On the Road Again…

I just returned home late last Sunday night after a 15½ hour drive from Wisconsin and nearly a month on the road promoting my book. And being the writing-type person I am, I feel I have to sort out my feelings and the lessons I learned along the way, so thus far, I have 16 pages scribbled in my notebook.

Nevertheless, if I had to sum up the trip in one word, I’d have to call it “bittersweet.” And if I had to name the most important lesson I learned from it, it would have to be that I need to be more patient and humble and less selfish. Now I’m not a selfish person by nature, but I sure learned some humility on that trip.

The first stop was South Lake Tahoe, California, where my husband and I attended two concerts by Chickenfoot and I did a book signing at the beautiful Marcus-Ashley Fine Art Gallery. I sold quite a few copies of “Dance of the Electric Hummingbird” that day, and Sammy Hagar personally bought all the books I didn’t sell at the signing. He had me autograph them and I was told that he was going to add his autograph to the books and sell them in the Cabo Wabo gift shop there in Tahoe. He also gave me a shout-out during both shows. There was no lack of humility on my part in those instances.

I returned home for a few days, then attended the Chickenfoot concert in Denver. It was Chickenfoot’s next stop on their US tour, and Sammy gave me another shout-out or two during the show. Again, no lack of humility on my part there either. I was deeply honored.

The following weekend, I did a book signing at Barnes & Noble in Denver and there was also a pretty good turn-out there. One of my fans actually traveled all the way from the UK to attend my book signing! How can I relate what an honor that was? No bitter stuff yet–all sweet!

The next week, I found myself on an airplane headed for La Crosse, Wisconsin to visit friends and do a book signing there. After that, my friend and I hopped in the car and drove. Forever. We were headed for St. Louis, Missouri. Enter the much-needed patience and requisite selflessness.

The mid-west is tantalizingly beautiful: mile after mile of rolling, green hills, magnificent trees, farmhouses with barns and cattle lolling in the sun, deer on the hillsides and gorgeous evenings where the shadows are long and warm and intoxicating like the scent of the trees and the freshly-mown hay. And mile after mile there are small towns that look exactly alike with their main street churches, houses with birdbaths in the front yards, gratuitous gas station/general stores and small parks and cemeteries festooned with American flags because it was Memorial Day weekend. There were always one or two cars on the road, but other than that, the streets were pretty much vacant. And calm. Like the fast-approaching nightfall.

I loved it. Loved the tranquility and the small-town feeling. I grew up in small towns. But as our 8 hour drive to St. Louis began to approach 11 hours, I started to get impatient. And I sometimes worried that we might be traveling on the wrong road, especially since we were at the mercy of the GPS, which was fast becoming “affectionately” known as “Genevieve Partially-Correct Steward.” I think we saw every small town between La Crosse and St. Louis, and although we arrived at our destination when most people were likely in bed for the night, my friend and I got to see some incredibly beautiful countryside along the way. It was also my first lesson in cultivating more patience. You see, the roads didn’t always go through like Genevieve thought they did and she became quite distressed when she thought we were going the wrong way. And sometimes there were detours, or road construction or tractors pulling farm equipment that took up the entire two-lane highway. And sometimes deer would jump out in front of us, or there would be stop signs on every block in the 20-mph center of each small town. But it was all good. Patience, my dear. Isn’t that one of the Seven Virtues? If not, it should be.

After a few shots of Templeton rye and a fitful night’s sleep in cheap motel beds that were as comfortable as stacks of plywood (selflessness be damned; sometimes you just need a shot of good whiskey!) we then attended the Chickenfoot concert in St. Louis and had the privilege of riding to the show with friends in a huge Hummer limo. No extra humility needed on my part there. Wow. I felt like a celebrity. A very grateful one.

The concert was lots of fun and I got to rekindle old friendships; even made a few new ones. I also had the honor of being interviewed by Michael St. John of DRUMline, who happened to be waiting to interview Kenny Aronoff, the drummer of Chickenfoot. I told Mike about my book and he said he wanted to read it and write a review of it for his website, so he whipped out his camera and taped an interview with me on the spot. Very nice guy. I’ll let you know when the interview is posted online.

I then did a book signing at Barnes & Noble in Des Peres, Missouri, and there was a pretty good turn-out there as well.

Then came more traveling. My poor friend would wince every time we’d get in the car and I’d start singing Willie Nelson‘s “On the Road Again” but I just couldn’t help myself; it seemed so appropriate!

After another long drive, we paid a visit to my dad’s hometown. Dad grew up on the Mississippi River and I was only just beginning to get an appreciation of its might and its size as it wound and roared and slinked beside us at nearly every turn. I swear I felt Dad’s spirit everywhere—in the buildings, the streets, the riverboats, the locks and the dams. This was when the bittersweet feelings began to enter the picture.

The peak of bittersweet though, was visiting my aunt. Well, she isn’t technically my aunt; she was my mom’s best friend for almost 60 years. I have always loved her like a second mom. She’s 88 years old now and lives in an assisted living facility.

It had been a long time since I’d seen her—years before my mom died—and I knew she probably wasn’t going to be around much longer herself. So I just had to see her.

My friend and I walked into her room and there she sat, like a cherished, long lost spirit from the past–the last-remaining human aspect of my youth and connection to my mom. My heart leapt in my chest. She was sitting in an overstuffed chair next to a window that overlooked the parking lot–a few figurines displayed on the window ledge. Next to her was her walker within easy reach, the TV remote and her basket of yarn with a half-crocheted blue and yellow baby blanket in it. To my friend and me, it felt like it was about a hundred and fifty degrees in the room, but my aunt was wearing a cream-colored thick sweater and a pendant which was really just a button to push in case she fell. And although she suffered a stroke about a year earlier and had trouble speaking, she was sharp as a tack, which is maybe not such a good thing, bless her heart. Maybe it’s better for the mind to go before the body, I don’t know. Because if you still have your mind, and you’re 88 years old and can’t walk and you’re living in a facility like that, what have you got to look forward to besides dying? At least that was the feeling I got from her.

“It’s hell to get old,” she told me as if it were an apology. Her eyes were full of love, but at the same time, I could tell she felt embarrassed for me to see her like that. My heart broke like a flower opening only to wilt as quickly as it had bloomed..

I wanted to spend entire days with her, reminiscing and telling her how much I loved her. I wanted to tell her all about my grandkids and what my sons were up to. I wanted to hear about her life and how she felt about her circumstances because I could sense all the emotions she fought to keep in check.  And I wanted to ask her what I could do to help make things a little better for her, but it wasn’t long before I could see that she was growing tired.

So I hugged her, but it was difficult because I had to contort myself in order to reach her in her chair. I didn’t want to hug her like that. I wanted to hug her full on–feel her body against mine and send her all the love I had for her like a blood transfusion. I knew I would probably never see her again and she knew it too. She said it several times. Then I kissed her wrinkled face as tears ran from my eyes. I didn’t want her to see them, but I couldn’t stop them. She had always been so good to me, like a treasured second mother.

Here was where the real humility came in. Jesus, I have nothing to complain about.

I wished so badly that I could take her home to live with me, but I had also planned on taking her out for dinner, and she wouldn’t even leave her room for that. “Bittersweet” flowed like the Mississippi River into every cell in my body.

And that was another lesson I learned on my trip–that things don’t always go to plan. Sometimes you have to accept what IS and allow life to come to you instead of always trying to control things. And sometimes you have to stand back meekly as you watch those you love fall because despite all your plans and well-meaning intentions, there is nothing you can do to help them; they have made their own choices.

Maybe this is the truest test of love–you feel it with all your might and that love carries you through–no matter how hopeless things may seem.

The trip wasn’t all bittersweet though; there were sweet moments too, like getting to visit friends and relatives–not to mention the cheese. You can’t visit Wisconsin and not O.D. on cheese; at least I can’t–cheese curds, smoked cheese, aged cheese, string cheese, Swiss, cheddar, brick, Havarti… you name it, they have it. And cheese heads. Everywhere. (They’re very loyal Packers fans. We even paid a visit to Lambeau Field, home of the Green Bay Packers.) And their sausage, bratwurst and local beers are to die for. Seriously, these people know how to eat and drink! It’s good for the soul sometimes.

And speaking of souls, my soul must be restored and over-the-top now too because while I was there, I ate like there was no tomorrow. So much cheese, so little time… I’m not getting on the scale for weeks. So yes, my soul was restored in so many ways—bittersweet and now dancing like a hummingbird. (Well, after I lose a few pounds, that is!)

 

 

 

 

Book Signing – St. Louis, Missouri

The author with Sammy Hagar

 

After you’ve finished rocking out to the mighty Chickenfoot (Joe Satriani, Michael Anthony, Sammy Hagar and Kenny Aronoff) at the Fox Theater in St. Louis, and you’re ready for MORE Sammy Hagar, you won’t want to miss this!

 

 

Author Patricia Walker will be signing copies of her book Dance of the Electric Hummingbird: An Ordinary Woman’s Accidental Journey to Enlightenment, the Supernatural, and Rock Star Sammy Hagar

Thursday May 24, 2012 7:00 PM
Barnes & Noble Bookstore
West County Mall
113 West County Center
Des Peres, MO 63131
314-835-9980

Dance of the Electric Hummingbird is fully endorsed by Sammy Hagar:

“Pat Walker takes to heart the same type of messages I try to relate through my music and my life–go out and seek your dreams, don’t ever give up, celebrate your life and every part of who you are. I know Pat’s journey of mystical transformations will inspire you. Enjoy the journey.”

–Sammy Hagar

Aaron Hagar, Sammy’s son, did the cover art for this book.

You’ll have plenty of time to recuperate after the concert, because the book signing isn’t until the following evening, so please stop by and say hello. REDheads RULE!

“The Foot” Comes Down in Denver

Concert Review—Chickenfoot at the Fillmore in Denver, Colorado

September 11, 2009

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I am a writer. And when one is striving to maintain professionalism, it is one’s duty to present an unbiased account of the subject matter, is it not?

I tried. I really tried, but I just couldn’t do it. I was swept “Down the Drain” and it was so, so fine…

I first saw Chickenfoot perform at the Fillmore in San Francisco on May 17, 2009. It was their third live performance as a band; their debut CD had not yet been released. That show blew me away.

The Denver show topped it.

Chickenfoot was tighter than ever. And they delivered the kind of rock music that’s timeless and unforgettable.

The thing that continually amazes me about this band is that none of them upstages the others. They are all top-notch musicians in their own rites but they complement one another beautifully and it seems so effortless.

That evening, I had a backstage tour ticket. Our group was escorted into the venue to watch Davy Knowles and Back Door Slam, the band who would be opening for Chickenfoot, do their soundcheck. Davy is only 22 years old, but he has the soul of an old blues man. His music is in the same vein as that of Jonny Lang. Rock and the blues will never die as long as there are talented people like Davy keeping the soul alive.

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We were then escorted into Chickenfoot’s dressing area, a room a little larger than a closet, where all the trunks of clothes stood open and waiting for the band. I think Sammy’s trunk had more shoes than shirts! Michael Anthony’s still had the “VH” logo on it from his Van Halen days.

We were then taken to the hospitality room where the band hangs out before the show. There was a small drum set for Chad Smith, guitars, amps and equipment for Joe Satriani and Mikey, including Mikey’s signature Jack Daniel’s bass with two small shooters of JD stuck in it, a portable wine trunk stocked with about two cases of wine for Sammy, and platters of fruit, sweets and snacks. And of course, Sammy’s bottle of Cabo Wabo tequila was chilling in the refrigerator.

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They then took us onstage and showed us all the guitars in sectioned crates, the sound board, the snakes of cords, floor lights all in position, amps and Chad’s drums. What a strange feeling being up there and looking down at the empty room which would soon come to life with music and screaming fans. The Fillmore has huge glass chandeliers hanging from the ceiling over what used to be its massive dance floor.

I couldn’t help but think about the many people it takes to put on a show of this caliber and how hard their lives must be.

After the tour, those of us who wanted to participate were given a digital recorder to record the song “Sexy Little Thing.” Apparently the band wanted audience footage to use for an upcoming video for their website. What a great way to get the fans involved! I took one but couldn’t figure out how to use it until about half-way through the song. But it was fun anyway.

We were then allowed into the venue to wait for the show.

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Joe’s guitars onstage

When Chickenfoot came onstage—with their square peace sign logo lit up above them, lights flashing, their energy tore from them like an avalanche breaking loose. “The Foot” had been unleashed!

“Avenida Revolution” was just as powerful and exciting as it was the first time I heard them play it–thundering, brazenly grabbing you by the throat and never letting up.

After a few songs, Sammy joked about the altitude, saying: “You only have to smoke one joint and do three shots and you’re f—ed up in Denver!” He also said that the last time he was here, it snowed and he and Mikey were hoping that didn’t happen again. You never know in Denver.

This time the setlist was arranged differently and I liked how they changed it up so that it didn’t follow the same sequence as their album.

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Chad Smith demolition squad

Throughout the evening, Chad must have thrown out at least six dozen drumsticks into the crowd. He even pulled a woman out of the audience and had her sit next to him during Hagar’s “Bad Motor Scooter,” inserting drumsticks into the front of her low-cut top, pulling them out one by one, playing a few beats and then tossing the stick into the audience. Drumsticks were bouncing all over the stage and landing in the audience. At the end of the show, he kicked his drums over, then grabbed his high-hat cymbal and held it over his head before tossing it to the ground. The man is a maniac! The way he pounds those drums shakes the entire earth. He doesn’t sit obediently behind the drums and keep the beat like all the other drummers I’ve seen. Chad messes with your mind. He’s all over the stage; he gets up and sits on the speakers or his drums, and he teases Sammy: “You’re f—ed up when you come out of the dressing room, Sam, and when you come out of the hotel!”

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He also announced that the RIAA (Recording Industry Association of America) had officially certified that Chickenfoot’s self-titled debut album had gone gold! (Sold over 500,000 copies) 

Satriani outdid himself. He was such a pleasure to watch, as he made his guitars move mountains, sing ballads and erupt in ferocious blazes with ease. Then he just stood there and smiled while Sammy and Chad hammed it up. This man has more talent than anyone I’ve ever heard and yet he remains humble. At one point, Joe took out his video camera and filmed everyone onstage and off.

Mikey was more outgoing than in the past—he walked to the edge of the stage and interacted with people in the audience. He sang an occasional lead vocal—and did a great job of it. His backing vocals and signature bass style are well-known in rock music and that night he did not disappoint. His vocals were spot on and his playing better than ever. Rarely is he as front and center as he’s been in Chickenfoot and he deserves to be! At one point, Mikey brought Sammy a cup with booze in it. Sam took a swig, then Mikey finished it off, and went over and screamed into the microphone. Crazy!

Sammy’s voice never wavered; it was strong and solid, yet melted into velvet for “Learning to Fall.” He delivered a stellar performance from the first note to the last. He jumped, danced, pranced across the stage, reached out and acknowledged the audience and had them singing along, fists in the air and jumping up and down. The Denver crowd really seemed to love his performance of Montrose’s “Bad Motor Scooter,” which he played on his slide guitar, and “Oh Yeah,” in which he had them all fully engaged and joining in.

He asked the crowd how well the Denver radio stations were playing their music and the audience booed. I have to agree–Chickenfoot needs more air time in Colorado.

Their rendition of “My Generation” by The Who and a teaser of Led Zeppelin’s “The Immigrant Song” were a real treat. I wished they would have played the whole thing because what they did play sounded phenomenal. I think Sammy sang “My Generation” even better than Roger Daltry. Apparently these guys can play anything.

Notably absent from the setlist was “Running Out.” Don’t know why they didn’t play this.

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I lost it again during “Learning to Fall.” I’d seen them perform this live before, but I just couldn’t help myself. There is something about the music, Sammy’s voice, and the harmonies in this piece that takes over and rips me apart. I couldn’t stop the tears. There was however, a moment where Joe usually plays a note that rises up out of the music like a fast-forward video of a rose blooming, rising out of the ashes into its glory. For some reason, Joe chose to change the notes he played this time; he didn’t take it all the way up like he did before and the impact wasn’t as great. It was still an awesome song and a great performance, though.

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“Sexy Little Thing” exploded. The band was so tight on this—I think this had to be one of my favorites of the night. Also “Get It Up,” where the lights flashing on and off accented the sheer muscle of this band, who were all over the stage.

“Down the Drain” was dirty, nasty and solid. It made me feel like I was being sucked into something forbidden, glorious, dark and full of soul. Joe’s guitar solo went over the edge—a wild and wonderful trip into his heart. 

Through this entire concert, I tried to maintain a professional approach, to be able to relate this experience to my readers in a professional manner, (which I’m obviously still not doing) but how can you remain professional when the music is so captivating that it pulls you in and forces you to lose control? (Because that’s what it’s supposed to do!) Where do you draw the line for the sake of objectivity—maintain an equitable distance as opposed to becoming so involved in the moment that you don’t even care who you are anymore?

How can you be disciplined when Sammy is so into the music that he’s standing on his tiptoes, holding the microphone in both hands, bending backward and screaming: “it’s all… down… the drain… Yeahhhhhhhh” and Joe is cranking out sounds on his guitar so fast and furious that you can’t even see his fingers moving over the strings, Mikey is pounding his bass, Chad is owning the night and it’s all blending like one big fusion of music and spirit?

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As spectators, we have no ammunition. We are blown to smithereens.

It doesn’t get any better than this.

Sammy Hagar’s Birthday Bash 2009

Oct. 22, 2009

The crowd and balloons

Sammy Hagar recently celebrated his birthday at his Cabo Wabo Cantina in Cabo San Lucas, Mexico with five days of rock ‘n’ roll, commencing on October 7 and culminating with his birthday “party” on October 13. You’d never guess by looking at him that he’s 62; he looks at least 20 years younger and has more energy than most 30-year olds—still touring around the world with his latest band, Chickenfoot.

The final concert of the birthday bash was almost cancelled due to the rain, which fell nearly every day and flooded the streets. Luckily it held off long enough for the show to take place, resuming its incessant misting (it doesn’t really rain down there, it mists heavily) by the time all was said and done.

I was fortunate to be able to acquire tickets to each show, a feat that’s becoming increasingly difficult to do. This is because the requirement for getting tickets is having to wait in line all night on the cobblestones of Mexico’s cockroach-ridden, dusty sidewalks, and this time there was an added bonus—it was raining.

Each year my body convinces me that I won’t do it again next year. And yet I do. Why?

Because there is something magical about Cabo. And because in Cabo Sammy lets his hair down a little more than he does while on tour. And also because you never know who might show up to jump onstage and join the party. In the past, there have been such music legends as Ted Nugent, Jerry Cantrell, Billy Duffy, Toby Keith, Kenny Chesney, Chad Kroeger, and many others. This year the bash was in full swing as Sammy and Michael Anthony (former bass player of Van Halen) repeatedly snagged other people’s drinks off the trays of passing waitresses and helped themselves to a swig. They then replaced the drinks, but not before refilling them with tequila from the bottles chilling in the buckets onstage.

The first two concerts were laced with some of Sammy’s older songs: “Plain Jane,” “Your Love is Driving Me Crazy,” and “Turn Up the Music.”

Craigs photo Sammy pouring

There was also a nice mix of his more recent work, such as “Cosmic Universal Fashion,” and “Loud.” A real treat was Sammy’s performance of “High and Dry Again.” I had never seen this performed live and for me, it was one of those rare moments where I couldn’t help but let go and become completely lost in it.

They played a lot of Van Halen tunes during the last two shows: “Best of Both Worlds,” “Poundcake,” and “Dreams,” a few tributes to Led Zeppelin and a bit of Sammy’s more famous songs such as “Rock Candy,” “I Can’t Drive 55,” and “There’s Only One Way to Rock.” Of course no Hagar concert would be complete without the performance of “Mas Tequila” and “Cabo Wabo,” and this week’s bash was no exception.

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Another highlight for me was “Let Sally Drive.” I guess this is why I also love the music of Janis Joplin—there is something so animal and soul-baring-raw about the screams.

During show #2 on Oct. 8, The Wabos, Sammy’s band consisting of Hagar on vocals, Vic Johnson on guitar, Mona on bass and David Lauser on drums, started out with an unusual version of “Rock and Roll Weekend,” with Dave and Sammy switching places: Dave sang lead and Sammy took up the drumsticks. It wasn’t long before Sammy announced, “I don’t know how you do it!” and Dave handed the mic to Sammy while asking the audience if they wanted to hear the song done right. The Wabos had been on “hiatus” while Sammy toured with his new supergroup, Chickenfoot this summer, so I’m sure it felt good for them to be onstage together again.

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The most memorable show of all was when Chickenfoot took the stage on October 10, with Joe Satriani on lead guitar, Sammy on vocals, Michael Anthony on bass and Chad Smith (drummer for the Red Hot Chili Peppers) on drums. That afternoon, the gift shop suddenly had “Puttin’ the Foot Down at the Cabo Wabo” tee shirts for sale and the fans were asked to wear their Chickenfoot gear because the show was going to be recorded.

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Chickenfoot’s performance seemed less passionate compared to the two previous shows I’d seen, (see my concert reviews dated May 20, 2009 and Sept. 15, 2009). Even so, I love the heaviness of their sound and the sheer power it puts forth to the audience. My favorite Hagar songs are like that too, the ones with a darker feel, like “Serious JuJu” and “Psycho Vertigo,” where there’s a deeper, cutting edge. It’s music that bites you in the ass—hard—and leaves its mark on your soul. Chickenfoot accomplishes this with every note.

Between songs, Satriani smiled and sipped his waborita while Anthony chugged tequila straight from the bottle. Chad Smith seemed a bit tired and he didn’t interact with the audience like I’d seen him do in the past, but he managed to pound the drums with the exuberance he’s famous for, and he tossed out a few drumsticks into the crowd.

“Get it Up” was by far the best performance of the night—the vocals and the relentless explosion of the music was a throbbing, intimidating force.

“Oh Yeah” also seemed to be a favorite, as the band had the entire audience singing along, cheering and raising their drinks above their heads.

Throughout the show, Joe just stood there so cool, so collected and cranked out a storm, like Tropical Storm Patricia that was wreaking havoc outside that night. At one point, he started to play Robin Trower’s “Bridge of Sighs.” Mikey and Chad joined in, with Mikey singing lead. They only played a teaser of this, but it sounded magnificent—psychedelic and rich, and I desperately wanted to hear more. I swear Satriani can play  anything; and he makes it look as effortless as breathing.

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During the show of the 12th and 13th, drummer Matt Sorum, from Guns ‘n’ Roses, The Cult and Velvet Revolver stepped in, joined the party onstage and played drums for a few songs. Way to go, Matt!

Matt Sorum

On the 12th, as Sammy consulted the six foot long setlist taped onto the stage speakers, Mikey quickly jumped in and began to play the opening bassline to “Runnin’ with the Devil” with his teeth. The Wabos soon joined in, but Sammy didn’t seem too pleased as he stood in the background with his arms folded across his chest, allowing Mikey to sing lead for the duration of the song.

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“I think I pissed him off!” Mikey said afterward with a huge grin.

Chef Emeril Lagasse opened the show on October 13 and also played percussion for a song or two.

At the end, as everyone sang “Happy Birthday” and balloons floated down from the catwalk above the crowd, Sammy’s face was shoved into a chocolate cake, which he then proceeded to fling, whole, into the crowd. I was glad I wasn’t within firing distance.

Vinnie Paul, drummer for Pantera was there one night, but he didn’t perform, also magician Criss Angel.

I would like to have been able to provide you with a more comprehensive concert review, but I didn’t take notes during the shows. As it was, Sammy already scolded me for taking pictures while everyone else was clapping to the beat, saying “Put your f—ing camera down and clap your hands, dammit!” with a big smile on his face. So I guess taking notes would have been out of the question. I know, I know, I know, who takes notes during a rock concert? Um, writers…

Great music, great party, as always.

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Ch-Ch-Chickenfoot CD Review

June 7, 2009

Chickenfoot CD

Recently released June 5, 2009! Click on CD cover above to purchase, or go to www.chickenfoot.us/ to download the MP3 version for only $3.99!

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I can see where many have prejudged this album. Based on the short teasers on Chickenfoot’s website, I was initially guilty of the same. Portions of “Soap on a Rope,” “Down the Drain” and “Oh Yeah” were available before the album was released and I have to admit, when I first heard them, I was disappointed. I thought: “I wanna be your hoochie koochie man?” what kind of lyrics are those? Immediately there came visions of Charro… scary.

And the teaser of “Down the Drain,” caused me to think: here we go again, he’s singing “I need love in the morning and I need love first thing in the evening.” Come on, give me some substance…

It was the same with “Soap on a Rope.” When I first heard it, I thought: oh, no, not another song about sex and drinking…

Well, I was wrong. After seeing Chickenfoot live in San Francisco, I was truly wounded. In a good way. In a fantastic way. I don’t know what I was expecting, but it was not the caliper of what I got that night. I wrote a review of the show, so I won’t repeat it here. Check out my post of 5-20-09 if you’re interested.

As for the album itself, I have to say that this is one of the best rock sounds I have ever heard. Yep, right up there with Zeppelin. The surprising changes in these songs are one thing that makes them exciting and memorable. Just when you think this is gonna be a slow song or it’s gonna go this way or that way, it changes and lights up into something completely different. It’s a pleasure to listen to, an  honor, really. The songs showcase each of the musicians to their fullest. They really sing. Each of them, although not always with their voices.

The intro to “Avenida Revolution” slithers like a forbidden snake up your spine. Chad’s drums grab you RIGHT NOW. Sometimes the drums have a Native American feel. This song is an unexpected explosion with a dirty, nasty, dark, heavy rock beat. Sammy’s scream at the end, buries it deep. Satriani, Smith and Anthony all have small solos which highlight their outstanding talents.

The shining moment for me in “Soap on a Rope,” is when Joe’s guitar quakes with riffs reminiscent of SRV (Stevie Ray Vaughan) and is accompanied by a bend uuuuuup that takes you up with it. Also during one of the guitar moments, there’s a point where I can’t tell if the sound is created exclusively by Satch’s guitar or if Sammy is moaning along with it. If it’s just the guitar, I’ve never heard this technique before and it’s brilliant. “Soap on a Rope” bounces with a happy beat. It makes you feel good.

In “Sexy Little Thing,” Sammy will be criticized for his songs about drinking and sex, but it wouldn’t be Sammy without that. Although I was initially guilty of thinking the same, “Sexy Little Thing” is one of those tunes that makes you have to move your ass; you can’t sit still. The guitar starts out sounding a bit like a mandolin and then kicks into gear. It’s a catchy tune and a lot of fun.

“Oh Yeah” has a dark sort of feeling to the middle of it. It tastes a lot like the chord progression in the Beatles song “Because,” which is one of my all-time favorite songs ever. It builds and explodes, then falls back down, rising again with a guitar solo.

“Runnin’ Out” is a political statement about the struggle to hold on to hope. “Long after the mud has settled, you left us with a dirty man…” and “we’re running out of heroes” is a clear message about disenchantment with the Bush administration.

“Get it Up” has a melodic, rolling bassline that really stands out. It’s so full of energy, you can’t escape its impact. I love the repeated references to the word “round.” Even Joe’s guitar seems to convey the feeling of swirling in some places during the song. Chad gets a chance to wail on drums and Mikey can clearly be heard screaming his distinctive backing vocals in this song, giving it all he’s got.

Without doubt, “Down the Drain” captures Chickenfoot’s unique sound from the first note. I love the lyrics “do me when I’m dirty;” that really seems to express the voice of this band. It’s their statement. This is another song I had misjudged based on the small sample on their website. I thought this song lacked substance. I wanted more than what I had initially heard. Well, this song is loaded with substance. Maybe not in the context of the lyrics, but in the music itself. The music here is so phenomenal, it doesn’t lack for anything. Chad and Mikey’s contributions to this band are forefront in “Down the Drain.” And Sam’s scream at the end just seals this song, wraps it up, seals it nice!

My least favorite song on the album is “My Kinda Girl.” It’s not a bad song; it just doesn’t stand out for me.

I already wrote my impression of “Learning to Fall:” “There is something beyond the words here, beyond the melody. It drifts just below the surface and weaves itself with Joe’s guitar and the beautiful flowing harmonies. I don’t think I’ve ever heard Sam’s voice contain so much depth. It reveals something intimate about him that he feels compelled to share and yet wants to guard because maybe it’s just a little too personal to give away—and would they get it even if he did? But it shines through anyhow; he can’t help it, and it glides and caresses like fine cognac slipping down your throat and warming your insides.”

This is by far my favorite on the album. My only criticism is that I wish they would have given me time to recover from “Learning to Fall” when they played it live, before they went into the next song. I missed the first half of “Turnin’ Left” because I was so taken with “Learning to Fall” that I couldn’t tear myself loose from it!

Joe’s remarkable guitar skills are in their glory in “Turnin’ Left.” This is a heavy-hitting, hard-driving rock song that moves fast right from the beginning. Again Sammy and Mikey’s combined screams give this song power, accompanied by the hammering beat and music. Is that a scream combined with the squeal of the guitar or just a perfect blend of musicianship? Great high-energy piece.

“Future in the Past” begins rather funky, then turns the corner and takes on a middle-Eastern flavor. It spins like a belly-dancer’s flowing silk veil, taking you in different directions, then climbs into a hard rock bend. This is another favorite for me. There are a lot of twists here. I think the lyrics contain more meaning than they originally exhibit.

“Bitten by the Wolf” didn’t grab me at first. But when it did, it became another of my favorites on this CD. I heard things in Sammy’s voice I’d not heard before, except perhaps a taste in Van Halen’s “Apolitical Blues.” Sammy can sing the blues. Only a singer with this much depth of soul can pull this off to this height. Some strategically-placed emphasis on certain words like “muddy,” demonstrate his talent beyond doubt. With the gravelly soul sound of a raw blues singer, it goes through me like a jagged shock of lightening.

Sammy said this song was about vampires; I didn’t get that impression–except for the lyrics “we gonna live forever,” which I couldn’t figure out how that had to do with New Orleans.

There is not a bad song here.

Chickenfoot has single-handedly revived rock ‘n’ roll! This album is destined to become a classic.

P.S. Their performance on The Tonight Show with Conan did not adequately convey the authority of Chickenfoot. While they did a good job, something seemed off. Perhaps Joe’s and Mikey’s mics were turned up too loud and it distorted the sound because this was not the raw power of the band I witnessed in San Francisco or the extraordinary talent I hear on the CD!

Chickenfoot “Owns” San Francisco’s Fillmore

May 20, 2009

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My body hurts all over; it’s wrung out like a wet rag. My right ear hasn’t quite come around yet either.

Chickenfoot’s performance at the Fillmore in San Francisco, CA on May 17, 2009 was the concert of a lifetime.

I knew I was in trouble when the first song, “Avenida Revolution,” a balls-to-the-wall song about the perils of Mexican immigrants, pounded from the speakers like an iron fist slamming down hard on the stage. Or maybe the biggest erection known to humankind.

I was already overpowered.

Joe Satriani on guitar, Sammy Hagar on vocals, Chad Smith on drums and Michael Anthony on bass came onstage in a burst of sonic boom that felt like the world was splitting open, its internal organs shooting upward to the stratosphere like a volcano OD’ing on testosterone. It bounced off the back walls in some sort of sweet rage/euphoria and rolled like breeding thunder through the audience.

And it never let up. 

This was not Hagar fronting a band, Satriani fronting a band, or even Smith or Anthony fronting.

Chickenfoot has their own sound.They’re not a “supergroup” who will dissolve after one album. God Ihope not. They have too much to offer. Their personalities and talents meld as if they  should have been a band a long time ago.

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I expected to be wowed by Satch. And I was. Years ago, after having watched Eddie Van Halen perform live, I described his guitar as being his arm—an extension of him. And I was duly impressed.

But Satriani’s guitar was not an appendage. For lack of a better term, and I hate to use this because it’s cliché, he was one with it. The guitar was Joe and Joe was the guitar. The sounds he created through its body with unparalleled ease were beyond what I’d hoped to see. He added a new vision to the music—quenched a thirst for the extraordinary.

The one who really surprised me was Chad Smith. I had previously thought that the drummer’s job, along with that of the bassist, was primarily to hold the rhythm together, to keep everyone on beat. I was sorely mistaken. Chad did not politely keep time; he was not merely background noise, he was a voice demanding to be heard from the first explosive thud, an integral element. His contribution to Chickenfoot raised the bar many notches.

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Sammy’s voice never sounded better. It was full of depth, and yet maintained the huskiness that makes a rock singer great. He looked amazing. He sounded amazing. He demonstrated new techniques with his voice that gave Chickenfoot a fresh and innovative sound.

And Mikey hammered his bass, never missing a chance to make his personal statement with his distinctive backing vocals, the ones that helped make Van Halen famous.

Not one of them overpowered the others, and each gave 200 percent. They were dripping with sweat before the first song ended.

From the moment they took the stage, Chickenfoot commanded the sound with the expertise of professionals who had risen above that title to the point where their art flowed naturally; it was not contrived. They had earned the right to enjoy themselves while allowing us a peek into their secret passions.

The music dumped into me with such intensity and felt so damn wonderful, it was almost agonizing. There’s a fine line between pain and pleasure anyway, isn’t there? Especially in rock ‘n’ roll.

When they played “Learning to Fall,” my body felt like it was being wrenched by some out-of-control dictator. And I couldn’t stop the tears. The music was phenomenal; the harmonies impeccable. It sounded like there was an entire symphony surrounding me.

It is both glorious and infuriating to be manipulated by an outside source like that.

Mikey Chickenfoot cropped

Another highlight was Chickenfoot’s rendition of Deep Purple’s “Highway Star.” It transported me back to my teen years when life was filled with the joy of listening to captivating rock music with good friends. “Machinehead” was one of the first albums I’d ever purchased.

Sammy did a fantastic job singing Ian Gillan’s incomparable lead vocals.

Chickenfoot’s entire performance tore me up bad. And yet, I felt like I was the contender who’d won the match. I knew at the time that I was going to be hurting afterward; I just didn’t care. It was so worth it.

I think the critics who have dissed Chickenfoot have based their opinions on the 30-second snippets on the Internet or perhaps from the teasers on Chickenfoot’s website.  These samples do not showcase the brilliance of their material. Not even close.

If hard rock music is in your blood and you are presented the opportunity, you owe it to yourself to see Chickenfoot.

You’ll regret it if you don’t. Sammy Chickenfoot cropped

 

Setlist:

Avenida Revolution
Soap on a Rope
Sexy Little Thing
Oh Yeah
Runnin’ Out
Get It Up
Bitten By The Wolf
Down the Drain
My Kinda Girl
Learning to Fall
Turnin’ Left

Encore:
Future in the Past
Bad Motor Scooter
Highway Star

What a crazy name for a rock band!

May 14, 2009

Maybe their name is crazy, but their music will knock your socks off.

Chickenfoot is the new band featuring musicians already famous for their memberships in other groups: Sammy Hagar on vocals, guitar virtuoso Joe Satriani on guitar, Michael Anthony (former bass player for Van Halen) on bass and Chad Smith, Red Hot Chili Peppers’ drummer on drums. They’ve taken a lot of heat for their name, which started out as a joke and stuck.

I first heard them play in Las Vegas in 2008. The concert was supposed to be Sammy & the Wabos.

Chickenfoot Las Vegas 08

But toward the end of the show, Sammy announced that he had special guests waiting offstage who were dying to come on and play. That’s when Mikey, Joe and Chad made their entrance.

The four of them played a three-song set that included Led Zeppelin’s “Rock ‘n’ Roll” and Traffic’s “Dear Mister Fantasy.” The audience was ecstatic.

Since then, Chickenfoot has recorded its first album, due for release on June 5, 2009.

The band is doing a “Road Test” tour which includes nine small venues around North America before they head off to Europe. They will be back mid-July to play larger venues in the US. For more information, please visit the Chickenfoot website.

True to all the synchronicities that have fallen into my lap since my mystical experience at Sammy’s show in 2003, my husband and I somehow obtained last-minute tickets to the sold-out show in San Francisco on May 17. It was obviously meant to be, for reasons presently unknown to me. But like all the other coincidences on this wonderful journey, I’m sure the reasons will be forthcoming.

Until then, I am honored to be a part of rock music history-in-the-making and will return home with more stories. Stay tuned!

Chickenfoot – Learning to Fall

May 14, 2009

I can’t remember the time I have been so moved by a song.

“Learning to Fall” speaks to every cell in my body as if it were part of me. I can almost feel its spirit rising in my soul like the smoke of sweet jasmine incense.

There is something beyond the words here, beyond the melody. It drifts just below the surface and weaves itself with Joe’s guitar and the beautiful flowing harmonies.

I don’t think I’ve ever heard Sam’s voice contain so much depth. It reveals something intimate about him that he feels compelled to share and yet wants to guard because maybe it’s just a little too personal to give away—and would they get it even if he did?

But it shines through anyhow; he can’t help it, and it glides and caresses like fine cognac slipping down your throat and warming your insides.

You can’t hang a name on that feeling; you just have to allow it to move through you and enjoy its spell.

And listen to the song again.

Chickenfoot’s “Get Your Buzz On Live” DVD Review

May 18, 2010

I assume this is the same concert I saw at the movie theater (sans the bonus footage) last December.

If so, I don’t remember the film being this dynamic at the theater because where Chickenfoot really must be experienced to be appreciated, is live. Or maybe it was the fact that when I watched this at home, the huge sound contained in my small living room almost blew out my windows. And I don’t mean because I had the volume cranked up.

When Joe Satriani, Sammy Hagar, Chad Smith and Michael Anthony break in with “Avenida Revolution,” it always surprises me because it’s such a dramatic entrance. It slams you hard. Now. And it hurts so fine. This time was no exception.

I already wrote about my impression of the movie on the big screen in Movie Review: Chickenfoot Live so I won’t repeat that here. Please see that post if you’re interested.

The bonus material in this DVD is the behind-the-scenes stuff that was missing from the version I saw at the theater. It shows Chad doing man-on-the-street interviews with would-be Chickenfoot “fans.” Holding the mic, which is outfitted with the Chickenfoot logo, Chad asks, “Do you recognize any of these guys?”

“No,” comes the answer from more than one interviewee. Funny stuff.

Then there’s Chad’s photo shoot where he’s dressed up like Will Ferrell in “Elf.” Smith points out that because of the costume, there’s a noticeable elf bulge in his pants, which he concludes isn’t a bad thing, then sits down on the floor and proceeds to literally tear up a snare drum. More funny stuff.

There’s a segment where Sammy visits Bob Weir (of The Dead) and they share a bottle of tequila while chatting about marijuana, among other things. Not sure if they’re stoned in this part of the documentary or not, but they sure are laughing a lot. At one point, Bob picks up a guitar and strums an impromptu melody. Sammy can’t help but jump in, ad-libbing vocals. Now if there’s one thing I’d like to put on my bucket list, it would be being in the room with Sammy and his friends while they’re just jamming like that. I can even feel the vibes through the TV screen.

Mikey is interviewed by Adam Corolla. This was my least favorite portion of the bonus footage, only because I didn’t like how Adam told Mikey he was the weakest link in Chickenfoot. Come on, Adam, Mikey deserves better than that!

Then there’s the “Joe Cam,” where Satriani films odd moments such as Chad’s nightly “flesh wound assessment,” and pans the audience from his onstage perspective. I think I recognized a few faces. And Satch being interviewed by Christopher Guest a.k.a. Nigel Tufnel from Spinal Tap, is amusing.

I also liked the tidbits from various concerts that were scattered throughout. They captured the vivacity—the sheer and commanding over-the-top force that is Chickenfoot in concert.

While I thought some of the interview segments seemed to run on a bit too long, overall, the bonus footage rounds out the DVD nicely, even Chad’s mooning the audience and his demolition of his drum kit at the end. Chad, you maniac! You ROCK!

Great concert video and fun extras.

Chickenfoot is due to record their second album soon and an inside source tells me it’s going to be amazing.

Can’t wait.

This is What I’m Talking About!

October 19, 2010

I just got back from Cabo San Lucas, Mexico, and spending four nights watching Sammy Hagar perform at the Cabo Wabo Cantina, with Michael Anthony (of Chickenfoot and formerly of Van Halen), Vinnie Paul (Pantera) and Steve Harwell (Smashmouth), not to mention Sammy’s band, The Wabos, who totally kick ass.

It was more than a musical experience though, especially since after the first two shows, Sammy got sick, postponed the third show, and played the next two nights despite the fact that his voice was pretty much gone.

There’s something about Cabo.

It’s magic.

And many times when I go down there, I become infused with some sort of supernatural light that keeps coming out of me for months or sometimes for years. It’s as if that light attracts even more light into my life, like it did this morning, when I came across this article.

It’s about Carlos Santana’s spiritual connection with music, with God, with life. And it’s not written in esoteric concepts that the average person can’t understand–it’s presented in down-to-earth language that anyone can relate to. In other words, it gives us hope.

It’s interesting to me that I’d just returned from Cabo, met some wonderful people with whom I hope to work in order to get my message of hope out to more people (through my book), and then I come across this article. Coincidence? Not a chance. Light attracts light.

Enjoy.

Carlos Santana: Coltrane, Mysticism and Human Nature.