Rock ‘n’ Roll Hell is Heaven

Aug. 11, 2009

Aerosmith stage curtain

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)

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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.

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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.

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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!

“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.

Have You Experienced… Hendrix?

March 17, 2010

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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!