the drum kit (and one member clad and facepainted in red and black), John Denver Flight School performed all-original, angst-ridden, heavy-geared modern-flavored rock. Some song titles I caught included “Flesh Wound” (sent out in memory of a friend who died in a motorcycle crash), “Smile,” “Get Over It” (with an unidentified female guest helping with vocals), “Rubik’s Cube,” the White Zombie-like “This Pain” and the sullen set-closer “Genuflect.” Along the way, the group flew several Styrofoam airplanes out into the audience, with lucky audience members invited to bring the planes back to the stage to redeem for band merchandise. The group seemed to have a loyal fan base that cheered the group loudly from the get-go; and the group fed off that crowd energy, elevating their performance. Although there were a few technical problems along the way, I thought John Denver Flight School’s performance was exciting and focused, and it seems this band is progressing well.
John Denver Flight School unleashes their chaos at Rock the House.
A John Denver Flight School guitarist, decked in red. (I found out after the show that this band doesn’t yet have a website, so info on the band members’ names wasn’t available.)
The singer for John Denver Flight School.
John Denver Flight School’s bassist.
John Denver Flight School and fans…
Once again, the man in red…
Another guitar player for John Denver Flight School.
Once again, John Denver Flight School and fans at Rock the House.
Up next on the second stage was Flap Jack’n’Jill. Like Double-O-Nuthin’ before, Flap Jack’n’Jill performed a party-geared set featuring mostly current and recent rock favorites, with a few past hits thrown in. From a Def Leppard “Pour Some Sugar On Me” intro, the group shifted into Pink’s “Get This Party Started,” and proceeded with tunes from The Clarks, James, Van Morrison, John Mellencamp, Modern English, Fountains of Wayne, Puddle Of Mudd, Tool, Godsmack, a rap medley and more. Flap Jack’n’Jill was fairly solid and energetic, and kept the crowd cheering through the set. Singer Shane Lee addressed the crowd early and often and maintained their attention; and the rest of the band – guitarists Duggie and Jeff, bassist Brad and drummer Tony – were steady and together. Flap Jack’n’Jill kept the mood loose, and the party moving forward.
Before Flap Jack’n’Jill’s set, a word from show organizer Mark Lux…
Flap Jack’n’Jill picks up the party at Rock the House.
Brad and Duggie of Flap Jack’n’Jill.
Tony Oleksa of Flap Jack’n’Jill.
Once again, Flap Jack’n’Jill and their fans…
Every town’s music scene seems to have its resident nutcase, and in Johnstown, this guy is it…His nickname is “Dio,” and he’s a nonstop moshing machine. This guy tried to mosh to anything and everything at Rock the House this day, and kept the security detail busy all day long. This guy would mosh to polkas and waltzes if they would have been played this day (and he probably already has!).
During Flap Jack’n’Jill’s set, a bit of a surprise, as I noticed the presence of one Chuck Budzina on the concert grounds. This was the first I had seen Chuck since before his departure from Stept On. I got to chat with Chuck briefly; he indicated he might be leaving the area for the left coast in the near future. (Since then, though, Chuck has taken over frontman duties in Flap Jack’n’Jill.) As I would soon witness, though, Chuck wasn’t at “Rock the House” simply to mingle with the crowd; we would see more of Chuck shortly.
As night began to fall on the concert grounds, the growing “Rock the House” crowd congregated at the main stage for the next band, Pivot. I hadn’t seen Pivot since last year’s “Rock the House,” and was wondering what frontman/show co-organizer Mark Lux and bandmates had in store this year. From the get-go, this band brought it! From the anarchy/revolution-geared prelude through the sound system, Pivot exploded onstage with a charged, incendiary performance that rode a feverish high pitch from start to end. Donning facepaint and an orange jumpsuit, frontman Mark Lux gave an enigmatic, charismatic performance; taking full control of the audience and rallying them to a feverish high during the entire set. Also donning varied amounts of facepaints and costuming, the rest of Pivot – guitarists Mike Lepley and Jay Snyder, bassist Mike Wozniak and drummer Jason Kirchner – played it furious, tight and intense; perfectly supporting and complementing Mark’s agitated presentation. The group performed several dark and shadowy Tool-flavored original songs, such as “Y” and “The Split.” Pivot also did generous amounts of Tool, including versions of “Stinkfist,” “Aenima,” “Eulogy” and “Sober.” Further escalating the excitement of Pivot’s set was a special guest, as aforementioned former Stept On frontman Chuck Budzina joined Mark onstage to help bark lead voice on two System Of A Down numbers. And during the set’s crescendo, Mark executed a stage dive out into the audience at the end of Tool’s “Eulogy!” Based on this set, Pivot has definitely progressed in the 11 months since I last saw them; and this performance served notice that this band is one of the bonafide heavyweight contenders of the Johnstown scene. I, for one, am anxious to see what this band has in store for us in the coming months!
Pivot commences their performance at Rock the House.
Mike Lepley of Pivot.
Wearing their warpaint, Mark Lux and Jay Snyder of Pivot.
Mark Lux and Mike Lepley of Pivot, taking it to the fans.
Again, Jay Snyder and Mark Lux of Pivot.
Again, Mike Lepley of Pivot.
Once again, Pivot, whipping their minion into a frenzy.
Again, Mark Lux of Pivot.
Mark Lux welcomes Chuck Budzina onstage.
Mark and Chuck join forces on lead mics.
Mark and Chuck, taking it to the fans.
Surf’s up! Mark Lux of Pivot was in the mood for some stage-diving and crowd-surfing…
One more time, Mark Lux of Pivot.
On the second stage, the evening’s next band, Rennis, also had some surprises. Regularly-scheduled Rennis frontman/guitarist Craig Stiles was unavailable this day, because he was off getting married somewhere. (God, man, where are your PRIORITIES?) So, after former Rennis frontman Joe Moore fronted Deviance earlier in the afternoon, former Deviance frontman Eric Voeghtly returned the favor and fronted Rennis – with additional help from the group’s former guitarist, Angry Johnny, who sang, played some guitar and percussion. As expected, Rennis went for the jugular on volatile modern metal from Coal Chamber, Korn, Static X, Disturbed and more. Often Eric and Johnny shared vocal duties on the same song, and both were constantly moving about the stage and keeping the large audience fired up. Rennis inspired some stagefront moshing, and kept the excitement level elevated as “Rock the House” entered its homestretch.
Guest frontman Eric Voeghtly and Rennis resume the carnage on the second stage.
Rennis rocks the huge Rock the House crowd.
Angry Johnny and Eric Voeghtly of Rennis.
Steve Stull of Rennis.
Bob Rozsi of Rennis.
Once again, Bob Rozsi of Rennis.
Eric Voeghtly of Rennis.
Again, Eric Voeghtly of Rennis.
The action then returned to the main stage one last time, where Yum was gearing up for the finale. The crowd gathered at stagefront while guitarist Darren Buchko, decked in his best Sunday dress and Bolshevik fur hat, finished his preparations. Soon Darren, frontman Dan Vavrek, keyboardist/guitarist Scott “Dolby” Barkhimer, bassist Shawn Mock and drummer Brian Scaletta launched into Dire Straits’ “Money for Nothing” to commence the action; and proceeded to mix up current and classic rock favorites. The group continued with War’s “Low Rider,” Men Without Hats’ “Safety Dance,” Men At Work’s “Down Under” and Phish’s “Bouncing Around the Room.” Yum shifted more current with Nickelback’s “Figure You Out,” followed by Simple Plan’s “Addicted” (with Mark Lux helping out Brian on drums) and Jet’s “Cold Hearted Bitch.” The group then ventured off in a hip hop direction for a song or two, before Darren fronted the group on Charlie Daniels’ “Devil Went Down to Georgia.” Yum kept the party fired up with a medley from hell, which segued together a wide assortment of material from rap to AC/DC. The party now at a feverish pitch, Yum welcomed Mark Lux onstage again, and Mark took over lead mic duties for Rage Against the Machine’s “Killing in the Name,” which brought the evening to a heated, intense close. Yum did what they did best, playing their material upbeat and enthusiastically, and keeping the crowd festive and having fun. Dan worked all sides of the stage, had fun with the audience and clowned around with his bandmates. The rest of the group was obviously having a good time, performing with one another and entertaining this large and supportive hometown audience. Yum’s set was a positive, upbeat party that nicely brought the day to a close.
So for the second year in a row, Rock the House was a convincing success. Again the attendance was excellent, and a good chunk of change was raised for the IMAC Foundation. There were few problems throughout the day, and overall, Rock the House seemed to be a smoothly run event. Hats off again to the organizers for a job well done, and it is a safe bet that this event will be back for a third year in 2005.
Wearing his Sunday finest, Darren Buchko of Yum.
Dan Vavrek of Yum.
Dan Vavrek of Yum sings it to the fans.
Once again, Darren Buchko of Yum.
Behind the kit, Brian Scaletta of Yum.
Shawn Mock of Yum.
Shawn Mock and Dan Vavrek of Yum.
Once again, Dan Vavrek of Yum.
Yum and their partying fans.
Scott “Dolby” Barkhimer of Yum.
During the show’s homestretch, Mark Lux sings lead with Yum.
Mark Lux and Yum get the fans to “rage” along…
HI-TYDE @ CASTLE PUB, EBENSBURG 8/7/04
After Rock the House, I shot up Route 219 to Ebensburg to check in with Hi-Tyde at the Castle Pub. As I arrived, a huge party was well under way. The Castle dance floor was jam-packed and turbulent; bodies bumping, grinding and undulating as Hi-Tyde generated a wide, nonstop assortment of uptempo sounds. The group was rocking out to Jet’s “Cold Hearted Bitch,” and smoothly segued into Bloodhound Gang’s “Bad Touch.” This, in turn, morphed into the Gap Band’s “You Dropped A Bomb on Me” and the equally disco Lipps Inc. hit “Funkytown.” With drum man Mike Davis maintaining the nonstop beat, Hi-Tyde stepped into 80’s gear with Dead Or Alive’s “You Spin Me (Like a Record),” Prince’s “Let’s Get Crazy” and Violent Femmes’ “Blister In The Sun.” At this point, after the first pause I saw the group take since my arrival, Hi-Tyde did something totally different…an original song. I didn’t catch the title of this particular tune, but it rocked and had enough of a groove to it to keep the dance floor active. The group then triggered another medley with a predominant 80’s flavor, incorporating Nena’s “99 Redballoons,” Billy Idol’s “Dancing with Myself” and Devo’s “Whip it” amongst The Proclaimers “I’m Gonna Be (500 Miles)” and the Ramones’ “I Wanna Be Sedated.” Hi-Tyde then brought the set to a close with the unusual pairing of Wild Cherry’s “Play That Funky Music” into Metallica’s “Enter Sandman.”
As the crowd clamored back towards the bar to refuel on drinkables, I chatted with most of the Hi-Tyde roster. The group told me that they had been working up some original tunes with the idea of issuing a CD within the next several months. And with the advent of original tunes, Hi-Tyde was also contemplating the possibility of a name change. Based on what I had seen so far this night, the timing was good for Hi-Tyde to embark on original material; as their tenure as an area cover band has obviously built them a sizable local fan base, and one that would likely be receptive to any original creations the group might introduce.
That fan base was staying put at the Castle Pub, eager for the party to resume as they again took up strategic dance floor positions at stagefront. Soon Hi-Tyde resumed the musical action, and quickly had the dance floor mobilized again with favorites from the Beastie Boys, Michael Jackson, House Of Pain, Fountains Of Wayne, Rick Springfield and more. As the set entered its latter stages and Hi-Tyde commenced Nickelback’s “Figure You Out,” several ladies busted their best dance moves alongside the band members from atop the Castle’s speaker bins. Hi-Tyde took things in a heavier direction during the homestretch, bringing their party to a close with Limp Bizkit’s “Breakstuff” and Disturbed’s “Stupified.”
This was one of the strongest parties I’ve seen Hi-Tyde deliver yet. The action was virtually nonstop the whole time Hi-Tyde played, and the group never gave the dance floor participants any reason to want to sit down. The band members executed tightly and on target, and primary frontman Dale Nitti masterfully directed the stage and dance floor action, maintaining constant contact with the crowd. And Hi-Tyde performed with hunger and enthusiasm this night; you could tell these guys were out to win this audience, and pulling all the stops to do so. The results were a packed house leaving happy, satisfied and soundly rocked at the end of the night.
Nights like this one should keep Hi-Tyde among this region’s party band elite for some time to come. And the advent of the group’s first original songs shows that this band is interested in leaving their own mark beyond the scope of just delivering good times on a Saturday night. Hi-Tyde is a band to continue to keep a close eye on.
Mike Weber of Hi-Tyde.
Mike Davis of Hi-Tyde.
It’s a party with Hi-Tyde at Castle Pub!
Frontman Dale Nitti and Hi-Tyde keep the Castle dance floor happy.
Dale Nitti of Hi-Tyde.
Again, Mike Weber of Hi-Tyde.
Again, Dale Nitti of Hi-Tyde.
Again, Mike Davis of Hi-Tyde.
Ted Depto of Hi-Tyde.
Once again, Mike Davis of Hi-Tyde.
Again, Ted Depto of Hi-Tyde.
Dale Nitti of Hi-Tyde and the rowdy Ebensburg fans.
“CELEBRATION OF NEIGHBORHOODS” @ HERITAGE PLAZA, ALTOONA 8/8/04
Downtown Altoona’s Heritage Plaza was again the setting for the annual Celebration Of Neighborhoods, presented by the Blair County Community Action Agency.
Sunny skies shined on the festivities as I arrived, just as Backdraft was concluding their set with the boogie-styled original song “Gotta Go.” A good sized audience of several hundred people, spanning toddlers to seniors, was congregated around the perimeter of Heritage Plaza’s skate ring area and looking on. And a number of local community organizations were staffing tents and selling food items. In my own tradition, I purchased pierogis, halushki and wings and procured my own vantage point to take in the afternoon’s slate of entertainment.
Show organizer and Blair County Community Action Agency head Allan Robison then introduced solo performer Megan Ritchey, who stirred the audience to sing along with her rendition of Lee Greenwood’s “God Bless the U.S.A.” Megan then followed with a version of “Rocky Top,” again inspiring audience participation as many folks clapped along.
As his father’s band, Square One, set up gear for their forthcoming set, singer/guitarist Shawn Osborn performed two songs. The first song I believe was an original song, while the second was a version of Oasis’ “Wonderwall.” Shawn sounded satisfactory overall, with both his voice and guitar talents in good form.
Square One then kicked off their set, performing their mix of 60’s, 70’s and 80’s rock and roll favorites. Singer/guitarist Don Osborn, bassist/singer Bill Hunter and drummer Jeff Crownover performed tunes from the Beatles, Lynyrd Skynyrd, Rolling Stones, Eagles, Stray Cats, Van Morrison and more. Don again demonstrated some impressive high-ranged voice; and his guitarwork was clean and varied in its flavors. I especially liked Don’s Clapton-esque guitarwork on Cream’s “Crossroads.” The group continued the set with Marvin Gaye/CCR’s “I Heard It Through the Grapevine; and brought the set home with tunes from Stevie Ray Vaughan, Rick Springfield, Van Morrison and Steppenwolf.
Square One entertains at Celebration of Neighborhoods.
Once again, Square One.
Next was young Elaini Arthur, who sang a short set of country and pop songs. Admittedly at this point, I was chatting with two other music fans who arrived, and not paying close attention. But based on what I did see, Elaini is developing more poise and her voice is getting steadier and stronger with each passing year; and if she stays interested and keeps at it, this youngster should continue to get better as she enters her teen years.
Young Elaini Arthur croons some country at Celebration of Neighborhoods.
Flight 19 was up next. This would be my first opportunity to check out Flight 19 since the recent addition of Electric Blue bassist Sean Johnson. Opening their performance with Lenny Kravitz’ “Give In,” Flight 19 mixed up current and classic rock favorites and original songs, with a few surprises thrown in. The group continued with their own bluesy original “Unlock,” before launching into Velvet Revolver’s “Slither” and Better Than Ezra’s “Good.” The group continued with another of their original songs, before launching into an uncharacteristic funk/disco/rap medley featuring the Commodores’ “Brick House,” Ohio Players’ “Love Rollercoaster,” Tone Loc’s “Wild Thing,” Gap Band’s “You Dropped a Bomb On Me” and more. Flight 19 continued with tunes from The Clash, Jimmy Eats World, more Lenny Kravitz and more. This was a slightly different set from Flight 19 than what the bar crowd usually sees, in terms of music performed and presentation. The group mixed it up more, trying to achieve a middle ground setlist that would offer a little something for everybody. Since there were young children and seniors in the audience, Flight 19 also kept things toned down more, with more emphasis on mainstream rock and frontman Brian Thomas keeping a lid on onstage cussing. The group’s set was solid overall, and new bassist Sean seemed to be comfortable in his new surroundings.
John McKelvey and Brian Thomas of Flight 19.
John McKelvey of Flight 19.
The new guy, Sean Johnson of Flight 19.
Again, John McKelvey and Brian Thomas of Flight 19. (And no, Brian isn’t flipping off the crowd; if you look closely, he has two fingers up. Brian kept it clean this afternoon…)
Once again, Brian Thomas of Flight 19.
Once again, Sean Johnson of Flight 19.
Once again, Flight 19.
Several ladies bust some dance moves to Flight 19.
The Prime Time Band concluded the day with their wide-ranging set, which spanned classic rock and oldies favorites, R&B, polkas and more. After Bob Seger’s “Old Time Rock and Roll” kicked things off, The Prime Time Band – singer/guitarist Jack Servello, tenor sax player Paul Carraciolo Sr., keyboardist Laura Lenz, bassist Dave Hooper and drummer/singer/show organizer Allan Robison mixed up sounds from Gary U.S. Bonds, Rufus Thomas, Santana, Wilson Pickett, Georgia Satellites, Van Morrison and more. Highlights were numerous and varied – including Shep & the Limelights’ doo-wop rendition of “Daddy’s Home;” Jack’s soaring voice on Del Shannon’s “Runaway” and Roy Orbison’s “Crying;” Paul’s crisp saxophone displays on Eddie Floyd’s “Knock On Wood” and “Misty” and more. Jack strolled out into the crowd to serenade various audience members, and the group’s friendly and upbeat vibe brought increasing numbers of audience members up in front of the stage to dance. The Prime Time Band’s informal, friendly and fun set provided an appropriate conclusion for the day’s events.
Once again, it was good to see a decent-sized crowd in attendance, as Celebration Of Neighborhoods again achieved the objectives of drawing members of the Altoona community together, and attracting people into downtown Altoona’s Heritage Plaza for one afternoon. Hats off again to Allan Robison and the Blair County Community Action Agency for again staging this hometown get-together.
Jack Servello of The Prime Time Band mingles with the fans.
Once again, Jack Servello of The Prime Time Band.
The Prime Time Band.
Paul Carraciolo, Sr. of The Prime Time Band.
Show organizer Allan Robison of The Prime Time Band.
AXUM @ PELLEGRINE’S, ALTOONA 8/8/04
As many of my weekends often do, this one concluded at Pellegrine’s, with Axum providing the tunes.
I had heard through the grapevine days before that Axum had a new drummer, following Chris Monteagudo’s departure from the band. This night I would officially learn that former Seven Souls/Dunston Ashe drummer Jim Hinckley took over percussion duties.
I arrived in time for the start of Axum’s second set. I was a bit surprised to see that Axum had brought only a minimal light show this night, and the stage and dance floor area weren’t lit up especially well. At least the sound system was up to par, as Axum thundered back into action with Nine Inch Nails’ “Head Like a Hole,” and proceeded to mix a variety of mostly harder-edged sounds old and new. Tunes from 311, Duran Duran, Green Day, Lynyrd Skynyrd, Red Hot Chili Peppers, and Tool drew a few fans and dancers onto Pelly’s dance floor to party along. The group ventured off on a funk/R&B interlude for two songs (including one from Usher), before rocking down the set’s homestretch with Fuel’s “Shimmer,” an unexpected take on Led Zeppelin’s “Ramble On” (with new man Jim singing lead) and Puddle Of Mudd’s “She Hates Me” to close the set.
Attendance was relatively light at Pelly’s this night. Observation: I notice an interesting trend with Pellegrine’s crowds…The smaller the crowd, the higher percentage of freaks and weirdos in that crowd, and the increased likelihood of unusual stuff happening before the night is over! This again was the case this night; as during Axum’s second set, I observed one of Pelly’s Sunday night “regulars” – a middle-aged dude wearing black biker leathers and various body piercings – duck into the women’s rest room! Fortunately no ladies were populating the room at the moment, and I didn’t hear any horrified screams. A few of us did chuckle and stare on in disbelief, though… Another interesting member of Pellegrine’s audience I observed this night was the Carrie Rapaport look-alike! I knew that the former Juiced/current Creamsicle singer was an Axum fan/friend from before, and when I saw this look-alike, I first thought it was Carrie and was about to go up and say hello – then I realized this wasn’t Carrie, but a young lady decked out in almost the same exact hairdo, tattoos, and attire! Perhaps this was a Juiced fan going into Carrie withdrawal? Memo to Carrie if you’re reading this – you might want to gather up your Creamsicle bandmates and book a show up this way – you apparently have a minion of protégés up here in Toonaland in need of guidance!
With the night running a little late, Axum returned to the stage for an abbreviated third set. The group kicked back into action with Blink 182’s “Dammit,” with an unidentified guest guitarist standing in with the group. Axum again mixed it up, doing songs from Orgy, Def Leppard, their original tune “Fable,” a rap number, Limp Bizkit’s “Breakstuff” and Godsmack’s “Awake” to end the night.
Inadequate light show notwithstanding, Axum’s performance was strong. New man Jim fit into his new band setting well, and was clearly on the same page with his bandmates. Frontman Tim McKenna again led the proceedings, displaying strong voice and stage presence, and rallying at least a few Pelly’s fans up on the dance floor. Guitarist Don Shiner and bassist Matt Croyle were solid as usual, and at least Axum sounded good. Why the group didn’t bring a bigger light show was unclear (Axum was announced as the Sunday band midway through the week, perhaps they didn’t have time to secure lights for this night?); but more lights would have improved Axum’s overall presentation this night. And given this was only the group’s second show at this venue, it might have made a difference in the group connecting with potential new fans – particularly those Pelly’s fans who are accustomed to seeing bigger light shows from other bands who regularly perform there.
Otherwise, it was an interesting night, with Axum’s brand of rock providing the soundtrack to one of Pellegrine’s periodic Sunday crowd “freak shows.” Beware when Pelly’s is only half-full…
Tim McKenna of Axum.
Matt Croyle of Axum.
The new guy, Jim Hinckley of Axum.
_________________
http://pamusician.net |
|
