{"id":45,"date":"2011-12-26T01:18:32","date_gmt":"2011-12-26T09:18:32","guid":{"rendered":"http:\/\/www.moussavianlaw.com\/blog\/?p=45"},"modified":"2011-12-26T01:18:32","modified_gmt":"2011-12-26T09:18:32","slug":"blue-oyster-cult","status":"publish","type":"post","link":"https:\/\/www.moussavianlaw.com\/concerts-interviews\/concert-reviews\/45\/blue-oyster-cult\/","title":{"rendered":"Blue Oyster Cult"},"content":{"rendered":"\n<!-- Facebook Like Button v1.9.6 BEGIN [https:\/\/blog.bottomlessinc.com] -->\n<iframe src=\"https:\/\/www.facebook.com\/plugins\/like.php?href=https%3A%2F%2Fwww.moussavianlaw.com%2Fconcerts-interviews%2Fconcert-reviews%2F45%2Fblue-oyster-cult%2F&amp;layout=standard&amp;show_faces=false&amp;width=450&amp;action=like&amp;colorscheme=light\" scrolling=\"no\" frameborder=\"0\" allowTransparency=\"true\" style=\"border:none; overflow:hidden; width:450px; height: 30px; align: left; margin: 2px 0px 2px 0px\"><\/iframe>\n<!-- Facebook Like Button END -->\n<table style=\"width: 115.15%; height: 62px;\">\n<tbody>\n<tr>\n<td width=\"100%\">Blue \u00d6yster Cult, Slim\u2019s, San Francisco, CA, 04-25-10 (Sunday)<\/td>\n<td align=\"right\" width=\"100%\">\u00a0<\/td>\n<td align=\"right\" width=\"100%\">\u00a0<\/td>\n<td align=\"right\" width=\"100%\">\u00a0<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<table>\n<tbody>\n<tr>\n<td valign=\"top\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone\" src=\"http:\/\/www.moussavianlaw.com\/images\/rudy_sarzo_and_eric_bloom.jpg\" alt=\"\" width=\"350\" height=\"263\" \/><\/td>\n<\/tr>\n<tr>\n<td valign=\"top\">\u00a0<\/td>\n<\/tr>\n<tr>\n<td valign=\"top\">\u00a0\u00a0On April 25, 2010, Blue \u00d6yster Cult (\u201cB\u00d6C\u201d) played Slim\u2019s night club in San\u00a0Francisco. BOC played an 11?song, 90?minute set from 9:20 to 10:50.<\/p>\n<p>1. Golden Age of Leather (Spectres record, 1978) began with Eric Bloom (\u201cEB\u201d), Buck Dharma (\u201cBD\u201d), Richie Castellano (\u201cRC\u201d), and Rudy Sarzo (\u201cRS\u201d) singing the first verse a cappella, \u201cRaise your can of beer on high.\u00a0 And seal your fate forever.\u00a0 Our best years have passed us by.\u00a0 The golden age of leather.\u201d\u00a0 The musical onslaught began with Jules Randino\u2019s (\u201cJR\u2019s\u201d) drum beats to this fairly up tempo song that featured BD on lead vocals.\u00a0 BD wore light blue jean pants, black vest, black t?shirt, black leather shoes, and light maroon?tint sunglasses.\u00a0 I initially had trouble hearing the vocals because they were poorly mixed in the sound, a problem remedied by the third song.\u00a0 In contrast, RS\u2019s driving bass lines were prominent in the mix and provided a groovy foundation.<\/p>\n<p>\u00a0<img loading=\"lazy\" decoding=\"async\" class=\"alignnone\" src=\"http:\/\/www.moussavianlaw.com\/images\/golden_age_of_leather.jpg\" alt=\"\" width=\"350\" height=\"263\" \/><\/p>\n<p>BD sang the second through fourth verses without much pause in between.\u00a0 Following the fourth verse, from approximately (approximations presumed throughout) the 1:55 to 2:35 marks, the band engaged in a jam session that included JR\u2019s upbeat drum beats, RS\u2019s driving bass lines, and BD\u2019s 15?second guitar solo.\u00a0 The band then sang the fifth and sixth verses, \u201cDawn colored the sky\u00a0\u2026 The ritual ceased.\u00a0 Some had died\u00a0\u2026 They were buried with their bikes.\u00a0 Each grabbed a rag\u00a0\u2026 From a man with a sack.\u00a0 Torn strips of color\u00a0\u2026 The red and the black.\u201d\u00a0 BD resumed solely singing the seventh and eighth verses.\u00a0\u00a0 The song\u2019s tempo was elevated after BD\u2019s guitar solo, but significantly slowed down during the last 50 seconds of the song when the band repeated the phrase, \u201cGolden age.\u201d\u00a0 [As far as I was concerned the golden age had not yet passed because when the band played Hot Rails to Hell as an encore a marijuana smoke cloud pungent enough to make a rhinoceros hallucinate to the point it would prance around like a fairy princess amidst a tulip field wafted through the air.]<\/p>\n<p>\u00a0<img loading=\"lazy\" decoding=\"async\" class=\"alignnone\" src=\"http:\/\/www.moussavianlaw.com\/images\/buck_dharma.jpg\" alt=\"\" width=\"350\" height=\"263\" \/><\/p>\n<p>2. O.D.\u2019d on Life Itself (Tyranny and Mutation, 1973) is a very bluesy mid tempo song that featured EB on vocals.\u00a0 O.D.\u2019d on Life Itself contains interesting lyrics.\u00a0 During the third verse EB sang, \u201cWritings appear on the wall.\u00a0 The curtains part and landscape fall.\u00a0 There the writings done in blood.\u00a0 Yeah, like a mummy\u2019s inscription and a bat wing tongue.\u201d\u00a0 [EB and BD are exceedingly gifted musicians and songwriters.\u00a0 However, EB and BD may have been inspired to write these lyrics when they opted to smoke bananas in lieu of eating them.]\u00a0 EB wore black jean pants, black long sleeve button-down cotton shirt, black leather boots, and black sunglasses.\u00a0 During the chorus BD, RC, and RS sang, \u201cO.D.\u2019d on life, life itself.\u00a0 O.D.\u2019d on life, life itself.\u00a0 O.D.\u2019d on life itself\u201d and JR beat the life out of his tom-tom drums that were part of a grey and black fade drum kit featuring a single bass drum. \u00a0JR wore blue jean pants, black vest, white t?shirt, and black mirrored sunglasses.\u00a0 The fourth verse led straight into BD\u2019s fiery 40?second guitar solo.\u00a0 As I listened to EB and BD\u2019s bluesy guitar playing I was reminded of the chord progression for Ian Hunter\u2019s Once Bitten Twice Shy from his self?titled record (1975) because they sound strikingly similar to those on O.D.\u2019d on Life Itself.<\/p>\n<p>3. Burnin\u2019 for You (Fire of Unknown Origin, 1981).\u00a0 Before Burnin\u2019 for You EB said, San\u00a0Francisco, how ya\u2019 doing?\u00a0 How is this San\u00a0Francisco when you get a guy with no shirt up front?!\u00a0 Let\u2019s go back to Fire of Unknown Origin.\u201d\u00a0 Burnin\u2019 for You began with an instantly recognizable chord progression by EB, BD, RC, and RS.\u00a0 From the 0:10 to 0:25 marks EB, BD, and RC chanted, \u201cAaah \u2026 aaah,\u201d serving as the cue for BD to sing the first verse, \u201cHome in the valley.\u00a0 Home in the city.\u00a0 Home isn\u2019t pretty.\u00a0 Ain\u2019t no home for me.\u201d\u00a0 Burnin\u2019 for You is a soft ballad.\u00a0 RC and EB provided rhythm guitars during the chorus while BD and EB sang, \u201cAnd I\u2019m burning, I\u2019m burning, I\u2019m burning for you.\u00a0 I\u2019m burning, I\u2019m burning, I\u2019m burning for you.\u201d\u00a0 EB used Marshall amplifiers (\u201camps\u201d) and primarily played a black Gibson SG guitar with a pearl BOC logo inlay on the body, and he also sparingly played a black guitar with a Fender Stratocaster body with a three-dimensional red BOC logo on the body.<\/p>\n<p>4. Buck\u2019s Boogie (A Long Day\u2019s Night, 2002) is an up tempo instrumental highlighting BD\u2019s talents as a bluesy guitar player and also featured RC\u2019s keyboard solo from the 1:05 to 1:20 marks.\u00a0 At the 1:20 mark EB, BD, RS, and JR joined RC in an entertaining jam.\u00a0 BD\u2019s playing during Buck\u2019s Boogie is reminiscent of the blues guitar playing by Big Joe Williams on Baby, Please Don\u2019t Go (1935) and Angus Young on AC\/DC\u2019s Whole Lotta Rosie off the Let There Be Rock record (1977).\u00a0 Midway through the song BD experienced technical problems with the tremolo bar on his white Steinberger Swiss cheeseburger model guitar (headstockless guitar with a Fender Stratocaster body resembling Swiss cheese).\u00a0 BD switched to a black guitar with a Stratocaster body that he played through Marshall amps.\u00a0 From the 6:40 to 7:05 marks Buck\u2019s Boogie featured all the band members wailing on their instruments creating a wall of sound until the song came to a climactic end.\u00a0 RS was fully immersed in bobbing his head and periodically quickly licking his right fingertips he used to pluck his bass strings.\u00a0 RS wore dark blue jean pants, black tank top, black sneakers, and vest that was half solid black and half purple with a recurring, plus-shaped pattern comprised of four white basses.\u00a0 RS played a maroon Peavey bass and used Ampeg amps.<\/p>\n<p>5. Harvest Moon (Heaven Forbid, 1998) is a mid tempo song that featured BD on vocals and EB on Kurzweil and Korg keyboards positioned stage right.\u00a0 RC, who had by this time taken his sunglasses off, provided a fluid and entertaining rhythm guitar section using a light brown Music Man guitar he played through Marshall amps.\u00a0 RC wore black jeans, black long sleeve button-down cotton shirt with satin vertical stripes, and black leather shoes.\u00a0 Harvest Moon\u2019s verses have a driving engaging quality.\u00a0 Following the first verse EB, BD, RC, and RS sang the chorus, \u201cAhh, ahh, ahh, ahh.\u00a0 When the wind turns.\u00a0 Ahh, ahh, ahh, ahh.\u00a0 And blows the leaves from the trees.\u00a0 Ahh, ahh, ahh, ahh.\u00a0 Harvest moon.\u201d\u00a0 EB, RC, and RS handled the \u201cahh, ahh, ahh, ahh\u201d chorus portions.\u00a0 The second, fourth, sixth, and seventh verses have an interesting catchy quality in that, on the even?numbered verse lines, EB, RC, and RS softly sang, \u201cHarvest moon\u201d at the end of the verse (e.g.,\u00a0\u201cI feel the nights grow cold\u00a0\u2026 Harvest moon.\u201d\u00a0 \u201cOld people feelin\u2019 old\u00a0\u2026 Harvest moon.\u201d). \u00a0After the fourth verse, from the 2:10 to 3:20 marks, the band engaged in an entertaining and enjoyable jam session during which they elevated the song to up tempo mode and laid the foundation for memorable RC and BD guitar solos lasting 30 seconds.<\/p>\n<p>6. The Vigil (Mirrors, 1979).\u00a0 Before The Vigil EB introduced the band members and talked about, of all things, baseball, \u201cThe (New York) Yankees (baseball team) suck.\u00a0 Thank you very much.\u00a0 That is all from E.S.P.N. (cable sports channel) sports.\u00a0 Now we move on to The Vigil.\u201d\u00a0 The Vigil began with BD playing melodic guitar notes and featured BD on vocals and EB on keyboards.\u00a0 At the 0:45\u00a0mark BD, RC, and RS began playing a fairly heavy, mid tempo chord progression.\u00a0 The song\u2019s tempo was somewhat pedestrian but enhanced by RS\u2019s prominent solid bass lines.\u00a0 [RS\u2019s music prowess and showmanship during The Vigil were the auditory and visual equivalent of taking a bland rice cake, immersing it in tabasco sauce and glazing it with a sweet, tangy barbeque sauce that glistens.]<\/p>\n<p>Interestingly, The Vigil does not feature a chorus and does not need one to qualify as a good song, a testament to BOC\u2019s musical genius.\u00a0 [On the one hand are gifted artists like BOC able to write unique, memorable songs that do not conform to the traditional \u201cverse, chorus, verse, chorus, solo\u201d formula.\u00a0 On the other hand are \u201cartists\u201d like Miley Cyrus and Britney\u00a0Spears who write uninspired formulaic songs that give me the urge to pick up their CDs and commit suicide by ingesting them whole, cutting off my trachea.]\u00a0 \u00a0From the 2:35 to 3:00 marks BD played a memorable guitar solo on his white Steinberger that had been repaired by his technician.\u00a0 Beginning at the 3:35 mark JR stopped playing drums while BD sang, \u201cWell, I\u2019m no poet, but I can\u2019t be fooled.\u00a0 The lies don\u2019t count, the whispers do.\u00a0 I hear the whispers on the wind.\u00a0 They say the earth has fallen due.\u201d\u00a0 At the 4:15 mark JR resumed playing drums shortly before EB twice sang the line, \u201cCome to us\u201d while BD played a memorable guitar run accentuated by RC, RS, and JR\u2019s solid rhythm section.\u00a0 At the 4:55 mark BD, RC, and RS resumed the fairly heavy, mid tempo chord progression. \u00a0EB played atmospheric keyboards for a few seconds at the 0:45 and 5:50 marks.\u00a0 The Vigil ended as it began, with BD\u2019s melodic guitar notes.<\/p>\n<p>7. Black Blade (Cult\u00f6saurus Erectus, 1980).\u00a0 Before Black Blade EB said, \u201cLadies and gentlemen, say hello to Rudy Sarzo!\u201d\u00a0 RS moved from his microphone (\u201cmike\u201d) stage left to BD\u2019s center stage mike where he said, \u201cI AM a Yankees fan,\u201d triggering boos from audience members loyal to Bay Area baseball teams.\u00a0 Black Blade began with BD\u2019s searing 15?second guitar run after which the song adopted a mid tempo pace.\u00a0 From the 0:35 to 0:40 marks the song momentarily shifted to up tempo mode while EB sang the last line of the first verse, \u201cAnd it howls, it howls like hell.\u201d\u00a0 The tempo returned to mid tempo mode only to again resume an up tempo mode during the chorus when EB, BD, and RC sang, \u201cBlack blade!\u00a0 Black blade!\u00a0 Forged a billion years ago.\u00a0 Black blade!\u00a0 Black blade!\u00a0 Killing so its power can grow.\u201d\u00a0 Interestingly, Black Blade momentarily shifted to mid tempo mode when EB uttered the final word of the chorus, \u201cGrow,\u201d which he repeated seven times while the tempo gradually escalated with BD, RC, RS, and JR\u2019s masterful instrumentation until EB finally shouted, \u201cGrow!\u201d<\/p>\n<p>From the 1:50 and 2:20\u00a0marks BD twice played the signature guitar run from the start of Black Blade.\u00a0 From the 2:20 to 3:45 marks the tempo slowed a bit for a jam session, including RC\u2019s atmospheric keyboards and RS\u2019s monstrous bass lines he played center stage by JR\u2019s drum kit.\u00a0 Following the second chorus, from the 3:45 to 4:50 marks, the song switched to up tempo mode during which RC\u2019s keyboard playing was prominently featured, RS played groovy bass lines, and EB sang the final verse in an altered voice that sounded futuristic (i.e.,\u00a0computerized).<\/p>\n<p>8. Then Came the Last Days of May (Blue \u00d6yster Cult, 1972).\u00a0 Before Then Came the Last Days of May EB said, \u201cWe are going to go back to our first album.\u00a0 I remember it like it was yesterday.\u00a0 I think (Richard) Nixon was President.\u00a0 I think the Vietnam War was just ending.\u00a0 This is Then Came the Last Days of May.\u201d \u00a0Then Came the Last Days of May is a bluesy song with a fairly slow tempo that featured BD on vocals and EB on keyboards.\u00a0 BD sang at a slightly higher than usual octave.\u00a0 Following the first verse, from the 0:45 to 0:55\u00a0marks, BD played fairly heavy trench?filled guitar riffs, a pattern he repeated after the second, third, and fifth verses.\u00a0 After the fourth verse, from the 2:20 to 3:35 marks, BD and RC played extended guitar solos, beginning and ending with BD.\u00a0 During his guitar solo RC banged his head in metal fashion and raised his guitar a la K.K.\u00a0Downing (Judas Priest guitarist) while RS and JR provided a solid rhythm section.\u00a0 After BD and RC\u2019s guitar solos, the band jammed with BD, RC, and RS center stage and during which JR performed heavy drumming and the song\u2019s tempo gradually increased.\u00a0 After BD sang the fifth and final verse the tempo quickly slowed as the song came to a conclusion to much audience adulation.<\/p>\n<p>9. Godzilla (Spectres, 1978).\u00a0 Immediately after Then Came the Last Days of May EB shouted, \u201cYeah, Richie on the guitar!\u00a0 Now, as you know, millions of years ago long before the Castro District (San Francisco neighborhood considered the world\u2019s first and currently largest gay neighborhood) there were large reptilian creatures that roamed San\u00a0Francisco.\u00a0 If you listen closely you can hear\u00a0&#8230; Don\u2019t tell me \u2026 What is it?!\u00a0 Godzilla!\u201d\u00a0 Godzilla began with EB, BD, and RS\u2019s memorable, trudging chord progression.\u00a0 In contrast to the record version, Godzilla did not feature keyboards to water down its potency.\u00a0 Godzilla has a fairly slow tempo but its catchy chord progression prompted many audience members to bob their heads.\u00a0 EB and BD shared vocals. \u00a0Godzilla\u2019s standout part is its catchy chorus during which the band sang, \u201cOh no, they say he\u2019s got to go.\u00a0 Go, go Godzilla, yeah.\u00a0 Oh no, there goes Tokyo.\u00a0 Go, go Godzilla, yeah.\u201d \u00a0[When I hear Godzilla I envision seeing a burly bearded mountain man wearing coveralls and combat boots dragging a moose carcass he just killed in the woods.]\u00a0 From the 1:15 to 1:35\u00a0marks BD played a fiery guitar solo.\u00a0 After the second chorus, from the 2:00 to 2:25 marks, the band jammed with BD, RC, and RS center stage while EB sang what on record is a tape track with the message, \u201cRinji news o moshiagemasu!\u00a0 Rinji news o moshiagemasu!\u00a0 Godzilla ga Ginza hoomen e mukatte imasu!\u00a0 Daishkyu hinan shite kudasai!\u00a0 Daishkyu hinan shite kudasai!\u201d\u00a0 [I have no clue what EB uttered.\u00a0 It may have been the menu from a Japanese restaurant, but it rocked.]\u00a0 At the 2:30 mark the band repeated the chorus a third time.<\/p>\n<p>During the jam the band highlighted RS and JR\u2019s musical talents.\u00a0 EB said, \u201cMaybe some of you remember Rudy Sarzo when he was in Quiet Riot!\u201d\u00a0 RS and JR played 10\u00a0seconds of the rhythm section to Bang Your Head (Metal Health) off Quiet Riot\u2019s Metal Health record (1983).\u00a0 EB then said, \u201cMaybe some of you remember Rudy Sarzo when he was in Whitesnake!\u201d \u00a0RS and JR then played 10\u00a0seconds of the rhythm section to Here I Go Again off Whitesnake\u2019s Whitesnake record (1987).\u00a0 EB then said, \u201cMaybe some of you remember Rudy Sarzo when he was in Ozzy!\u201d\u00a0 RS and JR then played the rhythm section to Crazy Train off Ozzy Osbourne\u2019s Blizzard of Ozz record (1980) for two minutes.\u00a0 RS then left the stage and JR played a two?minute drum solo that exhibited his hard?hitting and technical skills.\u00a0 After JR\u2019s drum solo the band resumed Godzilla with the chorus.\u00a0 Godzilla led straight into (Don\u2019t Fear) The Reaper, the second song that received the strongest audience reaction.<\/p>\n<p>10. (Don\u2019t Fear) The Reaper (Agents of Fortune, 1976) commenced with RC\u2019s atmospheric keyboards emulating blowing wind similar to Alexander the Great off Iron Maiden\u2019s Somewhere in Time record (1986).\u00a0 JR joined RC with a simple effective drum beat while EB and BD played the recognizable introductory guitar notes.\u00a0 (Don\u2019t Fear) The Reaper\u00a0 featured BD singing vocals in a particularly soft and melodic voice accentuated by EB and BD\u2019s catchy, recurring guitar notes.\u00a0 Prior to the chorus, BD played a blues?based guitar run supported by EB\u2019s clapping, RS\u2019s bass lines, and JR\u2019s drum beats.\u00a0 During the chorus BD, RC, RS, and JR repeated and interspersed the phrase, \u201cDon\u2019t fear the Reaper\u201d while BD sang the remainder of the chorus that resulted in the memorable lines, \u201cDon\u2019t fear the Reaper.\u00a0 Baby take my hand.\u00a0 Don\u2019t fear the Reaper.\u00a0 We\u2019ll be able to fly.\u00a0 Don\u2019t fear the Reaper.\u00a0 Baby I\u2019m your man.\u201d\u00a0 After the chorus, the band sang a harmony, \u201cLa, la, la, la, la.\u00a0 La, la, la, la, la.\u201d\u00a0 After the second chorus, from the 2:30 to 3:25 marks, the band engaged in a jam session highlighted by BD\u2019s 40?second guitar solo during which RS came center stage behind BD and provided solid bass lines.\u00a0 During the final chords of (Don\u2019t Fear) The Reaper EB raised his right hand twice and softly uttered, \u201cThank you.\u201d<\/p>\n<p>The band left the stage at 10:49 and returned in one minute to play one additional song.<\/p>\n<p>\u00a0<img loading=\"lazy\" decoding=\"async\" class=\"alignnone\" src=\"http:\/\/www.moussavianlaw.com\/images\/richie_castellano.jpg\" alt=\"\" width=\"350\" height=\"263\" \/><\/p>\n<p>11. Hot Rails to Hell (Tyranny and Mutation, 1973).\u00a0 Before Hot Rails to Hell EB said, \u201cThere is a certain aroma wafting through the air.\u00a0 I hope marijuana is legalized because getting busted for a joint is bullsh*t.\u201d\u00a0 Hot Rails to Hell is an up tempo song that featured a catchy, fairly heavy, chugging chord progression.\u00a0 The band played Hot Rails to Hell at a particularly fast tempo with RC handling vocals at a slightly lower than usual octave.\u00a0 During the first verse RC sang, \u201cRiding the underground.\u00a0 Swimming in sweat.\u00a0 A rumble above and below.\u00a0 Hey cop don\u2019t you know?\u00a0 The heat\u2019s on alright.\u00a0 The hot summer day didn\u2019t quit for the night.\u201d\u00a0 Right before the chorus JR played colorful drum fills and BD played melodic guitar notes.\u00a0 During the chorus EB, BD, RC, and RS sang, \u201c1277 express to heaven.\u00a0 Speeding along like dynamite.\u00a0 1277\u00a0express to heaven.\u00a0 Rumbles the steel like a dogfight.\u201d\u00a0 From the 2:05 to 2:45 marks BD played a catchy guitar solo during which RS and JR provided a solid foundation.\u00a0 After the second chorus, from the 3:20 to 4:10 marks, the band jammed and elevated the song\u2019s tempo.\u00a0 The band took a heartfelt bow at the end of the song.<\/p>\n<p>\u00a0<img loading=\"lazy\" decoding=\"async\" class=\"alignnone\" src=\"http:\/\/www.moussavianlaw.com\/images\/hot_rails_to_hell.jpg\" alt=\"\" width=\"350\" height=\"263\" \/><\/p>\n<p>One flashback memory is worthy of mention.\u00a0 The BOC show reminded of the ill effects of excessive alcohol I have witnessed at shows dating back to the early 1980\u2019s.\u00a0 While EB was talking to the fans before Black Blade RS\u2019s attention was drawn to the ramblings of a burly 6\u20193\u201d, 240\u00a0pound drunkard standing front row stage left who I will refer to as Mountain Man Mel (\u201cMMM\u201d).\u00a0 MMM shouted at RS, \u201cPlay I Love the Night (Spectres, 1977).\u00a0 I want to hear I Love the F**kin\u2019 Night.\u201d\u00a0 Do you guys know how to play I Love the F**kin\u2019 Night.\u201d\u00a0 After being subjected to MMM\u2019s drunken rambling requests 10 times, RS acknowledged him by casually peeling the set list off his amp and offering it to MMM to pacify him by proving BOC did not plan to play I Love the Night.\u00a0 As RS offered MMM the set list, MMM swiftly and pompously turned his back to RS, raised his right hand, bent his wrist backward in limp?wristed fashion, and said in a quasi?feminine voice, \u201cIf you\u2019re not going to play it, I don\u2019t want it (the set list).\u201d\u00a0 MMM tossed his head back and whisked away from RS.\u00a0 RS looked dumbfounded, shrugged his shoulders, and taped the set list back on his amp.<\/p>\n<p>I had a similar experience at the urinal of a Kiss concert in Oakland, California during the Animalize tour (02-09-85) standing next to an inebriated man who I will refer to as Lush Larry (\u201cLL\u201d).\u00a0 LL had drunk so much he had difficulty grasping the requisite appendage to urinate.\u00a0 Shortly after achieving this nearly improbable feat, LL\u2019s friend, standing behind him, asked him a question.\u00a0 LL turned his head toward me to answer his friend.\u00a0 Given his drunken state, LL turned not just his head, but his entire body, appendage and all.\u00a0 If I had a machete I would have put it to good use.\u00a0 Fortunately, I was able to get his attention by shouting at him before getting doused.\u00a0 LL looked at me with a quizzical glossy?eyed stare as if I had asked him to explain Albert Einstein\u2019s theory of relativity.<\/p>\n<p>Venue: Slim\u2019s is a 400?seat San Francisco club that rhythm and blues artist Boz\u00a0Scaggs opened in 1988.\u00a0 Slim\u2019s is located within three miles of San\u00a0Francisco\u2019s financial district.\u00a0 The club decor is simple and includes chandeliers, brick walls, and a bar inspired by the facades of New Orleans manors.<\/p>\n<p>Within five feet of walking through the entrance are six steps that lead immediately up and into the general admission floor approximately 20\u00a0feet from the stage.\u00a0 At one end of the main floor is the stage that measures 29\u00a0feet wide by 16\u00a0feet deep.\u00a0 The stage is three feet and three inches from the club floor and features a moveable drum riser eight\u00a0feet by six\u00a0feet and a very narrow photo pit.<\/p>\n<p>At the other end of the main floor is a small balcony with 14\u00a0tables and seating for 70\u00a0people.\u00a0 The sound console is located in the rear by the steps leading up to the balcony.\u00a0 The L?shaped bar runs the length of the floor stage left.\u00a0 The general admission floor also includes six pillars.\u00a0 Located downstairs are three dressing rooms, coat check, and additional restrooms.<\/p>\n<p>Opening Band: Medieval Knievel<\/p>\n<p>\u00a0<img loading=\"lazy\" decoding=\"async\" class=\"alignnone\" src=\"http:\/\/www.moussavianlaw.com\/images\/jules_radino.jpg\" alt=\"\" width=\"350\" height=\"263\" \/><\/p>\n<p>Arash Moussavian, Entertainment Law Attorney<br \/>\n<a href=\"mailto:arashmoussavian@cal.berkeley.edu\">arashmoussavian@cal.berkeley.edu<\/a><br \/>\n<a href=\"http:\/\/www.linkedin.com\/in\/arashmoussavian\">www.linkedin.com\/in\/arashmoussavian<\/a><br \/>\nAll photos taken by Arash Moussavian.\u00a0 This article and all photos are protected by copyright.\u00a0 Please contact me prior to use, or I will make shish kabab of your loins.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n<!-- Facebook Like Button v1.9.6 BEGIN [https:\/\/blog.bottomlessinc.com] -->\n<iframe src=\"https:\/\/www.facebook.com\/plugins\/like.php?href=https%3A%2F%2Fwww.moussavianlaw.com%2Fconcerts-interviews%2Fconcert-reviews%2F45%2Fblue-oyster-cult%2F&amp;layout=standard&amp;show_faces=false&amp;width=450&amp;action=like&amp;colorscheme=light\" scrolling=\"no\" frameborder=\"0\" allowTransparency=\"true\" style=\"border:none; overflow:hidden; width:450px; height: 30px; align: left; margin: 2px 0px 2px 0px\"><\/iframe>\n<!-- Facebook Like Button END -->\n","protected":false},"excerpt":{"rendered":"<p>Blue \u00d6yster Cult, Slim\u2019s, San Francisco, CA, 04-25-10 (Sunday) \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0On April 25, 2010, Blue \u00d6yster Cult (\u201cB\u00d6C\u201d) played Slim\u2019s night club in San\u00a0Francisco. BOC played an 11?song, 90?minute set from 9:20 to 10:50. 1. Golden Age &hellip; <a href=\"https:\/\/www.moussavianlaw.com\/concerts-interviews\/concert-reviews\/45\/blue-oyster-cult\/\">Continue reading <span class=\"meta-nav\">&rarr;<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[4],"tags":[21],"class_list":["post-45","post","type-post","status-publish","format-standard","hentry","category-concert-reviews","tag-blue-oyster-cult"],"_links":{"self":[{"href":"https:\/\/www.moussavianlaw.com\/concerts-interviews\/wp-json\/wp\/v2\/posts\/45"}],"collection":[{"href":"https:\/\/www.moussavianlaw.com\/concerts-interviews\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.moussavianlaw.com\/concerts-interviews\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.moussavianlaw.com\/concerts-interviews\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.moussavianlaw.com\/concerts-interviews\/wp-json\/wp\/v2\/comments?post=45"}],"version-history":[{"count":1,"href":"https:\/\/www.moussavianlaw.com\/concerts-interviews\/wp-json\/wp\/v2\/posts\/45\/revisions"}],"predecessor-version":[{"id":46,"href":"https:\/\/www.moussavianlaw.com\/concerts-interviews\/wp-json\/wp\/v2\/posts\/45\/revisions\/46"}],"wp:attachment":[{"href":"https:\/\/www.moussavianlaw.com\/concerts-interviews\/wp-json\/wp\/v2\/media?parent=45"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.moussavianlaw.com\/concerts-interviews\/wp-json\/wp\/v2\/categories?post=45"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.moussavianlaw.com\/concerts-interviews\/wp-json\/wp\/v2\/tags?post=45"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}