By Shawn Perry
There’s nothing like driving to the Orange County Fairgrounds in anticipation of eating cotton candy, riding the merry-go-round, petting an elephant and throwing quarters at glass plates. The only problem is that, upon arrival, you find out the fair is done and over with. “How can this be?” You may ask yourself. “The fair is over and they’re still having concerts?” Under normal circumstances, this might not be such a stretch.
However, the Pacific Amphitheatre, which occupies a portion of the Orange County Fairgrounds, has been called into questionable existence ever since millions of dollars were spent adjusting the facility’s acoustics to deter noise leakage into local residential areas. Through it all, the amphitheatre has slowly been brought back to life, but only when the fair is underway. This year, however, the season has been extended — the final weekend of concerts came a week after the fair ended. With Paul Rodgers on hand for Saturday night and Deep Purple playing Sunday night, the organizers were planning to go out with a bang.
On Saturday night, I missed opener Pat Travers, who I heard dealt an even-handed performance (whatever that means). Fortunately, I had enough time to grab a drink before taking my seat for Riders On The Storm, the preeminent Doors tribute band featuring Doors founders Ray Manzarek and Robby Krieger. Radio legend Jim Ladd gave a momentous introduction, taunting the crowd with the eternal question: “Is everybody in?”
A few years ago, Manzarek and Krieger attempted to revive the Doors with the Cult’s Ian Astbury taking over for Jim Morrison and famed stickman Stewart Copeland replacing John Densmore, who refused to participate because he had a big problem with the whole thing. So big, in fact, that Densmore and Morrison’s family filed an injunction against Manzarek and Krieger from using the name “The Doors Of The 21st Century.” The Doors were, so to speak, slammed shut and locked tightly.
Copeland flew the coop early on, and after a few soul-cleansing gigs, Astbury fled back to the Cult. The keyboardist and guitarist were determined to carry on, so they hired new people and rechristened the band as Riders On The Storm — a Doors song, as well as the title of Densmore’s autobiography. The drummer has refrained from any further legal action.
Joining Manzarek and Krieger on stage at the Pacific Amphitheatre was drummer Ty Dennis, bassist Phil Chen and singer Brett Scallions, who used to front a band called Fuel. Naturally, Scallions has big shoes to fill, and he didn’t hold back when it came to his Morrisonian posturing and approach to the music. The crowd seemed to accept him, if for no other reason that they’ve gotten used to the idea that Jim Morrison has been dead for almost four decades. As for the youngsters in the audience, they were just happy to see anyone from the Doors alive and kicking.
Aside from Manzarek incorporating, at times, a new and modern sound within the context of established classics (along with his hapless sermons about the old days), Riders On The Storm delivered a rousing set that, all things considered, drew a considerable ovation. Once they were joined on percussion by a cat named Leon, there was no stopping them. And what the hell — it was nice to hear a decent version of “L.A. Woman,” a song the Lizard King himself never got a chance to sing before an audience.
The Voice
You’d be hard pressed to find anyone speak ill of Paul Rodgers and his accomplishments. Phrases like “legendary,” “greatest blues singer alive” and “the Voice” often slip into sentences describing the man. After raising his profile with Queen in 2005, Rodgers is more determined than ever to prove his worth is equal to the praise. The singer’s 2007 solo tour, doting the countryside here and there, clearly lays any doubts to rest.
At 9:15 sharp, Rodgers and his band exploded on stage with “Rock n’ Roll Fantasy,” a definitive crowd-pleaser and major milestone for Bad Company, Rodger’s most successful venture. Over the course of the evening, a generous helping of Bad Co. hits were dusted off and rolled out on display – “Can’t Get Enough,” “Run With The Pack,” “Feeling Like Making Love” “Shooting Star,’ and “Bad Company.”
Rodgers steered clear of the Queen songs — as he should — but earnestly tackled Free classics like “The Stealer,” “Fire And Water” and “Alright Now.” Then, out of nowhere, he played “Satisfaction Guaranteed” (instead of “Radioactive”) from the Firm’s first album, a few choice bits of the blues, and like a cherry on top, Jimi Hendrix’s “Angel.”
While much of the set drew from Rodgers’ new Live At Glasgow CD/DVD, the singer didn’t follow a strict regiment, making the inclusion of those few unexpected surprises that much more special. Unlike many of his contemporaries, Rodgers is almost timeless in his presentation, and as evidenced by his recent activities, willing to try new things instead of sloughing on his laurels.
Supported by a stellar posse of musicians — Howard Lesse and Kurtis Dengler on guitars, bassist Lynn Sorensen, and drummer Jeff Kathan — Rodgers was, at one point, joined on stage by KLOS DJs, Mark and Brian. Closing the show with “Saving Grace,” the singer showered in the adulation that flowed freely from the farthest reaches of the amphitheatre. Somehow, knowing that the Voice is still humming away in high spirits is a comforting thought to this and many other vintage rockers.
