[Jim Price]

WEEK/WEEKEND RECAP 5/16/05

THE RUSTLANDERS @ THE PHYRST, STATE COLLEGE 5/10/05

I had been hearing some buzz and good things being reported about a new State College-based group, The Rustlanders; so I decided to go have myself a look this night during the group’s weekly Tuesday performance at State College’s Phyrst.

I understand it was finals week in Happy Valley, and thus not a lot of folks were in the Phyrst when I first arrived towards the end of The Rustlanders’ first of two sets. I procured a bar stool near the stage area as singer/guitarist/harmonica man Jason McIntyre, lead guitarist Jason Tutweiler, pedal steel/banjo/guitar player Dave Mudgett, bassist Corry Drake and drummer Chris Rattie ended their set with two original songs, “Sweet Carolina” and “Route 251.”

The Rustlanders’ style was a blend of Americana sounds, mixing elements of country, bluegrass, blues and rock. The next set would give me a fuller picture of what this band’s musical turf was about.

After a team whisky shot, The Rustlanders commenced their next set, starting with an upbeat original song sung by drummer Chris, called “Blood From A Stone.” The group primarily showcased original songs, with a base flavor not far removed from the rural tones of Dire Straits, Neil Young or the Rolling Stones. Chris, Corry and Jason each swapped lead vocal duties, and all demonstrated good voices and crisp harmonizing. Instrumentally this band was strong as well, with the two Jason’s and Dave given ample space to showcase their solo skills. Dave showed his mastery on pedal steel, banjo and guitar throughout the evening. The group did more original songs, such as the blues/funk-flavored “See Things Clearly,” “G-Minor,” the country-geared “Clean Machine” and the folksy “Movin’ On.” Their original songs defined The Rustlanders’ terrain; their selection of cover material put it in context. Among the songs the group reworked this night: an uptempo, bluegrass spin on The Rolling Stones’ “Wild Horses;” the traditional “Don’t Let The Deal Go Down,” “Wagon Wheel” from Old Crow Medicine Show and more. Towards night’s end, a special guest was invited onstage, Ted McCloskey, who played guitar on renditions of Neil Young’s “Helpless,” Creedence Clearwater Revival’s “Long As I Can See The Light” and the night-ending original number, “Help Me Through These Times.”

Although the Phyrst never got particularly crowded this night, the vast majority of those in attendance enjoyed The Rustlanders’ performance and cheered approval. The group’s fresh, Americana-rooted blend of sounds; tasteful, skilled musicianship; variation of moods ranging from folksy and rural to electric and impassioned; and interesting song selection kept this show interesting and revealing throughout the night. The Rustlanders offer another interesting slant on roots-geared music, and are well worth devoting a Tuesday night roadtrip to The Phyrst to check out.

The Rustlanders, entertaining at the Phyrst.

Jason McIntyre of The Rustlanders.

Jason Tutweiler of The Rustlanders.

Once again, The Rustlanders.

BEYOND REASON @ THE HITCHING POST, ALTOONA 5/12/05

I headed to The Hitching Post this evening, to see how Beyond Reason was faring on the Post’s inaugural Thursday “Bike Night.”

In a nutshell, it was chilly and rainy, thus bikes and bikers were not in abundance on this first “Bike Night.” Nor was anybody else, save for a few patrons seated at the bar, lady Esa and her friend, and with my arrival, yours truly. But Beyond Reason took it all in stride and had fun with the few who were in attendance, as they played their blend of rock and roll from the past four decades.

This night would give me a good extended look at Beyond Reason’s current repertoire, which included an interesting selection of material. Bassman Jamie “Deathmaster Funk” Smith was singing lead on Gin Blossoms’ “Hey Jealousy” as I first arrived. The group then gearshifted into early rock mode as guitarist/frontman Dan Myers II resumed lead voice duties on Chuck Berry’s “Johnny B. Goode” and Stray Cats’ “Rock This Town.” The group then slowed it down for a version of Chris Isaak’s “Wicked Game,” before kicking the tempo back up for Timbuk 3’s “The Future’s So Bright (I Got to Wear Shades).” After Tom Petty’s “You Wreck Me,” drummer Chris Myers flexed his vocal cords by singing lead on Byran Adams’ “Summer Of ‘69” and John Mellencamp’s “Authority Song.” Beyond Reason continued with their unique merging of Romantics’ “What I Like About You” with Neil Diamond’s “Cherry Cherry.” The group again slowed it down for Dobie Gray’s “Drift Away,” before finishing out the set in upbeat fashion with renditions of Gerg Kihn’s “Break Up Song,” Lynyrd Skynyrd’s “The Needle And The Spoon,” and Wilson Pickett’s ever-popular “Mustang Sally.”

Even despite the lack of an audience to play to, Beyond Reason did a respectable job and kept the mood fun and upbeat. This group is strongest once they settle into their groove and let the momentum of each set carry them forward; their mood became more relaxed and playful as the set progressed.

After a brief intermission, Beyond Reason reconvened with Cream/Robert Johnson’s “Crossroads,” before rhythm guitarist Tom “Urbs” Urbain took over lead voice duties on Pink Floyd’s “Comfortably Numb.” Bass man Jamie again sang lead, this time on Social Distortion’s “Ball And Chain.” At this point, the group honored an audience request from one of the few in the audience, making the requester happy with a rendition of J. Frank Wilson’ “Last Kiss.” The band shifted the tempo back upwards with Cracker’s “What The World Needs Now,” before digging back to the 60’s British Invasion for The Animals’ “We Gotta Get Out Of This Place,” and ending the night with Elvis Presley’s “That’s Alright.”

It was as fun as playing to an empty room can get, but Beyond Reason made the best of it and made it fun for the few who did attend. And with the outdoor season arriving and various A.B.A.T.E. of Pennsylvania functions, other motorcycle parties and outdoor events on their schedule, one slow night was not going to dampen things in Beyond Reason’s life for too long.

Dan Myers II and Tom "Urbs" Urbain of Beyond Reason.

Jamie "Deathmaster Funk" Smith of Beyond Reason.

"Let's see how high we can get Deathmaster Funk to sing!" Dan Myers II plays highjinks with his Beyond Reason bandmate at the Hitching Post.

Once again, Beyond Reason at the Hitching Post.

Dan Myers II of Beyond Reason.

Jamie and Dan of Beyond Reason.

FLAP JACK’N JILL @ CITY LIMITS, ALTOONA 5/13/05

Chucky’s back!

No, I’m not talking the monstrous puppet/goblin from the Child’s Play movies. I’m talking about Chuck Budzina, the popular former Badwrench, Wrench and Stept On frontman who has been AWOL from area stages since his split from Stept On last year. The rest of Stept On went through a metamorphosis that culminated in the formation of In; after Chuck took some time away from the stage, he has hooked up with Johnstown modern rockers Flap Jack’n Jill. This new Flap Jack’n Jill roster was making their first City Limits appearance this night.

Even Chuck’s presence in Flap Jack’n Jill’s line-up couldn’t triumph over the reality of being a relatively unknown band in Altoona on a Friday night, and thus City Limits was only lightly populated as I arrived during the group’s first set. But there were enough people there to make it a party, which is exactly what Flap Jack’n Jill did. Chuck, guitarists Jeff and Duggie, bassist Dustin and drummer Tony fired through songs from Blink 182 and Good Charlotte. The dance floor largely empty, Chuck offered some incentive to attract dancers, laying out four dimes onstage for the first four dancers to come up on the dance floor. It worked, with the 40 cents getting some people onto the floor and lifting the party higher. Flap Jack’n Jill kept them on the floor with songs from Green Day and Godsmack to end the set.

I spoke with Chuck during the intermission, and he explained that he needed to get away from things for a while last year. After some time off, he first started appearing onstage with Flap Jack’n Jill last summer, before officially joining the band last fall. Chuck told me his interest these days is having fun onstage again, without the pressures of “making it” or chasing the grail of record label deals. Chuck now has a day job, and Flap Jack’n Jill is his release to get onstage and have fun.

He looked like Chuck of old; cavorting back and forth on the stage, ad-libbing, joking and having fun with his bandmates and the audience. It was an upbeat and happy show so far.

Flap Jack’n Jill resumed the party, kicking off their second set with John Mellencamp’s “Jack and Diane.” The group followed with The Clarks’ “Better Off Without You” before returning to the Mellencamp lexicon for “The Authority Song.” Flap Jack’n Jill then performed the curious fusion of Buffalo Springfield’s “For What It’s Worth” with Snoop Dogg’s “Gin and Juice.” The party continued with Van Morrison’s “Brown Eyed Girl” and Modern English’s “Melt with You,” before Chuck and drummer Tony swapped positions, and Tony fronted the group on Bryan Adams’ “Summer Of ’69,” during which Tony and Duggie vaulted off stage and took the party into the audience and table areas. Tony continued fronting the group on James’ “Laid” as Chuck kept the beat behind the kit. Flap Jack’n Jill then finished out the second set with a rap/hip-hop medley, with Run DMC’s “Tricky” serving as the launching pad as the group fused together tunes from Beastie Boys, Tone Loc and more.

While still not a big crowd, Flap Jack’n Jill had succeeded in turning it into a festive crowd at City Limits. This was the strongest performance I had witnessed from the Flap Jack’n Jill brand name thus far; clearly Chuck’s addition had lit a spark with this group. I was seeing more movement, more enthusiasm, tighter instrumental performances, fire and energy. Flap Jack’n Jill was a capable party band before, but this current model upped the energy level and ante.

Flap Jack’n Jill rocked out their third set, kicking off with the Metallica double-shot of “For Whom The Bell Tolls” and “Sanitarium.” The group kept up the rocking momentum with Twisted Sister’s “We’re Not Gonna Take It,” Tool’s “Stinkfist,” White Zombie’s “Thunder Kiss ‘65” and Rage Against The Machine’s “Bulls On Parade” to close out the night.

Based on what I saw this night, Chucky is indeed back; and with his addition, Flap Jack’n Jill appears poised to become a future party juggernaut on area stages. This was a fun show, even with just a light crowd to enjoy it. It should only be a matter of time before Chuck is looking at full houses in the ‘Toona again.

Flap Jack'n Jill rocks the house at City Limits.

Once again, Flap Jack'n Jill.

Again, Flap Jack'n Jill.

Chuck Budzina of Flap Jack'n Jill.

One more time, Chuck and Flap Jack'n Jill.

DRAGON FIRE/4 DAYS DIRTY/SUICIDE SWITCH @ ALDO’S, ALTOONA 5/14/05

Armageddon has returned to area stages.

Ever since Dragon Fire’s cameo reunion appearance onstage at Aldo’s in January, this night has been circled on the calendars of area metal fans – the official full-fledged return of Dragon Fire to stage action. This promised to be all-out, blood-and-guts, no survivors metal mayhem. The band members – lead throat “Robo” Ron Riley, guitarist Chris Peters, bassist Eric Shumac and drummer Steve Stuckey – were chomping at the bit to get back onstage this night; and their legions of fans were chomping at the bit to see it happen. Aldo’s was already well-packed as I arrived, and would only get more packed as the evening progressed.

Kicking off the night was Suicide Switch, making their first stage appearance in several months. The group was recording this set for a live CD to be issued later in the year, and they were fired up to make it count. Frontman Cheeze, guitarists Shaun Barr and Tom Noel, bassist Dan Mort and drummer Jay Mosey drilled intense, rampaging metalcore originals, including longtime favorites like “Say Goodbye,” “Soulless,” “Truth,” “Unbreakable,” and their showstopper closer, “In The Wake.” According to Cheeze, a lot of these songs will be retired as the group works towards new originals for future shows. Suicide Switch unveiled one of those new originals during the set, “Saturday Night Catholic.” Suicide Switch was pure intensity, with ferocious buzzsaw guitars, bone-jarring rhythms, and Cheeze’s incendiary presentation, as he snarled and howled like a pit bull being beaten with a baseball bat wrapped in barbed wire (disclaimer here, Rockpage does not endorse the cruel treatment of animals, this is just metaphor, folks). It was raging and intense, and just the tonic to get Aldo’s started off on a rowdy, over-the-top note.

Dan Mort and Cheeze of Suicide Switch.

Shaun Barr and Dan Mort of Suicide Switch.

Cheeze of Suicide Switch.

Again, Dan Mort of Suicide Switch.

Jay Mosey of Suicide Switch.

Once again, Cheeze of Suicide Switch.

Next was 4 Days Dirty, and the first chance I had to see them since guitarist Joe Neary departed the group for the next 18 months to serve in Iraq. Would the group continue as a trio, or would somebody else join their ranks for the interim? The answer was the latter, as bassist Paul Greiner shifted over to guitar, and former Looking For June/Dropout High bassist Pat Lang took over bass duties. This revised 4 Days Dirty line-up showcased their brand of heavy modern rock/metal original songs, such as “Home,” “Worthy,” “Wanted,” “Downtime,” “Alive,” and the song that has emerged as their showstopper, “Shotgun,” with the band members brandishing their guitars in firearm-like fashion to begin the tune. New man Pat fit in well and was arguably the most animated member on stage, flying around the stage environs like a madman. 4 Days Dirty didn’t appear to miss a beat, and their intensity and drive remained intact.

4 Days Dirty, rocking Aldo's.

With a guest from the audience helping with vocals, Pat Lang and Steve "Dig" Danfelt of 4 Days Dirty.

Once again with guest vocalist, Pat and Dig of 4 Days Dirty.

Again, 4 Days Dirty.

Steve "Dig" Danfelt of 4 Days Dirty.

Now playing guitar, Paul Greiner of 4 Days Dirty.

Once again, 4 Days Dirty.

Ready! Aim! Fire! 4 Days Dirty.

The newest member of 4 Days Dirty, Pat Lang.

The Aldo’s crowd steadily filled up the floor area in front of the stage in anticipation of the main event. There was a lot of activity happening onstage as well during the intermission, as lights and other gear were re-checked for Dragon Fire’s official return. Kathy from The Underground TV gave away a free tattoo to an audience member, and the time had arrived for Dragon Fire.

As “Robo” Ron, Chris, Eric and Steve launched into their first barrage, the stagefront crowd erupted – including some short-lived hardcore moshing that threatened to turn the stagefront into a pit until venue main man Aldo intervened and put a stop to it. Aldo stationed himself and bartender Rich in the stagefront crowd to prevent further mosh outbreaks. As a nonstop barrage of strobes and other elaborate stage lighting illuminated them, Dragon Fire exorcized four year’s worth of pent-up demons during their set, as they tore through old and new originals. The group re-introduced previous monstrous metal favorites like “Rush,” “You Thought” and their Farm Club television ‘hit’ “Cutting Dead Weight;” and introduced some devastating new assaults such as “Unstoppable,” “Zombie” and “Decorations on Darkened Days.” Dragon Fire maintained their monstrous intensity on the new material, but demonstrated a more shadowy and experimental direction on “Decorations…,” a possible preview to the new age of Dragon Fire to come. The group ended their set with their most popular remake, Green Jello/Jelly’s “Three Little Pigs,” which they recorded for possible inclusion on their new CD, expected out this fall. The loud and rowdy Aldo’s masses demanded more, and Dragon Fire soon delivered with their encore, their brutal remake of Guns’N’Roses’ “It’s So Easy.”

It was all the fury and apocalypse that could have been expected. Dragon Fire returned with Chris’ malevolent, swarming hornet’s nest guitar chords; Steve’s and Eric’s menacing rhythms and bottom line, and “Robo” Ron’s sinister, maniacal bellowing. Dragon Fire kept the action constant onstage, and the crowd kept the action constant on the stagefront floor. Indeed Armageddon had returned to area stages, and Dragon Fire is very much back! And if this night served as an indicator, the new age of Dragon Fire should be more dark, caustic and brutal than before.

Back with a vengence, "Robo" Ron Riley of Dragon Fire.

Fans hail the return of Dragon Fire.

Dragon Fire, bringing armageddon back to area stages.

In the middle of the crowd, a short-lived moshpit erupts.

Chris Peters of Dragon Fire.

Aldo's stagefront area is crowded for the return of Dragon Fire.

Eric Shumac of Dragon Fire.

Again, Chris Peters of Dragon Fire.

"Robo" Ron Riley of Dragon Fire.

Dragon Fire and a packed floor of fans.

Again, "Robo" Ron of Dragon Fire.

Crouching like a predator ready to strike, "Robo" Ron of Dragon Fire.

"Robo" Ron and Chris Peters of Dragon Fire.

Eric Shumac and "Robo" Ron of Dragon Fire.

Once again, "Robo" Ron of Dragon Fire.

Eric Shumac of Dragon Fire.

Again, "Robo" Ron and Chris from Dragon Fire.

Again, Chris Peters of Dragon Fire.

Once again, "Robo" Ron and Chris from Dragon Fire.

BAD DAZE @ PELLEGRINE’S, ALTOONA 5/15/05

Once again, Pellegrine’s was the setting for the conclusion of my weekend. And Bad Daze was making their first appearance on Altoona’s longest-running Sunday night live stage. How would Bad Daze fare with Pelly’s often-fickle Sunday night crowd? The answer awaited as I entered Pelly’s midway through Bad Daze’s second set.

Singer Rob Carolus, guitarist Kenny Murdick, bassist Paul Rainey and drummer Randy Wilson fired through a mix of current and classic rock favorites, including Good Charlotte’s “1985,” Local H’s “Bound for the Floor,” Bon Jovi’s “You Give Love a Bad Name,” Poison’s “Talk Dirty to Me,” Jet’s “Cold Hard Bitch” and AC/DC’s “Dirty Deeds Done Dirt Cheap” to close the set.

While they didn’t have a large crowd on the dance floor, Bad Daze had at least a few people on the floor and in front of the stage, indicating that they were breaking the ice with at least a few folks early on. Rob was pulling all stops to get the crowd onto the floor, constantly addressing the crowd and welcoming them to the show. His bandmates were keeping their end of the bargain, laying down a crisp, tight, hard-hitting backdrop. Bad Daze’s third set commenced with Velvet Revolver’s “Slither,” and the group took things into a heavier direction with Rob Zombie’s “Dragula” and Static X’s “Push It.” As the group proceeded with tunes from Good Charlotte, Linkin Park, Puddle Of Mudd, Disturbed and Drowning Pool, more participants took to the dance floor, and the party intensified. The group continued with tunes from Godsmack and Good Charlotte, broke out Megadeth’s “Symphony of Destruction” before closing their set with the Beastie Boys’ “Fight for Your Right (to Party).” The Pelly’s crowd wasn’t done with Bad Daze yet, though, and instantly demanded more. The group responded with two encores, first delivering Pantera’s “Walk” and returning one more time with Disturbed’s “Stupified.”

Needless to say, Bad Daze hit a home run on their first Pellegrine’s visit; their combination of charged, hard-hitting rock, in-your-face presentation and Rob’s constant contact with the crowd ultimately winning the crowd over and drawing many of them onto the dance floor. Evidenced by this initial night, Bad Daze are ahead for Pellegrine’s on Sunday nights. Expect this band back soon.

Rob Carolus of Bad Daze.

Ken Murdick and Rob Carolus of Bad Daze.

Again, Rob Carolus of Bad Daze.

Ken Murdick of Bad Daze.

Bad Daze bassist and philosopher Paul Rainey.

Once again, Bad Daze.

Once again, Paul Rainey of Bad Daze.

Once again, Rob Carolus of Bad Daze.

Bad Daze gets 'em dancing at Pellegrine's.

Once again, Bad Daze, rocking the dance floor at Pellegrine's.

Bad Daze continues the party.

Once again, Bad Daze.

Randy Wilson of Bad Daze.
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