Newest articles on The Sacramento Press tagged as "rock and roll"

Is David Garibaldi the Next Andy Warhol?

2011-10-28T05:26:15Z

Sacramento performance artist, David Garibaldi, it was a sobering moment to sell out the Crest Theater on October 27, 2011. Starting out as a local graffiti artist, the now famous performance painter travels worldwide sharing his creativity and ultimately his passion. Debuting his newest show, “Garibaldi Live: A Live Music and Color Experience”, he surely did not disappoint. Lines filled the streets up well into the next block. Many onlookers were hoping to get tickets at the last minute, but the show was completely sold out. Fans of all ages poured into the theater with delight as many shared their personal favorites like his portrait of Albert Einstein and his ever touching portrait of Jesus Christ.

Many in line were friends of Garibaldi since high school, and even some of his teachers from his days at Sheldon High School, were in the crowd. They got a sneak peak of the artist when he was with his dancers in the alleyway, laughing and preparing for the performance. The limelight and fame has been embraced by Garibaldi and he still keeps a level head and a grounded disposition.

The smell of popcorn and creativity filled the lobby as Garibaldi enthusiasts raced to their seats to ensure optimal viewing. T-shirts and posters were for sale, but no merchandise could capture what was to take place over the next couple of hours. The anticipation was crippling.

Opening for Garibaldi was local musician Stevie Nader. Nader offered his rendition of easy, melodic tunes that floated over the crowd with ease. Featuring original songs, Nader also performed his rendition of “Pumped Up Kicks” by Foster the People.

The second opening act was not as well received. Singer Wes Avery and hype man Arty Fresh performed about six rock- and alternative-inspired songs that proved to be too much for the crowd. Despite Avery’s active presence in the aisles, audience members were not enthused. At the end of the already overly lengthy performance, one audience member laughed when Avery mentioned he had CDs for sale. “Yeah right,” he chuckled.

Despite the lack of adoration for Avery, fans were almost ecstatic while waiting for Garibaldi to finally come out and show off his debut show, Garibaldi Live.

Of course, no Garibaldi performance is complete without the accompaniment of a live DJ mixing tracks and providing live music. With a special guest appearance by Mayor Kevin Johnson, the introduction seemed to create mass hysteria. The crowd jumped up from their seats to cheer for the mastermind behind the Garibaldi enterprise.

Starting the show off with another artistic medium were the masked comedic troublemakers of the show, the CMYK dance crew. One of the performers created iconic images with spray paint and stencils in a style clearly inspired by the work of the U.K. artist Banksy. Banksy evolved his graffiti on the streets in London, using a series of stencils to create paintings faster and without getting caught.

The new addition to the show certainly proved to be a success. Stencils of Jaws, the guitarist Slash, the Apple icon and even Madonna were sprayed on small black canvas piece that were tossed off the stage. After stenciling a Justin Bieber picture complete with a spray painted heart, Garibaldi handed it to an adoring audience member — again, something new to his original routine.

The Crest filled to the brim, and lights and music combined into the perfect scene for Garibaldi’s work. Painting a “Hope”-inspired creation started his performance off right. Garibaldi created portraits of cultural icons such as pop singers Bruno Mars, Rhianna and John Lennon. With the introduction of a Beethoven portrait and an audience member’s portrait painted live on stage, it was evident that this was the next stage in Garibaldi’s performances. Using regular Sherman Williams paints and black stretched canvas he transforms colors into art with music.

Many “first-timers” were elated and simply shocked at the magnitude of skill Garibaldi brought to the stage. Longtime fans were even more enthralled in Garibaldi’s magic. Between bringing out Christian artist Lincoln Brewster, who is locally know from Bayside Church in Roseville, and all the dance choreography with CMYK, the show was indeed the full package. Throughout his performance, Garibaldi seemed to be under a spell from the electronic beats pouring from the DJ booth. He was a machine and a solider for his craft. He was unstoppable.

One of the most talked about creations was the Salvador Dali portrait created on glass. Again, this was something never performed on stage by Garibaldi. The largest painting ever created by Garibaldi was a sobering experience for many. The self-portrait, done in pieces, was at least 15 feet tall and it was indeed phenomenal.

Once the show was over, fans and Garibaldi collectors were able to silently bid on paintings done on stage that night. Since the majority of the proceeds are going to charity, Garibaldi is extremely close to reaching his goal of donating $1 million. Michael Knittel of Folsom purchased the Lennon and Dali portraits.

“I consider Garibaldi to be the next great American pop culture artist, nothing shy of the artist Andy Warhol,” he said.

Without a doubt, David Garibaldi pulled out all the stops for his hometown. After the show, many fans went to Garibaldi’s Facebook and Twitter pages to thank him for his performance and left inspiring messages for the artist.

One fan said it best: “In the words of Bruno Mars, you’re Amazing!”

Downtown Folsom Hosts Day Two of Folsom Live

2011-09-26T03:08:57Z

Cool winds filled with the sound waves of great live music started the second day of Folsom Live. As crowds gathered at the foot of one of the five outdoor stages booming with jams, groups of friends and couples poured into the party streets lined with local businesses with after-hour specials and eager vendors. Arriving at the event was easier than anticipated for many of the party-goers thanks to valet parking, shuttles and light rail access.

For one of Saturday’s headliner, Los Lobos, there was certainly no lack of fans. Screaming and adoring fans were perched over the balconies at the nearby restaurants. The Grammy-nominated group performed a variety of music for all music-lovers and featured their most noted Latin mixes that got the party-goers up and moving, showing off dance moves in the streets.

For some it was their first experience at the event, and for others it is a long-standing tradition. For one local, the event was an obvious choice for weekend plans.

“I’ve got a friend performing on stage tonight,” Eric Burger of El Dorado Hills said. “I always have so much fun out here.”

Many of the music-lovers moved from stage to stage to capture pieces of each performance, making sure nothing was missed. A fan favorite was California band Low Tide Riot.

Many of the downtown business welcomed the busy foot traffic. Just about all the downtown vendors brought out sale items to the sidewalks and showcased their merchandise. Snook’s Chocolate Factory was busy and anticipated a busy night. A staff member at Snook’s confirmed that they were prepared for the demanding night and would stay open as long as the crowd was still around.

As the summer starts to wind down, many of the shop owners are welcoming the wild rush of people. Themed specials marked the outside of restaurants and bars and plenty of security sprinkled in, ensuring the night was fun and safe.

Folsom Live featured something for everyone, not limited to good times and good tunes.

Joan Jett & The Blackhearts Rock Thunder Valley Casino Resort

2011-06-20T21:20:10Z

Joan Jett, one of our reigning queens of rock ’n’ roll and one of only two women on Rolling Stone’s list of 100 greatest guitar players of all time, rocked a full house at Thunder Valley Casino Saturday night.

Jett, accompanied by her band The Blackhearts, proved that she still has the energy and free-spirited wild-child persona she adopted during her early days as a guitarist in her first band, The Runaways.

Jett donned her signature black shaggy hair, dark eye makeup, a black tank top and Converse as she paraded around the stage, clapping her hands and encouraging the crowd to throw their hands up and sing along. Joining her on stage was lead guitarist Dougie Needles, drummer Tommy Price and bassist Enzo Penizzotto.

The ground-level VIP area was filled with die-hards crushed against the stage, mesmerized by Jett's every move. The VIP seated area was much more relaxed.

"All of these seats are taken,” Sandy Johnson claimed. “Our girls are out getting us some cocktails!" Johnson said she and her 12 girlfriends have been following Jett since their teens.

By looking around the crowd on Saturday night, it seems as if Jett has fans from all walks of life, as it was even mix of older and younger men and women and teens.

"How are my fans in the bleachers? Can you hear me!?" she screamed before kicking off "Do You Wanna Touch Me.” She stared seductively into the audience and challenged the crowd for more hype. She touched her body and sang with her body language, "Yeah, oh yeah, yeah, I wanna know, do you wanna touch me?" The more Jett seduced the crowd, the more the crowd followed in cheers and overhead applause.

Jett and the Blackhearts played a few Runaways songs, including the first song Jett ever wrote, "You Drive Me Wild." As she prepared to play the jam, the crowd died down.

"What happened? Don't be shy. Come on, sing to the universe!" she squealed.

"Cherry Bomb" was another one of the Runaways originals they performed. Lincoln teen Allison Davis, in all black clothing with a studded belt and pink wrist bands, rocked out and sang along to all the lyrics of the Runaways’ “I Love Playing with Fire.”

“I saw the movie ‘The Runaways’ recently and fell in love,” Davis said. “I mean, just look at her. She is fearless!"

Agreed. Jett was unapologetic with her behavior on stage, also donning genuine smiles after the anecdotes and advice she told the audience before songs.

"Love between two people is a beautiful thing,” she said. “But love between three people can be an even more beautiful thing, especially if one of those people is me!" The crowd went wild as "The French Song" rocked.

Just about when the daylight faded and darkness began, the stage lights lit up and Jett and the Blackhearts started playing their most popular songs. The crowd was the most reactive and rose to their feet once the beat to "I Love Rock ’n’ Roll" started. The enthusiasm continued on through “Crimson and Clover.”

Jett thanked the crowd for the night, and all band members left the stage. "Joan Jett, Joan Jett, Joan Jett!" the crowd yelled repeatedly until the rocker and her bandmates came out for a couple more tunes. Once it was apparent that Jett said goodbye for the night, the crowd filed back into Thunder Valley Casino, adrenaline still rushing from the show.

Thirty-six years since hitting the music scene, Joan Jett proves to us she still loves rock ’n’ roll.

Jack Gallagher's "The Jokes on me ... Again" at the 24th Street Theater on Feb. 26

2011-02-16T05:34:14Z

Sacramento native and humorist Jack Gallagher is returning to the 24th St. Theatre/Sierra 2 Center for the Arts & Community after his sold-out performance of “The Joke’s On Me” last year. His encore show, “The Joke’s On Me....Again,” will run twice on Feb. 26.

The show will be a combination of music and personal stories, Gallagher said, with a mix of music from the last four decades and will be performed by the Dick Bright Band.

The stories will center around Gallagher’s life as a performer. Band members will recount their experiences with some of the original musicians of the covers that will be played.

Members of the Dick Bright Band have played with prominent musicians like Todd Rundgren, Tony Bennet and the Grateful Dead.

Audience interaction will be a key part of the show.

“We’ll be getting people up on stage to sing in the background,” Gallagher said.

There will be trivia about some of the songs with prizes, and some lucky audience members will be invited on stage to sing background vocals.

“The Joke’s on Me” came out of a rut Gallagher found himself in while writing his play “A Different Kind of Cool.” He said he needed something to break his writer’s block. He talked to his longtime friend, Tommy Dunbar of the Rubinoos, and they came up with last year’s show.

“We’ve always talked about doing something together,” Gallagher said. “We decided to do half a show of stand up and then play some rock and roll songs.”

At “A Different Kind of Cool,” people asked him if he was planning another comedy rock concert in 2011.

“People got really excited about it,” Gallagher said.

This year he will be expanding on the anti/pro-drug medley that he did last year with songs like “White Rabbit” by Jefferson Airplane, “Ichy Coo Park” by Small Faces, “Puff the Magic Dragon” by Peter, Paul and Mary, and “Magic Carpet Ride” by Steppenwolf on the pro-drug side.

Anti-drug songs include “Mother’s Little Helper” by The Rolling Stones, “Kicks” by Paul Revere and the Raiders, and “Mama Told Me Not To Come” by Three Dog Night.

Some of the other songs that they will be play include: Juan Vivan, XTC, Jackson brown, The Turtles, Elvis costello and Delamitry. Gallagher encourages people to stand up and dance.

“It’s a very cozy and intimate, great little theater,” Gallagher said. “The only thing is that it’s missing a dance floor.”

The shows will be at 5 p.m. and 8:30 p.m. on Feb. 26 at 2791 24th St. Doors will open at 4 p.m. and 7:30 p.m. Tickets are $25 in advance and $30 at the door and are available at Inticketing.com, Phono Select Records at 2312 K St., Dimple Records at 2433 Arden Way and at Dimple Records in Davis, at 212 F St.

According to Mindy Giles, of Swell Productions, the 5 p.m. show is already sold out.

The Gracious Few

2010-12-08T03:35:49Z

Candlebox and Live.

The two bands combined have sold over 25 million albums.

Candlebox's eponymous debut went platinum four times following its release in 1993, and peaked at #7 on the US Billboard Charts.

Live's sophomore effort, "Throwing Copper," released the following year, sold over 8 million copies, reached #1 on the US Billboard Charts, and included four Top 10 singles, two of which ("Selling the Drama" and "Lightning Crashes") reached #1. (I'm pretty sure that "Lightning Crashes" is – and will continue to be – the only number one hit in American history featuring "placenta" as a prominent lyric.)

At the peak of its fame, Live was among the biggest rock bands in the country, if not the world.

Hell, both bands played in front of well over a hundred thousand fans on the main stage at Woodstock ('94). Remember that cluster-show?

It was the one with the rain, mud and Green Day; not the one with fire, rape, and Limp Bizkit (Woodstock '99)

At any rate, three members of Live and two members of Candlebox, have collaborated to form The Gracious Few.

What would have been a rock supergroup 16 years ago, is today a small club headliner, and they came to Sacramento to play a gig at Harlow’s on Monday night.

Out of curiosity (morbid?) and a deep nostalgia for all things 1994, I decided to check it out.

I arrived around 8:30 p.m. to find Harlow’s about a third full and Crowded House’s "Don't Dream it's Over" playing on the sound system.

The trappings of the headliners’ former fame could be found in the copious equipment at the sides of the stage and by the soundboard, as well as the very impressive tour bus parked out front.

While the bus and the rigs would have been fitting during their mid '90's heyday, the crowd (or lack thereof) was a not so subtle reminder that we are a LONG way removed from 1994.

The opening act, Danielle Barbe, a young singer-songwriter out of Pittsburgh, took the stage with her backing band at around 8:40 p.m.

She cuts a striking figure on stage – a petite brunette beauty with a big booming voice. She probably is likened a lot to Alanis Morissette, and she should embrace the comparison. She has a charisma under the lights that lends one to believe that if she landed with the right producer/ collaborator she could certainly become a star.

On this night, however, the deck was stacked against her.

At no time during the nearly hour-long performance did anyone, save for a few cameramen and women, so much as venture onto the dance floor.

Her backing band soldiered on, but didn't really seem like they particularly wanted to be there. Even the comically over-emotive, heavily mascara-ed blonde spiky faux-hawked drummer with the red-checkered pocket square didn't seem to have his heart totally in it.

My suspicions were confirmed when I ventured outside between sets to overhear the following exchange between The Gracious Few's lead guitarist Sean Hennesy, who was on his way in, and the lead guitarist for Danielle Barbe, who was on his way out:

Sean Hennesy: "Hey man, how was your set?"

Barbe's guitarist: " It sucked."

He said it, not me. But I get it, it can't be easy to play to an unresponsive audience.

Probably the biggest response that they did get was when they played a 10 second tease of the first few bars of the Candlebox smash hit "Far Behind."

They did finish with a relatively inspired cover of Spacehog's "In the Meantime" that got some people banging their heads in the crowd.

The Gracious Few took the stage at 10:03 p.m., and looked every bit the rockstars that they had once been (still are?).

Guitarist Chad Tayler and bassist Patrick Dahlheimer turned their backs to the audience, and, facing their stacks, stroked the first crushing chords of the opening track, "Appetite," also the first single off their self-titled debut album.

The two former members of Live bracketed the third former member, drummer Chad Gracey, who battered away at his drum kit between them. Lead singer Kevin Martin took the stage wearing sunglasses and prowling from side to side like a caged animal. Lead guitarist Hennesy let fly some searing licks in the face of the crowd that had gathered in front of the stage. The throng was small, but agitated, and it was easy to see how these men had become such big stars in the first place.

After "Appetite," Martin began an easy dialogue with the crowd, one that would continue throughout the evening and belied his skill as a lead showman.

"We walked in today and said, ‘Fuck, this place is cool as shit,’" he said, before asking us rhetorically "Is this Sacramento?“

"You will hear the entirety of the new album, and some other stuff" he went on to announce, and he proved prophetic. They played every song on their self-titled debut album, recorded just up the road in Sausalito at Studio D. They also played one original that wasn't on their album called "Great Houses" and a cover of the Depeche Mode classic "It's No Good," which I found to be one of the evening’s highlights.

They had a dueling slide guitar solo going face to face during the Depeche Mode cover, and they actually slid seamlessly into about 45 seconds of the Rolling Stones classic "Gimme Shelter" before finishing it up.

I enjoyed "Guilty Fever," a bass driven bluesy rocker that once again featured one of those dueling guitar solo/ interludes that get me every time. (At one point Hennessy went into a riff off Jimi Hendrix's "Purple Haze" – always a crowd favorite.)

There was also a heartfelt rendition of "Crying Time," a tribute to a fallen friend, Wendell Green, who used to manage the Whiskey Bar in LA. (K.Mart introduced the song with a nod to David Alan Grier on “In Living Color” : "Wanna hear it? Here it goes." My mid '90's nostalgia meter went through the roof )

It was interesting to see these artists who had once been such big stars, reinventing themselves 15 years later as a club band and not looking back.

It would be very easy for the guys from Live to recruit a new singer and go on tour playing their old hits. Or Martin and Hennesy to just keep playing with Candlebox. Or, even better, for The Gracious Few to change their name to CandleLivebox and play all the greatest hits of both bands.

They could hit up the county fair circuit, and play in front of much bigger crowds than they saw Monday night. I mean, I saw Foghat at the California State Fair this summer and they had exactly ZERO original members in the band, but they still played in front of 1,200 folks.

It's laudable – what they’re doing – but I don't know if I necessarily agree with it. What I saw was an OK, but ultimately forgettable show. Now a CandleLivebox show? That I'd remember.

all images are the superlative work of the lovely and talented Steven Chea.

Hagar/Heart Rock Sacramento

2010-06-01T06:37:10Z

I started going to rock concerts in the late 70s. Living in the San Francisco Bay Area, virtually every major tour made a stop at one of several large, local venues. Many of those bands have long since disbanded and, unfortunately, many of those musicians have since passed away. However, some have proved resilient and are still performing with the same intensity and passion they did more than 30 years ago.

Two of those bands, Heart and Sammy Hagar, graced the stage at Raley Field in West Sacramento Sunday night for a benefit concert culminating Hope Productions Foundation’s Walk ‘n Rock event. Although both groups have undergone personnel changes throughout the years, both have maintained a presence in the industry for the long haul. Neither are resurrections from some bygone era; both are still active and judging from the near capacity crowd Sunday night, both enjoy long-term fan loyalty.

Prior to headliner Sammy Hagar, Heart, featuring sisters Ann and Nancy Wilson, took the stage. The opening number, “Fire,” demonstrated the Wilson sisters’ versatility with lead singer Ann Wilson on the flute and younger sister Nancy on guitar. The next four songs (“Heartless,” “Never,” “Straight On” and “These Dreams”) were an anthology of Heart hits highlighting the band’s breadth and laser-like precision. From Heart's soon to be released album, “Red Velvet Car,” the band debuted two tracks, including the title track, before performing a version of “Alone” featuring only Nancy Wilson on acoustic guitar, keyboardist Debbie Shair and lead vocals from Ann Wilson. The set was rounded out with the powerful 1970s classics “Magic Man,” “Crazy on You,” and closed with “Barracuda.” A two-song encore consisted of a cover of Led Zeppelin’s “What Is and What Should Never Be” followed by the band’s 1985 hit, “What About Love.”

Although I am a journalist and a writer and I have “reviewed” various performances in the past, I am not in even the remotest sense a music critic or reviewer. I am a fan and have been for many years. My impression of both bands’ performance is from that entirely personal perspective. The music quality is derived from two distinct but intersecting points of view: That of the music itself and the performance of it live. The Wilson sisters are consummate musicians and songwriters and the performance showcased their talents as both, but it is easy to write about the instruments played, the intricacy of the music and the mixing of the sounds. More difficult to relate is the connection made with the audience. This band knows why they do what they do and their appreciation is evident in the energy they bring to the live performance – even after more than 30 years. It is a not something that can be faked and the Wilson sisters made their audience feel like their performance was a personal effort to reach each and every individual who attended.

If it was possible to duplicate or surpass that audience connection and energy, Sammy Hagar was the man to do it. His 13-song set took him and his band right up to the 11 p.m. Raley Field curfew leaving no time for an encore. A video montage preceded the band’s opening song, “There’s Only One Way to Rock,” which went right into “I Can’t Drive 55.” Hagar engaged his audience at every turn, encouraging those in attendance to sing along. The band followed with “Why Can’t This Be Love” and “Three Lock Box” before breaking into a Led Zeppelin medley that hinged on the hit “Whole Lotta Love.” At this point Hagar took a moment to recognize the purpose of the benefit and thank those in attendance for supporting Hope Foundations Productions, then fittingly performed the Van Halen mega-hit, “Right Now,” with its message, an overtone of hope. Changing gears, Hagar launched into a string of three hits (“Space Station #5,” “Rock Candy” and Bad Motor Scooter”) from his first band, Montrose. Rounding out the set, Hagar performed “Best of Both Worlds,” “Heavy Metal,” “Mas Tequila” and concluded with a soulful version of the 1988 Van Halen hit “Finish What Ya Started.”

While Heart entertained with high energy and a complex musical repertoire, Sammy Hagar’s ability to intimately and personally connect with thousands of fans in a single moment is unsurpassed. Although musically his set consisted of more basic, perhaps more typically album oriented rock of the 70s and 80s, Hagar’s passion for performing live remains undiminished since first seeing him live almost 30 years ago. A Sammy Hagar concert is and always has been more than just about the music. It is an event, an indelible experience that one will not soon forget. I remember that first Hagar concert in 1980 like it was yesterday and his performance Sunday night proves that old rock stars need not fade away - they can shine well into the night, even if the night has an 11 p.m. curfew.

Classic Rock Lives! . . . in bed by 11.

2010-06-01T02:48:42Z

Heart and Sammy Hagar. Between them they have sold nearly 100 million albums, not one of which was sold to me.

I knew Heart was from Seattle, and was famous for such hits as "Barracuda," and "that one song" and "you know that other song, the one, with the singer."

Hagar, "The Red Rocker," I knew from Van Halen, of course, but I have always been more of a Metallica guy. I can honestly say that I liked the Hagar incarnation of VH more than the David Lee Roth incarnation, but that isn't really saying much.

Sammy seems like he'd be a lot of fun to hang out with. Diamond Dave seems like he'd do all your drugs then leave with your girlfriend.

Heart and Sammy "co-headlined" a benefit show at Raley Field on Sunday night, and I decided to check out these two rock icons firsthand, and to see who's been buying all these albums.

I got to the show around 7 p.m. and surveyed the scene. And what a scene it was. I'd say the demographic was 85 percent 40 to 60 years old, all dressed as they would have been 25 years ago. Maybe the highlight was being on hand to witness a Sammy Hagar look-alike meeting a Brett Michaels look-alike. It was a powerful moment. Like the meeting of two heads of state. Except very, very different.

The rest were mostly the children of the 85 percent, and, to their credit, none of them seemed at all embarrassed by their parents outfits.

The vibe was overwhelmingly positive. The entire show I only saw one negative interaction: A woman cut in front of about 40 people in line for cocktails. When a man in front of me confronted her about it, she said that for 20 dollars a drink, he could cut in line too. He offered a guess at what she might have done to procure that 20 dollars. For her sake, I hope he was wrong.

Other than that, people could not have been friendlier or more upbeat. While the opening act played, I struck up a conversation with a woman and her college-age son. I asked Tammy and Wes if they had seen Hagar or Heart before. Turns out they had seen Sammy a half-dozen times, including twice in Cabo.

"You just happened to catch him in Cabo twice?" I asked.

"Nope," Tammy said. "We went to Cabo twice specifically to see him."

To say that The Red Rocker has devoted fans would be an understatement. I met another gentlemen named Jim who estimated he had seen Sammy 35 times, with and without Van Halen. He was there with his 12-year-old son. It was his first concert.

"This is a day he'll never forget," I offered, thinking back on my first concert. I saw the Red Hot Chili Peppers, Pearl Jam and Nirvana at the Cow Palace in 1992. I went with my mom and stepdad. Never were my parents cooler than they were that night.

Heart took the stage to raucous applause at 8:10 p.m. They received immediate bonus points from me when Ann Wilson came out playing a mean flute. Heavy metal flute is a powerful instrument when in capable hands. Ann proved more than up for the challenge. Ian Anderson would be proud.

The song was also noteworthy for being the only one in Heart's 70-minute set that I didn't immediately recognize, other than two songs from their upcoming album, "Red Velvet Car."

I could only name one song from the Seattle rockers going into the show, but it turns out I could sing along with just about every song they played.

They followed the flute song with "Heartless," (hey, I know this song!) "Never," (oh yeah, they play this) and "Straight on For You" (how did I forget this one?) before bringing the house down with Ann's sister Nancy on lead vocals for "These Dreams."

The beautiful love song was played in honor of Robert and Juanice. Or possibly Robert and Lanice. For Robert and his lovely date.

They followed that with the two songs from their new album. Otherwise known as "the bathroom/beer-run break." I hung around for both songs and thought they were quite good. The album drops Aug. 31.

Then they started playing their big hits. "Magic Man" into "Crazy on You" into "Barracuda" to finish off the set. Hit after hit, the crowd loving every second of it. They sounded great. The band was tight. Nancy displayed the chops that have made her one of hard rock's most formidable guitarists, and Ann belted out song after song, sounding just as she had in the band's mid-'80s heyday.

When they exited the stage, I mentioned to a fellow audience member that as co-headliner, Heart would probably come out for an encore.

"But they already played "Barracuda." What would they encore with? I think they're done."

Though he made a good point, I was soon proven right when Heart retook the stage to thunderous applause. And to answer his question, they opened with a Led Zeppelin cover, "What Is and What Never Should Be," which soon turned into "What About Love," finishing it off with another familiar hit.

The lights came on and the crowd prepared themselves for the Rooster's arrival (read: ordered drinks, two at a time).

At 9:45 p.m. the lights went down and the big screens on either side of the stage awoke. A video montage began playing, party scenes in both Mexico and the United States, with a variety of stars welcoming us to Cabo Wabo. ("This is Toby Keith... welcome to Cabo Wabo!" "This is Kenny Chesney... welcome to Cabo Wabo!" "This is Emeril Lagasse... welcome to Cabo Wabo! " Wait... what?)

The former Van Halen frontman took the stage, and the crowd went bananas. He opened with "There's Only One Way to Rock" and then brought his fans to a fever pitch with "I Can't Drive 55" and "Why Can't This Be Love?"

After the opening stanza he bantered with the crowd and with a host of waitresses who were on stage with him. "Waitress, I need a drink! I drove here, but I got someone else driving me home!" Throughout his set he had waitresses bringing him cocktails, many of which he shared with folks in the crowd.

He is a quintessential frontman, and I can now see how he has developed such an adoring fan base. His charm resonates to the back of the house, and that's no mean feat when you're playing a packed baseball stadium.

After a song I didn't recognize, he went into my favorite portion of his set. Meaning, he played songs that I both knew and liked. Following Heart's lead, he covered some Zeppelin, playing "Whole Lotta Love" into "Kashmir" back into "Whole Lotta Love." He then played probably his biggest Van Halen hit, "Right Now," which I remember as the music video that made me read. If I wanted to read, I wouldn't be watching music videos, now would I?

After politely requesting a refill ("Waitress, can I have another cocktail please? Make it a double!"), he continued with a bunch of songs that sounded vaguely familiar. "Best of Both Worlds," "Mas Tequila," "Heavy Metal" and a few others that I'm not sure of. He commanded the stage with a youthful exuberance that belies his age. The cat is 62 years old, parties, well, like a rock star, but he looks and acts on stage like he's in his 30s.

Someone should do a study on the age reversing properties of Cabo Wabo tequila. All I'm saying is that if one were going to go looking for the fountain of youth, they might want to start in Guadalajara.

He closed his set with Van Halen's ode to sexual frustration, "Finish What You Started," and thanked the crowd for a great night. There was an 11 o'clock curfew, and he followed it to the letter. It was the only time he acted his age all night.

They say breaking up is hard to do. . .

2010-05-01T02:23:08Z

Dear "Cheaters",

There is no easy way to say this, so I'm just gonna spit it out: I've been seeing someone else.

I want you to know that I'll always have love for you. When I was new to town, you took me in, and I'll never forget that. We'll always have Oregon basketball; who knows, maybe we can ring in the new arena together next fall.

You need to understand that it's not you, it's me. Please, don't cry. Stop it. You're a still wonderful bar, I've just found someone I'm more compatible with.

It's been going on a few weeks now. I wanted to watch the Giants game and grab a beer, but it was raining, and I didn't want to go all the way down Folsom to do it. I'd noticed this place on 19th that looked pretty cool. I went in, had a drink and, well, one thing led to another. Next thing I knew, the Giants game was over and the NBA playoffs had started and I was still there, having a great time. It was as if we'd known each other our whole lives.

O.K., O.K., I'll tell you who it is, but you have to promise not to make a scene. You probably know her, and this is already awkward enough. Are you gonna be chill?

It's The Zebra Club. I'm sorry, it just happened! I think I may be in love. Don't say that. Please don't cheapen what we had. Fine, you wanna know why? I'll tell you why:

The Zebra has everything you have: the flat screens, the sports packages (all of them), the Golden Tee, the wireless, the jukebox, the darts, the hugely eclectic group of regulars, the friendly bartenders playing dice with the customers for drinks. It has all that, and it's right in the heart of Midtown!

No, I'm not too lazy to go across town. If it were just that, I'd be comfortable with a long(er) distance relationship. The Zebra has plenty of things you don't: a large, covered patio out back complete with plenty of tables and an outdoor big screen.

Inside, to go along with the Golden Tee, there are two pretty sweet old-school pinball machines. Sometimes, I like to get my "Simpsons Pinball Party" on, and I just can't do that with you.

Also, the drinks are a little cheaper, and they have, like, 20 beers on tap. You don't have an answer to $1.75 draft PBR, do you? And don't tell me about $2.25 Olympia cans. I don't want to hear it.

All these things are nice, but what really sets the Zebra apart is the tiny kitchen and the fantastic pub fare that flows from within.

On the day I had lunch, the specials were spaghetti and meatballs, a chicken club, and a pastrami and bacon cheeseburger. I saw all three, and they looked great, especially the burger, but I went with the New York steak sandwich. The garlicky steak was as tender as can be, smothered in grilled onions and mushrooms and served on a toasted soft roll. I got it with a crisp green salad as well as a side of very well prepared fries. Thanks, Bert! I got all that and six PBRs for under 20 bucks. You can't beat that with a stick.

There is nothing fancy about the menu. For lunch, they've got burgers, hot and cold sandwiches, hot wings and a couple of salads. That's it. The chefs, Bert and Eric, don't do too much, but that which they do, they do very well. A huge plate of the wings just walked right by me. They look and smell amazing.

And they are awful accommodating. I was there in the late afternoon two weeks ago, and one of the regulars returned from the coast with a bunch of seafood he'd picked up. Bert took it back into the kitchen, and emerged an hour later with piping hot bowls of cioppino, complete with crusty slabs of garlic bread. Maybe one day I'll go to the coast and get some seafood. You'd probably kick me out if I pulled a stunt like that.

Oh yeah, did I mention that The Zebra is open for breakfast every day? Breakfast? At a dive bar? Yeah, breakfast. At a dive bar. And you know what? It's fantastic. Jess and I went in around 11:30, but Eric was happy to prepare us breakfast even though the lunch crowd had started arriving. We split the chicken fried steak and eggs and the biscuits and gravy. They were among the best examples of each dish I'd ever had. The biscuits were perfectly fluffy, and the sausage gravy surprisingly light and tasty. My only complaint is that I didn't get quite enough of the creamy goodness atop the lightly breaded steak, so I had to steal some from the biscuits. Kinda like stealing from Peter to pay Paul, but I couldn't help myself.

We got all that and a PBR for $15.00, including tip. Game. Set. Match.

I'm sorry "Cheaters," but I just couldn't go on living a lie. Good food is a trump card that you just can't beat. And, let's be honest, you're called "Cheaters" -- you probably should have seen this coming. I hope we still can see each other from time to time. I mean, college basketball season will be here before you know it. Until then, well, you know where to find me.

If you can't find me at The Zebra, you can always try lindol@gmail.com

LA Band Red Cortez: Iconic Magic

2009-06-19T19:52:40Z

A week ago, I fell in love with new music for the first time since I stole my brother’s worn copy of Led Zeppelin’s Song Remains the Same album. I was fourteen and was smitten. Recently, a friend who road manages (I love his life), texted me, said he’d be in town with a new project at Marilyn’s on K Street, said he’d put me on the list—Tracy plus one. Normally, I avoid club bands I’ve never heard of, because they’re a dime a dozen and the best you can hope for is good in a sea of mediocre. But my LA pal is cool and has good taste, so I said why not. I wasn’t there five minutes, settling into a cush-backed chair, sipping refreshing water with bubbles, when they began to wail, and I felt that in-your-gut recognition of being in the presence of iconic brilliance. I know this makes me sound like a Fangirl, but I don’t care.

Red Cortez, formally The Weather Underground, not to be confused with the radical group from the 1970’s who started street riots, escalating to bombing federal targets as a means of confronting their failing U.S. government—although one can’t help but wonder at the intellectual, aesthetic choice of the former band name—stole my rock and roll heart. They opened my eyes to the fact: there is indeed life beyond big hair and lighter ballads. You just have to be willing to let go.

They blew my mind with their wholly inventive and totally unique, urban, melodic folk-like lyrics and generation-marking mix of beats and composition infused with Latin, alt rock, punk, blues, country, Mariachi, jazz, and R&B sounds. At once, Red Cortez is hard to define, impossible to peg them into any particular musical corner. But they’re also achingly familiar. I was poignantly attracted to their, melodic storytelling lyrics and their cosmically spiritual, sometimes whimsical arrangements. It’s something when you can forget you’re in space and time and music lifts you into its power and flow, the way history-making bands always do. This is Red Cortez.

I could go on about Diego Guerrero’s percussion, a skin hitter who seems to understand rhythm as if it were in his DNA, or Harley Prechtel – Cortez, whose voice, keyboard fingers, and lips around the harmonica are pure sex and every girl’s night in shining armor without alienating his male fans because he sings like his testicles are titanium. I could wax forever about Ryan Kirkpatrick’ bass lines, that seem betrothed to the cores of his brother’s souls, and I could ramble ions over Calvin J. Love’s guitar, which reminded me of The Edge in U2 who has a unique guitar delay which Love seems to channel, but whose virtuoso, commanding control of tempo and emotion oozes from his strings in a way that he can call his own. I could go on, but I won’t.

I’ll just predict these guys will become a Grammy-winning, iconic cornerstone of this generation’s musical lore, if they don’t screw it up. Mark my words: Red Cortez will make their nut in the emotional angst of this generation’s raw truth, and they will continue to ingratiate young and oldish alike to their stylings every time they grace us with their presence. You watch. They will.

It’s good to be in love again.

Visit from The Queen (of Rock and Roll)

2009-04-14T17:07:14Z

Country singer Wanda Jackson first picked up rock and roll when she was barely out of high school and on tour with Elvis Presley, when the soon-to-be King of Rock and Roll convinced her to try the brand new style. And although she scored more than 30 country hits between 1954 and 1973 — as well as a number of Top 40 hits like rockabilly tune, "Let's Have a Party" — Elvis's advice to her has had lingering impact.

On April 4, Roseanne Cash inducted Jackson into the Rock and Roll Hall of Fame, and on Wednesday, April 15, the so-called "First Lady of Rock 'n' Roll," now a seasoned 71, is returning to Sacramento to rock the house at Old Ironsides. The show begins at 8 p.m. and tickets are $15.

Jackson recently recorded "I Remember Elvis," a tribute album to the King, but it was another Elvis — Elvis Costello — who wrote a letter to Rock and Roll Hall of Fame in support of Jackson's induction.

"She was standing up on stage with a guitar in her hands and making a sound that was as wild and raw as any rocker, man or woman, while other gals were still asking, 'How much is that doggy in the window?'" said Costello in a open letter supporting Jackson's entry into the Hall of Fame.

The Sacramento Press spoke with Jackson about her career, life and sunny California on the Monday before her show at Old Ironsides:

Your manager for the last 50 years has been Wendell Goodman, your husband. Have you also been married for five decades, and what is it like working with your husband?

Well not quite 50, but about three years after we were married, he began to take over the booking and managing job, and he has done it ever since. He also travels with me, so it's hard for him to keep up with everything, but he does a very good job at it.

I read that, along with your father, Elvis helped convince you to sing rockabilly. What did he say to convince you?

I was doing tours with him, several of them for a year and a half between 1955 and 1957, and we'd become very good friends. I could see the excitement that this music stirred up with all the hollering and screaming — girls rushing the stage and everything — so he suggested that I try to sing this new style. I didn't think I could because I had never done anything but just country. I considered myself a country singer. He said basically he was too, but he felt the songs differently.

He took me to his home in Memphis, and we spent an afternoon playing records, singing, just trying to show me the feel of what he did. It was like having private instructions with The King! He convinced me that I should at least try to sing this music because by now young people were the ones buying records. Always before, our marketing was directed to adults. So this was something brand new and it was turning the whole music industry upside down. I thought I would like to give it a try, so my producer gave me the okay to do it if I wanted to, so that's what I did.

Elvis Costello is another Elvis in your life, and he actually wrote a letter to the Rock and Roll Hall of Fame to help your induction process. What is your relationship with him like, and what is it like having a friend like him, who stands up for you?

It was shocking and caught me by surprise. I had gone to Hollywood to record a new in-studio album, and various artists were calling the record company saying they would love to be on the album with me if I wanted them. The album reads like a who's who of Rock and Roll. Then I found out that Elvis Costello was a big fan of mine. His drummer came into the rehearsal, and he knew that Elvis Costello would love to do a song with me. We corresponded by e-mail and he couldn't be there at that point, because he was being inducted into the Hall of Fame himself.

A little later — about a month — I flew back to California and he was there doing a television appearance and various promotional things, so that worked out good. He brought his band and came into the studio where I'd been recording and we cut this song together, "Cryin' Time." It was really fun and we had no problems singing together. Our phrasing was just alike, and it was [a] very good [experience]. He's such an excellent musician and singer, we just had no problems at all, so we enjoyed it.

Now we're still friends, and I've gone to see him in Tulsa. My husband and I drove from Oklahoma City to Tulsa to see him when he appeared and he brought me onstage and we did our song. I was very delighted that his audience was also very much aware of me and my music, so I got a very nice ovation. Now we correspond through e-mails.

Being that you grew up in California, how does it feel revisiting?

As a little girl, my folks lived in Los Angeles and Bakersfield. It was only about four years, and I started grade school in Los Angeles, and continued in grade school in Bakersfield, and then we moved back to their home, which was Oklahoma, and they chose Oklahoma City, and that's why I lived there, and my husband is from there. But I have always just have had a love for California. I think for anyone who enjoys pretty scenery, nice warm weather, friendly people and good food, there's nothing not to like about California.

Have you visited Sacramento, and if so what are your feelings about playing here?

I've been to Sacramento before, and I've played there. I'll be at Old Ironsides which is a neat place, and I've been there before.

Anything in particular you are looking forward to on the tour, and are you playing more country, gospel, rockabilly, or a combination?

Well I do a little bit of each one of those, but the main body of the concert is fifties rock, things that I recorded in the late fifties. Also I do a tribute to Elvis, because I have an album out called "I Remember Elvis," where I do the songs that he was doing in 1956-57. I also do a gospel song, and my country song "Right or Wrong" — the rockabilly crowd knows that song as well. I put in a yodel song to show them how I started, the type of music that I started off with in the beginning. I try to mix it up, but I keep it mostly rockabilly.

Is there something that I haven't asked you that would like to let people know about your current tour, or anything else?

One thing I would mention you may or may not know about, is that I have a new documentary, currently being played on the Smithsonian Channel, which is on [various cable and satellite networks including] DirecTV. They are playing it at least once a week throughout this month and it will continue to play after that. It is a feature length film and it was done by two great television producers. It's a very nice film, and I'm very proud of it.

There's a lot of interviews like with Elvis Costello, Bruce Springsteen, and some of my fans, and they travel throughout America and also to Scandinavia, so it's a well rounded documentary. I'd like people just to know about it, and hopefully they can find it playing in their area or on their television somewhere.

*photographs courtesy Wanda Jackson