Yearly Archives - 2016

Boston Hits SoCal for 40th Anniversary of Debut Album – Article by Scott Essman

Boston Hits SoCal for 40th Anniversary of Debut Album

Article by Scott Essman

By any measurable account, Boston’s debut album, released in the summer of 1976, was an unconditional phenomenon. Its mixture of melody, power, and virtuoso musicianship was unprecedented. Led Zeppelin, The Beatles, The Who and other powerhouse bands had forged such sonic territory, allowing band founder Tom Scholz to coalesced all previous rock and roll subgenres into a new sound, one which he largely self-produced on equipment of his own design.


After its explosion onto airwaves, Boston, the debut album, sold 17 million copies to date in the U.S. alone, with another eight million globally. Without question, classic rock radio stations nationwide, now 40 years onward, still regularly play many key tracks, such as “More Than a Feeling,” “Foreplay/Long Time,” “Smokin,’” “Rock and Roll Band,” and others.

Guitarist Gary Pihl, who has been with the band since 1985, spoke about Scholz’ singular abilities in many categories. “Tom, obviously, is a great engineer as well as a terrific musician,” said Pihl. “He’s always on [lists of] 100 greatest guitarists and keyboardists of all time. He’s an engineer, producer, designed the amplifiers that are still used on stage.”


gary pihl_photo credit Bob Summers Photography

In 1976, listeners responded to Boston’s overflow of melodic hard rock, including the dynamic instrumentation of the tracks and Brad Delp’s soaring vocals. “I remember where I was when I first heard the Boston sound,” recalled Pihl. “I was driving in my car in Petaluma and put on the radio – this is a song by Boston! How did they do that?”

Through eight “great” years with Sammy Hagar, including two tours supporting Boston in 1977 and 1978-79, Pihl stayed in touch with Scholz. “I was one of those geeky guys — how do you get that sound?” Pihl would ask Scholz. “In 1985 when Sammy got the call to join Van Halen, I left from my last gig with Sammy and flew directly to Boston to start working with Tom on Third Stage. Here I am 30 some years later.”


When asked about the secret to that first Boston album, Pihl is matter-of-fact about Scholz’ approach. “It’s the songs,” he said. “It’s on e of those things; beauty is in the eye of the beholder—the lyrics, the melody, sing along with them. Why do we enjoy Beethoven’s Fifth?”

tom _ gary_photo credit Bob Summers Photography

Now recreating those songs for a tour that hits the Greek theater on July 14 and the Pacific Amphitheater on July 16, Pihl and Scholz exchange leads and rhythm parts cooperatively. “You do this, I’ll do that,” he said, adding, “I’m playing my parts on the new records. I think we’ve got the greatest band ever.”

BOSTON credit Bob Summers Photography

Though the band is celebrating the 40th anniversary of that landmark first album, Boston continues to function as a working band, constantly developing new material. “If the Stones can still do it, so can we,” Pihl quipped. “We are always working on new material. It’s fun being out here. We’re so grateful. There’s no better feeling—it transcends what we’re doing.”

Bill Pohlad Presents Two Sides of Brian Wilson in Love & Mercy Interview by Scott Essman

Bill Pohlad Presents Two Sides of Brian Wilson in Love & Mercy
Interview by Scott Essman
With as enigmatic a figure as there is in the rock music landscape in the Beach Boys’ founder and key songwriter, Brian Wilson, any film concerning the man’s creative genius and personal tribulations was bound to be unconventional.  In Love & Mercy, director Bill Pohlad intercuts throughout the film to two wholly different periods in Wilson’s life: his mid-1960s heyday as a writer and producer, crafting the Beach Boys’ groundbreaking Pet Sounds album, and the mid-1980s where Wilson was under the dominating guardianship of controversial therapist Dr. Eugene Landy.

“It was something I’ve always had a dream to do,” Pohlad stated of Love & Mercy, a project which attracted actor Paul Dano as the younger Wilson, John Cusack as the older Wilson, Paul Giamatti as Landy, and Elizabeth Banks as the older Wilson’s love interest, Melinda Ledbetter, who went on to become Wilson’s wife.

Surely, by casting the movie with two different actors playing Wilson, neither of whom is wearing transforming makeup to resemble the real man, on top of the intercutting between the two storylines, Pohlad is making a pure artistic statement more so than a commercial biopic, a bold move for a first-time director.  “I think I’ve somewhat tried to do that throughout my career,” said Pohlad, who had previously produced 12 Years a Slave, The Master, and The Tree of Life among recent work.  “This business is so risky and difficult; I figured, starting out, if I was only going to have one opportunity to make a movie, I wasn’t going to do something that was already done.  I would rather go down with something that I readily believed in or was excited about.  With somebody like Brian, you can’t play it safe—it didn’t feel right.  I wanted to get more intimate with the character.  That motivated me to push the envelope.”

Foremost, Pohlad utilized key portions of the Beach Boys’ catalogue of hit songs, mandating that he acquire important Wilson compositions and classic recordings by the Beach Boys from their most fertile period.  “I don’t think it’s ever easy,” Pohlad said of obtaining music for films.  “It was going to involve a lot of music with a lot of people holding the rights to that music.  There are major hurdles you have to go through.  Relative to other projects, this wasn’t that bad.”

Also crucial to the production of Love & Mercy was Pohlad’s gaining of the acceptance and blessings of both Wilson and Ledbetter.  “Brian and Melinda were involved from the beginning, finding a common ground,” the director said.  “They trusted that I was going to do it in a good way.  Getting to know them and talking to them; keeping them apprised of script development, listening to any concerns that they had.”
Due to the subject matter, with Wilson being a beloved figure in the entertainment industry at large, Love & Mercy drew many talented figures who wished to get the stories rendered correctly on film and on the soundtrack.  “There was a very positive vibe about people who were getting involved,” Pohlad related.  “You start to develop this team who work together well and have a positive vibe.  For me, it was holding up to some certain standard that I had in my mind.”
In point, being a major Wilson fan himself, Pohlad endeavored to strike a chord amongst all Beach Boys fans with the film, especially the noteworthy scenes where Wilson orchestrates Pet Sounds in the studio with his famed “wrecking crew” of session musicians.  “Back in the 1960s, you didn’t get that many opportunities to see inside the creative process,” noted Pohlad.  “There are a lot more glimpses into that today; back then, it was very rare – Let it Be; Sympathy for the Devil did it a little bit.  I loved those and tried to emulate that.  It felt like it was right out of that playbook with the recording of Pet Sounds.”

To recreate the Pet Sounds sessions, Pohlad brought in real musicians in favor of hiring actors to play those musicians.  “We didn’t rehearse with them,” Pohlad confessed.  “Thanks to Brian, he put us onto people who he works with all the time.  We dressed them up in period costumes.  We didn’t tell them that much about what they’d be doing; they were coming into a session like a normal recording session.”
As Dano needed to portray Wilson as the master genius who formulated Pet Sounds—inarguably one of rock music’s greatest albums—the actor steeped himself into musical recording culture.  “We brought the guys in and had them literally live it,” Pohlad said of those revelatory scenes.  “Paul would come in and start directing these guys as Brian.  He channeled Brian and the method he would use, and his approach.  It was very spontaneous.  We were literally shooting it like a documentary film.”

During the filming of the Pet Sounds sessions, Pohlad adopted a unique approach to getting the momentous events immortalized.  “In addition to shooting these real musicians playing, we wanted to be able to record them and use that sound,” he stated.  “The sound team and the lighting crew figuring out how to do it so that you can shoot it like the real thing.  Once we got rolling, it was very natural and easy: let’s start working on “Wouldn’t It Be Nice.”  Bob [cinematographer Robert Yeoman] and Casey [Hotchkiss, b-camera operator] would go around and pick shots like you would in a documentary film.  You’re sitting in a studio where Brian recorded Pet Sounds with all of these musicians, [with a] sound engineer to keep us on track.  It felt like we were back in the 1960s.  It was a special moment.”

To create the onscreen Wilsons in each time period, Pohlad allowed his actors due freedom.  “John did spend a lot of time with the real Brian, but Paul didn’t,” Pohlad unveiled.  “The three of us didn’t coordinate how to walk or talk; they found it independently.  It was important to me not to dictate.  You want it to be natural.”

While Dano had to work through learning how to play and arrange the music, Cusack was not playing Brian Wilson during a musically active period in the songwriter’s life.  “John was going for a different Brian,” Pohlad remarked.  “Spending time with the real Brian helped him find that part of his life.  It wasn’t super formal; I wanted it to be more loose – channeling Brian rather than follow a pattern.”
For Banks, lobbying to play Ledbetter, the actress quickly convinced the director that she was right for the role.  “Casting is a key part of how the movie is going to work out,” said Pohlad.  “In the first five minutes, I could tell that Elizabeth was cut from the same cloth of Melinda – a no-nonsense kind of person; a lot of energy.  That helped a lot in making the decision.  She executed the role – spent a lot of time with Melinda through the shoot.”

Surely, as endearing as the 1960s scenes are in Love & Mercy, the 1980s material is equally dynamic—though largely heartbreaking given Landy’s dominance over Wilson at the time.  Nevertheless, Pohlad stated that he and Giamatti did not want to create a screen monster.  “You never want to do a movie or tell a story with a one-dimensional character,” Pohlad described.  “You want to try to [show] the human side.  We couldn’t find people with much good to say about [Landy].  He had Brian under his thumb and [tried to] get some of that magic for himself instead.  You try to make him human instead of this arch villain.  Having Paul Giamatti was invaluable.”

In the end, Love & Mercy is mandatory for any potential viewers intrigued by Wilson’s creative machinations plus his bizarre overall life arc which took him from the top shelf of the music business to the bottom rung of torment before Ledbetter helped him climb out of Landy’s control.  In realizing his vision, Pohlad noted his many critical collaborators.  “I do think we had a great group of people,” Pohlad said about his key team.  “My cohort was [executive producer] Oren Moverman; Oren was on set much of the time—that was a great important relationship.  [DP] Bob Yeoman, Ed Tise, the sound guy, Atticus Ross [on] the music side, Danny Glicker on the wardrobe.  It really is true: a great group of people; I had so many great collaborators on set throughout the process.  It was instrumental to get where we ended up being—it was such a great experience.  It’s the film that is going to last.”

Peter Landesman Tells the Truth in Concussion Interview – by Scott Essman

Peter Landesman Tells the Truth in Concussion
Interview by Scott Essman

In crafting the film Concussion, concerning National Football League players who have contracted permanent brain damage, technically called CTE (chronic traumatic encephalopathy), writer-director Peter Landesman aimed the project at a mainstream theatrical release, one which was advertised during major sporting events. That audacious move against one of America’s most prominent institutions might have raised eyebrows in both NFL and Hollywood circles, but not Landesman’s as he unveiled in an exclusive interview.

“I made the movie for everybody, including football fans,” he related by phone after the film’s initial wide theatrical run, an exhibition pattern suited to a project such as Dead Pool more obviously than a film about an actual African neuropathologist named Bennet Omalu (boldly played Will Smith) who discovers in several autopsies the similar strains of brain damage attained by a group of former NFL players. “I never felt the footsteps of anybody behind me. The best defense is the truth. We were making an honest feature film. I was never worried about anybody else.”

Based on a Gentleman’s Quarterly magazine article entitled “Game Brain” by Jeanne Marie Laskas, Concussion’s screenplay was developed after Landesman’s own meticulous pre-production research commenced. “The article was a jumping-off point,” Landesman explained, noting that he utilized almost all of the article’s findings but delved further into his own findings. “I wanted to be very careful—I knew it would be gone through with a fine-tooth comb. I’m an ex-journalist.”

As with any feature film, 100% accuracy is a near impossibility, and Landesman related how Concussion was ultimately delivered in a dramatically liberal context, though it sticks to real people, events, and situations. “It’s a movie with characters, dialogue, emotion; it’s not a documentary,” he said. “It’s not a Wikipedia entry—it’s a movie. This one was very accurate.”
Though the implications of a large measure of NFL players suffering from CTE could result in a dethroning of the NFL’s longtime dominance, the people close to the matter who Landesman approached were open with information. “People wanted to talk about this,” Landesman noted. “They knew that it was a serious issue.”


Naturally, Landesman contacted Bennet Omalu, whose medical discoveries caused expected controversy in pro football circles. “I met the real guy,” Landesman revealed. “I spent a lot of time with him, researching him, [learning] a lot about his spirituality, real motivations. What is was like to become a pariah? How did he handle that?”

After Landesman’s screenplay was locked, he engaged Smith and the other lead actors in extensive rehearsals. “We worked for months on his accent and on his reading,” Landesman said of Smith. “ We both believe in over-preparedness.”

On set in Pittsburgh for 56 days, Landesman recalled that Concussion was not a technically complex shoot though his results were finally magnetic and powerful. “I love actors and getting in the trenches with them,” he said. “Being in the mud with them; a situation in which they feel safe to take chances.”

In addition the honesty communicated in Smith’s performance, so rich a dramatization that an Oscar nomination seemed a shoe-in—though it did not happen—Concussion features strong outings by Alec Baldwin as a NFL team doctor and a mesmerizing David Morse as Pittsburgh Steelers’ famous center Mike Webster who died at a young age and was found to have CTE. “Morse is enormously well-prepared,” said Landesman. “We had many conversations on and off set: how to find a man who is heroic and strong, coming apart at the seams at the same.”

Interacting with all of his actors, Landesman noted that his goals were simple and straightforward. “Just trying to find the most raw honest performance,” he said. “This was not complicated logistically; getting to the most honest, powerful, consistent performance we could find.”

As Landesman’s final film reads as some manner of indictment of regular NFL practices, one might have expected that director would have had his reputation and credentials questioned, just as the Omalu character is smeared by the powers-that-be in the film, but Landesman asserted that no interference was present during filming or post-production. “I never felt any concerns,” he detailed. “I don’t think it’s possible to go too far. The truth is the only thing that matters. The consequences are the consequences.”

Director Peter Landesman, left, and Will Smith on set of Columbia Pictures' "Concussion."

Director Peter Landesman, left, and Will Smith on set of Columbia Pictures’ “Concussion.”


With Concussion wrapped and in general release, Landesman noted that he was next preparing a film called Self with Liam Neeson. “I think that Concussion provided a stage and I’m going to exploit that moving forward,” he concluded. “Tell the stories that matter the most to me.”

The 80s Rekindled at Cathouse Live Concert

The 80s Rekindled at Cathouse Live Concert

By Scott Essman


In a way, it was all Led Zeppelin’s doing. Just as the breakup of The Beatles in early 1970 ushered in a burst of bands in various sub-genres which The Beatles had first explored, all trying to fill their void, so did the 1980 breakup of Led Zeppelin provide another opening into which many bands would try to make their own singular mark.


The most obvious heir to the Zeppelin throne was Southern California’s Van Halen. The first band signed off of the Sunset Strip since The Doors in 1966, Van Halen rocketed to stardom with their 1978 debut album, serving as an opening act for everyone from Journey to Black Sabbath, and, by 1980, were international headliners with three top-selling albums. Many comparisons can be drawn between Led Zeppelin and Van Halen. Both four-piece acts featured an innovative flashy guitar player across from an even more flamboyant front man, set against a relentlessly pounding rhythm section. Where Zeppelin were kings of the 1970s, Van Halen were poised to rule the 1980s, but by 1983, their recording career with the four original members came to an end. Again, there was another crack in the musical fray into which many would-be hard rock bands would mount their attack.


Enter the Sunset Strip, phase three. While the Doors shook the Strip in the mid-1960s with their blend of haunting hard rock and mesmerizing psychedelia, and Van Halen ignored punk and prog trends of the mid-1970s during their conquering of clubs including The Starwood and Gazzari’s, another movement sprouted up in the mid-80s. Unfairly deemed “Hair Metal” by dismissive critics, this new strand of hard rock was notably a combination of the stylish proto-pop of David Bowie-esque early 1970s glam rock and the more overt onslaught of Van Halen, circa the late-1970s. The new form would more affectionately be called “Glam Metal” by revisionist journalists such as Sam Dunn in his Metal Evolution research and documentary project which has aired on VH1 Classic.


In fact, at one point in the lavish August 15 festival at the Irvine Meadows Amphitheater assembled by MTV’s Headbanger’s Ball host Riki Rachtman and dubbed Cathouse Live, singer Jaime St. James of the Portland-based 1980s band Black ‘N Blue exclaimed, “This is the Woodstock of Glam Metal!” And true to that moniker, many of the emblematic bands of the mid-80s performed at Cathouse Live, regaling a largely Gen-X audience with their hallmark tunes of the era. Only missing from the proceedings were understandably some of the biggest bands of the movement. While Van Halen has toured the U.S. this summer in concerts of their own, which included their own stop at Irvine Meadows in July, a prototypical 1980s Sunset Strip glam metal band such as Motley Crue is likely still too big of a draw to be enlisted in a festival with 25 total acts. Other than such additional acts as Quiet Riot and Warrant, Cathouse Live featured the most central glam metal bands, each performing a 30-60-minute set.

Two winners of previously held “battle of the bands” competitions won the opening spots at Cathouse Live: The Aviators, who played on a smaller festival stage, and Swamphammer in the main amphitheater. Beginning shortly after 2pm, temperatures at the Irvine Meadows site bridged 100 degrees, which may have accounted for the approximately 75% of capacity audience in the amphitheater area (the lawn section was closed) with a few hundred others huddled around the festival stage.


Following the new bands’ kicking off of the day, BulletBoys graced the main stage as the first nostalgia act. Significantly, first Van Halen producer Ted Templeman, who was ostracized from Van Halen when they acquired Sammy Hagar as their new lead singer in 1985, signed BulletBoys and produced their early material in the mid-to-late 1980s, with lead singer Marq Torien emulating much of founding Van Halen singer David Lee Roth’s onstage antics and vocal stylings. Alas, BulletBoys never ascended to the heights of Van Halen — perhaps a serious understatement — despite some early airplay for hits such as “Smooth Up In Ya” which was predictably played at Cathouse Live to the adoration of older fans. Both on record and at Cathouse Live, BulletBoys’ high water mark was a scorching cover of The O’Jays’ 1974 classic, “For the Love of Money,” creating an entirely new, appropriately vicious meaning to the cynical song, fully separate from the O’Jays adamant funky soul of its time.

Second band Trixter might be fairly classified as a lower-tier second generation glam metal band, not coming to record until the early 1990s. Nevertheless, their shorter set was well-received by the crowd, most of whom slowly drifted in as the scorching afternoon wore on. Next on the itinerary was the aforementioned Black ‘N Blue who had debuted with a promising self-titled debut album in 1984 and superior follow-up, Without Love, in 1985, but only lasted two more recordings in the 1980s before calling it quits as a recording act. Without question, in the 2000s, with income from album sales having stalled for many artists, bands such as Trixter, Black ‘N Blue and others from Cathouse Live have reformed for performing purposes, either on full tours, or at select summer dates.


The next band in the lineup, Autograph, had won the coveted spot on Van Halen’s enormous 1984 tour, hailing from Van Halen’s hometown of Pasadena, California, and were able to then release and promote their debut album, Sign In Please, and single “Turn Up the Radio,” to modest success that year. Following Autograph were Junkyard, Saigon Kick, and LA Guns, all of whom were notable for mid-1980s albums, the latter of whom were involved in the simultaneous complex history of the Sunset Strip’s anti-glam metal band, Guns ‘N’ Roses. Though all were well-received, Florida-based Saigon Kick provided the most distinguished sound, a combination of modern hard rock and almost Beatles-esque homage to 1960s rock artists.


Faster Pussycat

With the sun dying, two bands were de facto warm-up acts for the evening’s biggest names: Dangerous Toys, whose five Cathouse Live players were all original members of the band, and Faster Pussycat, a “raunch ‘n’ roll” act who might best represent the vibe of the 1980s Strip. Amusingly, Toys’ singer Jason McMaster quipped that his entire career has been founded by one song, the minor early 1990s AOR radio-friendly hit, “Scared.” Prominently among the entire Cathouse Live lineup, Pussycat, and their track “Bathroom Wall,” evoke the spirit of the mid-80s, right down to their glam attire and take-no-prisoners onstage attitude. Where the Rolling Stones where always raunchier than the Beatles, and Aerosmith was more bawdy than Zeppelin, Pussycat expressed more Hollywood debauchery than even Motley Crue and its brethren.


During Pussycat’s set, on the festival stage, Enuff Z’Nuff, a late-1980s entry into the glam metal scene, presented stripped-down versions of their pseudo-pop metal in tracks including “Fly High Michelle” and “New Thing,” plus an upbeat cover of Paul McCartney’s Wings staple, “Jet.”



Without his longtime band Ratt, on the main stage, lead singer Stephen Pearcy expectedly played a healthy dose of Ratt tunes, all of which were from their four full-length 1980s albums, surfacing roughly along with the first releases of Black ‘N Blue, Quiet Riot, and the next act on the Cathouse Live bill, Dokken. Though lead singer Don Dokken has always been the creative force of the band, other key members, including guitarist George Lynch and bassist Jeff Pilson, have not been officially in the band in nearly 15 years but for a very brief 2009 reunion. However, drummer Mick Brown, from Dokken’s 1980s heyday, remains with the outfit. Eager to please while Cathouse Live was doused in darkness, Dokken played 40 minutes of their biggest hits, including several from their best album, 1984’s Tooth and Nail.


Dokken 2015

Seemingly ageless, reality show personality and one-time Skid Row lead singer Sebastian Bach, now 47, provided the night’s most energetic performance. While his signature music might now fall somewhere between irrelevancy and anonymity, Bach more than made up for any lack of vocal and otherwise artistic prowess with a magnetic onstage presence which rallied the audience for the final third of the event. He was immediately – quite literally – followed by Tom Keifer, former lead singer and songwriter from Cinderella, as a revolving stage turntable quickly brought in new artists without missing a beat, no pun intended. Where Bach has more than requisite leading man abilities, Keifer has equal if not surpassing musical achievements. His sound, swagger, and musicianship still ring true, whether revisiting a Cinderella song or dipping into his new solo album’s tracks from The Way Life Goes.


Tom Keifer

In a pre-show interview, Keifer said, about his album, “The record has the same kind of dynamics that people expect from Cinderella records. I came up on the rock of the 70s which was very dynamic: Zeppelin, Stones, ballads, acoustic, heavy stuff. The record is very similar to that. I was the songwriter, the singer, and did the signature guitar work.”


Tom Keifer

Keifer recalled what started him on the path of creating the music which came of age in the 80s. “In high school, when I got an electric guitar and started trying to learn Jimmy Page riffs, I was pretty young,” he said. “You start to emulate your heroes. It starts off covering their songs. I needed to write my own if I needed to come close to walking in their footsteps. You want to try and accomplish the same things musically that they do. That’s what’s always driven me.”


Of Cinderella’s glam metal peak, making Keifer peers with many of the artists at Cathouse Live, he was reflective. “It was an amazing time,” he said. “The 80s was very colorful and creative, and the visual element with MTV: a lot of over-the-top imagery. The music reflected that as well. It was a great time to come up and release records and tour. I feel fortunate to have come out in that era. The fans that we made friends with were incredibly loyal and still here today.”



Finally, the last main act at Cathouse was the Boston-based Extreme, who, by their own admission, rarely perform on the West Coast at present. Nonetheless, the four members of extreme — original singer Gary Cherone (briefly in Van Halen in the late 1990s), guitarist Nuno Bettencourt, and bassist Pat Badger plus new drummer Kevin Figueiredo — stopped the show with their outstanding rendition of tracks that one would never know are now 25 years old. Celebrating the quarter-century mark of their second album, Pornograffiti, Extreme looked, sounded, and performed as though it were the onset of the 1990s and not midway through the 2010s. Other tracks in their 12-song set were from their seminal additional three early albums, though the reunited band has continued to record. Not so much a throwback as a reaffirmation, Extreme’s set re-established them as a viable current act much more so than a nostalgia act.


Abbreviated perhaps by a time limitation, the final moments of the night were an “all-star” jam with one time former Guns ‘N’ Roses guitarist Gilby Clarke, and a host of other players from throughout the day’s acts. After the glam anthem “The Jean Genie” by David Bowie, the group played “Search and Destroy” by The Stooges, and two Kiss songs with an unannounced surprise musician, original Kiss lead guitarist Ace Frehley, joining the throng of musicians: “Shock Me” and “Deuce.” Symbolically, during Deuce, came the bizarre interruption, as the stage slowly swiveled around and the PA system was cut, in effect ending the entirety. Yet, even after the house lights came up, one could still hear the musicians, many of whose careers are nestled in the past, continue to play, wholly rotated away from the audience, finishing the landmark song to its natural conclusion.


Festival Stage

2:30 PM The Aviators (Battle Of The Bands winner)

3:05 PM Tuff

3:45 PM Little Caesar

4:25 PM Pretty Boy Floyd

5:05 PM Bang Tango

5:45 PM Jetboy

6:25 PM Enuff Z’Nuff

7:05 PM Tracii Guns

7:45 PM Gilby Clarke


Main Stage

2:15 PM Swamphammer (Battle Of The Bands winner)

2:30 PM BulletBoys

3:00 PM Trixter

3:30 PM Black ‘N Blue

4:00 PM Autograph

4:30 PM Junkyard

5:00 PM Saigon Kick

5:30 PM LA Guns

6:00 PM Dangerous Toys

6:30 PM Faster Pussycat

7:00 PM Stephen Pearcy

7:30 PM Dokken

8:10 PM Sebastian Bach

8:50 PM Tom Keifer

9:50 PM Extreme

10:50 PM Gilby Clarke’s All Star Band


Scott Essman

Los Angeles, California