Jim Price
Moderator
Joined: 07 Dec 2002
Posts: 4817
Location: Altoona, PA
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 Posted: Saturday Apr 09, 2005 |
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WEEKEND RECAP 1/24/05
BLIND JONNY DEATH @ THE HITCHING POST, ALTOONA 1/19/05
Able to escape the workplace early for once on a Wednesday evening, I headed to Altoona’s Hitching Post to check in with dynamic Americana duo Blind Jonny Death.
It was a quiet night at the Hitching Post, with not a lot of crowd present. Singer/guitarist Marc “L.C. Slim” Prave and upright bass player Ed “Red” McDonald took it all in stride as they had fun performing early country and roots rock tunes. Their setlist included some familiar favorites and a few surprises. The duo was performing Old Crow Medicine Show’s traditional “Tell It To Me” as I obtained my first brew and procured a seat. Slim and Red broke out an old Statler Brothers hit I hadn’t heard in ages (actually, so long ago that I didn’t even recall who did it), “Flower On The Wall.” Next was a traditional number, “Wreck Of the Old 97,” followed by the Traveling Wilburys’ “End Of The Line.” Slim then introduced a new Blind Jonny Death original song called “Long Way From Home;” the song offered a rural, folksy lean consistent with the duo’s Americana blend. Next was a Johnny Cash fave, “Ring Of Fire,” and the Hank Williams Sr. double-shot of “Hey Good Lookin’” and “Move It On Over.” The group broke out a more obscure Beatles ballad, before offering up Johnny Cash’s “Cry Cry Cry” and Elvis Presley’s “Little Sister.” That set the stage for Blind Jonny Death’s finale, “Land Of The Navajo.” This has emerged as the duo’s showstopper; and this night was no exception, with the two musicians carrying out the ending and pushing it into a charged, spirited crescendo that left the small Hitching Post audience applauding and cheering.
As has been the case the first few times I’ve seen them, Blind Jonny Death revealed a little more of their Americana persona this night with the introduction of another element of American musical folklore, the train song (“Wreck Of The Old 97”). I wound up talking trains for a good while after the show with Slim, himself a rail fan with some interesting stories and even family history relating to the railroad; it was fascinating conversation!
It wasn’t the busiest “Country Night” I’ve seen at The Hitching Post thus far, but Blind Jonny Death’s performance made it an enjoyable one nonetheless. And rest assure, I’ll be back for more!
STRUMMER ACOUSTIC SHOW @ THE BAR, ALTOONA 1/20/05
After finishing up workplace duties this night, I first headed to The Bar in Altoona to check in with the songsmith himself, John Stevens, and his performance alter ego, Strummer Acoustic Show.
As it turned out, perhaps I need to write two separate reviews; one of the musical performance, and the other of the audience member soap opera happening off stage.
The audience soap opera story started unfolding just moments after I entered, procured my first draft beer and situated myself at one of the tables midway back from the stage. The Bar was not crowded, and only a handful of people were present; including a rather alcoholically-enhanced female fan near the stage in front of Strummer, who was yelling stuff up at him as he performed. Soon spotting me, the female fan stumbled her way back to my table and began jawing at me, initially about how she was enjoying the show. She was middle-aged, and speaking in one of the Drunkenese dialects, making her difficult to understand. As she proceeded to jabber away, I understood enough to know that she was 43, and was two weeks away from becoming a grandmother. She apparently didn’t think much of her future grandchild’s father, describing how he was not devoting enough time to the child’s mother, etc. Not wanting to act mean towards this woman, I listened as she sputtered out her spiel. Strummer appeared satisfied that this woman had found another object of her attentions rather than him. Meanwhile, I wondered just what I had walked into here!
As Strummer continued to do songs that she liked, the woman kept drunkenly attempting to drag me up to his microphone to sing along; I politely resisted. Remaining seated at my table, she mentioned her alcohol intake of one beer and six shots thus far, and again blurted out complaints about her domestic situation. Soon, a taller, rather biker-ish looking gentleman stepped up to the woman and began to try to persuade her to leave The Bar. She resisted. He tried to reason with the woman that her daughter might need her assistance back at the house, but this woman jawed back at him and still wouldn’t budge. I sat quietly and somewhat nervously, and just paid attention to Strummer’s performance, not wanting to be in any way involved in the nearby conversation. Eventually the guy gave up on her for a few minutes, but soon returned to try again. Again the woman resisted. After the two jawed at each other for a few moments, the guy again gave up the attempt, and this time left The Bar. On that little radio continuously playing in the back of my head, the song “Lucille” by Kenny Rogers had just come on.
At this point, a bit of coincidental bad timing. Strummer started performing a slow song, Bob Dylan’s “Knockin’ On Heaven’s Door,” and the woman yanked my beer away, grabbed my arm and dragged me up on the floor to slow dance. Strummer grinned mischievously as he saw the look of terror in my eyes – what if biker-type guy (who could have been an estranged husband or other family relation) re-enters The Bar to find me slow-dancing with this woman, even involuntarily? I reluctantly accommodated the woman, giving the minimal effort to slow dance with her, but not letting myself get too involved. After the song (which was fortunately short), I sat back down at my table, and drunk woman went over to the main bar. The Bar main lady Kelly brought me out another draft and apologized for what I had endured so far. Within a few minutes, drunk woman returned to my table and sat down, sitting silently for a few minutes before announcing that she was going home. She muttered unintelligibly for a few moments, and actually had tears in her eyes. She then got up and left.
On one hand, it was somewhat amusing to see this drunken woman in action, even with me as the unwilling object of her attention. But I felt somewhat sorry for her in the end; obviously she had some major issues on the domestic front, and was apparently at The Bar to drown her sorrows and get away from life for a little while. As evidenced by the arrival of her male associate, though, it didn’t work. I felt relieved that she was out of my hair, though; and relieved that my own life didn’t have that type of drama to deal with.
Finally, I could devote my full attention to Strummer’s performance. Beyond me and the now departed drunk woman, there were very few people at The Bar; and except for me, they were all congregated back at the main bar with Bar main lady Kelly.
Strummer mixed a variety of classic rock and country favorites in his mild, cordial manner; letting the audience dictate the direction and musical mood of the show. Strummer did favorites from Kiss, Pink Floyd, Queen, the Beatles and others. He broke out the occasional deeper or forgotten songs, such as Richard Burnett’s “Man Of Constant Sorrow” and Gordon Lightfoot’s “Sundown.” And as the night grew later, the small crowd began calling out requests, which Strummer graciously accommodated: Elton John’s “Daniel,” Van Morrison’s “Brown Eyed Girl;” and after a challenge had been thrown down for some country, Hank Sr.’s “Jambalaya” and George Jones’ “Race Is On.” Strummer then closed out the night with REO Speedwagon’s “Take It On The Run.”
Drunken encounter notwithstanding, this was an enjoyable show. I again was impressed with Strummer’s wide-ranging repertoire and relaxed, laid-back presentation. But I was also impressed by Strummer’s determination to please the audience, no matter how little of it there was. Whether it was a wayward drunk woman with domestic problems, or some patrons chilling back at the bar, Strummer found the tunes to keep them all happy.
It was a little more drama than I was planning for this night, but my latest encounter with Strummer Acoustic Show was a good and memorable time. And with time still left on the Thursday night live music clock, there was still Hurricaning to be experienced a few blocks away…
John Stevens, i.e. Strummer Acoustic Show.
FELIX & THE HURRICANES @ PETER C’S, ALTOONA 1/20/05
From The Bar, I proceeded a few blocks away to Peter C’s, to catch the homestretch of this week’s edition of Thursday Hurricaning.
A good-sized crowd was on hand as The Hurricanes were rocking out Free’s “All Right Now” upon my arrival. Dick Kos was onstage with brother Felix jamming on guitars, with Jeff Clapper singing the Paul Rodgers lead and playing bass, and Bob Watters pounding the skins. A guest then stepped up behind the drum kit, Jeremy Nelson of Wood’n’Strings fame! I had never seen Jeremy play drums before, so this was an unexpected treat! Jeremy did quite well keeping the beat on Wilson Pickett’s “Mustang Sally” and Marshall Tucker Band’s “Can’t You See;” he could definitely mash behind the kit! Hurricane Felix beckoned for devout Hurricaniac Harry Bottoms to step up to the microphone to contribute backing vocals, and Harry quickly did. Steve Shiffler was in the house, and he was invited to the Hurricanes’ lead mic to sing Lynyrd Skynyrd’s “Simple Man.” The parade of guests continued to close out the set, as T.M.P. namesake Tony Mollick’s younger sister, Stephanie, stepped up to the mic to belt out some passionate lead voice on Janis Joplin’s “Me and Bobby McGee.”
The clock was approaching 2 AM, and the initial word from Peter C’s bar central was that the evening was over. But the fired-up Hurricaniacs wanted more, and after 4 minutes of feverish encore demands, the bar relented to the crowd, and granted Felix and the boys one more song. The group then capped the night with a somewhat abbreviated edition of their showstopper, The Outlaws’ “Green Grass and High Tides,” with Felixness again displaying near Godliness on the fretboards (hey, that’s what I wrote on my notepad; it was a helluva vibe!).
Once again, Hurricanes musical fireworks and excitement provided the rousing finale to a very interesting night of live music in the ‘Toona for yours truly…
Special guest Stephanie belts out some Janis with Felix & the Hurricanes.
Felix & the Hurricanes, with special guest singer Stephanie.
The Hurricanes, generating good vibes on a Thursday night.
Dick and Felix Kos of The Hurricanes.
Bob Watters of the Hurricanes.
LOVE STOMP @ CITY LIMITS, ALTOONA 1/21/05
This night, I decided to take in the first Altoona visit of Harrisburg’s Love Stomp, making their debut appearance at City Limits.
I arrived early in the second set, and noted a new face behind Love Stomp’s drum kit, as Muggles McFeely replaces Bastard. Muggles, frontlady Amy, bassist Milhouse and guitarist Willy G. were firing off an uptempo mix of mostly current dance-friendly rock from Good Charlotte, Kelly Osbourne/Madonna, No Doubt, GoGo’s, Hole, Rage Against the Machine, White Stripes and more. As expected, Amy was displaying a strong voice with ample power and range, abundant energy and movement, and a friendly onstage personality as she sang to dance floor participants and worked the stage. Milhouse and Willy matched Amy’s energy and spunk as they frequently ventured onto the dance floor to party down with the folks cutting the rug. The band sounded tight and together, and brought forth a flowing, nonstop, exciting presentation.
Although not crowded, there were at least some people in City Limits this night to sample the new band in town; and the general consensus thus far seemed to be favorable. There were also three birthdays in the house, which contributed to the overall festive vibe of the night.
Soon Love Stomp returned to the stage to resume the party, this time kicking off with the Ramones’ double-shot of “Blitzkrieg Bop” and “I Wanna Be Sedated.” Milhouse and Willy then led the crowd on a social; or as they called it, “the ceremonial consumption of beverage.” After Green Day’s “When I Come Around,” Amy staged a Rolling Rock consumption contest onstage, with a Rolling Rock T-shirt going to the winner. Next were renditions of James Gang’s “Funk No. 49” and Blondie’s “One Way or Another,” before Love Stomp kicked off a 3-song funk/disco medley comprised of Wild Cherry’s “Play That Funky Music,” K.C. & the Sunshine Band’s “Shake Your Booty” and Donna Summer’s “Hot Stuff.” The dance floor was seeing its heaviest action of the night, with the combination of Love Stomp’s festive song menu and charged, friendly presentation attracting and keeping dancers on the floor. The upbeat rock continued with Weezer’s “Hashpipe,” Third Eye Blind’s “Semi-Charmed Life,” Lit’s “My Own Worst Enemy” and Blink 182’s “All The Small Things” to end the set.
Obviously Love Stomp had won this City Limits crowd over; as they immediately demanded not one, but two encores to close out the night. Love Stomp was happy to oblige, answering with Billy Idol’s “Dancing With Myself” and Twisted Sister’s “We’re Not Gonna Take It” respectively.
So while attendance was a bit slow for Love Stomp’s first Altoona visit, the group was a hit with those who did show up. The group was also a big hit with City Limits main man Claudio; especially Amy, who voluntarily helped clear glasses and bottles from the tables after the show! It was not difficult to envision this band playing to a packed City Limits sometime soon, once the word spreads and more ‘Toona fans discover this band and their high-octane party.
It’s a three-armed bass player! Actually, Milhouse of Love Stomp allows a City Limits audience member to live the life of a bass player for one song…
Amy of Love Stomp serenades a fan, held captive by Milhouse and his bass.
Love Stomp, bringing the party to City Limits.
Amy and Willy G. of Love Stomp.
The new guy behind the kit, Muggles McFeely of Love Stomp.
Milhouse of Love Stomp.
Again, Amy of Love Stomp.
Milhouse of Love Stomp takes his party to the dance floor fans.
Once again, Amy of Love Stomp.
Milhouse and Willy G. of Love Stomp.
Willy G. of Love Stomp.
Once again, Amy and Willy G. of Love Stomp.
TORN BLACK @ PETER C’S, ALTOONA 1/22/05
Perhaps over 25 years of driving during westcentral PA winters is finally starting to toughen me up. It used to be that just the mere possibility of snow on the roads was enough to keep me sofa-bound on a Saturday night and condemned to watching Saturday Night Live. Not so much any more…
A forecasted ‘Alberta Clipper’ dumped some 3-4 inches of snow on central PA during much of the afternoon; but had largely ended by evening. Logan Township had even made it by to plow off the hill I live on, convincing me to venture out and brave the elements to see a new band – Torn Black – playing its first official show this night at Peter C’s.
It did not take me long once I started driving that this was not a good idea, The roads, though plowed over some, were still snow-covered and very slick, and travel was slow-going and treacherous, especially at intersections. But I arrived at Peter C’s safe and with my car still in one piece. As I entered the venue, I exhaustedly remarked to Re-Pete the doorman, “I’m getting too old for this s**t,” before procuring a Heineken and a seat.
While the name Torn Black is new, its members are not. Former Montage/Force Of Habit frontman Scott Mulligan sings, former Roadkill/Insult To Injury guitarist Ryan Dunkle plays lead, and Ralph Stayer plays bass. And completing the line-up are guitarist Tony Winbush and drummer Al Kizina, both making their first official returns to the live stage since their stints in XL during the late 80’s and early 90’s!
Torn Black was near the end of their first set, pounding out Velvet Revolver’s “Slither” and Bush’s “Machinehead” to enter the night’s first intermission.
Although the snow hadn’t stopped me, it did scare others into staying home, and Peter C’s was only lightly populated. But since this gig was only booked days before, Torn Black took it all in stride and was happy to have the audience they did.
Torn Black was soon ready for round two. After ending the previous set in the current rock vein, the group started this set in the classic vein with Golden Earring’s “Twilight Zone,” and followed with two 90’s tunes, Jackyl’s “Down On Me” and Collective Soul’s “Gel.” Torn Black shifted into the 80’s with Cinderella’s “Gypsy Road,” followed by AC/DC’s “TNT” and Flock Of Seagulls’ “I Ran.” The group then kicked off a 4-song medley, with Ryan singing lead on .38 Special’s “Hold On Loosely,” and the medley segueing through T. Rex’s “Get It On,” Duran Duran’s “Hungry Like the Wolf” and Grand Funk Railroad’s “Some Kind Of Wonderful,” sung by Tony. Scott and Ryan shared the spotlight on Quiet Riot’s “Bang Your Head (Metal Health),” with Scott flexing his high-flying vocals, and Ryan uncorking some impressive guitar solo work. Torn Black then shifted more current with Blink 182’s “All The Small Things,” Puddle Of Mudd’s “Control” and Nickelback’s “Figure You Out,” before honoring an audience request for Lynyrd Skynyrd’s “Sweet Home Alabama” to finish the set.
Thus far, Torn Black was doing a good job overall. Although some minor rust spots could be detected, overall this line-up was instrumentally solid and generated ample power and muscle. Ryan handled most of the guitar leads, as Tony admittedly was getting accustomed to being back on stage again. Scott’s presentation was confident and rowdy, as he displayed his vocal range early and often and frequently rallied the small contingent of audience members to get crazy. It worked, as several people took up position on the dance floor as the set progressed.
It took two takes to get it started, but The Cult’s “Fire Woman” soon commenced Torn Black’s third set. Torn Black’s rocking party continued with tunes from AC/DC, Puddle Of Mudd, Lenny Kravitz, Poison, Alice In Chains, Stone Temple Pilots, Motley Crue, Nazareth and more. Highlights in this set included versions of Bon Jovi’s “It’s My Life” and a surprise rendition of Loverboy’s “Hot Girls In Love.” Although a little roughshod in spots, Torn Black still generated ample energy and momentum, and kept occupants on Peter C’s dance floor for the duration of the evening.
Torn Black’s Peter C’s debut was a successful one, in spite of the weather-diminished turnout. The group rocked the folks that did attend, and generated enough of a lively and festive mood and atmosphere that they’ll be playing at Peter C’s again soon, hopefully in front of bigger audiences.
Torn Black, making their Peter C’s debut.
Ryan Dunkle of Torn Black.
Ryan Dunkle and Scott Mulligan of Torn Black.
Scott Mulligan of Torn Black.
Torn Black, tearing it up onstage at Peter C’s.
Ralph Stayer of Torn Black.
Again, Scott Mulligan of Torn Black.
It’s good to see this guy back in action on area stages again after a long layoff…Tony Winbush of Torn Black.
Torn Black, heating up a wintry Saturday night at Peter C’s.
Torn Black continues the party.
Once again, Tony Winbush of Torn Black.
Ryan Dunkle and Scott Mulligan of Torn Black.
Once again, Ryan Dunkle of Torn Black.
It’s good to see this guy's back in action, too, even if he is an Eagles fan…Al Kizina of Torn Black.
FELIX & THE HURRICANES @ THE HITCHING POST, ALTOONA 1/23/05
Ahhh, depression! The Pittsburgh Steelers’ dream season and quest for ‘one for the thumb’ came to a crashing halt at the hands of eventual Super Bowl champions the New England Patriots. It made for an interesting edition of Q94’s “Backyard Rocker” as yours truly and guests John Baker and Sherry Lender provided score updates, lamented and consoled one another on air.
After the game and show, I was faced with a decision: Do I go to Pellegrine’s, where Green Eggs – themselves avid Philadelphia Eagles fans whose team WAS going to the Super Bowl – would no doubt be celebrating their team’s good fortune and rubbing Steeler fans’ faces in it; or would I head to The Hitching Post, where misery could love company and I could lament with Felix & the Hurricanes and the other Steelers fans in the house? I decided to show solidarity with my fellow Steeler fans…
The mood wasn’t particularly downtrodden at The Hitching Post as I arrived. The Hurricanes foursome – with Dick Kos onstage with brother Felix – was just wrapping up their second set of the night with the Allman Brothers’ “Jessica.”
A good-sized crowd populated the Hitching Post, and it was clear that the positive vibes generated by the Hurricanes’ show thus far were prevailing over the negative vibes stemming from the Steelers’ loss.
Soon the Hurricanes were back onstage, and with Dick singing, the group resumed the party with Ritchie Valens’ “La Bamba.” The Hurricanes continued the party with tunes from Santana, Stevie Ray Vaughan, and Lynyrd Skynyrd’s “Gimme Three Steps,” which featured an unidentified guest singer from the audience. As the group proceeded with Ted Nugent’s “Free For All” and Van Morrison’s “Wild Night,” the small floor area in front of the Hitching Post stage area became filled with dancers. The group fused Aerosmith’s “Walk This Way” and ZZ Top’s “Sharp Dressed Man” into a nonstop rocking groove; before Felix and Dick lit it up on their respective fretboards on the Allman Brothers’ “Blue Skys.” After War’s “Low Rider,” the ‘Canes strung together the original tunes “Black Widow,” “Issues” and the Outlaws’ “Green Grass and High Tides” into a medley to close out the night.
The Hurricanes’ musical tonic seemed to work, and chased the Steeler blues away. The only turnovers during this part of the night might have been dance participants turning over their drinks onto the Hitching Post floor. Otherwise, it was an upbeat ending to a disappointing day.
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