BRIDGES AND A BOTTLE/KATSU/JARED CAMPBELL @ CROWBAR, STATE COLLEGE 12/8/04
Over the past several months, I have become increasingly aware of the buzz building over Harrisburg-based rock band Bridges And A Bottle. This band was one of the names that came up in conversation frequently at last year's Millennium Music Conference in Harrisburg, and there has been music industry interest in this group. The opportunity presented itself for me to discover this group when they were slated to appear on a bill with Katsu and Jared Campbell at Crowbar in State College.
It was a Wednesday night, but I was able to arrange my schedule so I could escape the workplace early and do the roadtrip to Crowbar. I arrived midway through the set of the first performer of the night, Jared Campbell. I actually didn't get to see Jared's set as much as overhear his last three songs from Crowbar's lower level; the result of running into somebody I knew upon entering Crowbar and shooting the bull for a few minutes. What I did hear of Jared - the last three songs - sounded good; and I could hear Jared strumming guitar and singing with power, passion and clarity. From Binghamton, New York, Jared recently issued a studio debut album called Rest Out, and has been performing and working closely with The Badlees. What I heard of Jared's performance was strong enough that I'd definitely like to catch a full performance from him sometime soon.
Besides Bridges And A Bottle, another incentive for me to travel to this bill was to check in with Katsu. It had been over a year and a half since I last saw this group, dating back to the 2003 Millenium Music Conference. Katsu recently released their second full-length CD, Disaster, so I was due for an update.
Katsu – these days singer/guitarist Dennis Fallon, guitarist Mark Klein, bassist Frank Yarnal, and new drummer Josh Troup – mixed songs from the new album with established Katsu favorites from their first album, Gorgeous Mess, plus other highlights. The group's style remains upbeat, rowdy modern rock and roll, with occasional forays into funk, country and rockabilly flavors along the way. As their set unfolded, Katsu's new songs appeared to be slightly faster and edgier, but still consistent with their previous output. Dennis remained the powerful midranged, charismatic frontman; who kept the audience attention front and center on the stage. The group opened with their crowdpleaser, "Walkaway," and also did "Working Class Blues" and "Leave Me" from Gorgeous Mess. From the new Disaster CD, Katsu showcased songs such as "Change" and "Down the Line." An additional highlight of the set was when Katsu invited Jared Campbell to come back on stage to sing and play harmonica on a rendition of Oasis' "Wonderwall." The hometown State College audience cheered appreciation for Katsu after each song; and in all, it was a charged, fun set.
With special guest Jared Campbell (on right, with glasses), Katsu rocks the Crowbar.
Once again, Katsu.
Dennis Fallon of Katsu.
Frank Yarnal of Katsu.
Crowbar was lightly populated this night, with a small audience in the house; the word was that many students had term papers due this week and finals shortly thereafter, and were hitting the books rather than out checking out bars and music, to the chagrin of the performers this night. During the intermission between Katsu and Bridges And A Bottle, a congregation of mostly female fans assembled near the front of the stage; Bridges And a Bottle obviously had some fans in the house to show their support.
Soon Bridges And A Bottle was ready to go. Singers/guitarists Justin and Adam Smith, lead guitarist Dan Yucha, drummer Pat Besecker and bassist Dan Lucas demonstrated their brand of driving, melody-based modern rock, including numerous songs from their new self-titled album. The Smith brothers were the primary focal point of the band, as they demonstrated strong, passionate singing voices and crisp, tight harmonies. Pat was a powerhouse drummer who wasn’t afraid to put a beating on his kit, this guy could pound! Bridges And A Bottle’s songs were tight, direct and to the point; with infectious melodies with catchy choruses, tempered with a slight coarseness and sandy edge. This band was efficient; not a note was wasted, get in, get out. Songs that immediately stood out to me included the escalating intensity of “Pistol,” “Power Play” (sent out to the vociferous throng of ladies who followed them to State College from Harrisburg), “Carousel” with its hints of Smashing Pumpkins’ “Today,” “18” (NOT the Alice Cooper number), “Changes,” “Ticket,” the reflective “Old City Train” and the show-ending “Storm” with its driving, agitated homestretch. The group also included a fresh update of the Beatles’ “Helter Skelter.” The group’s execution and pacing was tight, with little down time between songs; you could tell this band was focused and knew what they were doing. At least judging by this set, the hype surrounding Bridges And A Bottle seems to be justified; and if the planets align properly, perhaps this band could be one of the next to shift music industry focus back on Pennsylvania.
Light crowd notwithstanding, this was a good show, offering three unique and distinct performers showcasing their respective brands of music. Jared Campbell, Katsu and Bridges And A Bottle each represented themselves well; and stated their arguments for being names we’ll need to continue to keep our eyes on in the coming months.
Bridges And A Bottle, stating their case onstage at Crowbar.
Justin and Adam Smith of Bridges And A Bottle.
Once again, Bridges And A Bottle.
Once again, the Smith brothers of Bridges And A Bottle.
With a legion of ladies to cheer them on, Bridges And A Bottle.
Pat Besecher of Bridges And A Bottle.
Dan Lucas of Bridges And A Bottle.
Dan Yucha of Bridges And A Bottle.
One more time, Bridges And A Bottle.
FELIX & THE HURRICANES @ PETER C’S, ALTOONA 12/9/04
“Uh Oh! What’s this?” This was the thought going through my mind as I parked in the King’s Family Restaurant parking lot across 6th Avenue from Peter C’s, and saw three police cars parked outside the venue with lights on. Was the noise police picking on Peter C’s again? Or did something nasty happen there to prompt a visit from law enforcement? Curiosity and a need to get my weekly Hurricanes fix triumphed over my apprehension, and I headed into Peter C’s to see what was up.
It turned out that the police were there to deal with an unruly patron who caused a ruckus when shown the door, and the incident largely did not impact any of the Hurricanes’ merrymaking inside. When I mentioned it to the band, they hadn’t even known there were any police in the vicinity!
For Felix, Bob and Jeff, it was business as usual, as they fired through some Southern and country-flavored sounds to wrap up their second set. Blackfoot’s “Train Train,” Lynyrd Skynyrd’s “Simple Man” (with some tasty and intricate Felix slide work on the guitar), the s**tstompin’ “Rocky Top” into “Dueling Banjos,” and Stevie Ray Vaughan’s “Look At Little Sister” to end the set.
A friendly Hurricaniac presented two Wild Turkey shots to the band as they took the stage for the third set, prompting Felix to answer with a turkey call on his guitar. The trio then resumed the music with Eric Clapton’s “After Midnight” and “Cocaine,” and Hurricane Jeff belting out the lead voice on Van Morrison’s “Brown Eyed Girl,” which triggered some dance floor activity. The ‘Canes then broke out one of their early originals I don’t often hear them do, “I Just Had to Play The Blues” from their debut CD, The Feeling. This segued into Willie Dixon/Stevie Ray Vaughan’s “Let Me Love You Baby,” and with the clock approaching 2 AM, Peter C’s leading lady Jodie K signaled ‘no more’ to the band, and the night was over.
Other than the police outside, this was a pretty standard Hurricanes Thursday night. The band sounded good, the crowd enjoyed it, it was a party!
Peter C’s CEO Bandit receives a back scratch during the Hurricanes’ party.
REVOLUTIONARY FRONT @ ALDO’S, ALTOONA 12/10/04
A prominent local music veteran, former Cut The Mustard voice Donny Burns, once referred to playing a show on a given night as “going to battle.” Over the course of seeing live music in action over the years, I have come to understand that correlation. For three sets, a band or artist can be waging battle to win the night over a new venue, a new or tough-to-convince audience, or any other number of circumstances that can affect a given night’s show. Victories in such battles can range from easy, convincing wins where everything goes well and the audience is eating out of your hand by the end of the first set; to difficult, tooth-and-nail wins where audiences are won one fan at a time, one song at a time, and under less than ideal conditions.
For Altoona punk-core-metalists Revolutionary Front, this night at Aldo’s was one of those tough, hard-fought victories.
Formed from the ashes of the former Dysfunktion; singer Brian Stotler, guitarists Joe Schratzenmeier and George Phillips, bassist Josh Brubaker and drummer Dustin Lanzendorfer played on and scrapped under less than ideal circumstances, and ultimately turned this night at Aldo’s into a victory. For starters, this band wasn’t originally scheduled to play this night, and was the beneficiary of the previously-scheduled band canceling out earlier in the week. Revolutionary Front got the call to substitute, and although the group normally plays two- or multi-band situations and wasn’t accustomed to a three-set gig, they accepted the opportunity to play.
I was not aware of the change of bands as I arrived at Aldo’s this night, and first thought that Revolutionary Front was opening this show for the scheduled band. And as I entered Aldo’s very shortly into the group’s first set, I discovered a very sparse audience in the early going, comprised of mostly band girlfriends/wives and a handful of random observers – at this point numbering only around ten people. At this point, I was thinking this show might be over by midnight, unless the audience increased.
Revolutionary Front showcased a number of original songs, and were firing off a high-speed punkish assault as I procured my first brew and seated myself near the stage. The group introduced several more originals: another high-speed punk rocker called “Titty Twister,” an angrier, raging metallic number called “Vengence,” and a song the group resurrected from their Dysfunktion-al past, “Sorry.” At least early on, I was noticing that Revolutionary Front sounded sharper and cleaner than their Dysfunktion past, and I was liking what I was hearing thus far. The group introduced a NOFX number, “The Brews,” followed by a Bad Religion tune, “I Want to Conquer the World.” Frontman Brian introduced another original tune, the driving “Premeditated” with some catchy gang-shout choruses, followed by The Offspring’s “Genocide” and a Misfits number to end the first set.
The second set featured more of the same, as Revolutionary Front showcased more original tunes, mixed with a few select covers. One of those covers, NOFX’s “My Vagina,” kicked things off, followed by a punked-up read of Chuck Berry’s “Johnny B. Goode.” Revolutionary Front introduced another of their originals, “Killing Joke,” before offering a punk/hardcore-flavored take on Metallica’s “Four Horsemen.” Another original tune, the rapidfire “Watch the Waves,” followed, before Revolutionary Front broke out two Hatebreed numbers, “Conceived Through An Act of Violence” and “Last Breath.” At this point, the group again dug into their Dysfunktion archives for the rap/metal-leaning “Live Learn,” followed by a current original, “The Mark,” to close the set.
Although a few more people walked in the door during the course of Revolutionary Front’s show thus far, Aldo’s was very much still empty except for yours truly, Aldo and his staff, and a few band friends and girlfriends (including the group’s built-in heckler, who shouted good-natured abuse at the group as they performed). During the third set, though, this would quickly change.
Revolutionary Front kicked off their third set with three original songs: “Hell to Pay,” “God’s Kingdom,” and a song they described as being ‘anti-Nickelback,’ called “Egotistical.” The group performed several hardcore and punk covers I didn’t recognize, soon arriving at another original, the humorous punk-flavored “High School Football Hero.” Several ladies stepped onto the dance floor and began doing some rowdy kick-dancing moves. More people started arriving at Aldo’s at this point; a number of them appeared to be college-aged, suggesting that they were from nearby Penn State Altoona. Revolutionary Front, reaching the late stages of their show, did another original tune, the driving hardcore punk-flavored “Forbidden Zone.” The group was reaching the end of their song arsenal (remember, these guys hadn’t done a full three-set night before), and with more audience now watching their performance, the group was reprising some numbers they performed earlier. The group re-did “Vengence,” and then dedicated another new original song, “Dark December Morning,” in memory of recently slain Damageplan/Pantera guitarist Dimebag Darrell. By request, the group repeated “My Vagina,” and they introduced a new, yet untitled, punkish original tune. The group ended the set with another Misfits cover, with Brian announcing “I hope you enjoyed the show. If not, f**k you, because we took your money anyway!”
But now with some population inside Aldo’s, people started calling out for an encore; and Revolutionary Front had to brainstorm for some more tunes to play. After some deliberation, the group once again dug into their Dysfunktion-al past for “Bus;” and after demands for another encore, ended the night with another repeat tune, Hatebreed’s “Last Breath.” This song saw the heaviest dance floor activity of the night, as several fans, particularly women, were moshing crazily near the stage.
From an empty house in the early going to a busy room and ladies moshing at the end; Revolutionary Front had gone to battle and scrapped out a win. Along the way, the group showed more tightness and focus than their previous band, and their original song material displayed more fire and edge. Overall, this was a good show, and Revolutionary Front likely won a few new fans by night’s end.
George Phillips, Brian Stotler and Josh Brubaker of Revolutionary Front.
Once again, Revolutionary Front.
Brian Stotler of Revolutionary Front.
Again, Revolutionary Front, stating their case onstage at Aldo’s.
Josh Brubaker and Joe Schratzenmeier of Revolutionary Front.
Once again, Josh and Joe of Revolutionary Front.
Dustin Lanzendorfer of Revolutionary Front.
BOOST @ 4D’S LOUNGE, ALTOONA 12/11/04
The holiday season is one of those times of the year when you can’t predict how crowds are going to be on any given night, outside of perhaps New Year’s Eve. There are company Christmas parties, family get-togethers, shopping, and other holiday-related factors that can affect how many people step out to support live music events this time of year.
Boost learned that fact this night at the 4D’s Lounge. As I arrived prior to the start of the group’s second set, attendance was pretty light by 4D’s Saturday night standards. I would later learn that there were only six people in the house when Boost first took the stage, so the crowd was bigger than it was earlier, but the Dees was by no means crowded.
At least early on, Boost wasn’t helping their own cause to keep the audience, as their first intermission was a lengthy one. One woman at a next-door table started complaining to me about how long the band was on break. Sorry, ma’am, I only write about the bands, I don’t control the lengths of their breaks!
Eventually, though – about 35 minutes after I arrived – Boost took the stage. Singer/bassist Keith Niedermeier, singer/rhythm guitarist Bart Hipp, lead guitarist/singer Matt Seno and drummer Jim Logrando reconvened the music with Georgia Satellites’ “Keep Your Hands to Yourself,” and proceeded to mix current and classic rock/party tune favorites. Keith and Bart swapped lead voice duties on Cheap Trick’s “I Want You to Want Me,” Gin Blossoms’ “Hey Jealousy” and Wheatus’ “Teenage Dirtbag,” with Matt providing crisp backing harmonies. A few dancers took to the floor during these songs, including a particularly attractive lady in a referee-like zebra-like blouse, prompting Keith to comment, “If I was in Foot Locker, I’d be leaving with 25 pairs of Nikes!” After Jimmy Eats World’s “The Middle,” some audience participation, as Boost polled the audience on what decade the band should play their next song from, the 60’s, 70’s, 80’s, 90’s or 2000’s. It was close, but the audience consensus leaned towards the 80’s, so Boost broke out Violent Femmes’ “Blister In The Sun.” The group continued in the 80’s vein for versions of Rick Springfield’s “Jessie’s Girl” and Bryan Adams’ “Summer Of ’69,” before the group dipped into the 70’s for Steve Miller Band’s “The Joker.” This turned into an interesting mini-medley, as the group slyly segued “The Joker” into Merilee Rush’s “Angel of the Morning” and a reggae-flavored interlude. Boost then sent things into the second intermission with their interesting fusion of Lynyrd Skynyrd’s “Sweet Home Alabama” and Juvenile’s “Back That Azz Up.”
Although dancers populated the 4D’s dance floor for much of the set, this 4D’s crowd was unusually quiet for a Saturday night, not showing much life or applauding with any sense of urgency. Whether they were not quite beered-up enough yet, or were just indifferent about Boost’s efforts thus far, this was pretty much a dead crowd.
Boost’s intermission was shorter this time, and the group was soon back for Round 3. After Van Morrison’s “Brown Eyed Girl” and The Ramones’ “I Wanna Be Sedated” resumed the onstage action, Boost did a 70’s funk/disco medley, fusing together Gloria Gaynor’s “I Will Survive,” Ohio Players’ “Love Rollercoaster” and Hot Chocolate’s “You Sexy Thing;” unfortunately playing it to an empty dance floor. Boy, was this crowd lethargic! Boost soldiered on, continuing with Bad Company’s “Feel Like Making Love,” Tom Petty’s “American Girl,” Poison’s “Talk Dirty to Me,” James’ “Laid;” and George Michael’s “Faith” (Boost is one of few bands who does this song without going the Limp Bizkit rage route). With only a few dancers venturing onto the dance floor, Boost closed out the night with Joan Jett’s “I Love Rock’n’Roll” and Lit’s “My Own Worst Enemy.”
I, for one, was perplexed at how quiet and unresponsive the 4D’s crowd was for Boost this night. Boost’s performance was energetic, clean and tight; the vocals and harmonies sounded good, and the song list featured the surefire party favorites that this room’s crowds usually knock each other over clamoring onto the dance floor for. None of that tonight, though; these folks apparently weren’t in the celebratory mood, despite Boost’s best attempts (long first intermission notwithstanding). Someday I might figure out Altoona audiences and what makes them tick (or not tick, like this night).
For my two cents’ worth, though, I thought Boost put on a good performance; upbeat, pleasant, crisp, and instrumentally and vocally solid. Oh well, maybe the next time the 4D’s crowd will actually take notice…
Boost, attempting to liven things up at the 4D’s Lounge.
Matt Seno and Keith Niedermeier of Boost.
Once again, Boost.
JUICED @ PELLEGRINE’S, ALTOONA 12/12/04
Another Sunday night had arrived, and Pellegrine’s was again my destination to close out another weekend, with Juiced providing the tunes.
Leading up to this show, though, the rumor mill had been busy with chatter that Juiced was announcing their farewell at the end of December, and that this would be their last Pellegrine’s show. I had visited the group’s website to see if I could verify any of this, but nothing of the sort was indicated. But after arriving at Pellegrine’s, I learned what was up with Juiced…they were taking a break. According to keyboardist/singer Doug Buch, Juiced was taking some time away from live performing – indefinitely – to pursue some other projects and interests, work on original songs, and recharge. Doug himself was doing a lot of studio work, both with Juiced and with several other bands and musicians; and he wanted to concentrate on some of those projects. Doug also mentioned that the band had been hard at it on the live performance front for quite a while, and they needed a break from it. So Juiced was playing out their dates through the end of the year, and then taking some time off. How much time they were not sure; and Doug offered no indication when the group might return.
After watching Juiced’s party over their latter two sets this night, I was a bit disappointed to learn of their departure from area stages, as this band’s party was just hitting its stride once again, and was back to firing on all cylinders after the roster upheaval that happened earlier in the year. Doug, guitarist Norm Marks, frontman Russ, bassist Peggy and drummer Darryl Hetrick had a hot party going this night as they provided a high-energy mix of new and classic rock that kept the stagefront dance floor busy throughout. As I arrived early in their second set, Juiced fired off favorites from Billy Idol, Kim Wilde, Bryan Adams, Sevendust, Lita Ford, Rage and more. Highlights during this set included the fusion of Lynyrd Skynyrd’s “Sweet Home Alabama” with Sublime’s “What I Got,” and Russ’ interesting Christmas song-styled lead in that culminated in Drowning Pool’s “Bodies” to close the set.
Juiced’s third set quickly geared back up to speed, opening with a Disturbed tune and continuing with AC/DC’s “You Shook Me All Night Long,” featuring an audience lady named Julia helping with the vocals. After Rick Springfield’s “Jessie’s Girl” and Limp Bizkit’s “Breakstuff,” frontman Russ improvised a Christmas rap for the holiday season, before Doug stepped up the lead microphone and ladies crowded onto the stage for the ever-popular Juiced treatment of Neil Diamond’s “Sweet Caroline.” The party fireworks continued with the Beastie Boys’ “Fight For Your Right (to Party)” and the Buggles’ “Video Killed The Radio Star;” before attention shifted to bass lady Peggy, who sang lead on Don Henley/The Ataris’ “Boys Of Summer.” Juiced then closed out the set with Violent Femmes’ “Blister In The Sun.”
Pellegrine’s rowdy stagefront crowd weren’t ready to call it a night just yet, and quickly demanded an encore. Russ and Juiced responded with Rage Against the Machine’s “Killing In The Name.” The crowd still wasn’t finished, and wanted more. So Juiced gave them one more to remember them by, Disturbed’s “Sickness” to end the night.
With Juiced’s party back up to speed and packing the house this night, their departure leaves a gap on regional stages. It’s anyone’s guess as to when – or even if – Juiced will be back. If this was their farewell, at least Juiced’s last Altoona performance was a strong one, and the fans at Pellegrine’s this night got to see this band again bringing the party full force.
Flanked by ladies on stage, Doug Buch of Juiced croons some Neil Diamond.
Norm Marks of Juiced, joined by some fun-loving ladies.
Again, Norm Marks of Juiced.
Once again, Norm Marks of Juiced.
Russ of Juiced, addressing wild and crazy stagefront fans.
Again, Russ of Juiced.
Taking her turn on lead vocals, Peggy of Juiced.
Darryl Hetrick of Juiced.
Once again, Peggy of Juiced.
Russ of Juiced, flanked by Pellegrine’s ladydom onstage.
Again, Russ of Juiced.
Once again, Russ of Juiced, bringing the party.
