FELIX & THE HURRICANES ALUMNI REUNION @ THE HITCHING POST, ALTOONA 12/27/04
While John McKnight was still in town for the holidays, he was game for some more reunion jamming a few days after the big City Limits get-together with his area musician friends (reviewed in the Christmas Weekend Recap). This time, the setting would be The Hitching Post in Altoona for a rare Monday night evening of live music.
What resulted was a reunion of the Hurricanes, circa the mid-90’s. John on vocals and drums, lead Hurricane Felix Kos on vocals and guitar, and Bill Nusom on bass and backing vocals got together this night to jam together, have fun, and celebrate some Hurricanes heritage.
Although not heavily advertised, a decent mid-sized crowd was present to witness this night’s musical fireworks. The reunited Hurricanes were in the midst of a John McKnight era favorite, Stevie Ray Vaughan’s “Tin Pan Alley,” with John providing his booming bluesy growl as he tapped out the beats behind his drum kit. Felix, brandishing his Stratocaster custom finger-painted by his son, flavored the mood of the song with his dazzling fills and bursts of scorching solo work; and Bill provided the steady, full-sounding bass foundation. You could tell by the looks on the faces of these three musicians that they were very much enjoying this opportunity to jam together once more. The trio continued with the Allman Brothers’ “Dreams,” with Felix displaying some interesting slidework on the lower part of the scale. Next was Freddie King’s “I’m Tore Down,” before the trio sent it to intermission with J.J. Cale/Lynyrd Skynyrd’s “Call Me The Breeze,” highlighted by Felix’s fretboard improvisation.
These musicians were having fun playing together once again; and as such, this was a short intermission. The trio soon returned to their instruments, and with John crooning lead, led off their next round of action with the ever-popular “Mustang Sally,” which John rallied into an audience singalong. Felix then supplied the voice on Lynyrd Skynyrd’s “I Know A Little” and Robin Trower’s “Too Rolling Stoned.” The group turned this latter classic into a fiery homestretch groove, with Felix demonstrating excellent finesse on his guitar solo display. The group then broke out a John McKnight-era original song the present-day Hurricanes still perform, “Icy You,” with John and Felix combining for some tasty harmony vocals. Felix also tossed some attention to bassist Billy, introducing him to the audience as “Billy, mashing those taters tonight!” The reunion continued with two Allman Brothers classics, the Felix-sung “Blue Skys” and the John-fronted “Whipping Post.” After Robert Johnson’s “Crossroads,” the group shifted into ZZ Top gear for “Waitin’ for the Bus/Jesus Just Left Chicago,” before lightening the mood with Dr. Hook’s “Cover of the Rolling Stone.” After the Allman Brothers’ “No One to Run With,” the lure of impending Monday night wings at Pellegrine’s became too strong to resist, and I forced myself to depart this Hurricanes reunion to surrender to my taste buds’ desires.
What I saw, though, was a lot of fun; three former bandmates getting back together for one night, having fun and creating magic onstage once again. Since this version of the Hurricanes was more bluesy and funky leaning (as opposed to the more rock and country-blues tendencies of the current ‘Canes), funk grooves and blues explorations were the bigger order of the evening. But you could tell these musicians were happy to be onstage and making music together again. I was glad I got to witness this reunion, and hope that this reunion might become another regular annual holiday season highlight whenever John McKnight visits town.
Felix Kos and John McKnight, together again.
Again, Felix and John.
John McKnight.
Felix, John and Bill Nusom, celebrating 90’s-era Hurricanes memories.
Once again, a glimpse of Hurricanes past.
Bill Nusom, Hurricaning again for one special night.
SOUND DRIVEN @ THE LION’S DEN, ALTOONA 12/29/04
Since the members of Altoona jam band rockers Sound Driven are attending college at different locations, the group only performs during holidays, when everyone can get together. With everybody home between Christmas and New Year’s, Sound Driven reconvened on this Wednesday night, to light it up onstage at Altoona’s newest all-ages venue, The Lion’s Den in Juniata.
This was my first time seeing a show at The Lion’s Den, and this venue is a welcome addition to the area music scene, particularly for music fans under 21. The Lion’s Den has some space, and houses pool tables and video games. They also sell food and drink items, including sandwiches, milk and soft drinks. I met the people who run the facility this night, and they’re committed to providing this venue for younger people to have a place to go, have fun and see live music.
Although not a huge crowd by Sound Driven standards, there were close to a hundred fans present to see what musical episodes the group would take them on this night. Singer/keyboardist Denny Karl, singer/guitarist Brian Pavlic, guitarist Mark Sinisi, bassist Dan Condrin and drummer Luke Leiden began into a haphazard free jam to commence their next set. Out of the cacophony, a Latin funk-styled jam emerged, and Sound Driven’s young audience began moving and grooving along at stagefront. Eventually, all the band members except Denny brandished percussion instruments and segued the Latin jam into a percussion jam. This eventually converted into a heavier-flavored rocking jam passage, that surprisingly culminated in a rendition of Van Morrison’s “Moondance,” with Denny scat-singing along in the tune’s latter stages. What an opening adventure!
Sound Driven then kicked off another adventure; this one more psychedelic and experimental, with Brian and Denny playing with different guitar and keyboard flavors and effects. Eventually the tempo of this piece accelerated and doubled, with the jam following a Led Zeppelin “Heartbreaker”-flavored riff. The jam then veered into a more Celtic-geared direction, with the fans continuing to dance and groove along. The jam soon slowed down and then re-intensified, before arriving at another recognizable classic, Steppenwolf’s “Magic Carpet Ride.” This rendition featured some wild and freewheeling keyboard fireworks from Denny. Sound Driven then commenced another shorter jam-geared instrumental, this one more Grateful Dead in flavor, before shifting gears and doing what I think was a Five for Fighting number; this tune turned into a bit of an instrumental trainwreck, but since this band hadn’t rehearsed together in several months, it was good for a chuckle and the fans didn’t mind. Sound Driven followed that up with a Counting Crows number, before introducing a reggae-flavored original tune. Then another change of direction, as Mark Sinisi barked out the lead rhyme/rap on a more urban-flavored number. The group performed another original, which evolved into an accelerated jam. Eventually, this jam segued into the “Charlie Brown theme,” and eventually the Doors’ “Roadhouse Blues,” with guest Shane McConnell providing harmonica accompaniment. This continued into Stevie Wonder’s “Superstition” to close out the set. The Lion’s Den crowd yelled for one more, and Sound Driven answered the call with a surprise, as Brian fronted the group on Robert Palmer’s “Sneakin’ Sally Through the Alley.” This turned into an extended jam, with the group slowing things down in the midsection, improvising and intensifying things into another fiery, balls-out jam to end the evening.
This show was all you would expect when this group of young musicians gets together; featuring an unpredictable menu of original songs and covers, with ample amounts of improvisation, free-form jamming, instrumental side journeys and more. Since these guys hadn’t played together in a few months, there were a few rust spots and miscues; but overall, their jams were together and interesting, and this performance provided instrumental thrills, chills and excitement.
Sound Driven will again be on hiatus for a while, as Luke’s studies take him to England for the next few months. But hopefully, the summer break will bring these guys together again for more jam fireworks.
It was also good to see The Lion’s Den pick up the slack as a place where young fans can check out live bands. Here’s hoping this venue keeps it going, and that the young music fans continue to support it.
Sound Driven, playing to their fans at the Lion’s Den.
Denny Karl of Sound Driven.
Mark Sinisi takes a turn singing lead for Sound Driven.
Once again, Sound Driven.
Sound Driven, getting their jam on at the Lion’s Den.
IN @ PELLEGRINE’S, ALTOONA 12/30/04
Hoping to catch some more holiday season merrymakers hoping to get a jump on their New Year’s Weekend celebrations, Pellegrine’s decided to present a live band this night, bringing In to the stage for their first Pelly’s appearance.
Unfortunately, with the show booked relatively last minute and not much promotion beforehand – coupled with The Collective packing them in at the 4D’s Lounge just a few blocks away – Pellegrine’s was empty for most of In’s maiden voyage there.
With only a handful of people in the house as I entered, In was in the midst of performing Disturbed’s “Sickness.” Singer Greg Matthews, guitarist Matt Day, bassist Adam Zimmer and drummer Josh Hetrick kicked into their 15-song ‘medley from hell,’ stringing together snippets of tunes from Bon Jovi, James, B-52’s, Ohio Players, AC/DC, Guns’N’Roses, Lynyrd Skynyrd, Bryan Adams, Vanilla Ice, House Of Pain, Metallica, Alice In Chains and more. In ended their set with Jet’s “Cold Hard Bitch.”
Although a few people meandered into Pellegrine’s along the way, the room still remained largely empty as In got ready to do their final set.
Resuming the music with Living Colour’s “Cult of Personality,” In made the best of the empty room, and set out to make it a party for the few people who were in attendance. The group continued with tunes from Motley Crue and Violent Femmes, before veering into new wave with The Vapors’ “Turning Japanese.” In proceeded with tunes from Green Day, Nirvana, Smile Empty Soul and Marilyn Manson. By request, In closed the night by dedicating Pantera’s “Walk” in memory of slain guitarist Dimebag Darrell.
Empty room notwithstanding, In gave a decent performance overall. They kept the energy level high and the pacing tight, and their presentation was focused and as enthusiastic as could be given nobody to play to. Matt Day’s guitarwork shined especially; his use of effects and embellishments shaping and varying the mood and texture of In’s presentation.
My prediction is that empty houses for In like this night will quickly become a rarity, once word about this band and their rocking party continue to spread. This show at least earned In a shot at Pellegrine’s more lucrative Sunday crowds; so we’ll soon see how their show goes over when there’s an actual crowd in the house to witness it.
In a purple haze, In at Pellegrine’s.
Matt Day of In.
Greg Matthews of In.
HAIR FORCE ONE @ CITY LIMITS, ALTOONA 12/31/04
The biggest party night of the year had arrived!
Although there were a number of live music New Year’s Eve parties happening throughout the Altoona area, I stuck close to home and took in the celebration at City Limits, with Hair Force One given the responsibility of transporting us from 2004 into 2005, by way of the Decade of Decadence.
Although I planned to arrive early to get a good seat, City Limits was already getting packed as I arrived around 9:30, and the nearest open table was back past the fish aquarium and adjacent to the pool room. It would be a bad vantage point to watch the band from; but it was close to the bar, and as the evening progressed, it turned out to be strategically one of the best in the house!
An interesting assortment of New Year’s Eve revelers was already present early on; I took notice of two ladies decked out in angel wings, wondering how angelic they would be behaving by night’s end. Other members of my New Year’s celebrating entourage began to arrive, including the Right Honorable Guv’nor Jesse, Aric the Adventurer and more.
Soon Hair Force One commenced the 80’s hair band chicanery, opening with Kiss’ “Lick It Up.” Dancers instantly launched themselves onto City Limits’ dance floor, and the party was on! The floor quickly filled up as Hair Force One continued with rockers from Jackyl, AC/DC, Accept, Judas Priest, Motley Crue, Def Leppard, Cinderella, Twisted Sister, Bon Jovi and more. More and more revelers arrived at City Limits as the festivities continued. Hair Force One’s first set finished with about 20 minutes remaining in 2004, and the bar became busy as beer and champagne was procured before the all-important stroke of midnight.
As the midnight hour drew nearer, the strategic importance of my table location became more apparent. City Limits’ expanded kitchen staff this night began moving foodstuffs from the kitchen to the pool tables for the midnight food buffet – and my entourage and I had the closest seats in the house to it! So after the clock struck midnight, the champagne toasts were raised and we crossed the threshhold into the New Year, we were first in line to partake in the buffet, before everybody else fingered and slobbered over it!
Buffet eaten and champagne consumed, the party was set to resume. Hair Force One reconvened the 80’s decadence with AC/DC’s “You Shook Me All Night Long,” once again refilling the dance floor. Twisted Sister’s “We’re Not Gonna Take It” quickly became a drunken singalong, and the party continued with tunes from Ozzy, Def Leppard, Bon Jovi, Motley Crue, Kix, Poison, Quiet Riot and more. The happy vibes continued nonstop, culminating with Guns’N’Roses’ “Welcome to the Jungle” to end the night. The City Limits revelers wanted more, and Hair Force One was all too glad to oblige, giving them Skid Row’s “Youth Gone Wild,” ending with the band showering the dance floor crowd with silly string. Happy New Year!
City Limits was a sight to behold at night’s end…beer bottles, champagne glasses, lei’s, noisemakers, confetti, and other New Year’s party items covering the tables and floor, and a few spent and drunken celebrants littering City Limits’ tables and floor as well. In front of the stage, Hair Force One greeted fans and signed some autographs, with a few female fans celebrating in the full spirit of the “Decade of Decadence.”
This was an excellent party to both cap 2004 and launch 2005. Hair Force One kicked ass the whole night, maintaining the high-energy, fun vibe from the first song onward. The band and crowd fired each other along the whole night, lifting this party above and beyond.
In the early stages of the party, Hair Force One.
Again, Hair Force One.
Living at midnight; Hair Force One and their fans hail in the New Year.
Michael J. Cox of Hair Force One…Witchchic is that next to him?
OH MY GOD! They scalped Michael J. Cox!!!!! The horror!!!
Again, Michael J. Cox of Hair Force One.
Victor Synn and Michael J. Cox of Hair Force One.
Again, Victor Synn and Michael J. Cox of Hair Force One.
With some ladies celebrating behind them, Phillip DaPussee and Iva Biggin of Hair Force One.
With a little help from Jinx on vocals, Phillip DaPussee of Hair Force One.
With ladies helping them celebrate the New Year onstage, Hair Force One.
Wow, that is quite a…tattoo!
Phillip DaPussee of Hair Force One.
Victor Synn and Michael J. Cox of Hair Force One playing to the New Year’s Eve partiers.
Brian Mitchell shows off the fashion statement of the night.
Brian again, enjoying his dinner.
The midnight toast at the JP table…
“Gorby,” getting crazy to Hair Force One.
“Gorby” at the end of the night, after trying to snort silly string.
These two ladies are obviously having fun at City Limits’ and Hair Force One’s New Year’s Eve bash.
Victor Synn of Hair Force One and Chell.
During the post-game victory celebration, Victor Synn of Hair Force One signs an autograph, 80’s Decade of Decadence style.
Michael J. Cox poses with two ladies who are happy to show off their…autographs!
BAD DAZE/SILVER SUNDAY @ CITY LIMITS, ALTOONA 1/1/05
After my New Year’s Day fill of hot dogs, pork, sauerkraut, mashed potatoes and college football, I was up for some live music. I returned to the scene of the crime 24 hours earlier, City Limits, to resume my New Year’s celebrating with the double-bill of Bad Daze and Silver Sunday.
City Limits wasn’t particularly busy as I arrived, but it had been largely cleaned up from the scene of the crime the night before, with the exception of a few pieces of confetti and New Year’s revelry on the ground outside the door. Openers Silver Sunday were mostly through their set, and guitarist Buck Dickson was fronting the group on their quarky take on Loverboy’s “Working for the Weekend.” Frontlady Cathie then sang the lead voice on the group’s remaining two tunes, Madonna’s “Material Girl” and Guns’N’Roses’ “Sweet Child Of Mine.” What I heard sounded good; Cathie’s voice was showing some good power and range, especially on the Guns’N’Roses number. Instrumentally, Silver Sunday sounded tight and on the money. Although there wasn’t much crowd present and nobody on the dance floor, Silver Sunday received some polite applause for their efforts.
Bad Daze featured a line-up change for this night. Guitarist Kenny Murdick was unavailable to perform at this show, so one of drummer Randy Wilson’s former Blackout associates, Eric Smith, filled Bad Daze’s guitar opening.
Bad Daze commenced their first set with AC/DC’s “Dirty Deeds Done Dirt Cheap,” and proceeded to mix 80’s, 90’s and current hard-rocking favorites. As Bad Daze fired off tunes from Puddle Of Mudd, Beastie Boys, Blink 182, 3 Doors Down and more; frontman Rob Carolus stepped forward from the stage early and often to address tables and audience members, and rally them to come onto the dance floor and get crazy. The group proceeded with Danzig’s “Mother,” and tunes from Alice In Chains, Jet, Megadeth, Poison and Metallica’s “Enter Sandman” to finish the set.
Thus far, Bad Daze did a respectable job. Surrogate guitarist Eric did a good job thus far; although he wasn’t showcasing the same level of fretboard pyromania Kenny normally would, Eric was solid on his axe and holding down the fort well with Rob, Randy and bassman Paul Rainey. Overall, Bad Daze’s energy level, urgency and pace wasn’t quite as intense, likely due to Kenny’s absence and possibly the lack of crowd in the house this night.
Bad Daze soon returned for the nightcap set, commencing with Quiet Riot’s “Metal Health.” The group again mixed 80’s, 90’s and current hard rock, doing tunes from Bush, Ozzy, Nickelback and Poison; shifting it heavy at the end with Static X’s “Push It” and Drowning Pool’s “Bodies” to close out the night.
In all, a decent show – Rob and Bad Daze generated a tight sound and adequate excitement; and Eric Smith again was a satisfactory fill-in for Kenny Murdick on the guitar front. Again the group was skunked on crowd, more than likely the result of overall audience burnout from the previous night’s New Year’s Eve revelry and debauchery.
With Eric Smith on guitar this night, Bad Daze.
Again, Bad Daze.
Paul Rainey of Bad Daze.
Rob Carolus of Bad Daze.
Once again, Bad Daze.
MAD DOG KOOL @ PELLEGRINE’S, ALTOONA 1/2/05
The first weekend of the New Year drew to a close for me at Pellegrine’s, where I would see my first new band of the New Year, Mad Dog Kool.
Mad Dog Kool on paper appeared to be an interesting prospect. Three of the members – drummer Rob Bonsell, guitarist Nick Mullan and bassist Dan Mullan, had worked together previously with singer Troy Earnest in the Dream Theater tribute band project that floored everybody at last winter’s Rockpage Jam benefit. With aspiring singer Justin Walker, what would this new band offering, Mad Dog Kool, bring to the stage? We would find out as the night unfolded…
Arriving right at the end of their first set, Mad Dog Kool was doing good work on Pink Floyd’s “Another Brick In the Wall” to head to intermission. There was a good-sized crowd at Pellegrine’s, although nobody was yet dancing.
Mad Dog Kool launched their second set with Living Colour’s “Cult Of Personality,” and proceeded with a mix of 70’s, 80’s and 90’s rock. The group performed Pearl Jam’s “Alive” and Red Hot Chili Peppers’ “Under The Bridge,” before welcoming two guests up to the stage; Sean Osborn and Ben, known as acoustic duo Same Differences, sang harmony lead vocals on Alice In Chains’ “No Excuses.” Mad Dog Kool continued with Seven Mary Three’s “Cumbersome,” Georgia Satellites’ “Keep Your Hands to Yourself,” and Guns’N’Roses’ “Sweet Child Of Mine,” showcasing some fast and fiery guitar lead work from Nick. After Maroon 5’s “Harder to Breathe,” Mad Dog Kool launched an interesting arena-rocking medley, featuring instrumental passages from Pink Floyd’s “In The Flesh?,” Kansas’ “Carry On Wayward Son,” Queen’s “Bohemian Rhapsody;” finishing with the full version of Journey’s “Lovin’ Touchin’ Squeezin’” to end the set.
Instrumentally, Mad Dog Kool was sharp, with Rob, Nick and Dan showing ample skills on their respective instruments, and gelling well as a unit. Nick’s solos were clean and fast; Dan’s bass work was executed with finesse, and Rob’s drum work was busy and powerful. Justin showed ample range whenever he was on target; his first band gig, he sometimes started songs a half step off key, but righted himself as he went along; likely rookie jitters, that continued practice and gig time should resolve.
Soon, Mad Dog Kool kicked off their final set of the night with Motley Crue’s “Dr. Feelgood.” They followed with Black Crowes’ “Hard to Handle,” before introducing an original tune, I think possibly a title tune, “Mad Dog Kool.” With several fans in the house who remembered these musicians’ Dream Theater tribute past, requests for Dream Theater were being yelled out, and Mad Dog Kool soon answered those requests by launching into “Pull Me Under.” This song attracted the most activity onto the dance floor so far, although dancing wasn’t the order of the day. One crazed fan stripped off his shirt and started grooving and headbanging intensely around the floor. Mad Dog Kool continued in the heavy progressive rock vein with Queensryche’s “Jet City Woman.” The group slowed it down for Ozzy’s “Mama I’m Coming Home,” before shifting into the Eagles’ “Hotel California.” Mad Dog Kool then offered their own tribute to the recently slain Dimebag Darrell by performing Pantera’s “Cemetary Gates,” before ending the evening with Guns’N’Roses’ “Paradise City,” drawing the busiest dance floor action of the night.
Again, Mad Dog Kool’s instrumental performance was strong, and Justin’s vocals were on target more often than not. The combination of new, unfamiliar band and songlist the Pelly’s crowd wasn’t accustomed to hearing resulted in minimal dance floor activity through the night, although much of the crowd did at least stick around and applaud Mad Dog Kool’s efforts.
I was intrigued by my first look at Mad Dog Kool, and thought they offered enough unique twists and curves in their show to suggest they could evolve into something quite different and exciting on the ‘Toona music scene. And at least as far as I’m concerned, any band that can tackle Dream Theater and Queensryche is a band I want to see further develop and pursue their own muse.
Making their Pellegrine’s debut, Mad Dog Kool.
Again, Mad Dog Kool.
Nick Mullan of Mad Dog Kool.
Dan Mullan of Mad Dog Kool.
Once again, Nick Mullan of Mad Dog Kool.
Once again, Mad Dog Kool.
Justin Walker of Mad Dog Kool.
One more time, Nick Mullan of Mad Dog Kool.
