MAUREEN DUFFY @ THE KNICKERBOCKER, ALTOONA 3/17/05
One of the biggest party days of the year – especially if your Irish – had arrived. But beyond all the Irish reasons to celebrate, St. Patty’s Day has more significance to me as well, as it marks the beginning of the end of winter. Soon I could start planning roadtrips without the danger of snow- or ice-covered roads, and I could start breaking out the short-sleeved shirts and shorts again. And on top of everything else, I was just two days away from embarking on a long-awaited week of rest and relaxation to westcentral Florida. I was ready to celebrate!
I didn’t have to go far to start the celebration. From my workplace, I strolled around the corner to The Knickerbocker, where Maureen Duffy was entertaining the St. Patty’s revelers. This would be my first time seeing Maureen in action since here days dueting with Barry Steindel; both in the acoustic duo Barry & Maureen, and in the electric classic rock/blues group The Blaylocks. I was interested to see what Maureen brought to the stage as a solo artist; if she was doing any original songs, and what types of cover material she might be performing.
It was a busy, but not overly packed house as I entered the Knickerbocker and made my way to the rear room where Maureen was playing. I recognized a friend, and made my way over to his table area, almost perfectly in front of the stage.
Soon Maureen was ready to go with her next set (I assume her second set, I believe she did four sets in all this night). Kicking off with Stevie Nicks’ (with Tom Petty) “Stop Draggin’ My Heart Around,” Maureen played an interesting variety of music from mostly female artists, including a number of songs not often covered on area stages. Maureen sang deeper material from Pink, Sheryl Crow, P.J. Harvey and others. She also performed renditions of Bob Marley’s “No Woman No Cry,” Van Morrison/Rita Coolidge’s “Crazy Love,” the Beatles’ “Let It Be” and the Pretenders’ “Back On The Chain Gang.”
As she demonstrated during the previous times I saw her sing, Maureen sang with grit and passion; she sank herself fully into each song she did, wrenching every ounce of soul from each tune. Her presentation was friendly if a bit shy; as she wanted to complement the St. Patty’s merriment and not distract from it. Maureen received steady applause for her performance thus far, and more people continued to arrive at The Knickerbocker as the night progressed.
Maureen opened her next set with a Patty Griffin number, and again performed an interesting range of material, both familiar and obscure. She sang numbers from David Gray, Stevie Nicks and Fleetwood Mac, Tom Petty, Neil Young, Rod Stewart and more. She sang an interesting variation on Santana’s “Evil Ways;” as well as Neil Young’s “Sugar Mountain,” Led Zeppelin’s “Hey Hey What Can I Do” and more. Again her performance was focused and impassioned, as Maureen’s emotion-packed delivery brought these songs to life, and commanded attention from much of the audience.
After this set, I departed the Knickerbocker to partake in another of the numerous St. Patty’s celebrations happening in the ‘Toona this night.
Maureen Duffy, entertaining the St. Patty’s celebrants at The Knickerbocker.
FELIX & O’HURRICANES @ PETER C’S, ALTOONA 3/17/05
Peter C’s was my next stop for St. Patty’s merriment, as I checked in with those jolly bluesy Irishmen-for-a-day, Felix & O’Hurricanes.
It was the Hurricane foursome this night, as brothers Felix and Dick O’Kos, Bob O’Watters and Jeff McClapper were setting the Peter C’s crowd to jigging on the dance floor with an abundance of southern and classic rock favorites this night. The group was in an Alabama mood as I arrived, shifting from the Grateful Dead’s “Alabama Getaway” to Lynyrd Skynyrd’s ever-popular “Sweet Home Alabama;” before ending their first set of the night with the Allman Brothers’ “No One to Run With.”
A good-sized crowd was celebrating the wearin’ of the green at Peter C’s this night; and with these folks eager to party down, the Hurricanes wasted little time and made this intermission a short one, soon returning to the stage to reconvene the celebration.
The set-opening rendition of Los Lonely Boys’ “Heaven” instantly packed the Peter C’s dance floor, and the party was on! The group continued with Dr. Hook’s “Cover of the Rolling Stone,” before dedicating Molly Hatchet’s “Flirtin’ with Disaster” in memory of recently departed Hatchet lead singer Danny Joe Brown. After Lynyrd Skynyrd’s “That Smell,” the group dedicated Blackfoot’s “Highway Song” to another fallen Southern rocker, Blackfoot drummer Jakson Spires (who Felix got to jam with once back in 1990, when Jakson and the Dixie All Stars sat in during a jam night at Frank’s Pier in Gallitzin, prior to their concert at the Mountain Top Sportsmen’s Club). The dance floor stayed packed as the group wrapped up their second set with the Dick-fronted rendition of Richie Valens’ “La Bamba.”
The best was yet to come during the third set, as several other area musicians arrived, including several who had performed earlier in the evening at other St. Patty’s functions. Lead ‘Cane Felix led into the nightcap set by playing the opening licks to Eric Clapton’s “After Midnight,” and the other Hurricanes soon joined him, along with a guest, Kent Martin, on flute. Kent remained onstage to pipe out more flute, and Hurricanes frequent-flyer guest singer Lauren stepped up to the lead mic to belt out voice on Marshall Tucker Band’s “Can’t You See.” Lauren remained to sing the next tune as well, Journey’s “Lovin’ Touchin’ Squeezin.’” The spotlight shifted back to Kent’s flute talents as the Hurricanes performed Jethro Tull’s “Locomotive Breath.” Half of the Wood-n-Strings contingent, Jeremy Nelson, then stepped up to the mic to sing lead on Stevie Ray Vaughan’s “Pride and Joy;” before the Hurricanes stormed the night home with – what else? – The Outlaws’ “Green Grass and High Tides,” this time featuring a Bob Watters drum solo display before the song’s homestretch.
In the end analysis, beyond the prominence of green attire, shamrocks and green beer, there wasn’t a whole lot Irish about the onstage performance (the ‘Canes must have gotten Van Morrison’s “Brown Eyed Girl” out of the way before I arrived). But it was still a blast, as the Hurricanes and their assorted guests combined to end St. Patrick’s Day 2005 in fiery fashion, in the process filling Peter C’s dance floor with revelers and delivering the party.
Felix & O’Hurricanes, entertaining the green-wearers and other St. Patty’s revelers at Peter C’s.
Irish eyes were smiling at the Hurricanes o’jammin.’
Dick Kos of the Hurricanes.
Guest Kent Martin adds some flute to the Hurricanes’ onstage merriment.
Special guest Lauren steps up to sing alongside Jeff Clapper.
The Hurricanes, with guests Lauren and Kent Martin.
Once again, Lauren singing lead with the Hurricanes.
Felix & O’Hurricanes, with guests Jeremy Nelson (singing) and Kent Martin.
The Kos brothers, Felix and Dick, wearing the green…
Shamrockin’ out behind the drum kit, Bob Watters of the Hurricanes.
Yours truly, wearing and drinking the green.
BILLY & THE INMATES @ BURGI’S ROUNDHOUSE, ALTOONA 3/18/05
The excitement was building for yours truly…My work duties were done for the week, and I would not have to worry about a thing for the next eight days; it was the eve of my long-awaited vacation week in Florida! I was in good spirits as I arrived at Burgi’s Roundhouse to catch one last band before the big break, Billy & the Inmates.
I arrived during the group’s first set, and technical difficulties were the story of the evening early on. The group and soundman Jack Servello were trying to figure out Burgi’s in-house sound system, and weren’t having an easy time doing so. Several blasts of harsh feedback made me cringe in my booth seat, and at least early on the sound was too brash and loud for the room, at least the booth area near the stage. Still, Billy & the Inmates – singer Don Duriez, lead guitarist Jason Shevock, rhythm guitarist/singer Jerry Carnevali, bassist/singer Ken Pompa, and drummer/namesake Bill Stauffer – battled and persisted, and fired off tunes from John Mellencamp, Doobie Brothers, Metallica, Steppenwolf, Guns’N’Roses, Alice Cooper, Bon Jovi and more. The musical flavor here was variety, and Billy & the Inmates were throwing a little bit of everything out there early on, to see what the Burgi’s populace responded to. Interestingly, the only dance action during this set were some couples slow-dancing to – I kid you not – Metallica’s “Nothing Else Matters.” (I wonder if James Hetfield and the boys ever envisioned couples someday slow-dancing to their music!) The group closed the set with a song not often covered on area stages, Chuck Berry’s “Wee Wee Hours.”
Intermission allowed the group an opportunity to try to resolve the sound system bugs, and despite a few more feedback blasts, they seemed to get more of a handle on the system as the second set got under way. The group opened the second set with Eric Clapton’s “Let It Rain,” with Jerry singing lead. Billy & the Inmates continued to mix it up, then offering Jimmy Eats World’s “The Middle,” Foghat’s “I Just Wanna Make Love to You,” Stevie Ray Vaughan’s “Pride and Joy,” Van Morrison’s “Wild Night” and another Eric Clapton number, “Wonderful Tonight.” The group then broke out another lesser-heralded classic, John Cafferty’s “Runnin’ Thru the Fire” from Eddie and the Cruisers 2. Bassman Ken Pompa then flexed his high-ranging vocal cords, singing lead on The Outfield’s “Your Love.” The group continued with the Rolling Stones’ “Honky Tonk Women” and Greg Kihn’s “Break Up Song,” before another technical problem – Bill’s bass drum pedal breaking – forced the group into their second intermission.
Equipment problems notwithstanding, Billy & the Inmates fared better during the second set, and more of their strengths became apparent. The group executed some nice vocal harmonies along the way, and began to generate some forward momentum as they went along, prompting a few more dancers to populate Burgi’s dance floor. Burgi’s wasn’t crowded, but Billy & the Inmates were holding their own, with equal amounts of people paying attention to the band and to the NCAA March Madness first round games showing on televisions throughout the complex. (Some people, like me, were paying attention to both; as I had a television hanging right in front of my booth, and I took in the Bucknell/Kansas game with increasing interest as Bucknell led most of the way and pulled the upset.)
By the third set, the group had pretty much resolved the sound system issues, and Bill had addressed his drum pedal dilemma. Opening with Chuck Berry’s “Johnny B. Goode,” the group then again presented a variety of rock’n’roll favorites, including tunes from Bad Company, 3 Doors Down, Neil Young, Free, Doobie Brothers, Allman Brothers, Spirit, Badfinger, Lynyrd Skynyrd, ZZ Top and more. The group even broke out an original song, as Ken sang a ballad he penned called “Tearjerker.” Billy & the Inmates again generated some momentum and energy, and saw the evening’s largest amount of dance floor action.
It was a night of struggles on the technical end, but Billy & the Inmates battled through it, and eventually succeeded in entertaining the audience and winning some new fans along the way. I enjoyed the group’s variety, including some lesser-known classics not often heard. The group’s instrumental execution was solid, and grew stronger as the night proceeded and the technical issues were resolved. And their vocals and vocal harmonies were strong. Despite the problems, I came away with a good first impression of Billy & the Inmates and what they brought to the table; and I’ll make a point to catch this group again, hopefully on a night when the equipment demons decide to stay away.
Billy & the Inmates, rocking and rolling at Burgi’s Roundhouse.
Jason Shevock of Billy & the Inmates.
Jerry Carnevali of Billy & the Inmates.
Don Duriez of Billy & the Inmates.
Bill Stauffer of Billy & the Inmates.
Once again, Billy & the Inmates.
