FELIX & THE HURRICANES @ PETER C’S, ALTOONA 3/3/05
Once again, my weekend started off with a trip down the street after a late evening at the office, to Peter C’s to catch this week’s episode of Hurricanes Thursday.
The Hurricanes were into their second set as I arrived; and a sizable audience was cheering Felix, Bob and Jeff as they cranked out Ted Nugent’s “Stranglehold.” A rowdy rocking time was well under way as the trio continued with Blackfoot’s “Train Train” and the ‘Canes’ original tunes “Lonely One” and “Just a Fool.” The group slowed it down for Lynyrd Skynyrd’s “Ballad Of Curtis Loew,” before reigniting Peter C’s dance floor with Ted Nugent’s “Great White Buffalo.” At this point, the group welcomed special guest Lauren up to the stage to belt out the lead voice on Skynyrd’s “Simple Man,” before the Hurricanes finished the set with Rick Derringer’s “Rock and Roll Hoochie Koo.”
The Hurricanes were again sounding fiery and feisty this night, despite drummer Bob struggling with flu issues. Their performance, combined with Peter C’s Tina kicking off her birthday weekend celebration this night, made for a festive atmosphere.
Soon the group was back for their abbreviated nightcap set, kicking off with the original tune “Grow.” The party reignited on the dance floor as the Hurricanes kicked into Rufus Thomas’ “Walkin’ the Dog” and Aerosmith’s “Walk This Way.” Even I found myself being pulled onto the dance floor for the Jeff Clapper-fronted rendition of Bryan Adams’ “Summer Of ’69,” before the trio stormed the night home with the ever-trusty Outlaws’ “Green Grass and High Tides.”
It was again another fun kickoff to the weekend, as the combination of fiery Hurricanes performance and fired-up crowd yielded a good time.
The Hurricanes and some dancers.
Once again, the Hurricanes have ‘em dancing at Peter C’s.
Lead Hurricane Felix Kos.
Peter C’s C.E.O. Bandit takes in the proceedings.
The Right Honorable Uncle Bud, either flashing a peace sign or giving Bandit rabbit ears for Easter.
RACHET @ CITY LIMITS, ALTOONA 3/4/05
After spending most of the evening doing Pennsylvania Musician paperboy duties, I headed to City Limits to check out the new band in town this night, Rachet.
And I do mean NEW band in town. Rachet was playing their first show this night, and obviously their first show in Altoona. As such, it was not surprising that attendance was very sparse for their debut.
From the Philipsburg-Osceola area, Rachet features former Busted Monkey member Vic Hill on lead vocals, John Parada on lead guitar, Lenny Burrell on bass and Dave Moore on drums. According to Vic, this band has been coming together for nearly two years, following Busted Monkey’s split.
Rachet kicked off their first set with Greg Kihn Band’s “Break Up Song;” and as their set proceeded, the audience (all five of us plus Zilly the soundman, Claudio and the City Limits staff) learned that Rachet’s musical turf was primarily hard rock of the 70’s, 80’s and 90’s. The group’s only post-2000 song was 3 Doors Down’s “Kryptonite;” otherwise, their first set featured tunes from Warrant, Ozzy Osbourne, Ted Nugent, Poison, Scorpions, Goo Goo Dolls and Eric Clapton. The group kept the music mostly uptempo, slowing it down once for Ozzy’s “Mama I’m Coming Home” to allow two couples to slow dance.
Rachet did a respectable job during the first set. Vic showed a decent set of pipes and satisfactory vocal range; and John frequently demonstrated his credentials as a fretboard shredder. With very little audience and the audience besides myself being apparent friends and/or family of the band, Rachet kept the mood cordial and informal, with Vic chatting it up with his bandmates and audience members between songs.
Soon Rachet proceeded with their second – and as it turned out, final – set. Golden Earring’s “Radar Love” resumed the festivities, and the group continued with their hard-rocking mix. Tunes from Van Halen, Ozzy, Dokken, Metallica, Ratt, Poison and Lynyrd Skynyrd filled out the remainder of the set, with both band and Claudio agreeing to call it a night at set’s end. Rachet seemed to have a fascination with Poison, breaking out “Nothing But a Good Time” and the rarely-covered title track to “Look What The Cat Dragged In.” Other highlights during this set included Van Halen’s “Panama” – allowing guitarist Vic to do his best Eddie-styled shredding – and Dokken’s “Breaking the Chains.”
Alas, Rachet’s debut won’t go into the books as a blockbuster; but such is the result of a new, unknown band playing their first gig in Altoona on a Friday night. Hopefully Rachet can establish and develop a local fan base so empty rooms like this become less likely; and based on the respectable display they offered this night, that shouldn’t be an impossible task to accomplish.
Rachet, making their debut at City Limits.
Once again, Rachet.
John Parada and Vic Hill of Rachet.
John Parada of Rachet.
Vic Hill of Rachet.
Once again, Rachet makes their City Limits debut.
John Parada, Lenny Burrell and Vic Hill of Rachet.
GYPSY & THE CRAZYMOON @ ALDO’S, ALTOONA 3/4/05
After Rachet’s show at City Limits ended, I still had an hour to go see another band perform. In doing my Pennsylvania Musician deliveries earlier in the evening, I had heard a few seconds of Gypsy & the Crazymoon’s opening tune at Aldo’s, and noted that there was some crowd at Aldo’s early on. So figuring that show was probably still under way, I jumped across the railroad tracks to Aldo’s to check in with Gypsy & the Crazymoon.
The group was on their final intermission of the night when I got there. The full Crazymoon was out this night, as frontlady/keyboardist Gypsy had a full five-piece band together, including her son, Jeffrey Peachey, on bass; Altoona’s John Lord on drums, Tim Whitehill on guitar, and Judd Miller on harmonica.
Soon the group commenced their third set with CCR/Ike & Tina’s “Proud Mary,” triggering a set blending classic rock, blues and original songs. The group followed with B.B. King’s “Rock Me Baby,” Big Joe Turner’s “Shake Rattle & Roll,” Michael Bloomfield’s “Cherry Red;” also original songs such as “Leave My Man Alone” and more. John blasted out a ten-minute drum solo display, before launching into Led Zeppelin’s “Rock and Roll” to end the night.
Overall, I saw improvement over the last time I saw Gypsy & the Crazymoon perform several weeks before. Gypsy and her young cast were tighter and more together, and more on the same page. The group appeared more relaxed and enjoying themselves more. There were still some rough spots and the band still showed room for tightening and improvement; and I thought that Gypsy’s voice and keys needed to be stronger in the sound mix. But ultimately, I saw forward progress here, and was encouraged to see Gypsy and her band coming together and having some fun onstage.
Gypsy & the Crazymoon, bringing the blues to Aldo’s.
Gypsy of Gypsy & the Crazymoon.
Pounding out a drum solo, John Lord of Gypsy & the Crazymoon.
Once again, John Lord of Gypsy & the Crazymoon.
Judd Miller and Jeffrey Peachey of Gypsy & the Crazymoon.
The post-game celebration; yours truly with Gypsy & the Crazymoon.
BROWNTOWN @ 4D’S LOUNGE, ALTOONA 3/5/04
What the Funk?
Browntown the Funk, that’s who!
My second time witnessing this eastern PA-based 9-piece ensemble, I was totally blown away by their sharp, funky attack as they mixed funky favorites with funked-up takes on current tunes, classics and more.
I arrived shortly into Browntown’s first set; and although not packed at this point, the 4D’s had a healthy crowd in the house and bearing witness to the funk. Browntown was just getting warmed up, letting their four-piece horn section of Matt Cochran and Dustin Shirk on trumpets, Trevor Davis and Tyrone Fredericks, Jr. on saxes burn the oxides off their instruments on James Brown’s “I Feel Good” and the funkiest read of Wilson Pickett’s “Mustang Sally” I have heard in a long time. The group – the horn section, along with singer Steve Kell, guitarist Mike Cusanno and keyboardist Dave Mattock, bassist Kyle Yankjowy and drummer Marques John Walls – continued to mix modern and classic funk, pulling out renditions of Kool & the Gang’s “Funky Stuff,” Peter Gabriel’s “Sledgehammer,” Stevie Wonder’s “I Wish,” Ides Of March’s “Vehicle” and more during their first set; combining spicy musicianship, style, sass, crazy antics and choreography into a fun, freewheeling presentation.
The crowd continued to file in as the first set and intermission progressed, and a good-sized Dees crowd was in place by the time Browntown’s second set was ready to begin. Browntown continued to bring the funk, laying it on thicker and hotter as they went. Kool & the Gang was a prominent flavor early in the second set with renditions of “Hollywood Swingin’” and “Ladies Night,” shifting nonstop into Michael Jackson’s “Billie Jean” and Cameo’s “Word Up.” K.C. & the Sunshine Band were recalled with “That’s The Way I Like It” and “Get Down Tonight.” While Steve handled the lion’s share of Browntown’s lead voice duties, Tyrone handled some of the more rap-geared vocals, and fronted the group on Young MC’s “Bust A Move;” the band members then all donned afro wigs for The Sugarhill Gang’s “Rapper’s Delight.” Browntown did a hot rendition of James Brown’s “Get Up (Sex Machine),” before launching a tasty brass-edged treatment of Phish’s “Down With Disease,” and Rage Against the Machine’s “Guerrilla Radio” to end the set.
This was officially a party! The 4D’s was now nearly packed, and buzzing about the display and party they had witnessed thus far. Browntown was on their game, sounding sharp and kicking booty. People who were only witnessing this band for the first time this night were expressing their amazement to me about the show Browntown had delivered thus far.
Browntown soon returned for their final set of the evening, refilling the Dees’ dance floor with Wild Cherry’s “Play That Funky Music,” and continuing directly into the Commodores’ “Brick House.” Marques John Walls then showcased his abilities behind the drum kit with a tasty and fiery drum solo, before Browntown broke out the “Knight Rider” theme and segued it into Earth Wind & Fire’s “Shining Star.” The group continued to mix funk and rock with occasional rap/hip-hop, performing Prince’s “Let’s Get Crazy,” Maroon 5’s “This Love,” Van Morrison’s “Brown-Eyed (Brown-town) Girl” and Kool & the Gang’s “Jungle Boogie” (featuring a hot bass solo from Kyle Yankowy). This all led up to the finale, the group’s crazed funk-rock take on Europe’s “The Final Countdown,” highlighted by guitarist Mike receiving a kneeling salute from his bandmates as he fired off the midsong guitar solo.
This was a great show from start to end, as Browntown brought the party and left the 4D’s begging for more. These musicians were on top of their game from start to end, sounding great on their instruments and blending tunes, performances, choreography and antics into a seamless, high-energy party. Altoona hasn’t seen this much funk on a single stage since the zenith of the mighty Xeno, when they used to pack dance floors like sardine tins in these parts. Likewise, Browntown packed the 4D’s dance floor this night, and saw their biggest crowd in the ‘Toona yet. And as word continues to spread about the hot party this band brings to the stage, Browntown’s crowds should only continue to grow in these parts.
Browntown brings the funk to the 4D’s Lounge.
Once again, Browntown.
Matt Cochran of Browntown.
Kyle Yankowy of Browntown.
Once again, Kyle Yankowy of Browntown.
Finishing up a phat bass solo, Kyle Yankowy of Browntown.
Steve Kell of Browntown.
Matt Cochran and Trevor Davis of Browntown.
Mike Cusanno of Browntown.
Dave Mattock and Matt Cochran of Browntown.
Marques John Walls of Browntown.
Dustin Shirk and Tyrone Fredericks Jr. of Browntown.
Mike Cusanno of Browntown, being saluted by his bandmates during “The Final Countdown.”
Dave Mattock of Browntown.
Browntown keeps them dancing at the 4D’s Lounge.
“PROJECT LIFEBOAT” BENEFIT w/BEYOND REASON/CUCUPLEX/SIDESTEP/HOMER’S ARMY/FELIX & THE HURRICANES/SILVER SUNDAY/MERGEDOWN @ BAVARIAN HALL, ALTOONA 3/6/05
Just like many people around the world, area singer Trace Moran was shocked and saddened by the death and devastation wrought when an earthquake-triggered tsunami wiped out coastal communities along the coasts of numerous Asian and East African countries. The death toll soared well over 150,000; and the damage and destruction equated to millions of dollars. National musicians, spearheaded by Linkin Park, launched Music For Relief in conjunction with the American Red Cross, to raise monies to help with the recovery efforts. Moved by the scope of the disaster, Trace decided to organize something on the local level to help with the efforts, and Project Lifeboat was born. It took Trace some time to find an appropriate venue and date to stage the event; Altoona’s Bavarian Hall became the site. A number of area bands and musicians offered to volunteer their talents to the cause, and a day’s slate of entertainment was quickly put together.
Attendance was light early on as the day’s first band, Beyond Reason, kicked off the afternoon. This would be my first time seeing this group since the addition of former Ever Since Yesterday bassist Jamie “Deathmaster Funk” Smith. Jamie, singer/guitarist Dan Myers II, guitarist/singer Tom “Urbs” Urbain and drummer Chris Myers performed a set mixing classic and vintage rock and roll. The group performed selections from War, Black Crowes, Tom Petty, Lynyrd Skynyrd, Queen, Elvis and more. The group also mixed in at least one original song. Beyond Reason provided just the right touch to get the afternoon started; upbeat, friendly rock and roll. Highlights included the group’s fusion of the Romantics’ “What I Like About You” with Neil Diamond’s “Cherry, Cherry;” and the similar pairing of Queen’s “Crazy Little Thing Called Love” with Elvis Presley’s “That’s All Right.” The non-musical highlight of Beyond Reason’s set occurred later in the set, when Altoona Curve mascot Steamer arrived and cavorted on the dance floor.
Beyond Reason kicks off the afternoon at the Project Lifeboat Benefit.
Dan Myers II of Beyond Reason.
Once again, Beyond Reason.
Beyond Reason, rockin’ and rollin.’
Tom “Urbs” Urbain of Beyond Reason.
Altoona Curve mascot Steamer takes to the dance floor during Beyond Reason’s set.
A few more people had arrived by the time the afternoon’s next band, CuCuPlex, was ready to go. Singer Scott Russell was battling a cold, but he and CuCuPlex did an impressive job on their set of 80’s and current rock favorites. The group drew a few dancers onto the floor with tunes from Bon Jovi, Duran Duran, John Mellencamp, Billy Idol, Escape Club, Sublime, Poison and more. CuCuPlex broke out the afternoon’s second rendition of “What I Like About You,” and ended the set with a new original song. CuCuPlex’s presentation was high-energy and focused, and featured sharp execution and crisp vocal harmonies. This performance earned CuCuPlex several new fans, and showed more people why this is a band worth keeping an eye on.
CuCuPlex continues the music at the Project Lifeboat Benefit.
Once again, CuCuPlex.
Dave Russell of CuCuPlex.
Phil Wagner of CuCuPlex.
Once again, CuCuPlex.
Scott Russell and CuCuPlex.
After soundman Keith Homerski made some adjustments and bands changed over gear, it was Sidestep’s turn to rock the Bavarian Hall. John Stevens’ harmonica overture kicked off Blackfoot’s “Train Train,” and he and Sidestep proceeded with a crisp set of predominantly classic rock favorites. The group continued with Cream’s “White Room,” as an older couple began dancing wildly on the dance floor. Sidestep then introduced a new original song, “I Get Drunk,” featuring hot guitarwork from Greg “G-Funk” Larrimore and more harmonica fireworks from John. Norman Greenbaum’s “Spirit In The Sky” featured more of Greg’s scorching guitarwork, before Free’s “All Right Now” shifted the spotlight to drummer Steve Brullia as he pounded out a solo. Sidestep then did their title song original, “Sidesteppin,’” before closing out their set with Lenny Kravitz’s “Are You Gonna Go My Way,” Bad Company’s “Rock and Roll Fantasy” and James Brown’s “Get Up (Sex Machine).” Sidestep picked up the ball and ran with it; their set was on target and sounded crisp. John, Greg, Steve and bassist Tim Kelly all showed flare and finesse on their respective instruments, and blended well for a tight, unified sound. Sidestep also inspired some dance floor action, and likely won some more new fans this day as well.
Steve Brullia and Tim Kelly of Sidestep.
John Stevens and Greg “G-Funk” Larrimore of Sidestep.
”G-Funk” fires off a guitar solo.
Steve Brullia of Sidestep.
Two youngsters observe as John Stevens of Sidestep overheats and begins to melt down onstage.
Although the Bavarian Hall was not crowded, there were enough people there to give the bands an audience. The mood remained happy and upbeat, and show organizer Trace Moran could be seen dancing and making her rounds as the show progressed. Several donated items were given out as door prizes onstage prior to the next band of the afternoon, Homer’s Army.
Opening with Edgar Winter Group’s “Free Ride,” Homer’s Army – singer/bassist Mike “Griff” Griffiths, singer/guitarist Keith Homerski, singer/multi-instrumentalist Tim Homerski (back from a recent heart procedure; some musicians you just can’t keep down!) and drummer/singer John Homerski, Jr. – played a set of classics, demonstrating some stellar musicianship along the way. The group showed their harmonizing talents on Kansas’ “Carry On Wayward Son,” before breaking out the Van Morrison double-shot of “Moondance” and “Brown Eyed Girl.” Tim demonstrated his woodwind abilities on “Moondance,” and also showed amazing flute skills on the group’s treatment of Jethro Tull’s “Locomotive Breath” – the strongest version of this classic Tull tune I’ve heard on local stages since Nixon Pit Crew! On the following version of The Band’s “The Weight,” all four band members took turns singing lead. Noting several children in the room dancing and running circles around the dance floor, Keith sent the next song, Bruce Springsteen’s “Born to Run,” out to the running children. The group then did a country song, with Keith’s daughter chiming in on backing vocals. After the John-sung rendition of Lynyrd Skynyrd’s “I Know A Little,” Homer’s Army delivered the knockout punch with their amazing rendition of The Who’s “Won’t Get Fooled Again,” with Tim playing the keyboard parts direct without loops, and he and the group nailing it flush! Once again Homer’s Army left fellow musicians in the room amazed as they demonstrated their all-around solid musicianship; and they left the Bavarian Hall audience soundly rocked.
Homer’s Army begins their conquest of the Bavarian Hall.
Mike “Griff” Griffiths and Keith Homerski of Homer’s Army.
“Griff” of Homer’s Army.
Once again, Homer’s Army.
Keith Homerski of Homer’s Army.
John Homerski, Jr. of Homer’s Army.
Showing his skills on flute, Tim Homerski.
Keith Homerski’s daughter helps out dad and the band with backing vocals.
Carrie and a youngster have fun at the Project Lifeboat Benefit.
Unfortunately for me, I had an anniversary to attend (the “Backyard Rocker” 7th Anniversary Special), so I stuck around long enough to catch the first few songs of Felix & the Hurricanes’ set before I departed. The Hurricanes seemed to have things well in hand as they showcased original songs such as “Issues,” “Walking A Straight Line,” “Backyard Rocker” and “Lonely One.” People were on the dance floor and cheering the group on, it was a good time and I didn’t want to leave!
With video camera rolling, Felix & the Hurricanes perform at the Project Lifeboat Benefit.
Again, Felix & the Hurricanes.
Lead Hurricane Felix Kos.
Bob Watters of the Hurricanes.
Jeff Clapper of the Hurricanes.
Once again, Felix & the Hurricanes.
The rest of the day would see performances from Silver Sunday and Pittsburgh’s Mergedown (playing their final performance). Although never crowded, the audience that did support the show was happy and appreciative of the bands and their performances, and I heard nothing but compliments about the show during the time I was there. It was also cool to see lots of musician networking going on, as musicians enjoyed each other’s camaraderie and made new friends and contacts. Hats off to Keith Homerski and Homer’s Army for supplying the sound, the Bavarian Hall and their staff for the hospitality (and wings), show organizer Trace Moran for doing all the footwork in putting this benefit together, and to everybody who came out to support this afternoon of live music. It was worthwhile; at the end of the day, $700 was raised for Asian tsunami relief; a tiny drop in the bucket compared to the monstrous amount of money needed, but every bit helps out, and this was the area music community’s way of showing it cared. A good day.
NONE OTHER @ PELLEGRINE’S, ALTOONA 3/6/05
After celebrating seven years of “Backyard Rocker” on air with Felix & the Hurricanes, I headed to Pellegrine’s to finish up the weekend with None Other.
None Other had seen unresponsive crowds during the first few times they had played Pellegrine’s; would they break the ice with the crowd this night, and would fickle ‘Toona music fans finally start turning on to this group?
The signs looked encouraging as I made my entrance into Pelly’s; there was a good-sized crowd in the house. And a few of them were already on the dance floor, as None Other played fresh-sounding takes on current and classic rock favorites. They were finishing up their second set, and did so with Violent Femmes’ “Blister In The Sun,” George Michael/Limp Bizkit’s “Faith” and Cheap Trick’s “I Want You to Want Me.”
When they returned from their break, singer/guitarist Cling Wiley, lead guitarist Jacob Reid, bassist Mike Thornton and drummer Len LeChene re-fired the dance floor party with tunes from Guns’N’Roses, Jet, Maroon 5, Sublime, Tom Petty and more. Highlights included None Other’s slamming take on U2’s “Vertigo;” the group’s trademark song intro medley, where they fused together numerous introductions to songs, culminating in Ozzy Osbourne’s “Crazy Train;” and the group’s feisty fusing of Lit’s “My Own Worst Enemy” with House Of Pain’s “Jump Around.” None Other kept Pelly’s dance floor busy through most of the set, enough so that an encore was demanded at night’s end, and the group answered with Poison’s “Talk Dirty to Me” to end the night.
This night seemed to indicate that None Other might finally be starting to turn the corner, and win acceptance from ‘Toona Nation. This was the largest crowd and best dance floor response they had received yet, boding well for this group’s future on Pellegrine’s Sunday night stage.
Clint Wiley of None Other.
Mike Thornton of None Other.
Mike Thornton and Clint Wiley of None Other.
Once again, None Other.
Jacob Reid of None Other.
None Other, keeping Pellegrine’s dance floor busy.
None Other’s party continues…
Again, Jacob Reid of None Other.
Len LeChene of None Other.
Again, Len LeChene of None Other.
A dancefloor lady takes a closer look as Clint Wiley of None Other performs.
Again, Clint Wiley of None Other.
