[Jim Price]

WEEK/WEEKEND RECAP 9/19/05

MATT WAGNER & JIMMY TANGEMAN @ THE KNICKERBOCKER, ALTOONA 9/14/05

With warm summer evenings in 2005 now numbered, and after finishing up a relatively light Wednesday evening workload at the day job, I headed around the corner to the Knickerbocker to catch some acoustic entertainment in the outdoor courtyard, courtesy of Matt Wagner and Jimmy Tangeman.

A good-sized crowd was assembled as Matt and Jimmy performed a variety of favorites old and new. Their selection during this in-progress set included such diverse acoustic offerings as Poison’s “Every Rose Has Its Thorn,” Simon & Garfunkel’s “Cecelia,” Nirvana’s “All Apologies,” James’ “Laid,” Lynyrd Skynyrd’s “Simple Man,” Pearl Jam/J. Frank Wilson’s “Last Kiss,” John Michael Montgomery’s “Sold (The Grundy County Auction),” Dion’s “Runaround Sue” and more. The pair welcomed up a guest, Martin, to help sing backing vocals on Bon Jovi’s “Wanted Dead or Alive.”

The duo was in good form this night. Matt’s voice sounded clear and strong with its Dave Matthews-like overtone, and both Matt and Jimmy combined guitar forces to produce a full-bodied acoustic backdrop. The audience was clearly enjoying the performance thus far, as they provided frequent cheers, singing and clapping accompaniment.

Matt and Jimmy commenced their second set with Violent Femmes’ “Blister In The Sun,” which was sent out to two ladies, Desiree and Holly, both celebrating their 21st birthdays. Both ladies and a number of their friends stepped up and sang/partied along. The duo continued with tunes from Tom Petty, Johnny Cash, Sublime, Georgia Satellites, Stroke 9, Rusted Root, 4 Non Blondes and more.

As the show hit its latter stages, I called it a night and departed the Knickerbocker. Combined with the pleasant late summer evening and the friendly, appreciative crowd; Matt Wagner’s and Jimmy Tangeman’s performance made for a good way to close out this Wednesday night.

Matt Wagner and Jimmy Tangeman entertain at the Knickerbocker.

FELIX & THE HURRICANES @ PETER C’S, ALTOONA 9/15/05

After putting in a late Thursday night at the workplace, I headed to Peter C’s to check in with the weekly Hurricanes Thursday jam.

It was a bustling night at Peter C’s, with numerous patrons and Hurricaniacs in attendance, and a few guest musicians as well. As I arrived, Kent Martin was piping some flute accompaniment as the Hurricanes trio of Felix, Jeff and Bob performed renditions of Jethro Tull’s “Locomotive Breath,” the Allman Brothers’ “Sweet Melissa” and Stevie Ray Vaughan’s “Pride and Joy.” The ‘Canes stormed through renditions of Blackfoot’s “Train Train” and Ted Nugent’s “Free for All,” and proceeded with the Doors’ “Love Me Two Times,” “Who’s Fooling Who” and Dr. Hook’s “Cover of the Rolling Stone.” By audience request, the Hurricanes performed Lynyrd Skynyrd’s “Ballad of Curtis Loew,” before closing out their set with Creedence Clearwater Revival’s “Green River.”

The Hurricanes were clicking on all cylinders thus far, and you could tell by the looks of intensity on their faces that they were feeling it. This was not lost on the audience; one audience member remarked to me, “Felix ain’t just playin’ it, he’s feelin’ it!”

After just a five-minute break, Felix & the Hurricanes returned to the stage for their homestretch finale. Another musical guest, Kevin Siegel, arrived during intermission and was welcomed onstage to provide some drum beats as the Hurricanes kicked into their original “Icy You,” and continued with Eric Clapton’s “After Midnight” and Stevie Ray Vaughan’s “Tin Pan Alley.” Bob Watters then returned to the drum throne for the night’s finale, Grand Funk Railroad’s “I’m Your Captain.”

It was a damned good show! Fired up band, fired up crowd, fired up guests, and fired up vibe! In typical fashion, the Hurricanes brought the storm onstage, and all was again well with the world.

With Kevin Siegel behind the kit, Felix & the Hurricanes.

Sitting in behind the Hurricanes’s drum kit.

Once again, Felix Kos and Kevin Siegel.

Kevin Siegel and Jeff Clapper.

Once again, Felix & the Hurricanes with guest drummer Kevin Siegel.

Felix Kos of the Hurricanes.

Jeff Clapper of Felix & the Hurricanes.

Once again, Kevin Siegel.

Bob Watters and Jeff Clapper of Felix & the Hurricanes.

THE GRIMM/JIM ZEMLOCK @ PETER C’S, ALTOONA 9/16/05

“Once upon a time, there was a band called The Grimm. As wandering troubadours of the mountains of Central Pennsylvania, this group of merry men roamed the land, performing their bizarre music and amusing antics to anyone who’d lend them an ear or a pint of grog. From the Kingdoms of Cleveland to Harrisburg, all was happy and good in the land…until the dark times began.

Ron the Brave left to pursue his own musical quest, leaving a vacant drum throne. Luckily for the entourage, Dom the Drole, expert percussionist and professional cynic, stepped forth with sticks in hand. And all was good again…for a while.

Otto the Embalmed departed the Grimm, based on a deeper calling…to become an Equine Gynecologist…a healer of all things horsey and vaginal…bringing a final end to the original monicker of “The Brother’s Grimm.” Kent the Cantankerous was left without a counterpart on the other side of the stage. Sad were they all, and how woe and melancholy descended upon them…

One day, whilst contemplating the future of the group, Bob the Gaseous saw a ship on the horizon. “Comrades,” he exclaimed to Dom and Kent, “Look! On yonder vessel!” Dom and Kent followed his gaze to see a longshoreman on the deck of the ship, shredding as it were, on an electrified lute. His notes sounded as though plucked from the lightning of the Gods!

The three Grimm-men ran to the dock to greet the vessel as it landed, eager to speak to this mystery man. “Ahoy,” shouted Bob, “you there! Are thou in a band?”

“Arrgh,” replied the man, without separating his teeth!

“Would thou considereth joining the Grimm?” asked Dom.

“Arrgh,” answered the man, but with a positive inflection.

“What shall we calleth thou?” asked Kent.

The man paused for a second, lowered his instrument to his side and said, “Calleth me anything, beside Rat.”

And so Scott the Axeman joined the cause!

The Grimm crept into seclusion for the next nine months, writing and preparing for their return to the world. From the mythical lands of Lilly and Huntingdon, the fellows began forging their new sound. This rebirth would be no easy process…and the musical children born of this union would be different from anything their fans had seen before.

This truly would be a new band with an old name.

Thanks for joining us this evening for our return!”

(from the Grimm’s program leaflet handed out before the show)

Yes, after many months since their last appearance, The Grimm’s long-awaited new era was set to begin this night at Peter C’s. And judging by the large crowd arriving early on, a lot of people had been waiting for their return.

There was an opening guest this night, Jim Zemlock. Jim entertained the growing crowd with an all-original set of intriguing, off-the-wall song material. Although Jim’s base sound and style was acoustic-rooted singer/songwriter, Jim took his songs in a number of unexpected directions; outspoken and political on “Government Is Gangsta,” spacey Latino on “Sancho Lo Pedro,” and almost Hawkwind-ish and cosmic on “Spiderdome.” Jim utilized reverb and various guitar effects to take his songs in surprising directions, and it kept the audience curious and interested. Given the surprises that The Grimm had in store later, Jim Zemlock’s set was the ideal teaser to set the tone of the evening.

Opening the evening, Jim Zemlock.

More crowd filed into Peter C’s during Jim Zemlock’s set and the ensuing intermission, and among the growing crowd was a large contingent representing numerous area bands. Members of House Of Cain, One Gun Salute, The Flame Sky, Fat Vinny & the Wiseguys, Sidestep, 4 Days Dirty, Beyond Reason, Half Tempted and more were in attendance to support The Grimm in their comeback to area stage action.

Nine months after sowing the demon seed, the Grimm's new "child" was then hatched onstage over two sets; ushered in with a bunch of new songs and some reminders of a Grimm past, accompanied with various video footage, graphics, photo images and more. The Grimm opened their first set with three brand spanking new numbers, before frontman Bob Lee welcomed everybody, and compared the nine-month layover to a pregnancy, pronouncing that the group’s new “child” was being born this night. He, guitarist Scott Botteicher, bassist Kent Tonkin and drummer Dom Peruso dug back to their early achives for a number, before continuing with “Forced Reflection” from their Resurruption CD and “My God, It’s Full of Stars” from their eponymous full-length debut. After another early number, “Enough,” The Grimm completed their first set with a new, elaborate epic called “Beyond the Veil.”

At least thus far, the new Grimm material was edgy yet detailed in the group's own distinct way. The band’s execution was precise, and delivered with the fire and excitement expected from a band who had been chomping at the bit to get back out there on stage. The Peter C’s crowd was clearly attentive and appreciative, observing how the music, visuals and performances converged into a powerful, exciting presentation.

The Grimm soon resumed the action with their nightcap set, commencing with three tunes from their Resurruption album; “Suicide Knob” (utilizing video footage from my all-time favorite flick, Mad Max, nice!), “Fade” and “Flatline Pt. II.” Bob took a moment to recognize several people in the house who had helped the group along over the years, before letting Scott take the spotlight with a blistering guitar solo, which triggered another new Grimm original, the aggressive rocker “Purifying Fire.” This was followed by another new original, “Alone,” demonstrating a technical Rush-informed flavor. One more new original, “Not Me,” was introduced, before The Grimm closed out the evening with some established original favorites; “Black Sheep,” “Dead Time,” “Raise the Line” (featuring a choreographed flipping of the bird from the Grimmette contingent during the song’s climax), and “Angry and Shirtless” to end the evening.

Wow, what a spectacle! The Grimm returned with a vengeance, unleashing their new arsenal of tunes and a new focus. Besides the obvious technical ecstasies The Grimm introduced on the stage via their new material, the group seems to be dealing in more current events- and social-geared lyrical themes like corporate greed, the hypocrisies of organized religion and more. Now in addition to the group’s obvious technical smarts, The Grimm is delivering lyrical brain food as well! And to think, I just came out to hear “Free Bird” and “Blister In The Sun,” damn! (Just kidding!)

The nine-month hiatus and wait was worth it, as the new era of Grimm madness dawned with a powerful show and spectacle. The new Grimm era had arrived, and Peter C’s had experienced their first taste of what the group had been cooking up in the laboratory over the past several months. Now I anxiously await The Grimm’s next studio endeavor, to see how these lavish new tunes play out on CD. If this night gave any indication, it should be quite the treat!

Dom Peruso of The Grimm.

The Grimm’s audiovisual spectacle gets under way.

Again, The Grimm.

Once again, The Grimm.

With Matthew Lesko, the question mark guy, behind them on the vid screen, The Grimm during their comeback performance at Peter C’s.

Scott Botteicher of The Grimm.

Once again, The Grimm.

The Grimm continue their comeback performance at Peter C’s.

Again, Scott Botteicher of The Grimm.

Again, Dom Peruso of The Grimm.

Bob Lee of The Grimm.

One more time, The Grimm.

One more time by popular demand, the now infamous Esa pool table shot. Yes, this was the night it was taken.

ROCK THE HOUSE III BENEFIT @ GREENHOUSE PARK near JOHNSTOWN 9/17/05

With summer’s official end less than a week away, one last big outdoor show remained on the area’s Summer 2005 docket – the third annual Rock The House Benefit at Greenhouse Park near Johnstown, raising funds for the IMAC Foundation. This show had grown by leaps and bounds from the first to the second year, and I was anxious to see the show’s continued evolution this year.

With a relatively early start time of 11 AM, and having put in a late night before with The Grimm’s comeback show and the subsequent Grimm breakfast at King’s Family Restaurant afterward, I was bound to miss some of the early participants at this year’s Rock The House. Over 20 different bands and artists would perform on three stages during the course of this day. I arrived relatively early in the afternoon, and after clearing the gate access and parking, caught the last few songs from Dubmissive on the pavilion stage, Stage A. I only got to see a couple of songs as the group was ending their set, but was immediately impressed with this foursome’s brand of high-energy, high-jumping punkish rock. This band displayed lots of energy and enthusiasm, and the crowd was feeding off of it and having fun with it. Hopefully I’ll have an opportunity to take a lengthier look at this band and what they bring to the stage sometime soon.

Dubmissive brings their high-energy party to Rock The House.

Again, Dubmissive.

Bobby Jacobs of Dubmissive.

Kevin Dom of Dubmissive.

Joe Sell of Dubmissive.

Again, Bobby Jacobs of Dubmissive.

I then headed over to the acoustic stage, Stage C, where a trio – Lori, Glenn & BJ – were performing. Glenn and BJ strummed on acoustics while Lori sang, demonstrating a smooth, strong and soulful voice. I watched for several songs, as the three musicians performed a selection of classic rock and folk favorites; including Fleetwood Mac’s “Dreams,” John Prine’s “Angel from Montgomery,” Bill withers’ “Ain’t No sunshine,” Traffic’s “Dear Mr. Fantasy” and more. BJ then sang an original song, I believe entitled “Fall for Me.” Lori, Glenn & BJ did a nice job, displaying nice vocals and harmonies, and Glenn and BJ complementing each other well on the guitars.

Lori, Glenn and BJ entertain at Rock The House.

Glenn of Lori, Glenn and BJ.

BJ gets down to some intense strumming at Rock The House.

After taking in their set, I decided to stroll across the park to the main stage, Stage B, to catch a glimpse of a new band I had not seen before, Red Collar Co. A co-ed trio, Red Collar Co. performed original music, blending elements of acoustic, punk and alternative into a jangly, modern folk/rock sound. The lead singer, who also played guitar, seemed to be the driving force in the group; while a lady played bass and another guy played drums. (Unfortunately, there is no information whatsoever about this band on the internet, so I have no names for these people.) What they did sounded solid; I caught two of the group’s song titles, “Come On Over” and “Keep Wondering.” Although the crowd in front of this stage at this point was not large, they were appreciative, and gave Red Collar Co. polite applause after each song.

Making their Rock The House debut, Red Collar Co.

The lead singer of Red Collar Co.

The bass player of Red Collar Co.

After watching Red Collar Co. for five songs, I returned to Stage A, where the next act, John Denver Flight School, was getting started. I thought this band was one of the highlights of last year’s Rock The House with their agitated original rock and electrified stage show. John Denver Flight School (JDFS for short) slimmed to a foursome since last year, with Eric Smay on lead vocals, Chris Carr on guitar, Johnny Kaos on bass and Kyle Benton on drums. The group’s style and sound continued to be aggressive and heavy rocking, as they performed their arsenal of original tunes, such as “Get The Message,” “Smile,” “Flesh Wound,” “Bipolar,” “Closet Love,” “Genuflect” and more. JDFS’s performance didn’t ring with the same intensity as last year, though; it seemed to lack organization and urgency this time around. While their performances were solid, I thought there was too much down time and banter between songs, and the group never seemed to build the momentum they had going last year. While what they did sounded good, I was a little disappointed in John Denver Flight School’s set this year, following what I had witnessed last year.

John Denver Flight School takes the stage at Rock The House.

Johnny Kaos of John Denver Flight School.

Eric Smay of John Denver Flight School.

John Denver Flight School rocks the crowd at Rock The House.

Kyle Benton of John Denver Flight School.

As the group started pulling out covers from Korn and Radiohead, I decided to venture back to the acoustic stage, Stage C, for a look at the curiously-titled Stonycreek Jug Explosion. This gathering of musicians featured several recognizable names – Johnstown-based singer, songwriter, guitarist and spiritual wildman Dave Distefano on lead vocals, banjo and jug; and former Badwrench guitarists Mike Hruska and Jono Poltrack on mandolin and acoustic guitar respectively. Also present on the stage were musicians playing bass, washboard and percussion. Stonycreek Jug Explosion played a lively, upbeat and entertaining mixture of jug music, old-timey gospel, bluegrass, psychograss and various hybrids and combinations therein. After the tune “I Ain’t Crazy,” with John Denver Flight School’s performance still audible across the park, Dave announced that the group was “gonna do some gospel tunes to even out the death metal” across the distance, before the group performed “I’m Working on a Building.” Stonycreek Jug Explosion continued with their happy-go-lucky vibe, which had toes tapping and even a few audience members up and dancing in front of the stage. Among other songs the group did were the bluegrass standard “Shady Grove,” “Have a Whiff on Me,” a bluegrass-flavored treatment of “Feelin’ Alright” and more. I had fun watching Stonycreek Jug Explosion; this was something completely different and entertaining, and for me, one of the highlights of this year’s Rock The House experience.

The Stonycreek Jug Explosion.

Dave Distefano of the Stonycreek Jug Explosion.

Dave Distefano, on banjo and jug.

Two fans do-si-do as the Stonycreek Jug Explosion performs.

Jono Poltrack and Mike Hruska of the Stonycreek Jug Explosion.

But as much as I was enjoying Stonycreek Jug Explosion, I knew there were other bands to be witnessed at Rock The House, so I pulled myself away from Stage C and headed across the park to Stage B, where Flap Jack N’Jill was getting under way. The group was a few songs into their set as I arrived, and had slimmed to a foursome since I had last saw them. Frontman Chuck Budzina, singer/drummer Tony Oleksa, bassist Dustin and guitarist Duggie mixed it up between current and classic rock favorites, performing numbers from John Mellencamp, Billy Idol, Rage Against the Machine, Tool, a hip-hop medley and more. Chuck again fired up the crowd, constantly jumping and moving about on stage and rallying the fans. Before long, Chuck and Flap Jack N’Jill had ladies dancing alongside them onstage during their version of Limp Bizkit/George Michael’s “Faith.” Flap Jack N’Jill succeeded in firing up the party, and had the growing Rock The House crowd festive as sunset approached.

Flap Jack N’Jill heats up the party at Rock The House.

Dustin of Flap Jack N’Jill.

Chuck Budzina of Flap Jack N’Jill.

Firing up the party at Rock The House, Flap Jack N’Jill.

Tony Oleksa of Flap Jack N’Jill.

With ladies joining them onstage, Flap Jack N’Jill.

Flap Jack N’Jill’s party continues at Rock The House.

Again, Flap Jack N’Jill.

Again, Chuck Budzina of Flap Jack N’Jill.

Duggie of Flap Jack N’Jill.

Again, Tony Oleksa of Flap Jack N’Jill.

Next up on Stage A was The Marauders, making their Rock The House debut. Singer/guitarist Ben Dumm, upright bass player Chris Lawson and drummer Abe Weber kicked things off with “New Tattoo,” and proceeded with a smoking set of their own rockabilly/roots-geared original tunes. The Marauders did such numbers as “Roadkill,” “Dead Of Night,” “Late Night Livin,’” “Oh My My,” “She Put A Curse On Me,” “Kill Pop Radio,” “My Revolver,” “Alibi” and more; executing their material like a well-oiled rockabilly machine. With the exception of one excited fan who was doing a belly flop-walk routine in front of the stage, the audience’s response to The Marauders was lukewarm to start. As the group reached the latter stages of their set, though, at least a few more folks were starting to respond, grooving along and showing more appreciation. The Marauders closed out their set with one lone cover tune, their remake of the Misfits’ “Astrozombies.”

The Marauders fire things up at Rock The House.

Chris Lawson of The Marauders.

Ben Dumm of The Marauders.

Abe Weber of The Marauders.

Chris Lawson of The Marauders, working and sitting down on the job at the same time.

Again, Ben Dumm of The Marauders.

Towards the end of The Marauders’ set, Ben Dumm perches atop Chris Lawson’s bass.

Attention then shifted back to Stage B for the next band, Pivot. This was the official comeback performance of Pivot, who temporarily disbanded earlier in the year after drummer Jason Kirchner took over drum duties in Lost Ledny. The reunited line-up of Jason, singer Mark Lux, guitarists Mike Lepley and Jay Snyder and bassist Mike Wozniak introduced a number of new original songs, reprised some of their previous originals, and did several songs from Tool along the way. After their new original “River Entrance,” Mark – decked in face paint – told the audience the story of two young fans who shoed up at Greenhouse Park at 8 AM, determined to see and meet show headliners The Clarks. Mark brought the two youngsters onstage, before The Clarks’ stage manager led the two backstage to meet the group – very cool! With the stagefront lawn area now packed with hundreds of fans, several glow-in-the-dark beach balls started bouncing around atop the crowd. Pivot continued to perform originals such as “The Split” and “Y,” before Mark dedicated Tool’s “Eulogy” in memory of a departed friend, Josh Moore. This was an emotional moment in the set, as Mark choked back tears in his delivery of the song. Pivot continued with several more new original tunes, before closing out their set with “Sober.” And after teasing it several times during the set, Mark finally stage dove out into the audience. This was a passionate, powerful return for Pivot; and their set was delivered with confidence and swagger. Mark declared that this time Pivot was back for good, and that an album was on the horizon sometime in the near future.

A bunch of happy guys, getting set for Pivot’s set at Rock The House.

Mark Lux of Pivot.

Mike Lepley of Pivot.

Mark Lux and Mike Lepley of Pivot.

Jason Kirchner of Pivot.

Mark Lux of Pivot introduces the two diligent youngsters who showed up early to meet The Clarks. After Mark brought them on stage, the two were rewarded by getting to meet The Clarks backstage.

Again, Mike Lepley of Pivot.

Mike Wozniak of Pivot.

Mark Lux of Pivot addresses the crowd from atop the speakers.

Mark Lux leaps from the speakers.

During a break in Pivot’s set, Barry Ritko, Sr. of the IMAC Foundation spoke to the audience to thank them for the support.

Pivot continues their comeback at Rock The House.

Diving into the crowd, Mark Lux of Pivot.

Mark Lux of Pivot enjoys some body-surfing.

Once again, Pivot.

Mike Lepley and Mark Lux of Pivot.

The crowd then returned to Stage A for one final time, as Yum was set to fire up the party. Singer Dan Vavrek, guitarist/singer Darren Buchkp, bassist Shawn Mock and drummer Brian Scalletta instantly had the arriving jam-packed crowd happily dancing and grooving to a wide variety of favorites, spanning current tunes to 70’s and 80’s classics, cartoon themes and more. Yum maintained the party at a feverish pitch through tunes from Blur, Nickelback, Bangles, Cheap Trick, Prince, Big & Rich, Green Day, Violent Femmes, the “Fat Albert” theme and more. The band kept the grooves nearly nonstop for the set’s entirety, and kept the mood festive and happy for the duration – providing the perfect set-up for the day’s final band, The Clarks.

Yum commences the party at Rock The House.

Brian Scalletta of Yum.

Darren Buchko of Yum.

Shawn Mock of Yum.

Again, Darren Buchko of Yum.

Dan Vavrek of Yum.

Again, Yum brings the party at Rock The House.

A huge crowd of revelers, enjoying Yum’s performance at Rock The House.

Yum, rocking the house at Rock The House.

Anticipating the huge crowd surge over towards Stage B to see The Clarks, I made my way over to the stage early (while Yum was still playing) to procure a good vantage point near the stage. Shortly after Yum’s set concluded and most of the Stage A crowd had migrated over, The Clarks took the stage and kicked off with their hit “Better Off Without You.” Singer/guitarist Scott Blasey, guitarist Robert James, bassist Greg Joseph and drummer Dave Minarek played songs from throughout the Clarks’ catalog, including tunes from their latest album, Fast Moving Cars, such as “You Know Everything,” “Hell On Wheels,” “Train” and more; also time-tested favorites such as “Help Me Out,” “Caroline,” “On Saturday,” “Boys Lie,” “Born too Late,” “Penny On The Floor,” and during the encore, an extended version of their signature song, “Cigarette.” Highlights were numerous during The Clarks’ performance, including Robert breaking out his 12-string electric guitar during “Born Too Late,” and demonstrating his skills on both slide and mandolin on “Penny On The Floor,” which became a crowd sing-along. The Clarks also introduced several new tunes along the way, and also performed a version of Badfinger’s “No Matter What.” The vibe rode a constant high throughout the set, with the band and crowd feeding off each other’s energy. Obviously The Clarks are loved in Johnstown, this set assured that Rock The House ended on a feverishly high and happy crescendo.

Of the three Rock The House benefits thus far, this one was the biggest and best yet. It was well organized and coordinated, and the talent slate was the most diverse and varied yet. By day’s end, the crowd was huge, and with the friendly musical vibes generated by The Clarks and Yum, well-behaved. It was announced during the evening that there would indeed be a fourth Rock The House next year on September 16; I only wonder how they are going to top this one!

Greg Joseph of The Clarks.

Scott Blasey of The Clarks.

The Clarks fire up the party at Rock The House.

Dave Minarek of The Clarks.

Robert James of The Clarks.

Again, Dave Minarek of The Clarks.

Again, Scott Blasey of The Clarks.

Once again, Scott Blasey of The Clarks.

Again, Robert James of The Clarks.

The Clarks, capping the day at the Rock The House benefit.

Breaking out the mandolin, Robert James of The Clarks.

One more time, Scott Blasey of The Clarks.

RIBBON GRASS @ PENN NATIONAL PONY LOUNGE, JOHNSTOWN 9/17/05

Although I had to wait in traffic to depart Greenhouse Park following Rock The House, I eventually did escape the parking lot, and proceeded to search through Johnstown for more live entertainment on this Saturday night. I first rode up to Westmont to see if anything was going on at Westmont Gardens, but found the parking lot empty. Although I did not know what else was happening elsewhere in Johnstown, I suddenly recalled that Ribbon Grass was performing at the Penn National Pony Lounge, and I proceeded there to see how the party was going.

The house was packed as Ribbon Grass’ party was going strong in the second set. Singer Terri Single was belting out a version of Madonna’s “Like A Virgin” as I arrived, as husband/guitarist Dave Single, bassist Ron Gallucci and drummer Mark Vatavuk provided the upbeat backdrop to keep the dance floor populace moving. Ribbon Grass then entered a hip-hop passage, with Mark handling the vocals on House Of Pain’s “Jump Around,” and Terri fronting an urban-flavored number as well. The group then sent the set to intermission with The Proclaimers’ “I’m Gonna Be (500 Miles).”

The Pony Lounge remained packed through the break, and soon Ribbon Grass returned for the nightcap, resuming the musical action with the Run D.M.C. take on Aerosmith’s “Walk This Way,” with Mark providing the lead vocal. Dave then fronted the group on Rick Springfield’s “Jessie’s Girl,” and tossed the conversation ball to Terri to sing Cyndi Lauper’s “Girls Just Wanna Have Fun.” After performing Deadeye Dick’s “New Age Girl,” Ribbon Grass powered up into hair-band gear for the medley of Guns’N’Roses’ “Sweet Child O’Mine,” the Ron-fronted edition of Ratt’s “Round and Round” and Kiss’ “Rock and Roll All Nite.” Dave then fronted the group’s rendition of Sublime’s “What I Got,” before Ribbon Grass welcomed a guest singer, Jim Jacoby, on stage to end the set with Billy Joel’s “Piano Man.” The Pony Lounge crowd didn’t want the party to end yet, though, and loud calls for an encore brought the reward of the night-ending rendition of Alanis Morisette’s “You Oughta Know.”

It was a happy-go-lucky Ribbon Grass party, with band and crowd fueling each other’s energy. Ribbon Grass was vocally strong, with all four members carrying their respective song workloads well, and instrumentally the group was on target and together. After the good time I had at Rock The House, Ribbon Grass’ party was just the right way to cap a successful day on the Johnstown side of the mountain.

Ribbon Grass parties down at the Pony Lounge.

Special guest Jim Jacoby, flanked by Terri and Dave Single of Ribbon Grass.

Again, Jim Jacoby, guest singing with Ribbon Grass.

Dave Single of Ribbon Grass.

Terri Single of Ribbon Grass.

Ron Gallucci of Ribbon Grass.

Ribbon Grass and happy fans at the Pony Lounge.

Terri Single of Ribbon Grass.

ORO PURO @ ITALIAN FOOD FESTIVAL, DELGROSSO’S AMUSEMENT PARK, TIPTON 9/18/05

Among the succession of late summer/early fall events I routinely take in every year is the annual Italian Food Festival at Delgrosso’s Park in Tipton. Italian food connoisseur that I am, I usually attend this every year to gorge on anything from lasagna to gnocci to stuffed shells and more, in the company of lots of other people who also enjoy Italian foods and celebrating Italian heritage.

Although for many years I did this event with my family, in recent years I’ve attended with friends. This year, I partook in the Italian Food Festival with “Big Jim” Ricotta, the Right Honorable Guv’nor Jesse and Sparky D’Engineer. Big Jim and I arrived earlier and did our gorging at the The Kitchens of DelGrosso pavilion, doing the pasta sampler platter. We then walked around the park area for a bit, before heading to the music area to take in some of the traditional Italian music performed each year. We watched Guido Zambotti sing and play accordion; Guido is a longtime fixture at this event who sings traditional Italian folk songs, many in the native tongue. Soon Jesse and Sparky arrived, procured their food items and joined us.

Usually every year, there is a showcase group that entertains at the Italian Food Festival; either a full music performance group, a combination music and dance ensemble, or another larger-scale Italian-themed group. This year it was “The Sensational Italian Show Band,” Oro Puro (“Pure Gold”). Based out of the Cleveland area (but with 3 of the group’s 4 members from the old country), Oro Puro performed a variety of modern Italian favorites with a bold, uptempo electric feel, and mixed in some familiar classic rocking favorites along the way – cool! So along with midtempo Italian faves like “Volare” and “Gloria” (the Laura Branigan hit, actually written by an Italian songwriter), Oro Puro also broke out renditions of CCR’s “Proud Mary” and Bob Dylan’s “Knockin’ On Heaven’s Door.”

Oro Puro sounded quite good, these guys were nails on their instruments – keyboardist/singer Salvatore Pulito (the lone American-born member), lead singer/guitarist Basilio Monastra, drummer/singer Angelo Pezzaniti and bassist Francesco Stavole were all sturdy players and good singers, and their performance and energy level rode at a constant high. I also took note of Francesco’s bass, a beautiful instrument done in Italian green and red, with gold/brass inlay for the knobs; a sharp-looking instrument!

After Oro Puro finished their performance, we took in more of the park and observed as Guv’nor Jesse rode some rides, including DelGrosso’s rollercoaster. Given that Jesse ate a large amount of Italian food beforehand, we made sure to stand clear of any possible trajectory of projectile Italian vomit from the rollercoaster. Fortunately, no such eruptions occurred.

Good Italian food, a quality Italian show band, beautiful weather and hanging out with friends made this a particularly memorable September Sunday afternoon.

Oro Puro, entertaining at DelGrosso’s Park’s annual Italian Food Festival.

A seated crowd takes in Oro Puro’s performance.

I didn’t have zoom capabilities this afternoon, otherwise I could have provided a closer-up view of Francesco Stavole’s Italian-colored bass.

Guv’nor Jesse, riding the rides at DelGrosso’s Park.

Guv’nor Jesse on the rollercoaster. No Italian food was regurgitated during the taking of this shot.

BAD DAZE @ PELLEGRINE’S, ALTOONA 9/18/05

After completing my Sunday evening “Backyard Rocker” duties, I headed to Pellegrine’s to finish out my weekend, with Bad Daze providing the tunes. Although not heavily populated, a mid-sized crowd was present as I arrived during Bad Daze’s second set. Dance floor activity was slow early on, and frontman Rob Carolus was hustling about the stage and dance floor, trying to encourage activity. Bad Daze rocked through numbers from Green Day, AC/DC, Puddle Of Mudd, Bon Jovi, Rob Zombie and more en route to their second intermission of the night.

Fifteen minutes later, Bad Daze was back onstage and back in action. Jet’s “Cold Hard Bitch” resumed the tunes; and Rob, guitarist Kenny Murdick, bassist Paul Rainey and drummer Randy Wilson went back to work to try to get Pelly’s dance floor filled. They had better luck during this set, as the cumulative effects of beer, tunes and general attrition melted the ice and drew some folks onto the floor. Bad Daze fueled the dance floor action with tunes from Good Charlotte, Nickelback, some requested Poison, Disturbed, Drowning Pool, Static X and more. With the dance floor responding to the heavier fare, Bad Daze finished out the night in a harder vein, with Pantera’s “Walk,” Metallica’s “Enter Sandman” and Megadeth’s “Symphony of Destruction” closing out the night.

Once again, Bad Daze sounded in good form, Paul, Kenny and Randy were airtight and sharp on their delivery, and Rob delivered equal edge on his vocals. The pacing was tight and the presentation action-packed. And it was relieving to see Pelly;s finally wake up and join the party during the nightcap set. Bad Daze’s show was too good this night to be ignored.

It will take more shows for ‘Toona nation to warm up to this band more, but based on this night, Bad Daze is making steady progress in winning this venue and crowd over.

Bad Daze, rocking the weekend to a close at Pellegrine’s.

Again, Bad Daze.

One fan hooks some horns for Bad Daze.

Bad Daze, continuing to bring the party at Pellegrine’s.

Kenny Murdick of Bad Daze.

Once again, Kenny Murdick of Bad Daze.

Another gratuitous shot of Kenny Murdick of Bad Daze; “Old Skool” is in session!

Kenny Murdick and Rob Carolus of Bad Daze.

Again, Kenny Murdick and Rob Carolus of Bad Daze.

Randy Wilson of Bad Daze.

Rob Carolus of Bad Daze.

Paul Rainey of Bad Daze.

Again, Randy Wilson of Bad Daze.

Again, Paul Rainey of Bad Daze.

Once again, Randy Wilson of Bad Daze.
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