Review by Shawn Perry
Photos by Alex Kluft
The Sunset Strip Music Festival keeps expanding and diversifying and stretching itself out over three blocks of the immortal boulevard, an area rich in musical history. These days, the Strip isn’t as lively as it was in the psychedelic 60s and hair metal 80s. What happens regularly on Sunset is subject to speculation, but from this writer’s perspective, it’s hard to ignore the numerous relics from the past who infiltrate the Rainbow, imbibing shots and telling war stories from their glory days. But, alas, what happens each summer when the street closes down, the clubs fill up, and an eclectic barrage of sound takes over Hollywood…it’s as if the old days have risen from the dead.
The main festival, which typically takes place on Saturday, was preceded by a number of SSMF events on Thursday (August 18) and Friday (August 19). This included concerts by Buckcherry, Uriah Heep, and Ray Manzarek and Robby Krieger of the Doors. There was also a tribute to Mötley Crüe, the festival’s headliner, held at the House Of Blues. Regrettably, we missed the tribute and Uriah Heep, but we got in on the Ray Manzarek and Robby Krieger show at the Whisky — the very club the Doors were discovered and fired from, all on one festive and fiery August night in 1966.
There was something magical in the air at the Whisky. A rough drawing of Jim Morrison, along with a second sketch of his name, adorned the wall above one of the bars. Graying heads were packed in on the floor, but there was little pushing or shoving. The crowd even clapped politely during the opening acts. Then at precisely 10:30, legendary KLOS DJ Jim Ladd came down the stairs and onto the stage. “In 1966, Jim Morrison stood on this stage…” he announced…”Is everybody in? Is everybody in? The ceremony is about to begin…”
The lights came down and the broad stroke of “Carmina Burana” washed over the eager audience. The band took their places. Ty Dennis manned the drum kit, Phil Chen on bass. Robby Krieger strapped on his burgundy SG at stage left and Ray Manzarek sat behind his Vox Continental. From a distance, singer Dave Brock bores more than a striking resemblance to Morrison – a big reason he got the gig. As the frontman of Wild Child, a premiere Doors tribute band, Brock also has the chops, if not the primal growl, of the Lizard King.
At once, the players exploded into “Roadhouse Blues” and the room answered back with fists-a-flying and sing-alongs-a-plenty: “Let it roll, baby, roll…” Manzarek and Brock sang in unison before finishing up in grand style. The keyboardist pointed out the Morrison pictures on the wall and “Love Me Two Times” marched forward. Indeed, both Manzarek and Krieger traded solos without dropping a note as Brock dropped back and let the two original Doors shutter away into the night.
Two Jack Daniels girls came onstage and poured shots for all the band members. How fitting that they would go right into Kurt Weill’s “Alabama Song” aka “Whisky Bar.” From “Back Door Man” to “Peace Frog,” Manzarek, Krieger and company swung and maneuvered through the precious catalog. Aside from their return to the Whisky, Manzarek and Krieger were keen to remind everyone of another celebration — the 40th Anniversary of L.A Woman, the final Doors album recorded with Jim Morrison. The real appeal here, of course, was to the fact that the songs from L.A. Woman were never performed live with Morrison. Hearing them with Brock tonight was about as close anyone could ever expect to get to the genuine article. And in all honesty, Brock held his own.
The audience got dosed with “Love Her Madly,” “Hyacinth House” and “The Changeling.” Manzarek talked about going to Paris on July 3rd to commemorate (not celebrate) another 40th anniversary — that of Morrison’s passing. “We loved this place,” he remarked, “until we got fired.” Remarkably, over the course of the two-hour, 17-song performance, they refrained from playing “The End,” the very song that got them canned.
While the trend of legendary bands carrying on with lead singers from tribute bands has its nicks, blemishes and adversaries, the situation with Manzarek and Krieger is almost forgivable. Drummer John Densmore has pretty much retired from the music scene, last heard from in 2002 when he threatened legal action against his former band mates for touring under the name The Doors of the 21st Century. It’s hard to say if Densmore could play with the power of Dennis.
Even more important is what Morrison brought to the music. The deep baritone had its own parameters of inflections, nuances and exclamations. It delivered by the embodiment of careless swagger crossed-over with self-assured attitude. Replicating the tonality of Morrison’s voice is only half the battle in making the songs sound like the Doors.
With such a heady task at hand, Brock does an admirable job. At the Whisky, he didn’t overdo the theatrics nor did he work at convincing the audience he was Jim Morrison. He is the vehicle, leaving it up to audience to decide whether or not he’s singing the songs the way they were meant to be heard. By all accounts, no one was seen heading for the Whisky exit because the singer wasn’t “Jim Morrison” enough.
Manzarek seemed the most animated of all, shouting out obscenities, regaling the audience with his tales of the Strip, of Jim, of the 60s…man. Surprisingly, Krieger even stepped up to the mic a time or two to offer a sly comment. These days, the two veteran musicians now in their 60s have nothing but one of the longest lasting rock and roll legacies of the 20th century to answer for. No doubt, tonight the doors swung wide open for an incredible weekend of music.
Buckcherry
Saturday (August 20) featured a seemingly endless lineup of up-and-coming bands and solo artists playing up and down the street in haunts like the Key Club, the Roxy and the Whisky. A mix of bigger, more established acts like Public Enemy and Bush and dozens more, took to either the West or East stage positioned in the middle of Sunset.
Having seen Van Halen turn the Strip on its new wave head in 1977, it would be another four years until the hard rock/ heavy metal scene started to really percolate on the Strip. And much of that was due to the 2011 Sunset Strip Music Festival headliner: Mötley Crüe.
I have to really eat my words when it comes to Mötley Crüe because when I first saw them, I was unimpressed. Hadn’t the New York Dolls already done this? My first Crüe encounter was at the Whisky and my friends American Heroes were the opening band. To me, they were all show without any chops. I couldn’t stand the first album, Too Fast For Love, even though it’s the one that got them signed to Electra Records..
But then, I started to appreciate them when Shout At The Devil hit the airwaves. Dr. Feelgood is another one I’ve listened to a bit. I saw Mötley Crüe twice in the 80s, once at the Forum, the other time at the Long Beach Arena. I was astounded by what they had become since seeing them at the Whisky. But what is most fascinating about all of this is that Mötley Crüe, at the ripe old age of 30, is now a classic — vintage — rock band in every sense of the word. A band whose history parallels many aspects of my very own.
To stay within that tight reign of focus on Mötley Crüe, I didn’t see any of the day’s other performers. I took a cursory stroll up and down the street and soaked in the vibe, but the music was hitting me in the gut. Mostly, I hung around the Viper Room.
There, I chatted briefly with members of Buckcherry. They were getting psyched about their upcoming Rock Allegiance tour, and thought their show the night before at the Roxy was a good sign of how things were going to be in the coming weeks.
“Last night was crazy,” singer Josh Todd said. “It was a hot, sweaty mess. It was oversold. Toward the end, all the fire marshals came in and almost shut us down, but we got out of there before that happened.”
“It was really a great homecoming for us. You know, we don’t get to play L.A. that often,” guitarist Keith Nelson explained to KNAC DJ and Vintage Rock contributor Junkman. “To come home and headline the Roxy the night before the big event. I felt like it was a special night for us. We had a lot of old fans, a lot of old faces. A phenomenal night…”
Bassist Jimmy Ashhurst told me that Buckcherry’s set was so good that he “just woke up an hour ago,” before adding, “I live nearby. I’m hoping they don’t make too much noise later on so I can get some sleep.”
Based on what Mötley Crüe bassist Nikki Sixx told a room full of journalists a few minutes later, I suspected Ashhurst hopes of getting any rest wasn’t going to happen. “We brought cannons to shoot blood,” Sixx said with a mischievous grin.
Sitting on the stage 98.7 media stage, the renaissance man of metal (he writes books, take pictures, Dj’s, dates super models, and probably volunteers at the Y every other month) looked like he was armed and ready to take the stage at any moment.
His thoughts on Thursday’s tribute, branded as Mötley Crüe Day? “It sounds like an STD.” he laughed.
Sixx spoke at length about his radio show, his books, his daughter and what was coming up for the band. “Mötley Crüe is closer than we’ve ever been. And it’s not because it’s really great week for us and we’re playing on the Strip. This has been going on for six months.” He added that he and the band were writing songs and prepping for a new album.
Ninety minutes later, I stood next to the soundboard and watched Mötley Crüe, in all their circus-like pageantry, light up the main stage at the Sunset Strip Music Festival. It had been over 20 years since I’d seen them, and they looked almost exactly the same. Amazing what a little plastic surgery and rehab will do for you these days.
Things got off to a seductive start with “Wild Side.” Singer Vince Neil worked the front while two scantily clad female back-up singers each took a side. The hot flames of “Shout At The Devil” reminded everyone of how heavy and sinister this band can be. Then again, when drummer Tommy Lee got behind the piano for “Home Sweet Home,” they didn’t seem so dastardly, just a tart sentimental. Aw shucks.
Speaking of Lee, the most memorable moment in Mötley Crüe’s hour-long set had to be the drummer’s roller-coaster set. Strapped in and playing upside, Lee laughed, roared and rallied up the audience. Later, he did a couple 360s with a guy dressed in a mouse suit. It’s a long way from home movies with Pamela Anderson, but that’s show biz.
At the conclusion of “Kickstart My Heart,” the audience got doused with a shot of reality and droplets of fake blood. They even covered the soundboard with a plastic sheet. I stuck out my tongue and realized the drops tasted a little like Kool-Aid. No matter where you are in Hollywood, a good prop is never too far away.
More Sunset Strip Music Festival Photos
