AMPLIFIED HEET @ THE HITCHING POST, ALTOONA 6/10/04
Day job duties resulted in another late start this Thursday night, and my weekend activities convened at the Hitching Post with acoustic decadence via Amplified Heet.
The complete trio was in action this night, as guitarist/sage Jules Bianchini, bassist Andy Mathers and harmonicat Adam Brown were all on the stage and eager to please. After Jules presented yours truly with the ‘traditional’ pre-set snakebite (something about the band sounding better if I consumed it first), he and Amplified Heet kicked into Jimmy Buffett’s “Why Don’t We Get Drunk,” with Jules joyfully propositioning his bandmates’ female siblings in the audience. This was followed by Hank Williams Jr.’s “Family Tradition,” as Jules and the band bantered about sister-swapping. The trio then performed Social Distortion’s “Ball and Chain,” before introducing their reggae-flavored ode to a smoke-able substance, “Sweet Cheeba.” This turned into a ‘sweet’ double-shot, as the group immediately followed with Lou Reed’s “Sweet Jane,” during which a bachelorette party celebrant stepped up to the stage and did a snakebite shot. The show then ended with a rendition of the Doors’ “Roadhouse Blues,” with Adam ripping out some heated harmonica fireworks.
As you may have surmised given the above description, this was a pretty crazy show. Amplified Heet played it all loose and laid-back, sounding together on their instruments but keeping the mood lighthearted and fun. This show was about kicking back and having fun, and making a few people laugh along the way. The arrival of the bachelorette party late in the show added to the atmosphere and general craziness to the night.
Amplified Heet lights it up at the Hitching Post.
Jules Bianchini of Amplified Heet.
Adam Brown and Jules Bianchini of Amplified Heet.
Amplified Heet, achieving meltdown at The Hitching Post.
Andy Mathers of Amplified Heet.
FELIX & THE HURRICANES @ PETER C’S, ALTOONA 6/10/04
From the Hitching Post, I headed down 7th Avenue to Peter C’s to finish the night with some Thursday Hurricaning.
A good-sized crowd was already in the house and looking on. This week’s Hurricanes episode was in the midst of the Allman Brothers’ “No One to Run With” as I arrived. The group then introduced the original rocker “Little Ears,” which was marking its third week at Number One at internet radio station PaXposure (www.paxposure.com). Penned by bassist Jeff Clapper, Jeff took the spotlight here, singing and churning out some sinister bottom end, while Hurricaniac Harry Bottoms supplied backing vocals. The Hurricanes then performed Ted Nugent’s “Stranglehold,” with lead ‘Cane Felix Kos generating some interesting guitar effects as he soloed. Marshall Tucker Band’s “Can’t You See” drew some slow dancers onto Peter C’s stagefront dance floor. Business then picked up, as the bachelorette party that had stopped at the Hitching Post earlier arrived at Peter C’s. The bachelorette herself came up to the stage and presented the band with Wild Turkey shots; and during the ensuing rendition of “Keep On Rockin,’” Hurricane Felix responded by firing off turkey calls on his axe. The party continued with tunes from Stealer’s Wheel, ZZ Top and John Mellencamp; before the Hurricanes brought the night to a close with Grand Funk Railroad’s “I’m Your Captain (Closer to Home).” The Grand Funk epic ended by segueing into a Jimi Hendrix “Third Stone from the Sun” finish, and a Felix guitar distortion jam display – because the show ain’t over until Mr. Felix says it’s over!
It was a typically strong Hurricanes performance, with the bachelorette party plot twist adding fuel to the fire (namely, the Wild Turkey shots) and making for an even more freewheeling evening.
The Hurricanes rock a busy dance floor at Peter C’s.
Jeff Clapper of Felix & the Hurricanes.
Bob Watters of Felix & the Hurricanes.
Again, Hurricane Bob.
Felix Kos of the Hurricanes.
”The Pickle & Cheese Girls,” having fun Hurricaning.
Celebrating Hurricanes and beer on a Thursday night…
LONE WOLF @ THE HITCHING POST, ALTOONA 6/11/04
This Friday night found me back at the Hitching Post to check in with Lone Wolf, a.k.a. Jeff Renner and his cyber ensemble. I had last seen Lone Wolf onstage last summer at the annual “End Of Summer Jam” benefit in Cresson; this was the first time in a long time I had the opportunity to catch Lone Wolf in the small bar/club setting.
Singing and playing his Flying V against a programmed midi backdrop, Lone Wolf played a mostly classic rock-geared set list, with an occasional newer song or blues number thrown in. Lone Wolf was in the midst of his second set as I arrived, doing John Mellencamp’s “Hurts So Good.” He followed with Cheap Trick’s “I Want You to Want Me,” before he and his cyber array shifted Latin for Santana’s “Smooth.” Lone Wolf’s better half – a.k.a. “She Wolf” – then stepped up to the lead mic and sang Pat Benatar’s “Hit Me with Your Best Shot.” Lone Wolf then continued with Ian Hunter/Great White’s “Once Bitten Twice Shy,” David Bowie’s “Space Oddity” and Eric Clapton’s “After Midnight,” before ending the set with Pink Floyd’s “Comfortably Numb.”
Lone Wolf’s presentation was interesting. Jeff’s voice and guitar work were in good form, and were always in the forefront. The digital midi gear served to supplement Jeff’s vocals and guitar work, augmenting the sound with various effects such as digital vocal harmonizing and more. Jeff’s array also controlled the lighting, with everything geared to operate off rhythms and other cues. In all, Lone Wolf’s was a pretty interesting set-up, serving to provide a pseudo arena-rock styled presentation to a small bar setting.
Soon Lone Wolf returned to action, kicking off with a version of Judas Priest’s “Breaking the Law,” before switching into blues mode with “King Bee.” One of Jeff’s fortes has always been AC/DC, and he proved it again with his version AC/DC’s “The Jack,” as he evoked the Bon Scott howl and the frenzied Angus-styled guitarwork. From there, Lone Wolf performed Ram Jam/Leadbelly’s “Black Betty,” Blink 182's “All The Small Things” and the Ramones’ “I Wanna Be Sedated.” After slowing things down briefly for Stone Temple Pilots’ “Plush,” Lone Wolf entered the homestretch run, performing The Who’s “Baba O’Reilly,” Santana’s “Black Magic Woman,” Black Sabbath’s “Iron Man” and the finale, The Who’s “Won’t Get Fooled Again.”
As solo performers go, Jeff Renner has found a unique niche with Lone Wolf, bringing a more grandiose vein of rock to the small stage. In doing so, Jeff presents a different repertoire from coustic acts, and also provides rock at a comfortable enough volume that patrons can carry on conversations and not be overridden. This presentation also enables Jeff to keep his voice and guitar skills sharp until the point where he does resume with a full band situation. At the very least, Lone Wolf provides something different and unique on area stages.
Jeff Renner, a.k.a. Lone Wolf, rocking at the Hitching Post.
Once again, Lone Wolf.
Performing alongside his digital bandmates, Lone Wolf.
RUNNING WITH SCISSORS @ ALDO’S, ALTOONA 6/11/04
Since there was still a little bit of time left this night for bandwatching, I headed to Aldo’s to catch the last few songs of Running With Scissors.
Now six members strong with the addition of former Xpendable frontman Matt Watson, Running With Scissors finished out the night with modern metal covers, including Rage Against The Machine's "Killing in the Name," System Of A Down's "Toxicity," Static X's "Push It" and more.
Although I didn't get to see much of their show, what I did hear from Running With Scissors was solid. Guitarists Jeremiah Shafer and Ed Bustamante, bassist Dylan Hooper and drummer D.J. Dearmitt were appropriately hard-hitting and together; and the two Matt's, Watson and Watkins (who also plays keys), generated plenty of maelstrom on the microphones, from straight singing to agitated barks and rants.
According to Matt Watson, the group is presently concerned with getting out on stage and performing everybody's favorites, to develop their fan base and tighten up as a band. Matt said the band is in the process of starting to develop original songs, and should start introducing them at shows soon.
It was a predictably light crowd at Aldo's this night, but those in attendance were paying attention and cheering as Running With Scissors finished out the night. What I saw of this group was good enough that I expect to return and catch a full night of Running With Scissors sometime very soon.
Running With Scissors, raging against the machine at Aldo’s.
Once again, Running With Scissors.
SWITCHBACK/IN @ CITY LIMITS, ALTOONA 6/12/04
As I have mentioned here before, the lead singer is probably the most difficult piece of any band puzzle to replace. The singer is usually the most identifiable component of most bands, and the singer’s style and personality usually defines that of the band he/she sings for. So when the singer leaves, the identity of the band changes.
History, of course, bears this out. Consider all the current controversy regarding the Van Halen reunion tour with Sammy Hagar. Diehard David Lee Roth fans cried sacrilege when Van Halen announced the reunion with Sammy Hagar, Roth’s replacement. (I like Van Hagar, so I applauded the reunion tour, but not enough to shell out the ticket price they are charging.) There are still diehard Bon Scott fans who still do not yet accept Brian Johnson as the singer for AC/DC. And look at the trouble Iron Maiden ran into when Bruce Dickinson left the group and Blayze Bayley tried to replace him…disaster!
In local music, it is much the same deal. If a band experiences a change of singers, there is no guarantee the new singer will be accepted by the band’s fan base. For the Poptart Monkeys, it was a challenge to try to find a replacement for charismatic frontman Paul Reddon last year, but they succeeded in finding a singer in Tyson Clark with a similar personality, presentation and fun charisma, and the changeover was smooth. Conversely, when Eric Klein left UUU to form LiQuid A a few years ago, it took a little while for Eric’s replacement, Jason, to catch on with UUU fans.
Now it’s Stept On’s turn. A recent situation resulted in singer Chuck Budzina’s ouster from the band; the remaining three members – lone Stept On founding member Matt Day, drummer Josh Hetrick and bassist Art Armani – decided upon a new singer and a new beginning. The new singer is former Graphic frontman Greg Locke, and the new beginning is a name change to In, and as demonstrated in the group’s debut performance at City Limits this night, a slight change in musical direction. Would Stept On fans buy the new incarnation of the group? This night would provide the first indicators.
First, there was an opening band, Switchback. From Selinsgrove, Switchback is the band Josh Hetrick drummed for before joining Stept On. These days a trio featuring singer/guitarist Bill Skellington, bassist Brady and drummer Matt, Switchback performed an interesting set combining terse, heavy, tribal-flavored original rock with select covers. Their set was heavy, off the wall and unpredictable. The originals were aggressive, choppy, and freewheeling in the vein of Primus or Fantomas, with an emphasis on rigid metallic passages interwoven with unexpected side journeys. The group’s selection of cover material complemented the direction of their originals, as the group performed White Zombie’s “Thunder Kiss ’65,” Deftones’ “My Own Summer (Shove It),” System of a Down’s “Prison Song,” Primus’ “My Name Is Mud” and Nine Inch Nails’ “Closer.” Although probably over the heads of at least some of the audience, Switchback’s set drew some applause from the smallish group of City Limits onlookers.
A few more folks trickled into the venue during intermission between bands, and a healthy mid-sized crowd was in the house by the time In made their official debut.
In commenced their onstage life by launching into Fuel’s “Jesus or a Gun,” quickly establishing that the instrumental personality of this band remains largely intact. Matt Day’s clever guitarwork and use of effects, Josh Hetrick’s slamming drumbeats and Art Armani’s stylish basswork still clicked as expected. New frontman Greg Locke immediately took charge, parading the stagefront area and belting out his voice with ample power and edge. The group shifted heavier for Disturbed’s “Sickness,” before taking things in a more mainstream direction with Harvey Danger’s “Flagpole Sitta.” As In’s first set continued to unfold, they defined their new sound and direction as less heavier than their previous band incarnation, but still contemporary with current rock and 90’s favorites from Drowning Pool, Stone Temple Pilots, Green Day, Eve 6, and Rage Against the Machine’s “Know Your Enemy” to finish the set.
In’s first set went over well with most of the City Limits audience, and a number of fans quickly took to the dance floor to cheer on Greg and the group’s new inception. One small group of fans did make their way to the door about 4 songs in, with one lady remarking to me that while she thought Greg was okay, she wanted Chuck back. People in Hell want ice water, too. And in speaking with band members and others affiliated with the band during the course of the night, In knew coming into this show that the new beginning and transition would likely have some casualties along the way.
In’s nightcap set featured more current and 90’s rock favorites, plus a few unexpected twists and turns, and even a previous Stept On original song. Action resumed with Soundgarden’s “Outshined,” with Greg again demonstrating good power, range, and in-your-face intensity. The group then shifted to Jimmy Eats World’s “The Middle,” and a surprise rocking treatment of Elton John’s “I’m Still Standing.” The group continued with numbers from Nirvana, Smile Empty Soul, Puddle of Mudd and Tool, before breaking out a raucous version of The Sweet’s “Ballroom Blitz.” Guitarist Matt then answered the question that many Stept On fans had been wondering, regarding the status of the group’s EP The Philadelphia Experiment, whose release was scuttled by the sudden departure of Chuck. Matt assured the audience that the CD would soon see the light of day, and In proceeded to perform a song from that CD, “By God.” The group then ended the set with a Korn tune, and answered audience encore demands with another Korn number.
In all, In’s debut was a successful one. Greg Locke seemed to mesh well with the remnants of Stept On, and the new incarnation demonstrated confidence and firepower. It might take some time and a few shows for this group to fully realize their new direction and focus, but based on what I saw, the components are there for this band to get up to speed fairly quickly. The core Stept On fans in the house seemed to accept the new band with open arms. A few fans of Chuck and Stept On’s heavier direction might fall off the wagon along the way, but I expect this group will win new fans as they continue their quest and put more shows under their belts. For In, this night was a good beginning.
Switchback opens up the night at City Limits.
Bill Skellington of Switchback.
Greg Locke of In.
Tired of being Stept On, Matt Day of In.
Art Armani of In.
In makes their premiere at City Limits.
Again, Greg Locke of In.
Josh Hetrick of In.
Again, Matt Day of In.
Once again, Greg Locke of In.
Again, Josh Hetrick of In.
Once again, Matt Day of In.
Again, Art Armani of In.
AXUM @ PELLEGRINE’S, ALTOONA 6/13/04
For the second Sunday in a row, Pellegrine’s had a band cancel on them early in the week. That group’s cancellation resulted in another group’s gain, as Axum would make their first Pelly’s appearance in a fill-in role. As Boost did in a similar situation the week before, Axum made the most of it.
Pelly's had a good crowd on hand as I first arrived, and Axum was into their second set of the evening. Singer/guitarist Tim McKenna, lead guitarist Don Shiner, bassist Matt Croyle and drummer Chris Monteagudo were still getting a read on the Pelly's audience at this point, throwing a variety of song material off of them and seeing what stuck. The group darted between current, classic rock and 80's hits. After Lynyrd Skynyrd's "Sweet Home Alabama," Matt provided the lead bark on the Beastie Boys' "Fight for Your Right (to Party)." The group continued with recent favorites from Toadies, Sublime and Lit, before Don sang lead on Duran Duran's "Hungry Like the Wolf." Soft Cell's "Tainted Love" was followed by Korn's "Got The Life;" before drummer Chris and Tim swapped positions and Chris sang lead on The White Stripes' "Seven Nation Army." After a few more songs, Axum ended the set with an original song off their latest album Like So Much Therapy, "Avenues."
Axum sounded sharp and was in good form thus far. Instrumentally they were tight and energetic, maintaining an airtight pace and generating song after song with few pauses. Axum's volume seemed a bit excessive during this set, perhaps a reason why the Pelly's crowd was hesitant to take to the dance floor right away.
But by the time Axum launched their third set, though, the Pelly's crowd was getting over their shyness, and the dance floor started to get busier. Axum reconvened with Tool's "Sober," and quickly started filling the stagefront dance floor with tunes from Blur, Fuel, Def Leppard, the EMF, Bon Jovi, Sublime and 311. Again Axum's pacing was airtight, and their presentation exciting and upbeat. By set's end, Axum had Pelly's dance floor full and firing, and the crowd started demanding an encore as 311's "Down" ended. Axum responded with one more song, a version of Pearl Jam's "Alive."
So while it took a little while for Axum to bring Pellegrine's crowd to life; once they did it was a party, and Axum had clearly won the audience by night's end. A good show overall, and it's likely Axum will be making more Sunday night visits to this town in the near future, based on their success this night.
Don Shiner of Axum.
Axum, making their Pellegrine’s debut.
Again, Don Shiner of Axum.
Again, Axum lights it up onstage at Pellegrine’s.
Don Shiner and Tim McKenna of Axum.
With more people partaking on the dance floor, Axum.
Tim McKenna of Axum.
Matt Croyle of Axum.
Tim McKenna of Axum.
Again, Don Shiner and Tim McKenna of Axum.
Again, Tim McKenna of Axum.
Two Pellegrine’s dance floor participants want their photo taken. No problem…
