Jim Price
Moderator
Joined: 07 Dec 2002
Posts: 4817
Location: Altoona, PA
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 Posted: Wednesday Dec 14, 2005 |
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LABOR DAY WEEK/WEEKEND RECAP 9/6/05
MUDBONE @ FAMILY PIZZA, ALTOONA 8/31/05
Earlier in the afternoon, I had received a call at my workplace from an area music name I hadn't heard from in at least six years, Barry Steindel. The former guitarist of such names as Tight Squeeze, Detour, The Blaylocks and Barry & Maureen had called to inform me that after a 6-year hiatus, he was back with a new band called Mudbone, and they were performing later in the evening at Family Pizza in Altoona.
Able to complete my workplace duties early enough to be able to catch at least one set, I headed to Family Pizza to see what Mudbone was about. Barry, his former Blaylocks bandmate Bruce Foor and Todd Geist all played acoustic guitars, with Bruce singing the lion's share of lead voice and occasionally switching to banjo. At least for the remaining 45 minutes of their show that I was able to witness, Mudbone played a mixture of acoustic classic rock favorites, with an occasional taste of country thrown in. Mudbone performed selections from the Who, Rolling Stones, the Guess Who, Johnny Cash, Grateful Dead, Van Morrison and more.
All three band members were quite adept at their instruments, and generated a good, strong acoustic sound together. Bruce demonstrated a clear, soulful voice up front, and the trio's harmonies worked well also.
Family Pizza had a good-sized crowd on hand to witness Mudbone, and the group drew good applause as their set proceeded. At least based on what I saw here, Mudbone is off to a healthy start, and should be another quality addition to the Altoona area's bustling acoustic scene.
THE SCREAMING DUCKS @ TUSSEY WING CHALLENGE, TUSSEY MOUNTAIN AMPHITHEATER near BOALSBURG 9/1/05
Alas, the summer season was beginning to draw to a close for another year. We had arrived at the final Lakemont Park Wing-Off two weeks earlier; today was the finale of the Tussey Wing Challenge at Tussey Mountain Amphitheater.
Anticipating a large crowd and minimal parking availabilities since it was the finale, I rode to the Wing Challenge with designated wheelman Sparky D'Engineer. But as we arrived, we found that while a large crowd was present, it had actually been more crowded the previous week. We actually faced even shorter lines and had more space to find a decent vantage point to watch the scheduled group for this week, the Screaming Ducks.
It was the Wing Challenge Finals, with the six winning eateries from the previous weeks gathered to put their best wings forward for ultimate Wing Challenge glory. The eventual winner of the finals was Damons. While I agree that their wings were quite good, what impressed me even more was the service.Two waitresses greeted every wing-eating customer, handing them plate and napkins. You were then served your wings, and then, could load up on the usual side-dish associated with wings, celery and your choice of bleu cheese or ranch dressing. None of the other wing vendors had this service. And what a total far removal from the draconian lines, long waits and rancid frying grease of the Lakemont Wing-Offs (okay, the latter problem didn't surface this year, but still.)!
It had been a few years since I had last checked in with one of Happy Valley's longest-running bands, the Screaming Ducks. The Ducks this night performed a mix of 60's and 70's rock and roll; including numbers from the Beatles, Rolling Stones, Doors, Neil Young, CCR, Eric Clapton and more. Among the Ducks onstage this night were Andy Tolins and John Cunningham on guitars, and guest singer Ken Volz. The Ducks kept the music moving, and had a variety of folks from the mixed-ages crowd up front and dancing before the stage.
Thus closed the book on outdoor wing-eating season 2005. I'll definitely be back to partake in the Tussey Wing Challenge when it returns in 2006!
John Cunningham of the Screaming Ducks.
Guest singing with the Screaming Ducks, Ken Volz.
Once again, Ken Volz with the Screaming Ducks.
Andy Tolins of the Screaming Ducks.
The Screaming Ducks, entertaining at the Tussey Wing Challenge Finals.
Again, the Screaming Ducks.
One more time, the Screaming Ducks.
GIN & JUICE @ ALDO'S, ALTOONA 9/2/05
Labor Day weekend had arrived; one of the busiest weekends I enjoy every year. My original game plan was to try to catch the first night of either Johnstown Folkfest or Cambria City Ethnic Festival on the other side of the hill. However, I was drafted to do a live remote broadcast at a local beer distributor, scuttling my travel plans.
But besides the Johnstown festivals, this weekend had something else going on.Aldo's was celebrating 20 years of live music with a blowout weekend. So after completing my remote broadcast duties, I was off to Juniata to partake in the celebration.
Aldo's had complimentary food items available; this night it was veggies, chips and dip.
And some Gin & Juice on the stage. Singers/guitarists Dustin Burley and Travis Dunn, bassist Brian Pavlic and drummer Kyle Kovach soon kicked into an evening of jam-geared rock and roll, before a light crowd early on. I got caught up in conversation with Cucuplex frontman Dan Martino, and didn't pay close attention to Gin & Juice's songlist; but did hear crispy renditions of Traffic's "Light Up Or Leave Me Alone," Men At Work's "Down Under," Grateful Dead's "Franklin's Tower" and several Phish selections.
The crowd – and judging by the look of it, the Penn State Altoona crowd – really started arriving towards the end of the first set and into the second set. When Gin & Juice commenced their second set with Grateful Dead's "Shakedown Street," the stagefront dance floor instantly filled up, and Aldo's had itself a full-blown jam-rock party!
I stuck around for a few more songs, before heading out to explore what else was musically happening in the 'Toona on the first night of the holiday weekend.
SIDESTEP @ VICTORY LANE SALOON, ALTOONA 9/2/05
The gentle breeze outside Aldo's pointed me southward, so I journeyed down Chestnut Avenue and the Tenth Avenue Expressway, onto 17th Street, and then followed the gravitational pull to the Victory Lane Saloon to check in with that maximum throwdown machine known as Sidestep.
The group was going on break as I arrived, and I was pleasantly surprised to see a pretty sizable crowd at the Victory Lane enjoying the show. I managed to procure an unoccupied booth near the stage, and got ready for some more maximum throwing down – by the band, not the crowd!
Soon, singer, guitarist, harmonicat and lap steel man John Stevens, bassist Tim Kelly, lead guitarist Greg "G-Funk" Larrimore and drummer Steve Brulia reconvened the tunes, throwing down right off the bat with James Brown's "Get Up (Sex Machine)," which quickly had some of the Victory Lane crowd up and strutting their stuff. The group shifted southern with Georgia Satellites' "Keep Your Hands to Yourself," and rocked with Deep Purple's "Smoke On The Water." Sidestep slowed it down for the bump-and-grinders, performing Lynyrd Skynyrd's "Simple Man," during which G-Funk uncorked an amazing guitar solo! The group then stepped the tempo back upwards for Black Crowes' "Hard to Handle" and the Steve-sung rendition of ZZ Top's "Sharp Dressed Man." They returned to the funk vein for Wild Cherry's ever-popular "Play That Funky Music," before closing out the final set with Violent Femmes' "Blister on My Bum" (I hate that damn song) and Brownsville Station's "Smokin' In the Boys Room." The Victory Lane crowd wasn't done partying yet, though, and threatened to throw down with the throwdown machine unless they threw down one more tune. Sidestep answered their encore demands with a singalong performance of the Doors' "Roadhouse Blues."
I thought Sidestep sounded pretty sharp, and fired up the party vibe pretty well with this crowd. The band kept it loose and kept it fun, and left the Victory Lane fans wanting more at the end of the night. A good time was had by all.
Greg "G-Funk" Larrimore of Sidestep.
Throwing down on guitar, G-Funk of Sidestep.
John Stevens of Sidestep.
Once again, Greg "G-Funk" Larrimore of Sidestep.
Again, John Stevens of Sidestep.
Steve Brulia of Sidestep.
Tim Kelly of Sidestep.
Sidestep, continuing the party at the Victory Lane Saloon.
John Stevens of Sidestep.
Once again, Sidestep.
JOHNSTOWN FOLKFEST, JOHNSTOWN 9/3/05
At the start of the week, gasoline prices were already a steep $2.49 a gallon. But after Hurricane Katrina devastated the Gulf Coast and disrupted oil refining operations, the price had skyrocketed to $3.19 a gallon and more locally. The question entered my mind if I should be frugal, save gas and gas expenses and bypass traveling to the annual Johnstown Folkfest and Cambria City Ethic Festival. But I quickly decided that this weekend in Johnstown was too important a component to my summer to let gasoline prices force me to miss it. Hell, gasoline could have shot up to $5 or $6 a gallon, I wasn't missing Folkfest!
A recent innovation on the part of the masterminds at Sheetz made the gasoline costs a bit more bearable, too.the Sheetz credit card! My new gasoline strategy: get all gas purchases on the Sheetz plastic, and deal with the bill at the end of the month! I'll let the burden fall on my checkbook, not my wallet.
Anyway, I motored to the Flood City to see what surprises this year's Folkfest would bring. I was able to locate a parking space about three blocks away from the festival park.
After procuring some initial foodstuffs at the "Community Kitchen," I made my way to the first live music I heard, nearby at the Highmark Blue Cross Blue Shield stage. I caught the last two songs of one of the bands I had looked forward to seeing, the Chandler Travis Philharmonic. Part Dixieland, part swing, part acid jazz, and part freakshow - the Chandler Travis Philharmonic matched their colorful, wild sounds with their colorful, wild outfits. From what I got to witness, this is still one very entertaining ensemble, just as they were when I caught them at Folkfest a few years ago. I wish I could have arrived sooner to see more.
The horn section of the Chandler Travis Philharmonic.
The Folkfest audience looks on as the Chandler Travis Philharmonic continues their performance.
Rikki Bates of the Chandler Travis Philharmonic.
Again, the Chandler Travis Philharmonic.
Again, the Johnstown Folkfest audience take in the Chandler Travis Philharmonic.
The neat thing about Johnstown Folkfest is that there is always music happening at any given moment on at least one of the four stages; and as one performance is ending, another is getting started. After Chandler Travis Philharmonic ended their performance, I headed just a few yards away to the Atlantic Broadband stage, where The Greyhounds were just getting started. A trio from Texas, The Greyhounds entertained with a mix of gritty R&B, soul and blues; played with a jam-band feel. The band did songs from their albums, including several from their latest album, Liberty, such as "St. Louis," "You're Gone," "Yeah Yeah Yeah" (featuring some excellent lap steel slide work), "Going Back Home" and "Hot Sauce" featuring dueling harmonica and keys). The Greyhounds also broke out a feisty rendition of Tony Joe White's "Polk Salad Annie." These guys were sharp players with good onstage chemistry, who frequently swapped the spotlight among one another, maintaining a nice balance between keys and guitar. They also didn't use a set list, picking their songs as they progressed. Their grooves were tight and sassy, and the group mixed up their flavors enough to keep their set interesting. The Greyhounds came across as a musically strong, road-tested, experienced band; and their performance went over well with the Folkfest audience.
Andrew of The Greyhounds, singing and playing bass. Andrew played several instruments during the course of the group's Folkfest performance.
Nick Pencis of The Greyhounds.
Anthony Farrell of The Greyhounds.
The Greyhounds.
Andrew of The Greyhounds, this time on guitar.
Again, The Greyhounds.
Now showing his slide abilities on lap steel, Andrew of The Greyhounds.
Again, Nick Pencis of The Greyhounds.
At least what Folkfest audience there was. It appeared evident by the amount of empty seats at these first two performances that there weren't as many people present at Folkfest so far this year. I think a number of factors were figuring in.Johnstown area residents had four different festivals to choose from this weekend, including Cambria City Ethnic Festival (at Folkfest's old stomping grounds in Cambria City, a number of folks are still up in arms about the organizers moving Folkfest out of Cambria City and into its present location), Log Cabin Arts Festival in Westmont and the Forest Hills Festival in St. Michael. So the Johnstown area crowd was divided among several events. Plus, Folkfest markets strongly to outside of the Johnstown area as a tourist attraction, and draws a lot of its crowd from Altoona, State College, Bedford, the Pittsburgh area and more. That crowd was probably heavily impacted by the high gasoline prices, and I imagine a lot of folks on the borderline probably decided to stay home and save on gas expenditures.
After The Greyhounds finished, I made my way through the festival park to the Dodge stage, to procure a good seat for the group I most eagerly anticipated at this year's Folkfest, the Red Elvises. I had heard several impressive eyewitness accounts about this group and the wild party that they throw onstage, and I was eager to witness it for myself. Almost immediately as the band took the stage and kicked off their set, they took command of the crowd and drew them to the stagefront area; I quickly abandoned my seat and joined the mob up front. Quickly proclaiming "Red Elvises, your favorite band!," the Red Elvises launched into a high-octane set of original songs, blending surf and rockabilly rhythms with rock, Russian folk flavors, crazed tongue-in-cheek lyrics, wild stage antics and more. Visually, this band was as zany as their music was; singer/guitarist Igor Yuzov was decked out in a tiger-striped outfit with red and white shoes; keyboard/accordion man Oleg Gorbunov sported a tophat and similar red-striped outfit as he teetered his keyboard back and forth on the stage. Bassist Oleg Bernov was decked in red, but was lacking his trademark huge red balalaika bass. Nearly every song had its own insane highlight, from the four-man drum solo display surrounding Adam Gust's kit during "Sad Cowboy Song," the disco poses displayed by band and crowd on "Closet Disco Dancer," and the crowd of ladies busting their best belly-dancing moves onstage (including ZappasXWife) during "I Wanna See You Bellydance" to close out the first set.
How extensively were the Red Elvises winning over the Folkfest crowd? Within mere seconds of the end of their first set, the Red Elvises' merchandise table was inundated by a mass of humanity, converging to purchase any of the group's T-shirts or CD's. (I foresaw this happening, and ventured over and bought my T-shirt before the first set ended.) Obviously the Red Elvises were a unanimous hit with the Folkfest crowd.
Soon the Red Elvises were back onstage to kick off their second set of craziness. Again the group combined their raucous brand of party music with zany antics and audience interaction. Freewheeling tunes the group performed in this nightcap set included "I'm Not That Kind of Guy," "Boogie on the Beach," "Jerry's Got the Squeezebox" (showcasing Oleg Gorbunov's accordion skills), "Rocket Man" (not the Elton John hit; this was the group's own original, which features an interactive band/crowd scream-a-thon), "Blue Moon" (with Igor busting his best Elvis poses) and more. At the close of this set, the Folkfest quickly and loudly demanded an encore. The Red Elvises returned to do one more, "Sex in Paradise," containing some of the most nonsensical chorus lyrics I've ever heard: "Under the blue blue sky/Stupid bluebirds fly/Eating butterflies/Sex in paradise." (!?)
In a way, the Red Elvises reminded me some of Southern Culture On The Skids, suggesting how that band might have sounded had they emerged from behind the Iron Curtain. Yes, the Elvises provided the zany tunes, costuming, antics, humor, Cold War-informed schtick and abundant audience participation; but at the foundation of it all was a band that could play their instruments! Igor fired off frequently fiery and staccato guitar leads; while Oleg the keyboardist was almost Jon Lord-like in his skills. The Red Elvises brought the combination of musical ability and entertainment value. Not only did they knock my socks off with this performance; they made enough of an impact on me that I instantly decided I had to catch their encore performance at Folkfest the following evening!
Oleg Gorbunov and Igor Yuzov of the Red Elvises.
Igor Yuzov and Oleg Bernov of the Red Elvises.
The Red Elvises, providing the party at Johnstown Folkfest.
A drum circle, Red Elvises style.
The lone American member of the Red Elvises, Adam Gust.
A bunch of ladies step onstage to demonstrate their belly-dance moves with the Red Elvises.
More belly-dancing with the Red Elvises.
Several ladies demonstrate their belly-dance moves onstage with the Red Elvises.
ZappasXWife, busting some belly-dance moves alongside Oleg Gorbunov of the Red Elvises.
During the intermission between sets, a mass of humanity descends on the Red Elvises' merchandise table.
Getting lowdown.or down low.with the Red Elvises.
Busting his best Elvis pose, Igor Yuzov of the Red Elvises.
Igor gets down to floor level to serenade some new fans.
Once again, Igor Yuzov of the Red Elvises.
Igor demonstrates a karate kick.
Oleg Bernov of the Red Elvises.
Once again, Igor Yuzov of the Red Elvises.
Literally rocking on the keyboard, Oleg Gorbunov of the Red Elvises.
Oleg can play accordion, too.
Like much of the rest of the crowd, I left the Dodge stage area in complete euphoria over the musical party I had just experienced. But there was more musical entertainment to be enjoyed at Folkfest; and I arrived at the Ameriserv Financial stage during the intermission between sets by blues duo Cephas and Wiggins. When they resumed, John Cephas on guitar and vocals and Phil Wiggins on harmonica played a variety of Piedmont and even some delta-styled blues. Some of their selections included Guitar Slim's "The Things I Used to Do," Skip James' "Hard Time Killing Floor Blues" and "Illinois Blues," "Hard Times," "Catfish Blues," and Willie Brown's "Ragged and Dirty." This was the real deal; John strumming his guitar with his thumb and finger picking style and singing soulful, rugged voice; while Phil perfectly complemented him with some passionate harmonica wailing. Cephas and Wiggins had toes tapping and heads bobbing as they performed their blues; and the cheers for this duo grew as their set continued. Cephas and Wiggins were part of the very first Folkfest, back when it was the National Folkfest in 1990; and I remember them getting a rousing response when they returned in 1999. Once again, these two were amazing; hopefully they will be back for another Folkfest sometime soon.
Cephas & Wiggins, performing at Johnstown Folkfest.
Phil Wiggins of Cephas & Wiggins.
John Cephas of Cephas & Wiggins.
Again, Cephas & Wiggins.
Once again, Cephas & Wiggins, performing at Johnstown Folkfest.
Once again, John Cephas.
After Cephas and Wiggins finished, I proceeded to the Highmark Blue Cross Blue Shield Stage, where the Daptone Super Soul Revue was in the midst of their performance. I stuck around for two songs because I wanted to catch the zydeco party getting under way, but I was impressed with what I saw here. The Revue was nine members strong, with two drummers, a 3-piece horn section, bass, conga, guitarist and singer (I believe Lee Fields, the "King Of Funk Music." This ensemble was smoking on their brand of classic 60's-era soul and funk sounds. As I said, I left after two songs, but decided I would catch more of this revue's performance the following day.
Lee Fields of the Daptone Super Soul Revue.
The Daptone Super Soul Revue.
Again, the Daptone Super Soul Revue.
Of course, it's tradition that no Johnstown Folkfest is ever complete without a Louisiana-styled zydeco party. And considering the devastation that Hurricane Katrina had wrought upon New Orleans and much of Louisiana just days before, I wanted to check in with the zydeco celebration going on at the Dodge Stage, courtesy of Lil' Brian and the Zydeco Travelers. As expected, this stage was jam-packed with festive people celebrating in front of the stage as the group performed their hot Louisiana sounds. Lil' Brian and the Zydeco Travelers performed zydeco with a funky kick, and kept the energy and tempo upbeat. The group mixed zydeco standards with tunes off their album, Funky Nation. Lil' Brian himself was the ringleader, singer and accordion player, often firing off hot accordion licks and continually rallying the crowd to party along. The group took a moment to pay homage to their New Orleans brethren who were dealing with Katrina; but otherwise kept the vibe festive, even bringing some children onstage at one point to dance along. Once again, zydeco was bringing down the house at Johnstown Folkfest, and Lil' Brian and the Zydeco Travelers again brought the Louisiana party!
Lil' Brian & the Zydeco Travelers.
Lil' Brian of Lil' Brian & the Zydeco Travelers.
Tony Stewart of Lil' Brian & the Zydeco Travelers.
Again, Lil' Brian of Lil' Brian & the Zydeco Travelers.
Once again, Lil' Brian of Lil' Brian & the Zydeco Travelers.
Bringing the Louisiana-styled party to this year's Johnstown Folkfest, Lil' Brian & the Zydeco Travelers.
It was standing room only in front of the stage for Lil' Brian & the Zydeco Travelers.
Some youngsters dance onstage with Lil' Brian & the Zydeco Travelers.
I then proceeded to the Atlantic Broadband Stage to take in one more Folkfest band, Pittsburgh's Sodajerk. Four members strong, this group performed a crisp brand of alternative country-rock, showcasing original tunes from their CD's. Their sounds ranged from more country-geared exercises to more punk-infused, "cow-punk" assaults. At one point, the group fired off a rendition of the Allman Brothers' "Whipping Post," with their two guitarists, Bucky Goldstein and Dirk Miller, staging a guitar duel. Sodajerk's performance was strong and their tunes were catchy. Their sound mix was a bit bassy, and needed more high end. And the group also was being overpowered by the nearby Highmark Blue Cross Blue Shield Stage, where the Daptone Super Soul Revue was being mixed pretty loudly and was bleeding over on Sodajerk's performance. I stuck around for most of Sodajerk's set, but the clashing sounds made this performance less than ideal; so I left before the close of the set, and started back to Altoona, for another performance I wanted to bear witness to.
Bucky Goldstein of Sodajerk.
Sodajerk, making their Johnstown Folkfest debut.
CHOKING FAITH/SKELL/DRAGON FIRE @ ALDO'S, ALTOONA 9/3/05
Aldo's 20th anniversary weekend celebration was continuing this night, and I arrived back in time to catch two-thirds of the scheduled metal gala. I had missed openers Choking Faith, but arrived in the midst of Skell's set. As expected, the house was packed with area metal fans, with Aldo offering complementary popcorn.
Although an attempt was made to reunite Skell with their former Whiskey High bandmate, singer Scott Boyd, during this special weekend at Aldo's; that plan fell through, and it was the current Skell line-up of frontman Pat "Bones" Bono, guitarist Mike Palone, bassist Mike Ekis, and new drummer Keith Kweder firing through their volatile mixture of new and old metallic originals and favorites. This was my first time seeing Keith in action; like his predecessor, Rich Palone, this guy brings the hammer.HARD! His style behind the kit was equally aggressive, and Keith's double-kick bass drum thunder gave new intensity to the Skell original "No Solution." The group also introduced several new assaults, including "Slo Mo," "Satisfy" and "People = S**t." I also caught Skell's intense treatments of Tool's "Prison Sex," Pantera's "F**king Hostile" and Slayer's "Raining Blood" to end the set. Skell's performance was powerful and caustic, and kept a throng of fans riveted at stagefront throughout the set.
Mike Palone of Skell.
Skell, helping Aldo's celebrate 20 years.
Pat "Bones" Bono of Skell.
Again, Pat "Bones" Bono of Skell.
The new man behind the kit, Keith Kweder of Skell.
Mike Ekis of Skell.
Pat "Bones" Bono of Skell, with Choking Faith frontman Jason Mittan assisting on vocals.
Skell, putting pedal to the metal at Aldo's.
Dragon Fire then set up and finished out the night with their over-the-top maelstrom. Throat-man "Robo" Ron Riley, guitarist Chris Peters, bassist Eric Shumac and drummer Steve Stuckey roared out the gate and introduced several new assaults, such as "Unstoppable," "Pieces Of Cosmos" and "Decorations;" and reprised older piledrivers like "Rush" and "Cutting Dead Weight." The stagefront crowd quickly got crazy with the band, with main man Aldo positioned in the middle of the floor to curtail any attempted moshing outbreaks. As I noticed during their first comeback appearance several months before, Dragon Fire's new original material showed more experimentation and texture; varying the tempo and playing with different arrangements. This group still raged and unleashed maximum fury, but their new material showed them stretching out more and demonstrating a few new flavors. Aldo's quickly demanded an encore at the end of the set, and Dragon Fire responded with their popular monstrous treatment of Green Jello's "3 Little Pigs" to end the night.
At least from what I got to see, it was a fun night of maximum metal, and appropriate given metal's prominent role in Aldo's first 20 years of live music. Here's to 20 more!
Chris Peters of Dragon Fire.
Steve Stuckey of Dragon Fire.
Performing amid a sea of fog, Chris Peters and Dragon Fire.
Eric Shumac of Dragon Fire.
Again, Steve Stuckey of Dragon Fire.
Eric Shumac and "Robo" Ron Riley of Dragon Fire.
Again, Eric Shumac of Dragon Fire.
Eric Shumac and Robo Ron of Dragon Fire.
"Robo" Ron Riley of Dragon Fire, taking it to the fans.
CAMBRIA CITY ETHNIC FESTIVAL, JOHNSTOWN 9/4/05
Another full day of musical fun was on tap on the Johnstown side of the mountain this day. I would eventually return to Johnstown Folkfest, but decided to start off by checking in at the second annual Cambria City Ethnic Festival.
I hadn't heard much promotion regarding this year's Ethnic Festival; surprising, given the overwhelming success of the inaugural event the year before. I had heard that fewer Cambria City churches and businesses were involved with this year's event, and that this year's Festival wasn't pieced together until almost the last minute. The result, at least for me, was slightly disappointing. This year's Cambria City Ethnic Festival didn't feel like a unified event, but more like a group of independent churches and other entities, each putting on their own little festival. St. Columba's Church had their thing going, with food and festival games in progress as I walked past. A little ways up Chestnut Street, the Parrot Bay Café had their outdoor food tent set up, and I procured some Cajun shrimp to kick off the culinary part of my Ethnic Festival experience. I then headed up to St. Mary's Church pavilion to procure my annual allotment of low-priced cabbage-based foodstuffs and pierogis, and to see what musical entertainment was taking place. With Yum having entertained the young folks over the past two nights, this afternoon's entertainment was for the older populace, with a jazz group comprised of older musicians performing. I consumed my pierogis, halushki and halupki and took in a little bit of this performance, before moving on to see what else was happening at this Festival.
I ventured inside Ace's Lounge, where Rosie & the Jammers were nearing the end of one of their sets, performing the ever-popular polka "In Heaven There Is No Beer." I chatted with the group's guitarist and singer, Jim Mosey, for a few minutes, before venturing to Ace's outside tent to watch some acoustic entertainment. I actually got to see two performers here; first was West Virginia-based singer, songwriter and guitarist Jack Erdie. Jack displayed a Bob Dylan-informed style of folk sounds, performing two original songs; the latter entitled "Speed of Darkness." He then stepped from the stage area and introduced his associate, Pittsburgh singer/songwriter/guitarist Robert Wagner. A brainchild behind popular Pittsburgh area band The Little Wretches, Robert sang three selections; "All Of My Friends" (from his solo album, Unimarts, Pit Bulls and Karaoke Machines, "Be Somebody" and "I'll Be Your Mirror." The latter song he acerbically sent out to the Reverend Al Sharpton. There wasn't much in the way of audience taking in these two performers, and the two ended their performance roughly 25 minutes after it began. I then went back inside Ace's to catch a little bit of Rosie & the Jammers' next set; the group mixed polkas, vintage rock and roll and country. I heard Jim Mosey demonstrate his smooth guitar abilities on Santo & Johnny's "Sleepwalk," before he, keyboard player/namesake Rosie Sida and saxophone player Bryan Anator performed Perez Prado's "Cherry Pink and Apple Blossom White;" while several older couples graced Ace's Lounge's dance floor to the music. I watched for a few minutes, before departing to make my way back down Chestnut Street to exit this Festival and head back to Johnstown Folkfest.
I hope the diminishing amount of involved churches and businesses and apparent lack of organization doesn't mean a short life for the Cambria City Ethnic Festival. I'd hate to not be able to make Cambria City at least part of my Labor Day celebration after so many years of enjoying Folkfest in this location. Hopefully these are just growing pains associated with a young event, and here's hoping there will be a continued effort to bring music and enjoyment to Cambria City on Labor Day weekends for years to come.
Rosie & the Jammers, entertaining inside Ace’s Lounge
West Virginia-based folk singer Jack Erdie.
Robert Wagner.
JOHNSTOWN FOLKFEST, JOHNSTOWN 9/4/05
I returned to downtown Johnstown, found another strategically close parking space only a few car lengths from where I had parked the day before, and made my way back up to the Festival Park to see what adventures this final day of Johnstown Folkfest would bring.
I actually wound up taking more detailed looks at three acts I had seen the previous day at Folkfest, starting with an extended look at the Daptone Super Soul Revue at the Highmark Blue Cross Blue Shield stage. This time, I was able to witness soul diva Sharon Jones, backed by the Dap-tones (actually, the same band I had seen during this revue the previous day, only with a different singer). This was pretty fiery stuff; Sharon and the Dap-tones delivered high-energy soul, rhythm and blues. The band was tight and feisty, and Sharon belted out her words with abundant power, range and sass. She and the group seamlessly proceeded from song to song, while a growing group of fans danced at the stagefront. Their set culminated with a tribute to the Godfather of Soul, James Brown. Sharon brought grins and laughter to the audience with her impersonations of James, first doing his voice, and then busting his dance moves, including the 'chicken,' 'swim' and more. She and the band then took the show home with their feistiest display of the afternoon, leaving the Folkfest crowd yelling jubilantly for more.
Sharon Jones of the Daptone Super Soul Revue.
Again, Sharon Jones of the Daptone Super Soul Revue.
The Daptone Super Soul Revue.
Once again, the Daptone Super Soul Revue.
I then returned to the scene of the previous day's crime, the Atlantic Broadband stage, to give Pittsburgh's Sodajerk another, lengthier look. I arrived during the middle of their first set, and stuck around for both sets. Unlike the previous evening, Sodajerk didn't have a bad sound mix or a louder neighboring stage to contend with. I watched as the group again blended elements of country, rock and alternative. Most of Sodajerk's setlist contained original songs from the group's albums; the group also did occasional covers from Gram Parsons, Tom Petty, and another rendition of the Allman Brothers' "Whipping Post," with round two of the guitar duel between Bucky Goldstein and Dirk Miller. Sodajerk varied the flavor and intensity on each song, mixing more country-geared numbers with driving, countrified rockers. I was impressed enough with Sodajerk this time around that I purchased two of their CD's at the close of their performance.
Dirk Miller of Sodajerk.
Again, Dirk Miller of Sodajerk.
Bucky Goldstein of Sodajerk.
Jamming behind his back, Bucky Goldstein of Sodajerk.
Once again, Bucky Goldstein of Sodajerk.
Dueling guitars with Dirk Miller and Bucky Goldstein of Sodajerk.
Once again, Sodajerk.
It was evening by this time, and after grabbing a quick Thai chicken kabob from one of the Asian food vendor stands, I proceeded to the Dodge stage to again enjoy the party and the spectacle of the Red Elvises. It was another raucous party, as the Red Elvises again played their zany brand of surf/rockabilly-based rock and roll. The group repeated some tunes from the evening before, such as "Boogie On The Beach," "Love Rocker," "Sad Cowboy Song," "Rocket Man," "Closet Disco Dancer," and - again beckoning more ladies to bust their best waistline moves - "I Wanna See You Bellydance." The group also broke out some previously unplayed numbers such as "Strip Joint Is Closed," "Harriet," "Juliet," "Telephone Call from Istanbul" and "Winter Reggae." The Red Elvises broke out one cover tune, their read of Chris Isaak's "Wicked Game," which finished with a full-rocking ending. The Red Elvises were again a big hit with the Folkfest crowd, this time being called back for two encores. The group answered those encore calls with "Sex in Paradise" and "Jerry's Got a Squeezebox," respectively.
Igor Yuzov of the Red Elvises.
Oleg Gorbunov of the Red Elvises.
Again, Oleg Gorbunov of the Red Elvises.
Leading the crowd in crazy calisthenics, Igor Yuzov of the Red Elvises.
More craziness with Igor of the Red Elvises.
Some dancing ladies, onstage with the Red Elvises.
Oleg Gorbunov of the Red Elvises, with some happily-dancing ladies.
A night later, a different crowd of ladies demonstrate their belly-dancing talents with the Red Elvises.
The belly-dance party continues.
More belly-dancing with the Red Elvises.
The belly-dancing party continues.
Oleg Bernov of the Red Elvises.
Igor Yuzov and Oleg Bernov of the Red Elvises.
Firing off a guitar solo, Igor Yuzov of the Red Elvises.
Once again, Igor Yuzov of the Red Elvises.
Adam Gust of the Red Elvises.
Igor Yuzov of the Red Elvises, creating some mad effects on his guitar.
Again, Adam Gust of the Red Elvises.
One more time, Adam Gust of the Red Elvises.
"Your new favorite band!," the Red Elvises.
More rocking and rolling with the Red Elvises.
The Red Elvises' party ended around 11 PM, and another Folkfest was nearly finished. I still had several dollars' worth of Folkfest scrip tickets to use up, and was starting to panic as most of the Folkfest food vendors were closing up shop. Eventually and fortunately, I was able to procure two bottles of soda with my remaining scrip. There was still activity at one entertainment stage; so I took in the last few songs of The Greyhounds' performance at the Atlantic Broadband stage, before bidding adieu to Johnstown Folkfest for another year.
Once again, Johnstown Folkfest lived up to my expectations and delivered quality entertainment. I was especially blown away by the Red Elvises; and will make a point of seeing them whenever they get close to the neighborhood. Folkfest served up a diverse menu of sounds, and made it well worth enduring the high gasoline prices to check out.
WHO'S YOUR DADDY @ MAGRO'S, JOHNSTOWN 9/4/05
Initially, I had wanted to journey back to Altoona to catch the roots music bill of Blind Jonny Death and The Marauders at Aldo's, but since it was already past 11:30 PM and I faced an hour roadtrip, I realized I would miss most of this show anyway if I tried to motor back. So instead, I decided to stick around Johnstown and head to Magro's, where Who's Your Daddy was performing, and the danger of a post-Folkfest jam session existed.
I arrived at Magro's during intermission, and pulled up one remaining seat at the corner of the bar. A good-sized crowd was present, and singer/harmonica man John Shaeffer soon spotted me and came over to greet me. After chatting a little bit, it was time for the nightcap set, and John and the rest of Who's Your Daddy - guitarist/singer Gene Sweeney, bassist Rick Napolitan and drummer Chris Klym - took up position on their respective instruments. It turned out being a relatively short set, but I got to witness Who's Your Daddy blaze through ZZ Top classics such as "Waiting For the Bus/Jesus Just Left Chicago" and "Just Got Paid;" an Allman Brothers double-shot featuring "Whipping Post" segueing into "In Memory of Elizabeth Reed;" and by request to end the night, Bob Marley/Vincent Ford's "No Woman No Cry."
From what I witnessed, Who's Your Daddy still delivers the goods. John Shaeffer provided fiery and soulful vocals and harmonica; Gene Sweeney blazed on the guitar; and Rick and Chris anchored the sound with rock solid rhythms. The Magro's audience was into it, you could see heads bobbing and toes tapping throughout the establishment.
No post-Folkfest jam free-for-all took place, but Who's Your Daddy's set was still a good way to close out this Labor Day Eve.
RACHEL ALLEN @ FOREST HILLS FESTIVAL, ST. MICHAEL 9/5/05
Since the workplace gave me the holiday off, I took the opportunity to catch some activity at the final day of the annual Forest Hills Festival in St. Michael. This day, the festival would provide me with my first opportunity to witness Johnstown singer/songwriter/guitarist Rachel Allen.
Despite my best efforts, I still arrived relatively late during Rachel's performance, and only caught a few songs. But the three songs I witnessed - Arlo Guthrie's "City of New Orleans," Victoria Williams' "You R Loved" and the traditional spiritual "Wade In The Water" - gave me a good introduction to Rachel's musical world and style. Rachel mixes acoustic folk, blues, light rock and a touch of gospel into a bright, heartfelt performance. She demonstrated a clear, expressive, powerful voice; and performed these songs with her own unique variation and signature.
I spoke with Rachel afterward and obtained her debut CD, Almost There, a good primer for what this performer is about. I came away with a good first impression of Rachel Allen and her musical talent; I wish I could have arrived sooner to see more.
Rachel Allen, entertaining at the Forest Hills Festival.
Once again, Rachel Allen.
I also arrived too late to witness the Festival's annual "Dam Duck Race," where a bunch of sponsored plastic ducks are floated down the Little Conemaugh River; the first duck to reach the finish line (and not be corroded to oblivion by the mine acid-tinged water) wins.
Long after that “Dam Duck Race” was won, one straggling duck struggles downstream, determined not to get corroded by the Little Conemaugh River.
I stuck around the Forest Hills Festival for a good while; taking in the Jocular Juggler and the Johnstown Button Box while shooting the breeze with The Conniptions' Duaine Detrick and enjoying some good grub. In all, a good, relaxing Labor Day.
The Jocular Juggler, doing a hatchet job on the Forest Hills Festival audience.
The Johnstown Button Box winds down the Forest Hills Festival with polkas.
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