Thunder on the Rocks

Posted on September 19, 2016 by Baja Rock Pat

Redrocks Amphitheater
Morrison, CO
September 5, 2016

You can say what you want about Sammy Hagar—that he’s a god, that he’s a clown, that he’s amazing, that he’s egotistical, that he’s washed-up, that he’s an incredible person… we all have our own opinion, and I’m going to try to remain objective here, but having had the immense pleasure of seeing Sammy and his latest band, The Circle, perform at Redrocks recently was such a delight that I just had to share my thoughts.

It had been the culmination of a super crazy week for me, having worked 12-hour days for the Labor Day weekend and, not being a spring chicken myself anymore, trying to deal with the agony of my vehemently protesting knees, but when The Circle exploded onto the stage with “There’s Only One Way to Rock”, where I could barely walk just moments before, I found myself dancing (as best I could) and wishing I’d had more space in which to move. Oh my God! The music blew the roof off the building! Oh wait—there was no roof. Or building.

I’ve seen Sammy perform with Van Halen, The Wabos, Chickenfoot and others, and while I never got to see Van Halen in their prime, (I saw them in 2004 during their reunion tour—don’t get me started) and although I love all his previous bands, I have to say that I think I enjoyed The Circle the other night most of all. Maybe it’s because I’m also a huge fan of Led Zeppelin.

Jason Bonham & Sammy Hagar

With Sammy on lead vocals, Michael Anthony (former bassist of Van Halen) on bass, Vic Johnson on guitar and Jason Bonham (son of the illustrious John Bonham from Led Zeppelin) on drums, how could this band be anything but spectacular? And they were. Tight. Loud. Sounding like thunder on the rocks.

I expected to hear some Zeppelin tunes and was thrilled with what they chose to play. I loved “Good Times Bad Times,” but “When the Levee Breaks” and “Rock and Roll” are two of my all-time favorite Zeppelin tunes and when The Circle performed them, I was swept up into a state of bliss and wonder that matched the fog machine’s ambience, and I don’t mean stoned. There was just something magical about all of it—Redrocks—with the stars overhead in the warm summer night’s sky combined with the towering red-hued boulders on either side of the venue like two giant hands holding audience and performers in an intimate setting of sound and soul and rock and roll so mesmerizing that you just had to experience it to believe it.

Hagar seemed to feel it too. “This is the most beautiful venue on earth!” he said, extending his arms. “I wish I could have gotten here while the place was empty, climbed to the middle and just sat there in awe and taken it all in.”

Indeed. If you’ve never had the pleasure of seeing a live show at Redrocks, I urge you to go sometime. You won’t be sorry. There is nothing like it.

Michael Anthony was as talented as always—with his high pitched, irreplaceable backing vocals that helped make Van Halen great, and his seemingly sheer joy at performing with his buddy Sam.

Michael Anthony on bass

And although he’s not Eddie Van Halen, on guitar, Vic Johnson, who hails from Colorado Springs, CO, never disappoints. He hammered out those songs as easily as if he could do it in his sleep.

Vic Johnson on guitar

There was a moment during the show that really stood out for me though—Sammy’s guitar solo during “When the Levee Breaks.” I remember talking to Vic years ago and he told me that he’d mentioned to Sammy that he needed to play guitar more, that his fans loved it when he did so, and when I heard that solo during “When the Levee Breaks,” that’s what came to mind—Damn! Sammy! You need to play guitar more! What a treat!

Although I’ve seen Sammy in concert more times than I can count, and yes, I suppose I’m a little biased, I am still impressed that he can perform with as much energy as he does. I leaned over to my son, who was there with me, and said, “Can you believe he’ll be 70 next year? 70!” You’d never know it. Hagar made it look effortless, and it was obvious that he enjoyed every minute of it.

Sammy Hagar on lead vocals

There was a moment during “Runaround” when Mickey’s mic quit working, but it was only a minor distraction. And toward the end of the show, Hagar’s voice grew a bit hoarse, but I’m sure it was due to the altitude. I’ve seen many performers in Colorado have to take hits of oxygen between songs for this reason.

But they didn’t let up. Quipped Hagar, “We’re not going to go offstage and come back on because I don’t want to walk down all those steps to the dressing room and back up them again! So we’ll just do it like we’re in Cabo. We don’t go offstage; we don’t do encores in Cabo. We just keep playing until we’re done playing.”

And they did. The crowd went crazy with applause.

Jason Bonham on drums

The show ended with an etherial rendition of “Dreams,” which is one of my all-time favorite tunes. One year in Cabo, as Sammy was getting ready to perform “Dreams,” he announced to the audience about how I had made my dream come true—to be a writer (the video is on the home page of my website, you can see it here) so this song will forever have special meaning for me. And although he’s lowered the key, with the magic of the evening overpowering my angry knees, it was truly one of the best shows I’ve ever seen Sammy do. Then to close with “Rock and Roll”… Give me more!

Setlist:
There’s Only One Way to Rock
Rock Candy
Good Times, Bad Times
Poundcake
I Can’t Drive 55
Runaround
Right Now
Little White Lie
When the Levee Breaks
Why Can’t This Be Love
Finish What Ya Started
Heavy Metal
Mas Tequila
Dreams
When It’s Love
Rock and Roll

**All photos property of Patricia Walker, 2016. No unauthorized duplication, please.

Sammy Hagar Wows Loveland

Posted on September 30, 2013 by Baja Rock Pat

Budweiser Events Center
Loveland, CO
August 20, 2013:

I cannot write an objective review of Sammy Hagar’s concert in Loveland because well, I am a little biased. He not only endorsed my book, “Dance of the Electric Hummingbird,” but I’ve seen so many of his concerts now, I can’t even count them all. However, I can tell you that he freaking ROCKED the Budweiser Events Center last month—even though there was a less than full house.

Said Sammy, “Well, it’s not a full house tonight, but you sure SOUND like a full house!”

Indeed; the audience loved him—and why wouldn’t they? At nearly 66 years old, Hagar had more energy than many men half his age, as he went from one fast song to the next. Only near the end did his voice begin to sound a bit scratchy—from the altitude no doubt, but his energy, and that of his band, The Wabos, (Vic Johnson on guitar, Mona on bass and David Lauser on drums) never waned. They killed it with four decades of Hagar hits, even giving a teaser of Hagar’s new album, “Sammy Hagar and Friends,” which was just released this week.

Vic Johnson

The show opened with a Montrose medley, then the band went into “Red,” “I Can’t Drive 55,” “There’s Only One Way to Rock,” “I’ll Fall in Love Again,” and “Three Lock Box,” from Hagar’s early years, followed by a series of Van Halen greats: “Right Now,” “Why Can’t This Be Love,” “Best of Both Worlds,” “When It’s Love,” and “Finish What Ya Started.” Then came “Heavy Metal” and “Mas Tequila,” and the new song “Knock Down Drag Out.”

Mona on bass

For the encore, they performed “Winding Down,” another song from his new album, followed by an emotional rendition of “Eagles Fly” and another new song, “Bad on Fords.”

As usual, Hagar interacted with fans who threw banners, shirts, hats and other objects onstage for him to sign. It seemed he did his best to make everyone in the audience feel as if they were part of the show–it’s one of the things that makes him such an entertaining performer. He also displayed the message captured in the photo below, as in each town he played, he donated money to the local food bank.

I’m not sure many entertainers would do such a thing, but Hagar knows what it’s like to come from humble beginnings–his early life was anything but easy.

Perhaps part of the reason there weren’t more people in attendance at the show was because Heart and Jason Bonham were playing the same night in Denver, and B.B. King and Peter Frampton were playing Redrocks.

No matter.

“We’ve never played in Loveland before,” Hagar said. “But we’ll be back!”

If the audience’s approval was any indication, I’m sure he will be.

KID ROCK Lights Drenched Denver Crowd On Fire!

Posted on August 26, 2013 by Baja Rock Pat

August 3, 2013
Fiddler’s Green Amphitheater
Denver, CO

Kid Rock, (real name Robert James Ritchie) hailing from Detroit, Michigan, is an artist that people either seem to love or hate, and since he’s such a highly-controversial “bad boy,” it made me want to check him out for myself and see what the fuss was all about. I could then base my personal assessment on how his voice, the beat, and the music made me feel.

Plus, if famous artists were going to offer tickets at a mere $20 each–for THREE bands–I figured, what did I have to lose? What did that say about the artists? Maybe that they were trying to make a statement that it’s not okay to charge $200 for a ticket to see a concert. Barry Fey, Denver’s most famous concert promoter, would have concurred. He once told me that the only way to lower concert ticket prices was for fans to refuse to pay exorbitant prices. Not sure if that’s ever going to happen, but at least Kid Rock, ZZ Top, and Uncle Kracker are making an attempt. It’s also a great marketing tool: make the concert affordable and more people will attend, thereby bringing the artist more fans who will buy his or her music and T-shirts and hopefully attend future shows.

There were three bands in the lineup in Denver that day—Uncle Kracker, ZZ Top, and Kid Rock. Due to a torrential downpour, it took us a while to get to our seats, so we missed the first band. I’m not talking about a nice, summer shower here, it dumped on us for hours, and there were a lot of people in the audience who hadn’t prepared for adverse weather conditions, giving the term “wet T-shirt contest” an even more “interesting” connotation. Oooo—middle-aged women in beige, cotton shorts should perhaps think twice about wearing black thongs when the sky looks like it may open up at any moment.

In any case, it was difficult to see ZZ Top through the tiny crack between the bottom of my umbrella and the top of my plastic rain poncho. Still I could hear them well enough, and the boys from Texas put on a great show—they always do—with their fluffy guitars, long beards, and gravelly voices. Uh how how how how…

By the time Kid Rock took the stage, the downpour had ceased and instead of the sky exploding, the stage did; Kid‘s performance blasted my bones right out of me.

First, they played videos in five minute intervals stating: “15 minutes until show time!” “10 minutes until show time!” on the giant screens on either side of the stage, and before Kid came onstage, they played another video with an eagle rising from the bottom of the screen against a forest background with Kid‘s voice-over thanking God for allowing him this opportunity and asking God to help him deliver a great show to all those who came to the concert that night.

Nice touch, and although I know very little about Kid, I’d heard enough about him to know that this concert was not going to be a G-rated, Christian-rock-based show.

Oh boy.

Kid burst onto the stage, singing some hip-hop song laced with obscenities and cannon balls (his). The more I heard, the more I loved it. I had to ask myself, “Where have I been?” Well, perhaps where I’d been was that I’d heard that his music was more country laced with rock and rap. I was partially correct. However, I had no idea he could do it so well. There was a man a few rows ahead of us wearing a T-shirt that read “You’ve never met a motherf–er quite like me” and at first I thought, “Wow, that guy has some nerve!” Then Kid sang that in one of his songs, and later my husband produced the same T-shirt from under his soaked fishing jacket! I guess if I had to sum up my impression of Kid’s performance in one sentence, that would be it. I’d never heard anything quite like what he delivered that night. I apologize for not being familiar enough with his music to report the song he opened with, but it knocked my soaked socks off.

Rock‘s band, Twisted Brown Trucker, and backup singers were top-notch too. Shannon Curfman, clearly not a novice, (she’s released quite a few albums herself) was so fantastic when she sang “Picture” with Kid, I would have liked to have heard her sing even more. She is truly a star!

I love music that challenges my sense of what is right and wrong in the world, music that challenges my sense of who I am as a person–brazen music that exposes the soul of the artist and makes no apologies. Kid spilled his guts on his drug use, sex, his faith in God, and his pride in being an American, among other things. No doubt, I’d never seen a motherf–er quite like Kid and next time he comes to Denver, I’ll be sure to be in the audience!

Some of the songs from the setlist:

Wasting Time
Cowboy
Let’s Ride
Rebel Soul
Redneck Paradise
All Summer Long
Forever
What I Learned Out on the Road
Cocky
You Never Met a Motherf–er Quite Like Me
Picture
3 Sheets to the Wind (What’s My Name)
Bawidaba

(All photos and content property of Baja Rock Pat. Please do not copy without prior written permission.)

Jonny Lang Concert Review – Loveland, Colorado

Posted on September 2, 2012 by Baja Rock Pat

August 31, 2012
Thunder Mountain Amphitheater, Loveland, Colorado

Why is it that after I’ve just experienced a live concert that is so kick-ass amazing, I’m left feeling beat up, exhausted, and yet, indescribably invigorated?

Friday night, blues musician Jonny Lang performed at Thunder Mountain Amphitheater in Loveland, Colorado, and the phenomenal Mr. Lang, who never fails to blow his audience away, did it again.

With two local bands, Over the Rail and the Lindsey O’Brien Band opening for him, when Lang took the stage, he quietly picked up his guitar and with his long fingers stretched across the strings, began coaxing it into “Don’t Stop (For Anything).” Joining him onstage were Jim Anton on bass, Barry Alexander on drums, Dwan Hill on keyboards, and Akil Thompson on guitar.

I’ve watched Jonny change and grow over the years, taking the blues and playing them just as well as the old-time greats, (if there is such a thing as reincarnation, Jonny must have been one of the original blues masters–you just can’t manufacture that kind of soul) but he also turns them inside out and upside down and weaves them with different genres, such as gospel, R & B, Christian, soul, funk, and hard rock, as he did Friday night.

Akil Thompson on guitar

Jim Anton on bass

I would be hard-pressed to find anything to criticize about the show, but if I had to name one, it would be that I would have liked to have heard “Still Rainin’” and “The Levee,” but that’s just me.

One cannot deny however, that Lang is a master not only of the guitar, but also of vocal ability. He captures his audience and grips them with each note like talons piercing unsuspecting flesh and we never want those talons to release us. A shining example of this was the intro to “Red Light.” Lang took us on an emotional rollercoaster with just his voice. What a treat. I’d like to ask him what goes through his mind when he’s up there performing because it seems like he’s in his own little world and yet, he gives two hundred and fifty percent every time, getting so deeply into the music that it’s hard to tell where his identity ends and that of the music begins. Maybe it doesn’t.

“Forty Days and Forthy Nights,” an old Muddy Waters tune, showcased Lang’s incredible guitar work–exceedingly impressive–without the use of a pick.

“Lie to Me,” always an audience favorite, began almost as an acoustical tease, then exploded in a metaphorical wall of fire and power until it consumed the entire amphitheater. It doesn’t get much better than this.

“Breakin’ Me” was performed with so much emotion that there was hardly a sound from the audience, and “Turn Around” had a funky R & B feel to it, as well as Stevie Wonder’s “Livin’ for the City.”

Barry Alexander on drums

Dwan Hill on keyboards

The final song was “I Am,” another emotional piece, in which all the band members performed solos. At the end of the show, Lang stepped up to the mic, and with a boyish grin on his face, quipped, “I just don’t want it to end!” and we knew he meant it. I didn’t want it to end either.

Thanks to the fine people at Thunder Mountain Harley-Davidson and Clear Channel Radio (107.9 The Bear), I got to meet Jonny backstage. Again, he did not disappoint. He was warm, down-to-earth and comfortably chatting with his admirers—signing everything they offered, then happily posing for pictures. Someone said to him, “Jonny, you have more talent in your little finger than most people have in their whole body!” Jonny smiled and replied, “It’s practice, just practice.” I beg to differ. I could practice until my fingers fell off and never get close to what comes so effortlessly to him.

Backstage with Jonny Lang

Discovering what a gracious person he was only deepened my respect for him and my appreciation of his music.

This man does have more talent in his little finger than most people will ever have, and he’s happy to share it with you; just don’t be fooled by his soft-spoken manner and humble nature—when he opens his mouth to sing and moves his fingers across the strings of his guitar—he will swallow you whole. And you will love every minute of it.

Setlist:
Don’t Stop (For Anything)
A Quitter Never Wins
Turn Around
Red Light
Livin’ For the City
That Great Day
Breakin’ Me
Angel of Mercy
Lie To Me
Forty Days and Forty Nights
I Am

Photo Credits: ©Dee Walker

Rock ‘n’ Roll Hell is Heaven

Posted on October 30, 2011 by Baja Rock Pat

Aug. 11, 2009

Author’s note: I wrote the following over a week ago. It has since become news that Aerosmith’s lead singer, Steven Tyler, fell off the stage at the Buffalo Chip Campground during their concert in Sturgis, SD on August 5, 2009. According to www.rapidcityjournal.com, Tyler was reported to have broken his shoulder and sustained stitches in his head.

Godspeed and healing, Steven!

(Aerosmith stage curtain photo by maduarte)

* * * * * * *

My sons say I’m out of the loop and that may be true to some extent. During the late ‘70s and most of the ‘80s when others were enjoying rock ‘n’ roll, I was busy trying to survive as a single mom, so I missed out on a lot. But I’m making up for it.

I guess there has to be a first time for everything, and Aug. 1 was the first time I’d seen Aerosmith in concert.

They played with ZZ Top at Fiddler’s Green in Denver. The ticket price was outrageous, but I’d been reading a lot lately about the many injuries the members of Aerosmith have sustained during the past few months so I figured I’d better go and see them. It may be my last chance to experience one of the legendary rock bands of my generation.

Lead singer Steven Tyler had recently had a bout with pneumonia and pulled a muscle in his thigh, warranting the cancellation of several scheduled stops on this tour. You can’t very well replace a lead singer with a voice and face like his. Bass player Tom Hamilton survived throat cancer a few years ago and is currently recuperating from “non-invasive” surgery. David Hull, who played with Aerosmith in the past, is now covering for Hamilton. Guitarist Brad Whitford hit his head and had to have emergency surgery, requiring him to sit out several shows. Lead guitar player Joe Perry had to have knee replacement surgery twice.

See what I mean? So I paid the $150 per seat ticket price and went. A man sitting next to me said that his friend had done sound or something for them years ago. “Even the Grateful Dead said they’d never seen anyone who did as many drugs as Aerosmith,” he told me. I guess it’s a miracle they’re still kicking.

Anyway, I won’t critique each song or style because I’m not intimately familiar with their music. However, I will give you a first-timer’s perspective.

ZZ Top opened the show and they always rock. I’ve seen them before and it never ceases to amaze me that a three-piece band can put out such a big sound.

Aerosmith came onstage when the sun was going down. They played most of my favorites: “Sweet Emotion,” “Dream On,” “Rag Doll,” “Walk This Way,” “Dreamweaver,” and “I Don’t Want to Miss a Thing.” They sounded great although Tyler and Perry seemed winded much of the time. It was the altitude in Denver, I’m sure. Not an out-of-state singer’s best friend.

Every live show I’ve seen recently has had one aspect that really stuck out for me. This time it was Steven Tyler. He has to be the consummate rockstar—the very embodiment of the word. At 61, he still looked and sounded fabulous. He was dressed in silver, glittery tight pants that accentuated his tight ass and his lean, toned body. He wore a black tank top with the Aerosmith logo on it in rhinestones and had about 10 bracelets on each wrist. His fingernails were painted with a strip of black down the center of each one.

Now I’m not normally one who thinks men who wear makeup and nail polish are sexy, but I have to admit, Steven Tyler is sexy.

He knows how to hold his body and his long thick hair just right to create maximum effect. He has all the rockstar moves down to a science—perfect spins, suggestive poses, hip thrusts, and a special mic stand which he hauled everywhere. It had his initials painted on it and was decorated with sheer and glittery scarves that hung to the floor. He used them to slide back and forth between his open legs or wrap around his face throughout the show. Several times, he demonstrated his proficiency on harmonica and once on drums.

The lighting was the most elaborate setup I’d ever seen. No wonder this concert cost so much! Colored lights on huge sections moved up and down above the band, there were smoke machines and fans to blow the performer’s hair and clothing just right, even a fake fire flaming around Joe Perry during one solo. Above the stage were four large screens that moved up and down and played various scenes or showed close-ups of the concert. My favorite was when each screen had huge moving flames on it. Combined with the music, the smoke and the red and orange bars of lights and single lights whose beams crisscrossed across the stage, I felt like I was in rock ‘n’ roll hell and it was heaven!

Joe Perry did an amazing job. Like Tyler, Perry is another consummate rocker—he has that refined, rock star attitude. The tour was called “Guitar Hero: Aerosmith Presents Aerosmith,” and was a combination of the game and Perry playing live. He had a duel with his Guitar Hero caricature after which, he asked the audience: “Who won the match—me or the cartoon?”

Of course there was no comparison.

At one point, ZZ Top’s Billy Gibbons came out for a jam session. It seemed that touring with Aerosmith has affected “That Little Ol’ Band from Texas,” because they brought out an extra amount of spice from one another. And Gibbons’ voice, well, like Tyler’s, is legendary. Uh hm, hm, hm…

From the opening blast, where the stage curtain dropped to the floor, revealing thousands of shooting lights, the sparkling performers and the thunderous music, I was so glad I went. These boys may be getting up in years, but you’d never know it to see them; they still have it. And they’re doing it up in a big way—rock ‘n’ roll that pounds the “Sweet Emotion” out of you the way it should be!

Melissa Etheridge Gives Colorado a Piece of Her Heart

Posted on October 30, 2011 by Baja Rock Pat

Aug. 22, 2009

Melissa Etheridge2
Melissa Etheridge is one performer I’ve always wanted to see live in concert. Since the late ‘80s, her raspy Janis-Joplin-vocal-style has always fascinated me.

I’m not one who’s normally impressed by singers with harmonious voices that sound like the trickle of water in a backyard pond as it slides over carefully-polished stones (although I love Bocelli). My soul is stirred by the ones who scream from deep down in their personal torments of love, anger, frustration, elation, and blow those sweet, meticulously-placed rocks to bits.

Melissa does this. Has always done this.

On August 15, 2009, she performed for Bohemian Nights 2009 in Fort Collins, Colorado, as part of her “Live and Alone 2009” tour. She took the stage with just her guitar, but then played piano during a rendition of a Joan Armatrading song. She also played harmonica, telling the audience that a solo performer sometimes needed a harmonica. Nice reference to Dylan.

Etheridge, who is a breast cancer survivor, said that she now sees life in a new way, and one of her most passionate songs was “I Run for Life,” about that very thing. “I run for the truth, for all that is real,” she sang. The message that came through was the unselfish need to be there for others, to remind them that the “C” word is not a death sentence. I can’t think of a better purpose for a song than to inspire others.

This was powerful and her sincerity contagious.

She also played a lot of my favorites: “Chrome Plated Heart,” “Like the Way I Do,” “Bring Me Some Water” (which has always been my favorite Etheridge song), “Come to My Window,” “I’m the Only One,” and “I Want to Come Over,” in which I could feel her longing for understanding pounding out with every syllable.

Melissa’s appeal is her honesty. I heard so much angst in her songs—the kind that flows in the veins of great rock music and merges with the chords like a potion that heals from the inside out. Her music is clearly a yearning for self-understanding—isn’t that what we all long for?

She also sings a lot about angels and love, but not in a soft way. Melissa’s got rock ‘n’ roll boots and she’s going to stomp you with them!

Like most out-of-state musicians, she seemed a bit winded due to the altitude, but toward the end of the show, she really kicked it into gear: hair flying and literally beating the notes of out her guitar. For an encore, she did a Janis Joplin tune “Piece of My Heart.” I don’t know a whole lot about Melissa, but Joplin had to have been a very big influence for her musically.

Toward the end of the concert, a college-aged girl next to me in the crowd was jumping up and down, pumping her fist in the air and screaming at the top of her lungs, causing those near us to stare. She kept apologizing to me, saying: “I’m really sorry; I swear I’m completely sober. Melissa is my very favorite!”

I just smiled. “You don’t have to apologize. You’re supposed to have a good time. That’s what it’s all about!”

And that’s also the difference between a person who merely gets up onstage and plays a guitar and someone who makes you feel it!

I was even lucky enough to get one of Melissa’s guitar picks. (I collect them.) On one side, it says: “The Dreams We Create” —another positive omen for me, I take it.

Melissa Etheridge3

“The Foot” Comes Down in Denver

Posted on October 30, 2011 by Baja Rock Pat

Concert Review—Chickenfoot at the Fillmore in Denver, Colorado

September 11, 2009

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.

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.

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.

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.

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!”

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.

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.

“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?

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

It doesn’t get any better than this.

Have You Experienced… Hendrix?

Posted on September 25, 2011 by Baja Rock Pat

March 17, 2010

Jimi Hendrix would have been 68 now. Hard to believe. Although he passed away in 1971, Jimi’s legacy lives on and there are many fine musicians out there making it happen.

Sunday night’s concert at the Paramount Theater in Denver on March 14, 2010, was no exception. The sold-out three hour show could have gone on for another three hours and it wouldn’t have been enough for me.

Billy Cox on bass, was one of Hendrix’s original players back in the ‘60s and he showed no signs of slowing down.

Kenny Wayne Shepherd delivered a stellar performance of “Voodoo Child (Slight Return)”—wow. His style was full of soul and grit and got down to the heart of Jimi’s music.

Jonny Lang was so amazing that as he played, his music took me out of my self and made me forget who and where I was. I was so mesmerized, I couldn’t even tell you what he played! Complaining about the altitude, Jonny only came onstage once—I was hoping for more. I’ve seen him in concert several times before and although I always think I’m prepared for it ahead of time, each time he gets under my skin.

Living Colour tore it up with so much energy on “Power of Soul,” and they were so tight, the audience went wild. And with Chris Layton (from Stevie Ray Vaughan’s “Double Trouble” and Aerosmith’s Brad Whitford hammering the sound, Jimi would have been proud.

Joe Satriani performed “Three Stones from the Sun” and from the plethora of effects in his genius-sized toolbox, among others, produced sounds that seemed to flow like water—sounds I’d never heard from a guitar before. During “All Along the Watchtower,” the audience was on its feet and nearly delirious with emotion.

Among the other songs performed were: “Hey Joe,” “Fire,” “Foxey Lady,” “Red House,” “Are You Experienced?” “Crosstown Traffic,” “Purple Haze,” “Voodoo Chile,” and “The Wind Cries Mary.” I was hoping for “Star Spangled Banner” and “Machine Gun,” but I guess you just can’t please everybody.

The show also featured Eric Johnson, David Hidalgo and Cesar Rosas of Los Lobos, Susan Tedeschi, Doyle Bramhall II, Ernie Isley, and Robert Randolph—all of whom contributed to make this a most memorable evening—a tribute to the greatest and most influential guitarist of our time—Mr. Jimi Hendrix.

This is the kind of music that stirs my soul—a heavy-electric-infused, psychedelic mind trip, and easily one of the best concerts I’ve seen. Give me more!

Concert Review: Tool – A Trip In and Out of Your Mind

Posted on September 21, 2011 by Baja Rock Pat

June 29, 2010

I’ve been to hundreds of concerts in my day, everything from Yanni to David Bowie and I have never seen anything like Tool.

They performed at Redrocks Amphitheater in Morrison, CO last night. They’re doing another show there tonight.

To see Tool at Redrocks was a spectacular treat because the venue itself is outdoors, with the lights of Denver in the background, twinkling like millions of stars above the stage—yes above the stage. Then there were millions of real twinkling stars above that—as the full moon rose like a giant orange disc, while lightning flashed from the stage and from the sky off to the south as if it were part of the show. Tool’s lasers then zapped like thin green and red electric fingers over the crowd, bouncing off the rocks behind us.

I thought I was wearing those funky 3-D glasses and didn’t know it.

Tool’s music is heavy, dark and mind-provoking. It’s full of wonderful, holographic, hard-rocking angst and honest, gritty lyrics. I love music like this—music that makes me uncomfortable enough to question who I am.

The show opened with “Third Eye” and the song stepped out flashing, intense and macabre. It was a fitting entrance, as if to say, “Open up your mind,” since in many spiritual traditions, the third eye is believed to be the window to the soul.

I was first struck by the fact that none of the musicians upstaged the others. The bass player, Justin Chancellor, and guitar player, Adam Jones were out front, on opposite sides. Drummer Danny Carey was on a riser between and behind them, and the lead singer, Maynard James Keenan, to the left of the drummer. He never had a spotlight on him and you never really saw him unless he was outlined against the big screen behind him.

I’m not used to this. I’m used to seeing the lead singer stealing the show—basking in the limelight. Not in Tool. This alone made me uncomfortable, made me respect them because instead of focusing on how the singer looked, I was forced to watch the video behind the band—mechanical humanoids, huge eyes popping out in unexpected places, alien-looking beings floating and spinning, and colors pulsing, dripping and throbbing at me while I felt the pounding tension of the music. It was like an acid trip without the drugs.

Most of the audience was stoned—or tripping. I don’t know how anyone could watch a show like this while tripping. I think it would literally blow your mind so bad that you’d end up permanently insane. Besides, you didn’t need drugs to trip out on this show. I’ve also been to several concerts recently where I seem to have been lucky enough to have some dude behind me throwing up. Tool was no exception. I was glad I wore my shoes instead of the flip-flops I had originally planned on wearing.

Then there was another guy pissing into a plastic water bottle next to the guy who puked all over himself. And on the way out of the parking lot, there were more people stumbling, screaming and falling off the road than I’ve ever seen. As we drove out of the venue, a guy alongside our car said to his friend, “Dude, I’m tripping bad.” His friend replied, “Let it happen, man.”

Tool would be proud.

As far as the music, besides “Parabola,” “Schism” and “Vicarious,” another of my favorites was “Forty-Six & 2.” I loved the music and the video and I loved the lyrics—about confronting your shadows. Isn’t that one of the hardest things in life?

Maynard rarely spoke to the audience, except for a brief moment after about the first three songs, when he said, “I have a public service announcement—marijuana is illegal.”

The audience raised their smoldering joints and screamed back, “F–k you!”

I have no doubt that this band is hindered only by the parameters of modern technology—a live show must be presented in a certain way in order for it to be most effective—but if they could figure out a way to move beyond those parameters, they would. And I’m sure they will one of these days.

The concert—and I hesitate to use this word; it seems too cliché for Tool—ended with “Aenima,” and pretty much all I can say is, “Wow.” It’s about facing the stupid crap we think is important in life.

Tool was unquestioningly the weirdest concert I’ve ever been to—even topping David Bowie as Ziggy Stardust in the ‘70s. But Bowie’s show was strictly entertainment; Tool was an experience in and out of my mind like a beating heart, or how my body feels after running or after sex—when it’s heaving and sweating.

I am wounded.

The biggest test of whether a concert experience has been meaningful, is whether or not one would fork over one’s hard-earned dollars to see the band again.

In this case, all I can say is, “Oh—hell yeah!” Wish I was going tonight too.

Voice of the Blues: Jonny Lang

Posted on September 21, 2011 by Baja Rock Pat

July 21, 2010

Ah… Jonny…

Last night was the third time I’d seen Jonny Lang in concert. The first was when he was just beginning his career—a teenage boy with a guitar. I couldn’t figure out how such a big sound and big voice could come out of someone so young.

I still can’t. Jonny has as much soul as that of a man in his 60’s.

Some are just born with talent, I guess.

Jonny took the stage Tuesday, July 20, 2010, at the Gothic Theatre in Englewood, CO. It’s a small venue that holds about 1,000. Built in the 1920’s, it’s rather tattered, with brick walls and old paint, but it has character—the perfect place to play the blues.

Lang ripped through his repertoire, combining some slow and some faster songs and always, ALWAYS putting his heart and soul into each piece. It’s almost as if he’s in his own world up there onstage, getting so heavily into the sound that he’s not even aware of anyone else in the room. I don’t mean this in a bad way, because in order for others to be able to relate, an artist has to expose his or her soul with raw honesty. That’s when great art shows us parts of ourselves.

In this department, Jonny never disappoints.

His performance took me out of myself to the point where I leaned over and said to the man next to me, “You know it’s good when the music makes everything feel right with your soul.”

To a packed house, Lang played “Breakin’ Me,” “Turn Around,” “Red Light,” “Rack ‘Em Up,” and “I Am” to name a few. But my favorite was “Lie to Me,” which he started out acoustically, then switched to electric guitar and really kicked it in the ass. With his face writhing between agony and euphoria and sweat flinging off him, Jonny and his band tore the place up.

This is what the blues is all about.

Jonny Lang is what the blues is all about.