Since it’s mention on the Van Halen News Desk website last weekend, “Dance of the Electric Hummingbird”, along with Sammy Hagar’s endorsement stating that this book is “a MUST-READ for redheads”, many media outlets have picked up the story, including Ultimate Classic Rock, which enjoys a following of nearly half a million readers.
A big thank you to all of you out there spreading the word!
Please click here to view the article: Ultimate Classic Rock.
Pat taped a podcast this morning regarding her book, “Dance of the Electric Hummingbird” on “Strategies For Living” with Family Therapist David McMillian. David did a super great job, even weaving some of Sammy’s songs into the broadcast. Thanks, David!
Hope you all enjoy it!
To listen, please click here: Strategies For Living
Saturday, Dec. 3, 2011, the Van Halen News Desk, one of the leading websites for information on Eddie Van Halen, Alex Van Halen, David Lee Roth, Sammy Hagar, Michael Anthony, Chickenfoot, Cabo Wabo and all things Van Halen, ran a story about Pat’s book, DANCE OF THE ELECTRIC HUMMINGBIRD, titled, “Sammy Hagar: Dance of the Electric Hummingbird ‘A Must-Read for Redheads.'”
Please click here to view the story: Van Halen News Desk
Although the post incited both positive and negative comments, primarily due to the fact that the Van Halen News Desk website is not exlusively dedicated to Hagar, but to all past and present members of the legendary rock band, the article seems to have caught the attention of some major names in cyberspace.
As of this writing, the VHND post is being discussed at Bravewords.com, and at Ultimate Classic Rock , which we’re told has nearly half a million subscribers. The mentions keep coming in, and so do the comments on www.vhnd.com, so if you’re in need of a little entertainment, you might want to check it out.
I’m honored and very excited to let you know that I now have three articles published online, one of which is a feature article.
“Chickenfoot Revives Rock ‘n’ Roll” can be found at http://www.americanchronicle.com/articles/view/106286
“Chickenfoot: Self-Titled CD Review” can be found at http://www.americanchronicle.com/articles/view/106957
and “Chickenfoot Review and Photos” can be found at http://www.fortcollinslife-times.com/DesktopDefault.aspx?tabid=2297
I’m working on sending articles to various magazines online and in print and will keep you posted as to my progress there.
As for my book, “Dance of the Electric Hummingbird,” I continue to send queries to agents. The right one will come along when it’s meant to be. In the meantime, I am revising the text a-gain for probably the seven-hundredth time. It’s a labor of love though.
Thank you for all your support. And thank you to all of you who have left comments here on my blog! Keep them coming!
September 1, 2009
In March, 2007, I had the pleasure of attending a lecture by Brian L. Weiss, M.D. Weiss is the author of numerous books, one of which I’d read a few years earlier entitled Many Lives, Many Masters. In this book, he describes his initial skepticism and subsequent belief in the existence of past lives and reincarnation.
While treating one of his patients, a girl in her 20s by the name of Catherine, the girl started recanting things while under hypnosis that she couldn’t possibly have known. With Catherine’s permission, Dr. Weiss began to record their sessions. Through regression under hypnosis, Catherine’s symptoms eventually disappeared one by one until she was completely cured of every one of her ailments.
At first Weiss couldn’t believe what he was seeing. His medical training prevented him from believing in such things as reincarnation or past lives. But through his work with Catherine, he became convinced without a doubt that these concepts were authentic and the results provable.
And as he began to adopt these notions, he too, began to change as a person. He felt a new sense of joy, hope, and purpose in his life. Others remarked how much happier he seemed.
This is similar to what happened to me, but in my case, the change didn’t sneak up quietly, it was more like the “Big Bang!”
In another of his books, Messages from the Masters, Weiss writes about a man named John who was an audience volunteer at one of Weiss’ workshops. John agreed to be regressed in front of the hundreds of people in attendance. As Weiss hypnotized him, instead of a past life recollection, John had a spiritual experience. He saw a beautiful garden and felt an overwhelming sense of elation, beauty and awareness, causing him to realize that “Paradise on earth is possible if we choose it.”
Tears of joy flowed from his eyes because he knew something had changed for him—at that moment, his skepticism disappeared and he was introduced to the realm of raw emotion—the language of the soul.
After his experience, John began to receive synchronistic messages of gardens in many aspects of his life, as if to validate his transformation.
Weiss has since regressed thousands of people and helped them overcome physical and mental ailments. He has also demonstrated how to tap into other states of reality from our present mental state, and to “feel the pure joy, the ecstasy, the peace, and the beauty” that results from the experience.
This was precisely how I would describe what had happened to me during Sammy Hagar’s concert in Cabo: pure joy, ecstasy, synchronicity.
Past lives and reincarnation… What do you think?
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.
Oct. 16, 2009
My husband and I returned home last night after 12 days in Cabo San Lucas, Mexico. I’m sitting here at my kitchen table, which is loaded with the Halloween motif our son put up while we were gone, an empty bottle of tequila given to me by Sammy Hagar at one of his concerts (it was half full when he gave it to me), my digital camera and camera cards, a bottle of cipro antibiotic (a must for a trip to Mexico), a colorful, hand-painted fish mobile I’d purchased at one of the shops in Cabo and a pile of junk mail and bills that’s still too intimidating to tackle. Oh, and the decorative candle in the centerpiece of my table has been replaced with one that looks like a bleeding skull.
I’m still trying to process everything that took place over the past few weeks. It rained most of the time we were in Mexico—rained in Cabo!So I didn’t get much of a tan. But when the sun came out, it was marvelous. On our last day, yesterday, I got up early to watch the sun rise over the Sea of Cortez and the rocks of Land’s End. My photos don’t do it justice.
The sun was hot pink as it lifted out of the water and the higher it rose, the hotter it got until it drew beads of sweat from my skin. There were two cruise ships in the bay and hundreds of fishing boats heading out to sea, something that hadn’t taken place for several days due to Tropical Storm Patricia—how ironic is that name?
But yesterday morning Cabo was back to her normal, splendid self—hot, humid and sunny. It seems so dark here in Colorado, but at least it’s not snowing.
As I get back into the swing of my old life, I will tackle the task of finishing revisions of my book and keep you posted on its progress. I’m almost finished. I will also write more about Cabo and Sammy Hagar’s concerts while we were down there (my husband and I were fortunate to be able to acquire tickets to all five shows), and I’ll post a few pics.
Besides Cabo’s alluring beauty, I did have several moments during this trip that I consider somewhat mystical—interesting at least. One of those moments was when a woman sat next to me on the plane from Phoenix to Denver and the two of us hit it off as if we’d known each other before. Maybe we have—she told me that she owns a metaphysical bookstore in California. It never ceases to amaze me where the writing of my book “Wings of Rock” seems to be taking me.
For right now though, I have about 50 loads of laundry to catch up on. Stay tuned…
Oct. 22, 2009
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.”
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.
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.
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.
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.
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!
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.
“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.
Dec. 2, 2009
I was a bit surprised and embarrassed to see that there were only six of us in the theater. As a matter of fact, the absence of advertising was strikingly apparent. There were no posters in the lobby and no lights or billboards promoting the event. I found this odd—wouldn’t they want as many people to attend as possible?
“Chickenfoot Live” was filmed in high definition with surround sound. It opened with the band in a huddle, bent inward, as Sammy Hagar said his customary blessing.
The next scene showed Joe Satriani, Chad Smith, Michael Anthony and Sammy onstage in Phoenix, AZ, and they opened with “Avenida Revolution.” I expected the sound to blow me out of my seat, the way it did when I saw them in concert, but it didn’t. Maybe the establishment needed to turn up the volume.
The theater also presented the picture with the bottom edge cut off because it overflowed the screen. This was distracting.
The close-ups were one of my favorite aspects of this movie—Chad, Joe, Sammy and Mike sweating and rocking their hearts out. There were a lot of interesting shots here, views the ordinary concert-attendee wouldn’t normally see, such as a shot looking down on Chad and his drums. Nice!
And the vocals were amazing. I don’t know if the film was tweaked to enhance range and singing in key, but the vocals were spot-on perfect. So was the music.
I would have liked to have seen performances from a few of the other shows thrown in though. I also would have liked to have seen the between-the-songs antics the band is known for. Not only are they outstanding musicians, their personal interaction with the fans is something that makes attending a Chickenfoot concert truly a memorable experience. Maybe I’m spoiled, but I felt cheated not having been let in on this important part of the show. While Joe normally just stands there smiling and blowing the walls off the place with his unparalleled guitar proficiency, Sammy and Chad usually ham it up with the audience and involve the fans. Sometimes even Mikey joins in. When Chickenfoot came to Denver this past September (see my post “The Foot Comes Down in Denver” dated Sept.15 ,2009) Chad brought a woman from the audience onstage. He stuck his drumsticks down the front of her shirt and pulled sticks out one by one, then tossed them to the crowd.
I also didn’t think the movie showcased the incredible energy Chad has. And although it did a good job of portraying Satriani’s talent, I think it could have complimented him a bit more. The film’s portrayal of Hagar and Anthony though, was very well done. Some of the shots of Mikey were phenomenal; it made me feel like I was right there onstage with him. And there was a close-up of Sammy screaming into the mic that made me feel it all the way down my spine.
I loved every minute of “Chickenfoot Live.” And when I went online this morning and read some of the reviews from fans across the nation, I realized they too, noticed only a handful of people in the theaters. I think I know why. “Chickenfoot Live” wasn’t advertised because it was a personal gift from the band to their fans, a kind of “by-invitation-only” special screening, perhaps as a thank you to those of us who have supported them. Of course I could be mistaken, but I don’t think so.
Was the film “almost as good as being there?” Not even close. Chickenfoot explodes live. But if this is as good as it gets for you in lieu of a live performance, you won’t be disappointed.
Wish I was going to Vegas for their final concert on December 5.
June 7, 2009
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!
* * * * *
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!