Jim Price
Moderator
Joined: 07 Dec 2002
Posts: 4817
Location: Altoona, PA
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 Posted: Wednesday Aug 10, 2005 |
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MILLENNIUM MUSIC CONFERENCE/WEEKEND RECAP 6/27/05
DAY ONE 6/23/05
One of my favorite times of the year had arrived; the 9th annual Millennium Music Conference. Three days of showcasing bands and artists, seminars, showcasing bands and artists, a keynote speaker, showcasing bands and artists, networking…did I say showcasing bands and artists? Music-a-holic that I am, Millennium weekend again offered a tantalizing slate of premium independent bands and artists, and I was again there to try to take it all in.
But first, I had to battle the work week from Hell to get there. For starters, for the week-and-a-half leading up to Millennium, I had battled a throat and sinus cold/infection that rendered my throat strained and less than 100%. This initially wasn’t a factor; I knew the workload that lie between me and Millennium, and I busted ass diligently to get the bulk of my radio duties and my Pennsylvania Musician article (which was due) done before Wednesday. In theory, all I then would have to do Wednesday was my weekly ritual of assembling the weekly Nightspot Reports, and processing and emailing the monthly “Hot Shot” photos to Pennsylvania Musician headquarters.
It couldn’t be that simple. The unthinkable happened – this particular week, 13 different clients bought time on the Nightspot Report (compared to the usual 8-10 clients we usually have). This was good for the station; it meant extra ad revenue; but it was disastrous for me – a normally 2-hour job would take me and my bad throat nearly 4 hours to complete. And come Thursday, when I had hoped to leave and get to Harrisburg early, I spent most of the day processing and emailing “Hot Shots” (which I had hoped to get a jump on the night before). As a result, I didn’t hit the road to Harrisburg until 5 PM.
Also complicating matters, the host hotel for Millennium, the Crowne Plaza Hotel in downtown Harrisburg, was already booked up solid by the time Robin from Pennsylvania Musician called to make reservations for the out-of-town staff. So I wouldn’t be staying in the host hotel this year; instead, the magazine procured the last available room at the Comfort Inn Riverfront, on Front Street along the Susquehanna River, about 5 blocks from the Crowne Plaza Hotel. At least I could walk to the conference, rather than have to shell out bucks for taxis and/or downtown Harrisburg parking.
After my ordeal. The roadtrip to Harrisburg itself wasn’t bad – save for the 18-Wheeler Driver From Hell who apparently didn’t understand the concept of slowing down for the PA Turnpike tunnels, even when the speed limit was clearly posted as 55 and the traffic in front of me had slowed to 60. Dude sounded his air horn at me and the traffic in front of me; I gave my polite “have a nice day” wave out the back window to him (no, not the one-finger salute). Once we cleared the tunnels, the guy roared past us like the pole-sitter at the Indy 500.
I found the Comfort Inn easily, parked and procured my room. It was almost 8 PM, the scheduled start time of the first showcases at Crowne Plaza. I had been leaning towards attending the Crowne Plaza showcases anyway this night, and after a 2½-hour roadtrip from Altoona, I really didn’t feel like hopping back in the car and trying to head elsewhere. So I hoofed the five blocks to the host hotel, and spent the duration of the evening catching the showcasing bands there.
As it turned out, this was an excellent decision. There were nine different bands playing on two stages at Crowne Plaza, and each in their own distinct way kicked butt!
As I arrived, the first band was already under way on the Jim Beam-sponsored main stage; The Commercials from Harrisburg. I had just received this band’s latest album, It’s Not What You Say…It’s How You Say It, a few weeks before – now I would experience them live. I got to see the last three songs of their half-hour set; two punk-fueled original songs and a similar-styled take on Journey’s “Any Way You Want It.” What set this punk-fueled band apart from the rest of the pack were two things – crisp melodies, and a singer who could really sing. Bassist Drew Teague actually demonstrated a clear, melodic, high-ranging singing voice that was impressive enough to do justice on the Journey cover. The growing crowd of all-ages revelers cheered on The Commercials, and response to them was good.
The Commercials, getting things started at the Crowne Plaza showcase.
Drew Teague of The Commercials.
Tom McGrath of The Commercials.
Once again, The Commercials.
After The Commercials finished, I ventured a short distance across the hall to the Miller High Life second stage for that stage’s first band, 8th. From Allentown, 8th was a five-piece band offering up heavier, angst-ridden rock. The group showcased original tunes from their EP, including “Live With Yourself, “Deception” and more. Their singer, Brian Slack, was prone to escalating his voice into full-vented tirades; and their drummer, Whit, was full fury as he varied the tempo between driving, aggressive beats and agitated, tribal-styled rudiments. 8th received a good response to their brand of heavier angst rock, even including a brief mosh pit; and they stated their case well as a band worthy of some attention.
Allentown’s 8th, rocking the Crowne Plaza.
Once again, 8th.
Brian Slack of 8th.
Back to the main stage for one of the bands I was most anticipating this night, Rectifier. This band features 75% of the band formerly known as Julian Fist – singer/guitarist Mitch Taylor, bassist Troy Lehman and lead guitarist Scott Michajluk; along with drummer Tony Kirchner. I was curious about what Rectifier brought to the stage, and if it demonstrated any similarities or connections to their previous band. Rectifier opened with “Whipping Boy,” and demonstrated a brand of hard-hitting, melody-geared rock with tunes like “Billy,” “Step Off Your Throne,” a new song called “Breathe Out” and their local radio hit, “Drama Queen.” Rectifier’s base sound bore a similarity to Julian Fist; the elements that made Fist click were still in abundance here – Mitch’s melodic and passionate vocals, Scott’s clever use of effects to shape the moods and textures of the songs, and strong, focused melodies. Add to this a touch more bite and aggression, and Rectifier showed forward progress from Julian Fist, and are a band to keep an eye and ear open for.
Mitch Taylor of Rectifier.
Scott Michajluk of Rectifier.
Again, Mitch Taylor of Rectifier.
Rectifier, showcasing their tunes at Crowne Plaza.
Once again, Rectifier.
Back across the hall to the second stage, where Hierosonic had just begun their set. I had seen this band last year at Millennium; and while they were good, they were battling some sound problems, harsh room acoustics, and a largely indifferent crowd. What a difference a year makes! Hierosonic was pure adrenaline and aggression that throttled the room. This Harrisburg fivesome exploded through originals such as the volatile “America’s America,” the dark and mesmerizing “Before Autumn” and more. As Hierosonic proceeded through each tune, they and their audience elevated each other’s intensity. Soon singer Ben climbed atop the speaker stacks and rallied the crowd further; this set was one moshpit away from becoming complete chaos! Hierosonic was tighter, more confident and fiery; and they took this set to the brink! These guys scored high points with me this night; definitely Hierosonic has stepped up their game, and this set kicked total ass!
Ben Stewart of Hierosonic, going atop the speakers.
Hierosonic, achieving meltdown at the Crowne Plaza.
Again, Hierosonic.
Once again, Hierosonic, pushing it to the brink at the Crowne Plaza.
Brandon Krotzer of Hierosonic, going atop his keyboard in the heat of the set.
Once again, Hierosonic.
The Herbie and Roundtable Presents organizations were representing at the Crowne Plaza showcase.
I returned to the main stage to witness another band I eagerly anticipated, Condition K. Like Hierosonic, I had seen Condition K last year at Millennium. Since then, the group has issued their self-titled debut CD. And like last year, Condition K still features the other 25% of the former Julian Fist not with the aforementioned Rectifier, drummer Kyle Taylor. Condition K performed a selection of their hard-edged original tunes, again featuring the powerful, full-ranging vocals of charismatic frontman Manian, Kyle’s slamming beats, chunky guitar riffage from Torr and sturdy bass lines from Curtis. The group performed their best-known songs, “Laceration” and “On A Sunday;” the groove-geared “Suicide Love” and more. Manian continues to be the focal point with his powerful pipes and mystique; the remainder of the group supported him with a lean, hard-hitting presence. Condition K was again impressive; and again served notice that they are a force on the rise to watch out for.
Manian Hacker of Condition K.
Kyle Taylor of Condition K.
Again, Manian Hacker of Condition K.
Again, Kyle Taylor of Condition K.
Torr of Condition K.
Condition K rocks the crowd at the Crowne Plaza.
Once again, Condition K states their case onstage at the Crowne Plaza.
Next on the second stage was Washington, D.C.’s Rezin. As their set unfolded, Rezin slammed forth their brand of rigid, abrasive, angst-laced rock. Singer/guitarist Peter Swindler, lead guitarist Andy Huges, bassist Jon Blank and drummer Matt Collazo showcased tunes from their three CD’s and forthcoming new album; including such titles as “Ice Fighters,” “C.O.W.C.O.D.” and “Animals Of Combat.” A number of Rezin’s songs escalated into intense over-the-top crescendos, with singer Peter vocally going off the deep end. Instrumentally Rezin was lean and rigid, keeping the backdrop hard-hitting and bone-jarring as each tune developed. Rezin’s performance was strong as well; hopefully I’ll encounter this band again some time soon.
Washington, DC’s Rezin delivers their hard-hitting brand of rock at the Crowne Plaza.
Once again, Rezin.
Peter Swindler of Rezin.
Jon Blank of Rezin.
Up next on the main stage was a national recording group, Nashville’s Day Of Fire. This is the band that former Full Metal Jacket singer Josh Brown assembled after battling heroin addiction and surviving an overdose. Day Of Fire’s style and sound was driving, hard-nosed melodic rock of the Three Doors Down variety, with thoughtful lyrics dealing with Brown’s battle and the lessons learned. The group performed songs from their self-titled debut CD such as the single “Fade Away,” “Reap and Sow” and “Cornerstone;” also other songs such as “The Calling,” “Want It to Let Go,” “I Can See It In Your Eyes” and more. Day Of Fire demonstrated a good combination of elements; strong, catchy melodies, muscular guitar-driven arrangements, Josh’s impassioned vocal presentation and thoughtful lyrics. Simply put, Day Of Fire did good, basic, guitar-driven, fist-in-the-gut modern rock and roll; listen for them on a radio near you.
Nashville national recording group Day Of Fire continues the fireworks at the Crowne Plaza.
Josh Brown of Day Of Fire.
Joe and Chris Pangallo of Day Of Fire.
Again, Josh Brown of Day Of Fire.
Gregg Hionis of Day Of Fire.
Jim O’Hara of Harrisburg Online, caught in action.
At this point, an apparent miscue in the schedule. Apparently because they were a national act, Day Of Fire was allotted 90 minutes for their showcase before the next scheduled act was to perform on the second stage. However, Day Of Fire only played for the better part of an hour, leaving a half hour gap and lapse with nothing going on. Unfortunately for the two bands that followed – Soveren and Fith – that down time gave much of the crowd an excuse to vacate Crowne Plaza; leaving on a minimal audience for their sets.
I was one of the people who stuck around, as I wanted to see both bands. I had actually seen York’s Soveren at the Millenium Music Conference a few years ago when they showcased at the former Rusty Nail (now Underdog’s) in Harrisburg. That year, at least for me, Soveren’s set was the equivalent of what Hierosonic had done earlier this night – a heated, volatile performance that electrified the house, and blew me away enough that I bought their CD. (I also saw them one other time a few months later, before an empty house at New Sebastiano’s.) Now, I was curious to see Soveren again, and observe their progression since that memorable night.
This night, Soveren showed that their musical terrain is still heavy, as they performed a mix of newer and older originals. Singer David Bray, lead guitarist Shawn Kern, bassist Dustin Sterner (all from the previous line-up I saw at the Rusty Nail), guitarist Noah Linebaugh and drummer Rob Strickler showcased songs that were powerful and aggressive, yet melody-based and less angst-geared; in a nutshell, more straightforward and modern metal-based. Soveren cranked it up on the anthemic “Wicked Karma,” “Cry For War,” “The Lesson,” “Blood money” and “Failed Working Environment;” they also delivered the song I most anticipated hearing them do – the anthemic fist-pumping “Bridge,” the song that immediately charged the house during that Rusty Nail performance a few years ago. Although there wasn’t much audience present to take in their performance, Soveren made it count, with David displaying tenacity and intensity on the vocal end, Rob powering the sound with authoritative drum thunder, and Shawn and Noah delivering the swarming guitar attack. Again I came away impressed with Soveren, and I was glad I stuck around to bear witness.
Soveren commences their set at Crowne Plaza.
David Bray of Soveren.
Rocking the few fans who stuck around, Soveren.
Rob Strickler of Soveren.
Once again, Rob Strickler of Soveren.
One more time, Soveren.
I headed back across the hall to see one more band on the Crowne Plaza main stage, Harrisburg’s Fith. I was familiar with Fith’s debut CD from last year, Reborn, and was curious to see how those songs came off live. Fith played a number of darker-edged, heavier songs from Reborn, including the title track, “Drowning,” “Sun to Set,” “Reflections” and more; they also introduced at least one new song, “The Way Is Shut.” Fith was instrumentally strong, particularly guitarist Chad Farling, drilling some hot solowork during several songs. Singer Adam Snyder demonstrated good power, range and emotion as he sold the intensity and urgency of Fith’s song material. Again, there weren’t many people present to witness Fith’s set, but the group drew good response from those who were there.
Fith, wrapping up the first night of showcases at the Crowne Plaza.
Again, Fith.
Adam Snyder of Fith.
Andy Brightbill of Fith.
Once again, Fith.
Brandon Snyder of Fith.
Once again, Adam Snyder of Fith.
Thus concluded the first day of my 2005 Millennium experience. This Crowne Plaza showcase was a strong kickoff; all nine bands represented themselves well as they stated their cases for audience members to discover and explore their music. It was an impressive first night that fired me up for the remaining conference to follow.
DAY TWO 6/24/05
The weather forecast for Harrisburg called for hot and muggy conditions for the remaining two days of the conference, with temperatures expected to hover near 90 degrees. My hotel was a five-block walk away from the Crowne Plaza Hotel, so I was not really looking forward to lugging stuff to the hotel in the city heat. But I made my way there, and found relief in the Crowne Plaza’s air-conditioned interior upon my arrival.
I arrived relatively early as the conference trade show was just beginning, and was surprised to find that I was only one of a few trade show representatives to show up thus far. I touched base with Shel Hoachlander of Black Thorn Entertainment and Origivation Magazine, along with Origivation main man Anthony Caroto; before setting up my own Q94 “Backyard Rocker” display area at the Pennsylvania Musician table. Slowly, more vendors began to arrive as well as conference attendees, and traffic started to pick up. Recording studios, promotion agencies, equipment dealers, a percussion instrument vendor, internet businesses and other music-related vendors soon populated the Millennium trade show area.
Soon the business sessions began. Having “been there and done that” with a number of the panels and seminars in years past, I didn’t plan to take in too many of this year’s panels. But one that did catch my attention was the “Singer-Songwriter Panel,” which was to look at the world of the solo artist/performer, and some of the issues they face in the music business.
This turned out to be an interesting and informative panel. Panelists included Dr. Gene Foley of Foley Entertainment, Ian Schreier of Osceola Studios, Stevie B of Mia Mind Music, Ravi of Ravi Enterprises, and Doug Waterman of American Songwriter Magazine. The discussion touched on topics such as keeping control of your music and artistic integrity while dealing with the business side of the music business, establishing a game plan for generating and maintaining a buzz, marketing your music and more. Some of the best wisdom that came out of this panel regarded performing. The panel recommended that musicians and bands make their performances something WORTH coming out to see, and give audiences a REASON to want to show up. Ravi – himself a solo performer in the DC area – said that the reason for performing is to entertain people, and that music is a PERFORMANCE art. And Stevie B asked the musicians in the room if their show was an EVENT, or just another band/artist logging 45 minutes onstage.
The Singer-Songwriter Panel; left to right: Dr. Gene Foley, Ian Schreier, Stevie B, Ravi, Doug Waterman.
A little later, I checked out the “Women & Music Business Panel,” a discussion of women and their opportunities in the music business. Panelists here included Neeta Ragoowansi from Sound Exchange, Madalyn Sklar from Go Girls Music, and Theresa Aldan of Strictly Heavy Management. Almost immediately, Theresa went off and vented about several “horror stories” she dealt with involving her dealings with men in the music business. (One female observer later commented to me that Theresa sounded very much like she was recently through a divorce.) Seriously, the main points that surfaced from this discussion is that for women to succeed and be taken seriously in the music business, they need to maintain their own professionalism and treat it as a business. Keep dealings with men – bandmates, promoters, club owners, record company people, etc. – on the professional level. A female guitarist in the audience made an interesting point – that women are often typecast and stereotyped as singers, and that there needs to be more effort made to encourage women to be instrumentalists.
The Women & Music Business panel; left to right: Neeta Ragoowansi, Madalyn Sklar, Theresa Aldan.
At the end of the afternoon was this year’s Millennium keynote address. The keynote this year was presented by Harrisburg-based national recording artist Jeffrey Gaines. But this was anything but a routine keynote address. Jeffrey blended music and speech, as he sang and performed several songs on electric guitar – two with assistance from a drummer, Bob Brechbill of Big Tubba Mista – mixed with reflections and thoughts on his career. Among the four songs that Jeffrey performed were “Happy That,” “I Know A Man” and “Falling Apart.”
Millennium Music main man John Harris, introducing the keynote.
Jeffrey Gaines, during his Millennium keynote address and performance.
With drummer Bob Brechbill helping him out, Millennium Music Conference keynote performer Jeffrey Gaines.
Once again, Jeffrey Gaines, during his Millennium keynote address and performance.
Before the Millennium keynote address, Joey Welz (Bill Haley & the Comets, Caprice International Records) tinkles the ivories at the Crowne Plaza Hotel.
Networking and schmoozing following the keynote address.
A common sight at the Crowne Plaza Hotel during Millennium Weekend: phone areas and countertops covered with flyers, as bands and artists advertised their showcase gigs.
Thus ended the day sessions during this second day of Millennium. Often, at this point during past years, conference-goers would scatter to various hospitality parties before the evening’s showcases started later. However, I didn’t hear about any hospitality parties going on, so I headed back to my hotel room at the Comfort Inn. This actually turned out to be a highlight of my weekend in itself. I had a little over an hour to kill, and since my hotel was situated next to the Susquehanna River along Harrisburg’s Riverfront Park, I decided to take in sunset while sitting along one of the park benches along the river. This turned out to be quite enjoyable – I sat near the Norfolk Southern railroad bridge, and took in the impressive sight of freight trains coming east across the river. I thought I heard music, too. It took me a little while to discover where that music was coming from, until I noticed the “Pride Of The Susquehanna” Riverboat doing one of its evening cruises. The music was emanating from the boat’s top deck, where a live zydeco band was playing! I watched as the boat slowly progressed down the river, turned around after passing under the Norfolk Southern rail bridge, and slowly made its way back upstream to City Island. Very cool!
From my sightseeing along Riverfront Park; an eastbound Norfolk Southern freight train traverses the Susquehanna River.
Another eastbound freight train crosses the river while the “Pride Of The Susquehanna” riverboat passes underneath.
The “Pride Of The Susquehanna” Riverboat; you can see the zydeco band on the upper deck on the right.
Since Shel Hoachlander and I discovered we both had nearly identical plans to take in the showcase performances at Wallabees in northern Harrisburg, and since I had never driven there before, Shel offered to drive me there. So Shel picked me up at the hotel around 8, and we proceeded to Wallabee’s. The first order of business once I arrived there – order wings. Wallabee’s wings were pretty good; on a scale of 0 to 10, I’d give them a solid 7.
The first scheduled band, Rusted Shut, was to take the stage at 9 PM. However, as we noticed no band equipment being brought to the stage with time ticking away, we soon realized that Rusted Shut was going to be a no-show. I’m not sure what happened here; I checked on Rusted Shut’s website after the conference, and another gig was advertised for this night, with the showcase not appearing on their schedule. Since I had missed their Altoona appearance at City Limits a week or two earlier, I was hoping to catch up with Rusted Shut here, but it wasn’t to be.
So we patiently waited and finished our food as the scheduled 10 PM band, Philadelphia’s Manic, showed up and started setting up. As it turned out, Manic was shorthanded this night, as one of their guitar players was missing. Thus performing as a trio, Manic geared their set of original melody-based modern rock in a more acoustic-geared direction. Singer/guitarist Greto, bassist Matt Tenaglia and drummer Chris Miller played seven songs in all, each showing good melodies, soulful vocals and varying acoustic and electric textures. Among songs whose titles I was able to catch were “Into the Flame” and Greto’s solo voice and acoustic guitar rendition of “The Innocent.” Although at less than full strength, Manic still offered a respectable set; and unlike the first scheduled band, they at least showed up.
Operating on 75% strength, Philadelphia’s Manic.
Greto of Manic.
The band I was most interested in seeing this night was up next, Pottsville’s Searching For Gladys. I had heard Searching For Gladys’ debut album, and was also curious to see how former Seventh Hour drummer Ed Burke fit into this new band situation. Ed, singer Patrick Burke, guitarist Jamie Rodgers and bassist Troy Lee played a focused set showcasing their passionate, hard-hitting original modern rock. The group played a number of songs from the CD, including “Princess Mess,” “Saja’s War (You Take Me Away),” “Dysfunctional County,” “I Just Wanted to Know,” “Make Your Mind,” “Conversation” and “”Iui.” Searching For Gladys’ base sound brings to mind Creed and Three Doors Down, but done with their own signature; marked by Patrick’s emotional vocal performance. And although Ed demonstrated a more aggressive style of drumming in Seventh Hour, in Searching For Gladys he demonstrates more control and variety, and has worked some subtlety and constraint into his routine. Searching For Gladys’ execution was clean and tight, and their overall sound was very comparable to their album. Searching For Gladys made a strong first impression with me, and I look forward to catching them again sometime.
Jamie Rodgers of Searching For Gladys.
Pat Burke of Searching For Gladys.
Troy Lee of Searching For Gladys.
Searching For Gladys leaves their mark on Wallabee’s.
Again, Pat Burke of Searching For Gladys.
Ed Burke of Searching For Gladys.
Again, Searching For Gladys.
Again, Jamie Rodgers of Searching For Gladys.
Although it was one of the outpost showcase venues and was several miles away from center city Harrisburg, Wallabee’s had at least some crowd on hand to witness these bands, and this crowd mostly seemed attentive and appreciative.
The third band to take the stage was an Erie-based band, Super No. 7. The group’s singer, Keith Hayes, wasted no time grabbing the audience’s attention, instantly strutting out into the audience and taking his game to them on the group’s opening song, “Mind Over Matter.” On the group’s second tune, “Between the Lines,” Keith took it a step further, doing a flying leap atop one of the tables to sing to the crowd. (I was a bit apprehensive about this move; the last time I saw somebody attempt this was when former Lloyd Dobbler Effect fiddle man Javi tried it at Pellegrine’s a few years ago; he tried to straddle two tables, which collapsed in and pancaked him like a Warner Brothers cartoon.) Super No. 7 continued with their set, demonstrating high-powered, melody-geared modern rock, including original songs from their debut CD, The Story Of Goodbye. The band performed songs such as “Starting Over,” “Suffocate,” “My Best Defense” and more. During their song “Shine,” Super No. 7 incorporated a U2 “With or Without You” midsection. Keith continued with his outgoing, boisterous stage persona, at one point offering a ‘social’ to the other musicians and fans in the house. Needless to say, this frontman didn’t lack stage presence! Obviously Super No. 7 has some good things going for them; they were selected to appear at this year’s Rolling Rock Town Fair in Jennerstown Aug. 6. They showed definite energy, melody, confidence and enthusiasm during this showcase set, and went over fairly well with the Wallabee’s crowd.
Keith Hayes of Super No. 7.
Again, Keith Hayes and Super No. 7.
Seth Lucas of Super No. 7.
Once again, Super No. 7.
Once again, Keith Hayes and Super No. 7.
The final band on the bill this night was York’s Screamapillar. This group has recently been undergoing some changes, with former Adrian Blitzer drummer Jeremy Kline and bassist Justin Boyd joining frontlady Jackieraye and guitarist Jason Greenwood. The word had been out for a while that a name change was imminent because of the changing personnel and the evolution of the group’s sound away from its original Screamapillar direction; the group was expected to announce a new name this night. For the moment, though. Screamapillar opened their set with “Rendezvous” from their Users and Abusers CD, and proceeded to mix original songs from their tenure as Screamapillar. The song “The Scene” triggered the first audience dance action of the evening; the group also did energized originals such as “Boy,” the new song “Save Us,” and “A Day Too Late” from the CD. After the midway point of their set, Screamapillar announced their tentative new name: Cobalt Girl Addiction. After a few more songs, Cobalt Girl Addiction ended the night with a fiery read of Creedence Clearwater Revival’s “Fortunate Son.” Like last year, this band delivered a charged, fast-paced set. Jackieraye demonstated fire, spunk and aggression, at times reminiscent of Chryssie Hynde; she has evolved into a confident, passionate performer. This set marked the transition from Screamapillar to Cobalt Girl Addiction; it will be interesting to see what direction their sound takes with the new blood in the roster.
In their final moments under the name, Screamapillar kicks off their set at Wallabee’s. Before the end of the set, this Screamapillar would undergo a metamorphosis to Cobalt Girl Addiction.
Jackieraye of Screamapillar/Cobalt Girl Addiction.
Once again, Jackieraye of Screamapillar/Cobalt Girl Addiction.
Jason Greenwood of Screamapillar/Cobalt Girl Addiction.
The band formerly known as Screamapillar, beginning their new life as Cobalt Girl Addiction.
The Millennium Music Conference was already two-thirds of the way done! Where did the time fly? Shel – concerned about her car, after an indicator light came on – dropped me off back at the hotel, and I rested up for the conference’s final day.
DAY THREE 6/25/05
As the previous day did, my third and final day at the Millennium Music Conference started with my walking five blocks from my hotel accommodation in steamy conditions to the Crowne Plaza Hotel. And again, upon my arrival, I found I was only one of a very few trade show folks present early on, along with Shel and Anthony from the Black Thorn Entertainment/Origivation table. I minded the fort at the Pennsylvania Musician/Q94 table until Andrea Greene arrived to look after things. Soon more vendors arrived, and more conference attendees began browsing the trade show floor.
Anthony Caroto and Shel Hoachlander at the Origivation/Black Thorn Entertainment table.
Again, there wasn’t too much on the panel/seminar schedule I hadn’t seen before. I did, however, attend a repeat panel from last year – the American Federation of Musicians (AFM)-sponsored “AFM Music Business – Getting the Most Out of Your CD.” As was the case with the AFM panel last year, this year’s panel addressed how bands and artists can protect their music and music careers. Panelists included Dick Gabriel of the AFM’s Hollywood chapter, Ravi of Ravi Enterprises, Joe Trojak of Progressive Enterprises Recording Studio, George Stein of the Law Offices of George Stein (an entertainment lawyer), John Flugel of Discmakers, and Jim Schultz of Sonicbids. A number of important suggestions and tips were offered for how musicians can protect their music, and how musicians can get the most out of their music by knowing some of the resources and organizations working on their behalf. Among the most important points brought up: in the early stages of a song’s creation, decide who gets credit for writing the song. Was it a total group effort, even-Steven? Or did one person write the lyrics, another construct the melody, but the whole tune revolves on a central bass riff? As Dick Gabriel said, “Decide who wrote the songs before it becomes important.” Then establish a paper trail for everything you do in creating your music, so it is protected. John from Discmakers recommended barcoding your CD’s, so their sales can be recorded in retail via SoundScan. Dick also advised artists to register their music with Sound Exchange, so they can receive royalties if their music is ever used in television or film. But the prevalent themes of the advice given was to establish who officially created/wrote each song from the get-go, and establish a paper trail for everything you do with the music from the recording process onward.
The AFM Music Business panel; left to right: Dick Gabriel, John Flugel, George Stein, Jim Schultz, Joe Trojak, Ravi.
I probably would have gotten more information from this panel, but the Crowne Plaza air conditioning wasn’t functioning very well in this particular room, and the warm air was causing me to nod off during the panel. Fortunately, I wasn’t snoring.
The trade show and business sessions continued through the afternoon. But like last year, traffic was down. There were people visiting the trade show and attending the conference, but things were definitely slower than in previous years. By the conference’s official close at 5 PM, bored vendors were quickly packing up their displays and gear and heading out the door. And again, with everybody else departing and with no apparent hospitality parties or schmooze get-togethers, I returned to my hotel room for some R&R before the last night of showcases.
With 2½ hours to burn before the start of the showcases, I spent some quality time cooling off in the Comfort Inn’s swimming pool, and taking a stroll along Harrisburg’s Riverwalk. Again I enjoyed the vistas along the Susquehanna River; I was almost wishing I could stay for another day to hang out along the river. Another time, perhaps.
During the first two nights of Millennium showcases, I had a good idea of bands I wanted to see and showcases I wanted to attend. But this night, I was largely undecided throughout the day. So I did what I’ve done in years past; let the conference process decide for me who I would go to see that night. As is always the case at Millennium, there are so many bands playing around the Harrisburg environs on a given night, but I had to decide on a select few. I considered the GoGirls showcase (with the emphasis on female artists) at Scott’s Grille in downtown, the Crowne Plaza showcases, and a few others. But letting the conference process work on me, I ultimately decided to start out the evening by heading to Champions in Highspire, curious to see a band whose presence was strong at the trade show; Long Island-based Hyjinx.
I arrived at Champions as the first band, Lancaster’s Rombis, was setting up. I was also curious about this band, as I had seen their name around over the past few years. At least early on, during the soundcheck, there was very little crowd other than the regulars sitting at the bar, so I procured a table vantage point very easily. As the showcase’s scheduled start time approached, a few more folks arrived. Eventually Rombis began their set. A foursome, Rombis mixed several styles together into a fresh, freewheeling sound. The group’s prominent flavors were rock, funk and R&B, with some Latin and punk flavors surfacing along the way. Their sound reminded me some of the Black Crowes and even J. Geils Band; soul-driven rock with an edge. I didn’t catch any of the group’s song titles; there were a few hard-driving numbers, one song that escalated in intensity to a heated percussion jam at the end, and a fresh-sounding take on David Bowie’s “Heroes.” Rombis were good musicians, showing some solo abilities along the way; and they gelled onstage as a tight and enthusiastic unit whose set got the evening off to a rousing start.
Rombis kicks off the showcase at Champions in Highspire.
Once again, Rombis.
Rob Peterson of Rombis.
Tim White of Rombis.
Next was Hyjinx. Armed with a 3-piece horn section, Hyjinx played a dazzling blend or rock, jazz, R&B, reggae and more through their set of original compositions and select covers. The group performed songs from their self-titled CD such as the Latin-tinged “Flickering Candle,” the 311-ish “Faded,” the escalating rocker “Fall Tonight” and “How Could I Forget.” The group also broke out a rendition of Ziggy Marley’s “New Love.” Hyjinx displayed smoking musicianship, from the spicy brass touches offered by saxman Pasquale Iannelli, trombone player David Calzone and trumpeter Brian Bunce; to hot guitar work from Matt Giordano; busy rhythms from drummer Brian Cano and bassist George McRedmond, and Bryce Larsen on lead vocals, keys and rhythm guitar. Although they battled some technical issues early, Hyjinx put on an impressive set, and made it worth the trip to Champions to check out.
Hyjinx, winning fans at the Millennium Music Conference.
Pasquale Iannelli, David Calzone and Brian Bunce of Hyjinx.
Again, Hyjinx.
Bryce Larsen of Hyjinx.
Once again, Hyjinx.
At this point, I left Champions and proceeded north on Route 230, as it morphed into Cameron Street, and headed to the Appalachian Brewing Company, narrowly missing getting into a wreck while trying to pull into that venue’s awkward parking lot. As I arrived on the second floor where the bands were playing, I discovered a near-packed room; I had thought about ordering up some food when I arrived, but with every table and most bar countertops occupied, I abandoned that idea.
Performing as I arrived was Shane Hines and his band. From the Washington, D.C. area, Shane showcased upbeat, melody-geared modern pop/rock originals. Shane as a frontman displayed a bright, upbeat, sometimes sassy and soulful persona; and as a guitar player, this guy could SHRED! I caught one song title from the latter part of the set, “The Truth.” At least from what I saw, Shane Hines and his band had a fresh, fun style and sound I wouldn’t mind seeing again sometime.
Shane Hines.
Once again, Shane Hines.
Shane Hines and his band.
The main reason I picked the Appalachian Brewing Company was curiosity about the night’s next band, Hershey’s The April Skies. I had heard the buzz about them, and had recently checked out their latest CD, Flood; and was curious to see how the material came off in a live setting. Singer/guitarist Jake Crawford, guitarist Andy Book, keyboardist Mark Higgins, bassist Mark Mazick and drummer Mark Tritico showcased their brand of jangly, hard-edged melodic rock, which brought to mind 80’s-era names such as Elvis Costello, The Cure, early R.E.M. and more. The April Skies performed both singles off the Flood CD, “Crutch” and “You Are The One;” along with “Long Way Down,” “A Game” and more. What stood out to me about The April Skies’ presentation was their focused, concise style and sound. Led by Jake and his passionate vocals, The April Skies were all clearly on the same page and were tight on their performance. Their sound was solid and consistent from song to song, and they developed a steady groove that lured you in and kept your attention. For me at least, The April Skies’ live presentation provided a soulful, emotion-packed extension from their studio work; and showed a tight and focused band clearly clicking on all cylinders.
Jake Crawford of The April Skies.
The April Skies showcase at the Appalachian Brewing Company.
Andy Book of The April Skies.
Once again, Jake Crawford of The April Skies.
Once again, The April Skies.
During The April Skies’ set, I ran into a face I hadn’t seen in several Millenniums, Jim Benson. I first met Jim back in the early years of the conference, back when he managed the Youngstown-based heavy rock band Ivet. Jim explained to me what had happened to Ivet; theirs was one of the nightmare stories of what can happen when a band “gets signed.” Ivet inked a major label deal and recorded an album, only to have that album sit on the shelf for over a year before its release. By that time, the group had become frustrated and disenchanted, and broke up. Now Jim was working with a Cleveland-based band, Cactus 12, who was performing next.
Four members strong, Cactus 12 introduced their type of hard-edged, melodic modern rock; showcasing a number of original numbers. Lead singer/guitarist Sam Getz, guitarist/keyboardist Jimmy Weaver, bassist Phil Palumbo and drummer Mike Gould showcased several songs from their debut CD, Stay, including “Back Down,” “Gotta Find A Way,” “Been Here,” the Cleveland college radio hit “You” and more. The group also included a rendition of Stevie Wonder’s “Superstition.” Cactus 12 presented catchy ear candy melodies with a slight resemblance to Matchbox 20, sharp instrumental skills and abundant enthusiasm. These guys made every song count, and turned each tune into a robust, charged display; maintaining their poise and intensity even as the Appalachian Brewing Company crowd started to thin out and dwindle as their set progressed. Once again, I liked what these guys offered onstage, and came away impressed as Cactus 12 ended my Millennium 2005 experience on a strong note.
Cactus 12, providing the finale to the Appalachian Brewing Company showcase at the Millennium Music Conference.
Sam Getz of Cactus 12.
With axe behind his head, Sam Getz of Cactus 12.
Once again, Cactus 12.
One more time, Cactus 12.
Overall, I had a good time at the Millennium Music Conference, as I experienced a lot of good music, met old friends and met new ones, learned more about the current state of the music business, networked and took in the atmosphere of the Conference yet again. I was again disappointed with the overall attendance for the conference itself; it seems that Millennium any more is best suited for the new band or artist who needs to learn the ins and outs of the music business; but for the seasoned music veteran who has been here before, Millennium doesn’t seem to offer enough fresh or new features to attract them back. While the Conference’s emphasis seems to be national music issues and long-term career strategies for musicians, I’d like to see more local issues addressed, such as dealing with local club owners and managers, how to handle problems in the field such as contract breaches, PLCB/state police harassment, etc. And as I said in years past, I think Millennium could attract more repeat visitors and musicians by offering more music-geared features like instrument forums and clinics, new product demonstrations and showcases, and even more music-interactive features such as a mid-afternoon jam session, the return of the acoustic stage, and more. Those are just my ideas. But overall, I still think the Millennium Music Conference is a worthy event that offers a lot of information, resources, and opportunities to network and meet people who can help or assist your music career. I plan to be back for the tenth installment next year; here’s hoping Conference main man John Harris pulls the stops and makes next year’s conference one to remember!
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