{"id":57,"date":"2011-12-26T02:27:31","date_gmt":"2011-12-26T10:27:31","guid":{"rendered":"http:\/\/www.moussavianlaw.com\/blog\/?p=57"},"modified":"2012-02-12T21:09:30","modified_gmt":"2012-02-13T05:09:30","slug":"hartford","status":"publish","type":"post","link":"https:\/\/www.moussavianlaw.com\/concerts-interviews\/concert-reviews\/57\/hartford\/","title":{"rendered":"Halford"},"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%2F57%2Fhartford%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>\n<tbody>\n<tr>\n<td width=\"100%\">Concert Review: Halford, The Regency Ballroom, San Francisco, CA, 07-17-10 (Saturday)<\/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\/intro_2.jpg\" alt=\"\" width=\"350\" height=\"263\" \/>\u00a0<\/td>\n<\/tr>\n<tr>\n<td valign=\"top\">\u00a0<\/td>\n<\/tr>\n<tr>\n<td valign=\"top\">I struggled with this review, much like I now do trying to wedge my behemoth bellies (yes, plural tense) into my high school?era Levi\u2019s 501 and FU\u2019s denim slacks.\u00a0 The struggle I faced with the Halford show was not girth? but quality?related.\u00a0 Certain parts of the show I had anxiously awaited for weeks left me scratching my balding head while others left me shrugging my hairy shoulders wanting more, like how I feel after eating a rice cake or a few salt and vinegar potato chips.\u00a0 I desperately wanted to write an undisputed glowing review reflecting a flawless show like many I have witnessed Rob Halford (\u201cRH\u201d) perform.\u00a0 The show overall was good.\u00a0 However, I would be doing a disservice to readers if I did not also include some criticism.\u00a0 I should profess Judas Priest (British heavy metal band for whom RH has served as vocalist for 28\u00a0years) is my favorite band, a band I have seen live numerous times dating back nearly 25\u00a0years with each show further cementing the band\u2019s legacy in the annals of metaldom.\u00a0 The mighty Priest\u2019s Defenders of the Faith (1984) and Painkiller (1990) records are molten works of genius that make most others bands sound like Alvin and the Chipmunks (animated music group created by Ross Bagdasarian,\u00a0Sr. (1958)).\u00a0 I also profess that Ronnie James Dio\u2019s (late Black Sabbath, Rainbow, Dio vocalist) recent untimely death means RH is now my favorite living singer.\u00a0 Halford undeniably sounded polished due to rigorous rehearsals.\u00a0 With that said, the faux pas I observed are uncharacteristic for a veteran entertainer of RH\u2019s caliber.\u00a0 Now on to the show.<img loading=\"lazy\" decoding=\"async\" class=\"alignnone\" src=\"http:\/\/www.moussavianlaw.com\/images\/intro_1.jpg\" alt=\"\" width=\"350\" height=\"263\" \/><\/p>\n<p>On Saturday, July\u00a017,\u00a02010 Halford played a warm?up show at San Francisco\u2019s 1,050?seat capacity Regency Ballroom (RB) that was two?thirds full (approximations presumed throughout).\u00a0 Halford played a 13?song, 70-minute set from 10:10 to 11:20.\u00a0 Halford\u2019s logic in playing a limited 70?minute set as the headliner puzzled and disappointed me.\u00a0 Before this show Halford had not performed live in over seven\u00a0years (last prior show being Anaheim, California (06-06-03)).\u00a0 Halford should have been chomping at the bit get on stage and prove it still has the same menacing edge and lethal quality it possessed as an actively touring band around the time of the release of the Resurrection (2000) and Crucible (2002) records.\u00a0 Additionally, this was a warm?up show intended to hone Halford\u2019s musical chops in preparation for participation on the eight?date Ozzfest tour bill commencing August\u00a014,\u00a02010.\u00a0 A warm?up show is an opportunity for a band to play more songs than a standard set to gauge what songs do and do not work in a live setting.\u00a0 The results permit a band to parse down the set list in time for future dates.\u00a0 \u201cWarm-up\u201d is not intended to be construed literally to mean the band only spends enough time on stage to get \u201cwarmed up,\u201d and a warm-up show is not supposed to feel like an extended sound check, which this show did.\u00a0 By comparison, Kiss played 27\u00a0songs during its warm?up show for the Revenge tour (Allentown, Pennsylvania (10?01?92)).\u00a0 Further, more observant fans expected a longer set because the set times posted at RB\u2019s entranceway listed a 90?minute set.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone\" src=\"http:\/\/www.moussavianlaw.com\/images\/silent_screams_1.jpg\" alt=\"\" width=\"350\" height=\"467\" \/><\/p>\n<p>1. Silent Screams (Resurrection record, 2000).\u00a0 The red stage lights illuminated the \u201cHalford\u201d logo comprised of silver lettering against a black background, creating a deep crimson color.\u00a0 RH casually walked on stage and said, \u201cHello San\u00a0Francisco.\u201d\u00a0 RH wore (1)\u00a0black combat boots, (2)\u00a0black wool slacks, (3)\u00a0Metal God Apparel (RH merchandising brand) Steel Wings blue on black?colored background t-shirt with five skeleton skulls atop a crowned pair of wings and above the \u201cMetal God\u201d chest?level logo, (4)\u00a0black wool blazer, (5)\u00a0fingerless black leather gloves, (6)\u00a0black studded leather bracelets on both wrists, and (7)\u00a0black pilot sunglasses.\u00a0 RH\u2019s decision to wear black wool slacks and blazer surprised me.\u00a0 RH is the metal god, the revolutionary, iconic metal singer who wore head to toe studs and leather in the 1970\u2019s long before it became standard metal regalia.\u00a0 [Admittedly RH wore studded leather bracelets but the blazer and slacks made him look less like the metal god and more like Jackson Browne (American album?oriented rock singer who writes politically?charged songs).]\u00a0 Silent Screams is a slow tempo song that began with \u201cMetal\u201d Mike Chlasciak (\u201cMC,\u201d guitarist) and Roy Z\u2019s (aka Roy Ramirez\u2019s) (\u201cRR,\u201d guitarist) melodic guitar notes they played on their black Jackson flying V and maple Gibson Les Paul guitars, respectively.\u00a0 Shortly before RH began to sing the first verse Mike Davis (\u201cMD,\u201d bassist) played subtle bass notes on his black Gibson Thunderbird bass.\u00a0 Bobby Jarzombek\u2019s (\u201cBJ\u2019s,\u201d drummer) subtle beats on his snare drum served as the introduction to the second verse.\u00a0 MC and RR\u2019s heavy guitar chord progressions and BJ\u2019s solid drum beats served as the introduction to the first chorus.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone\" src=\"http:\/\/www.moussavianlaw.com\/images\/silent_screams_2.jpg\" alt=\"\" width=\"350\" height=\"263\" \/><\/p>\n<p>RH then sang the third verse during which MC and RR reverted back to playing melodic guitar notes.\u00a0 As RH sang the final line of the third verse (i.e., \u201ckilling pain\u201d) MC and RR once again played heavy guitar chord progressions they augmented with chugging guitar notes during the fourth verse.\u00a0 RH then sang the second chorus.\u00a0 As RH sang the final word of the second chorus (i.e.,\u00a0\u201cchanged\u201d) MC and RR began playing chainsaw?like power chords and BJ played a driving drum beat that escalated the song to an up tempo pace.\u00a0 RH then sang the fifth through tenth verses with the fifth and sixth containing particularly poignant lyrics, \u201cThe man in black\u00a0\u2026 I\u2019m coming back to spew my evil hate.\u00a0 My crown of horns and bloody thorns\u00a0\u2026 I dig up what you fear.\u00a0 (verse transition)\u00a0 I am the shape that\u2019s in your room that\u00a0\u2026 watches over you.\u00a0 I am the needle in your heart.\u00a0 Your disillusioned god.\u201d\u00a0\u00a0 BJ played catchy drum fills during the fifth verse and lightning fast beats on his tom?toms during the ninth verse.\u00a0 As RH sang the final word of the tenth verse (i.e.,\u00a0\u201chate\u201d) MC played a series of guitar runs that served as segue way for the song to revert back to a slow tempo pace.\u00a0 RH then sang the third chorus and eleventh verse.\u00a0 I did not understand Halford\u2019s logic in starting the show with a slow tempo song that began with melodic guitar notes and lasted over seven\u00a0minutes.\u00a0 [The first song should be an up tempo rocker that (1)\u00a0pummels me into a coma?like state and (2)\u00a0wedges a stake far enough into my ear canal to render my shriveled brain completely useless.]<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone\" src=\"http:\/\/www.moussavianlaw.com\/images\/made_of_metal.jpg\" alt=\"\" width=\"350\" height=\"467\" \/><\/p>\n<p>2. Made of Metal (Halford IV\u00a0&#8211; Made of Metal, October 2010).\u00a0 Before Made of Metal RH said, \u201cThank you for your loyalty.\u00a0 Thank you for having Halford back.\u201d\u00a0 Made of Metal is a mid tempo song with a pop tinge reminiscent of the songs associated with RH\u2019s 2wo project (industrial-influenced Voyeur record that included guitarist John Lowery (aka John\u00a05) (1997)).\u00a0 RR switched to a natural wood Gibson SG guitar and used four Mesa Boogie amplifiers (\u201camps\u201d).\u00a0 After the song concluded RH said, \u201cThat is a new song that will be out in October\u00a0[2010].\u201d\u00a0 I did not understand Halford\u2019s logic in playing an unreleased song, particularly a mid tempo, pop?tinged one as the second song.\u00a0 The second song, more importantly than the first, should be a recognizable, up tempo rocker, one that leaves the audience breathless.\u00a0 [By the time the first two songs are over the audience\u2019s jaw should be gaping and drooling as if subjected to communal lobotomies, not a flashback to a public television broadcast of a Peter, Paul\u00a0&amp; Mary concert (American folk?singing trio).]<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone\" src=\"http:\/\/www.moussavianlaw.com\/images\/resurrection.jpg\" alt=\"\" width=\"350\" height=\"263\" \/><\/p>\n<p>3. Resurrection (Resurrection, 2000).\u00a0 Unlike the record version, Resurrection did not begin with a tape track of RH twice screaming the word \u201cResurrection\u201d in drawn out form but rather with MC and RR\u2019s up tempo chugging guitar riffs and BJ and MD\u2019s up tempo drum beats and bass lines.\u00a0 The thumping bass lines MD played on his black Fender Precision bass that emanated from four ESB amps were particularly loud, so much so that my camera uncontrollably shook as I tried to hold it still in the photo pit.\u00a0 [Ashamedly I also felt my belly shake, like Jell-O (gelatin fruit gel dessert).\u00a0 If I had known I would have brought my girdle.]\u00a0 RH sang the first verse comprised of inspiring lyrics at an ear?shattering octave, \u201cI\u2019m digging deep inside my soul\u00a0&#8230;\u00a0to bring myself out of this God-damned hole.\u00a0 I rid the demons from my heart\u00a0\u2026 and found the truth was with me from the start.\u201d\u00a0 RH then sang the first chorus, second verse, and second chorus followed by MC\u2019s 25?second guitar solo on his black Jackson flying V guitar and audible through four Mesa Boogie amps.\u00a0 MC wore black sneakers, off?black denim slacks with two rows of white stars on the on the outer sides, long?sleeve black silk shirt with three rows of metal studs on each cuff, and an oversized gold cross medallion hanging at chest level.\u00a0 [The white stars on MC\u2019s slacks made him look like the metal son of Evel Knievel (American motorcycle daredevil).]\u00a0 RH then sang the third verse and chorus, the latter he twice repeated.\u00a0 Resurrection, and two songs to be performed, received the strongest audience reaction.\u00a0 [Resurrection is a simple yet blistering three?minute song.\u00a0 At the song\u2019s conclusion I felt as if someone had rammed a long hook through my nasal canal to liquefy and remove my brain.\u00a0 It felt good.]<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone\" src=\"http:\/\/www.moussavianlaw.com\/images\/made_in_hell.jpg\" alt=\"\" width=\"350\" height=\"467\" \/><\/p>\n<p>\u00a0 4. Made in Hell (Resurrection, 2000) is an up tempo anthem that began with MC and RR\u2019s guitar chord progressions and BZ\u2019s solid drum beats.\u00a0 Shortly after MC played a guitar run RH sang the first and second verses followed by the first catchy chorus during which the audience participated by four times chanting \u201chell,\u201d \u201cHell, we\u2019re born to raise some hell.\u00a0 Hell, we\u2019re gonna raise some hell.\u201d\u00a0 RH then sang the third and fourth verses followed by the second chorus.\u00a0 The song\u2019s harmonic structure then changed and the tempo slightly slowed down when RH sang the two?line bridge.\u00a0 MC and RR played 40?second (combined) guitar solos for after which the tempo resumed its initial up tempo pace and RH sang the fifth verse and third chorus.<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 5. Never Again (Fight cover: A Small Deadly Space, 1995) presented a dichotomy because RH sang at a fairly slow tempo (yet high octave) while MC, RR, BJ, and MD played their instruments in an up tempo style.\u00a0 RH sang the first verse and chorus, slightly increasing the tempo during the chorus, while MC and RR played up tempo staccato guitar riffs.\u00a0 RH, who was no longer wearing his jacket or sunglasses, clutched his microphone (\u201cmike\u201d) in the stand with both hands and slightly swayed left and right.\u00a0 RH then sang the second verse, second chorus, and bridge followed by MC and RR\u2019s 40?second (combined) guitar solos.\u00a0 RH then sang the third verse and chorus.\u00a0 The song ended with the bridge section.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone\" src=\"http:\/\/www.moussavianlaw.com\/images\/drop_out.jpg\" alt=\"\" width=\"350\" height=\"263\" \/><\/p>\n<p>6. Drop Out (Metal God Essentials Vol. 1, 2007) began with four bars of MC and RR\u2019s churning guitar riffs that they followed with chugging up tempo guitar riffs augmented by BJ\u2019s driving drum beats.\u00a0 RH sang the first verse with his left arm behind his back and in an \u201catmospheric\u201d tone suited for the lyrical content, \u201cI like to lose my mind and fly off into space.\u00a0 Why don\u2019t you come with me you\u2019ll leave without a trace.\u00a0 I\u2019ve got the magic that will open up your head.\u00a0 Tune in, turn on, drop out\u00a0\u2026 just like the wizard said.\u201d\u00a0 [I am not sure what inspired RH to write such lyrics, but mushrooms, acid, and ganja may have been on the menu at the time of authorship.]\u00a0 RH then sang the first chorus with his eyes closed and slightly greater grit in his voice.\u00a0 RH repeated the pattern from the first verse and chorus when he sang the second verse and chorus.\u00a0 BJ then pummeled his tom?toms at a frenetic pace for 10-seconds while MC played a searing guitar solo with wah?wah effect on his white Jackson flying V guitar.\u00a0 The tempo adopted a mid tempo pace for 30\u00a0seconds but resumed an up tempo pace for RH to sing the third verse and chorus.\u00a0<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone\" src=\"http:\/\/www.moussavianlaw.com\/images\/golgotha_1.jpg\" alt=\"\" width=\"350\" height=\"467\" \/><\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 7. Golgotha (Crucible, 2002).\u00a0 Before Golgotha RH walked to the front edge of stage left where he shook and slapped hands with front row fans.\u00a0 Golgotha is a slow\/mid tempo rocker.\u00a0 [Referring to Golgotha as a slow\/mid tempo song is deceiving because it was heavy enough to leave me slack?jawed.]\u00a0 RH chanted the first verse atop MC, RR, and MD\u2019s heavy riffs, \u201cGolgotha!\u00a0 Rise up from your tomb.\u00a0 Devil\u2019s had a taste of holy water.\u00a0 Lost children need your guiding hand.\u00a0 Take them through the fire of the promised land.\u201d\u00a0 [Lyrics ripe for the soundtrack of next film in the Richard Donner British\/American suspense\/horror film series, \u201cThe Omen.\u201d] MC, RR, and MD\u2019s guitar and bass riffs were so heavy BJ\u2019s drum beats were lost in the mix.\u00a0 RH then transitioned to the first chorus, which he sang with less gusto and more melody.\u00a0 After a 10?second interlude featuring MC, RR, and MD\u2019s heavy riffs augmented by BJ\u2019s snare drums, RH repeated the pattern from the first verse and chorus when he sang the second verse and chorus.\u00a0 RH sang the second verse with vigor while clutching the mike stand with both hands.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone\" src=\"http:\/\/www.moussavianlaw.com\/images\/golgotha_2.jpg\" alt=\"\" width=\"350\" height=\"263\" \/><\/p>\n<p>MC and RR then played lingering power chords that converted the song to an up tempo pace replete with frenetic riffs and BJ\u2019s thundering tom?toms.\u00a0 BJ played a grey?to?black fade Pearl drum kit, double bass drums, Paiste cymbals, and the drum heads featured the silver Halford logo against a black background.\u00a0 I am not sure what BJ wore because my vision was obstructed by his Herculean drum set.\u00a0 The up tempo pace that bordered on thrash carried into the third verse as RH sang at a fast pace amidst red and blue stage lights with his right arm behind his back as he rocked back and forth, \u201cOvercoming tyranny to desecrate the entity\u00a0\u2026 satanical.\u00a0 Laying waste this sick disease\u00a0\u2026 that crippled, maimed, feel to our knees\u00a0\u2026 like Jericho.\u201d\u00a0 [RH\u2019s physical posture reflected a medieval warrior psyching himself for a blood?filled battle.]\u00a0 MC played a 10?second guitar solo followed by RH screaming the fourth verse, \u201cPile of skulls crunched under foot.\u00a0 Torched remains are crying out\u00a0\u2026 satanical.\u00a0 Rising up to purge and scourge the killing of our paradise\u00a0\u2026 like Jericho.\u201d\u00a0 MC then played a 15?second guitar solo followed by RH twice singing the one?word pre?chorus still at a fast tempo, \u201cSalvation.\u201d\u00a0 The tempo resumed its initial mid tempo pace when RH sang the third and final chorus.\u00a0 Golgotha, Resurrection, and another song to be performed received the strongest audience reaction.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone\" src=\"http:\/\/www.moussavianlaw.com\/images\/heart_of_lion.jpg\" alt=\"\" width=\"350\" height=\"263\" \/><\/p>\n<p>8. Heart of A Lion (Live Insurrection, 2001) is a fairly slow tempo rocker that began amidst MC and RR\u2019s basic guitar chord progressions and BJ\u2019s basic drum beat.\u00a0 RH sang the first two verses in a melodic tone atop MC and RR\u2019s melodic guitar chord progressions they played on their black Jackson flying V and black Gibson flying V guitars, respectively.\u00a0 MC and RR\u2019s guitar chord progressions were a bit too sugar?coated for my taste, but compensated for by the memorable fiery guitar notes they played between the first two verses.\u00a0 RH then sang the first chorus, third verse, fourth verse, and second chorus, screaming the word \u201cheart\u201d during the choruses.\u00a0 RH then sang the fifth verse followed by MC and RR\u2019s 30?second (combined) guitar solos.\u00a0 RH then repeated the fifth verse after which the song\u2019s tempo slowed down even further as RH sang the third chorus.\u00a0 Toward the end of the third chorus BJ\u2019s solid drumming escalated the tempo to its initial pace.<\/p>\n<p>\u00a0<img loading=\"lazy\" decoding=\"async\" class=\"alignnone\" src=\"http:\/\/www.moussavianlaw.com\/images\/never_satisfied_1.jpg\" alt=\"\" width=\"350\" height=\"263\" \/><\/p>\n<p>9. Never Satisfied (Judas Priest cover: Rocka Rolla, 1974) is a brooding Judas Priest classic that featured MC and RR\u2019s catchy trudging guitar chord progressions.\u00a0 RH smiled at RR and sang the first two verses in an atmospheric tone and at a slightly lower than usual octave, \u201cWhere do we go from here.\u00a0 There must be something near.\u00a0 Changing you, changing me forever.\u00a0 (verse transition)\u00a0 Places change, faces change.\u00a0 Life is so very strange.\u00a0 Changing time, changing rhyme together.\u201d\u00a0 The third verse was separated from the second by a 30?second interlude that featured MC and RR\u2019s ascending guitar chords followed by their catchy guitar chord progressions from the song\u2019s introduction.\u00a0 During this interlude RH walked to the front edge of stage left where he shook and slapped hands with front row fans.\u00a0 RH then sang the first chorus after which he pointed at RR as the cue for him to go center stage where he played an extended 140?second guitar solo on his maroon Gibson explorer guitar while RH was off stage.\u00a0 RR demonstrated his dexterity by beginning his solo with left?hand vibrato and hammer ons on the fretboard of his raised guitar.\u00a0 RR played 15\u00a0seconds of his solo with his back to the crowd and his guitar propped on the back of his neck while he continued to play.\u00a0 RR swiftly turned 180\u00a0degrees, repositioned his guitar in front of his chest, and extended it forward where he used his mike stand to play five\u00a0seconds of his solo.\u00a0 At a couple of points during his solo RR brought his right thumb and forefinger adjoined at the tips to his lips.\u00a0 [RR was either requesting a straw or encouraging marijuana smoking.]\u00a0 RR wore black tennis shoes, black leather slacks, black cotton muscle button?down shirt.\u00a0 MC\u00a0played guitar riffs with a quasi country tinge during RR\u2019s guitar solo.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone\" src=\"http:\/\/www.moussavianlaw.com\/images\/never_satisfied_2.jpg\" alt=\"\" width=\"350\" height=\"467\" \/><\/p>\n<p>RH came back on stage and sang the fourth verse after which MC and RR played the catchy trudging guitar chord progressions from the song\u2019s introduction at an ever?decreasing tempo until the end of the song when RH sang the second and final chorus.\u00a0 I did not understand RH\u2019s logic in overlooking the Priest catalog.\u00a0 Granted the band performed Never Satisfied, an obscure song off Priest\u2019s first record (Rocka Rolla, 1974).\u00a0 I am not the type of fan that throws a hissy fit because a band does not play a particular song and protest that the oversight had cataclysmic repercussions.\u00a0 RH\u2019s catalog with Priest, Halford, 2wo, and Fight (heavy metal band fronted by RH during his temporary departure from Priest that released two records, War of Words (1993) and A Small Deadly Space (1995)) is too expansive to be so narrow?minded.\u00a0 However, RH does not have to posses Warren Buffet\u2019s (American billionaire investor) business acumen to know the majority of Halford fans would be pleased and willing to invest their hard?earned money in a down economy ($40 face value per ticket for this show) for a future Halford show if the band played at least three Priest classics.\u00a0 I am aware the show was a Halford show, not a Priest show.\u00a0 Regardless, RH is and forever will be the face of Priest.\u00a0 If anyone has doubts compare the attendance for Priest concerts in the Bay Area when fronted by RH as compared to Tim \u201cRipper\u201d Owens (Judas Priest vocalist 1996-2003).\u00a0<\/p>\n<p>\u00a0<img loading=\"lazy\" decoding=\"async\" class=\"alignnone\" src=\"http:\/\/www.moussavianlaw.com\/images\/i_am_alive.jpg\" alt=\"\" width=\"350\" height=\"467\" \/><\/p>\n<p>\u00a0\u00a0\u00a0\u00a0 10. I Am Alive (Fight cover, A Small Deadly Space, 1995) is a fairly slow tempo rocker that began with MC and RR\u2019s churning groovy guitar riffs and BJ\u2019s hi?hat atop which RH sang the first verse at a fairly slow pace and slightly gravely tone.\u00a0 RH then sang the second verse in a melodic tone while MC and RR played melodic guitar notes and BJ basic drum beats without hi?hat.\u00a0 The band repeated the above pattern for the third and fourth verses.\u00a0 The melodic tone continued into the fifth verse followed by the bridge during which MD came center stage and played prominent, solid bass lines on his black Fender Precision bass augmented by BJ\u2019s hi?hat.\u00a0 MD wore black combat boots, black leather slacks, black studded leather bracelets on both wrists, and short?sleeve black cotton button?down shirt.\u00a0 After 10\u00a0seconds MC stepped forward and added groovy guitar riffs atop which RR played a 25?second guitar solo mainly comprised of recurring low guitar melody notes on his avocado?colored Gibson Les Paul guitar.\u00a0 RH then sang the sixth and seventh verses that also featured his melodic tone and MC and RR\u2019s melodic guitar notes from the second and fourth verses.\u00a0 MC and RR then resumed playing the churning guitar riffs and BJ his hi?hat as RH sang the chorus, \u201cI am, I said.\u00a0 I am, I said.\u00a0 I have a dream.\u00a0 I am alive.\u201d\u00a0 RR played a fluid series of high guitar notes during the last 10\u00a0seconds of the chorus.\u00a0 After the song concluded RH introduced Halford\u2019s band members, \u201cMetal Mike on guitar.\u00a0 Bobby Jarzombek behind the drums.\u00a0 Mike Davis on bass.\u00a0 Roy\u00a0Z on guitar.\u00a0 Thank you very much.\u00a0 You are very nice.\u201d<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone\" src=\"http:\/\/www.moussavianlaw.com\/images\/saviour.jpg\" alt=\"\" width=\"350\" height=\"263\" \/><\/p>\n<p>11. Saviour (Resurrection, 2000) is a stripped down, fairly up tempo song.\u00a0 RH sang the first verse with a menacing tone augmented by MC and RR\u2019s ominous guitar riffs.\u00a0 RH stretched out the last word of each verse line, \u201cI\u2019m set to paralyze. I\u2019m older so I\u2019m wise.\u00a0 I have been crucified.\u00a0 With words personified.\u201d\u00a0 RH then sang the first chorus at a slightly higher octave and in a melodic tone.\u00a0 RR then played searing guitar notes on his black Gibson flying V guitar for 10\u00a0seconds after which RH repeated the pattern from the first verse and chorus when he sang the second verse and chorus.\u00a0 MC then played a 30?second guitar solo on his black Jackson flying\u00a0V guitar followed by the third chorus.\u00a0 After the song concluded RH said, \u201cI love you all San\u00a0Francisco.\u00a0 Thanks so much.\u00a0 It\u2019s been real.\u00a0 Thank you.\u201d\u00a0 At the same time RR walked to the front edge of stage right where he extended the headstock of his guitar to the front row fans.\u00a0 RH raised both his hands and took a bow.\u00a0 The band left the stage at 11:07 and returned in less than one\u00a0minute to play two additional songs.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone\" src=\"http:\/\/www.moussavianlaw.com\/images\/crystal.jpg\" alt=\"\" width=\"350\" height=\"263\" \/><\/p>\n<p>12. Crystal (Crucible,\u00a02002).\u00a0 Before Crystal RH said, \u201cThank you for supporting us.\u201d Crystal is a fairly slow tempo song that began with and was driven by MC and RR\u2019s ominous guitar chord progressions, BJ\u2019s cymbal hits, and MD\u2019s heavy bass lines.\u00a0 [MC and RR played a guitar chord progressions suited to raise the dead from the grave and make it writhe in agony.] Before the first verse RH thrice repeated the phrase, \u201caah\u00a0\u2026\u00a0aah\u00a0\u2026 aah\u201d in an atmospheric tone. RH then sang the first two verses while MC and RR played light, mid tempo, palm?muted guitar chords in the background along with BJ\u2019s basic drum beats, \u201cSmell your world when you come.\u00a0 I won\u2019t make a victim.\u00a0 I lie awake and I\u2019m forsaken.\u00a0 (verse transition)\u00a0 From all the holes in my time.\u00a0 You saved up for this true lie.\u00a0 The devil bides her time in waiting.\u201d\u00a0 RH then sang the first chorus that served as the impetus for MC and RR to once again play the ominous guitar chord progressions from the introduction for 30\u00a0seconds.\u00a0 The band repeated the above pattern for the third and fourth verses and second chorus.\u00a0 RH then sang the fifth verse during which the guitars and drums were barely audible followed by RR\u2019s 30?second guitar solo, part of which he played with his black Gibson flying V guitar nestled on his left thigh.\u00a0 RH then repeated the third chorus four times during which he took a few steps forward and backward and left and right while he extended his hands out as if balancing on a tightrope.\u00a0 Crystal, Golgotha, and Resurrection received the strongest audience reaction.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone\" src=\"http:\/\/www.moussavianlaw.com\/images\/rock_the_world_1.jpg\" alt=\"\" width=\"350\" height=\"263\" \/><\/p>\n<p>\u00a0 13. Rock the World Forever (Crucible, 2002) like Never Again, presented a dichotomy.\u00a0 The introduction featured MC and RR\u2019s up tempo, choppy guitar riffs in the thrash vein reminiscent of songs on Slayer\u2019s Diabolus in Musica record (1998).\u00a0 As RH began to sing the first verse MC and RR slightly modified their playing to feature chugging guitar chord progressions, albeit still heavy.\u00a0 Rock the World Forever, like Never Again, presented a dichotomy in the form of the first chorus when RH sang, \u201cRock the world forever.\u00a0 You know you\u2019re the one.\u00a0 Rock the world together.\u00a0 We will carry on.\u201d\u00a0 While MC and RR continued to play heavy guitar chord progressions RH sang in an overly melodic manner that did not mesh with the guitar chords.\u00a0 It sounded like an ill?fated attempt to combine Slayer\u2019s Stain of Mind off the Diabolus in Musica record (1998) with Judas Priest\u2019s Living After Midnight off the British Steel record (1980).\u00a0 When RH sang the final line of the first chorus MC and RR resumed playing the choppy guitar riffs from the introduction, which they continued to play while RH sang the second verse.<\/p>\n<p>\u00a0<img loading=\"lazy\" decoding=\"async\" class=\"alignnone\" src=\"http:\/\/www.moussavianlaw.com\/images\/rock_the_world_2.jpg\" alt=\"\" width=\"350\" height=\"263\" \/><\/p>\n<p>RH then sang the second chorus followed by MC and RR\u2019s 15?second (combined) guitar solos.\u00a0 RH then sang the third chorus.\u00a0 At the conclusion of the song RH said, \u201cI enjoyed myself.\u00a0 Thank you so very fu**in\u2019 much.\u00a0 I love you.\u201d\u00a0 At the same time RR once again walked to the front edge of stage right where he extended the headstock of his guitar to the front row fans.\u00a0 RH walked to the front edge of stage left where he shook and slapped hands with front row fans. The house manager did not even wait for RH and his band members to walk off stage before he turned the house lights on.<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Venue: the building that housed the original RB, known as the Avalon Ballroom, was built in 1911.\u00a0 The Avalon Ballroom operated from 1966 to 1968 and reopened in 2003 under its current name.\u00a0 During the ballroom\u2019s original stint in the 1960\u2019s local bands such as Janis Joplin, Quicksilver Messenger Service, the Steve Miller Band, and Big Brother and the Holding Company performed at this venue.\u00a0 RB is a 1,050\u00ad?seat theater with a rectangular?shaped standing room floor measuring 96 by 69 feet with blonde hardwood floors and a permanent stage measuring 42 by 20\u00a0feet.\u00a0 Positioned 35\u00a0feet above the floor are 22\u00a0teardrop chandeliers circa 1900 secured on a roof adorned with gold medallions.\u00a0 RB has a horseshoe-shaped reserved seating balcony, the interior siding of which visible from the floor is virgin white.\u00a0 Four vertical white columns line the wall atop the stage and another six are present on each of the walls on the second floor.\u00a0 Also lining the side walls on each floor are six square?shaped gold?colored tapestries.\u00a0<br \/>\nOpening Band: Cylinder<\/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.\u00a0<\/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%2F57%2Fhartford%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>Concert Review: Halford, The Regency Ballroom, San Francisco, CA, 07-17-10 (Saturday) \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 I struggled with this review, much like I now do trying to wedge my behemoth bellies (yes, plural tense) into my high school?era Levi\u2019s &hellip; <a href=\"https:\/\/www.moussavianlaw.com\/concerts-interviews\/concert-reviews\/57\/hartford\/\">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":[24],"class_list":["post-57","post","type-post","status-publish","format-standard","hentry","category-concert-reviews","tag-hartford"],"_links":{"self":[{"href":"https:\/\/www.moussavianlaw.com\/concerts-interviews\/wp-json\/wp\/v2\/posts\/57"}],"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=57"}],"version-history":[{"count":2,"href":"https:\/\/www.moussavianlaw.com\/concerts-interviews\/wp-json\/wp\/v2\/posts\/57\/revisions"}],"predecessor-version":[{"id":84,"href":"https:\/\/www.moussavianlaw.com\/concerts-interviews\/wp-json\/wp\/v2\/posts\/57\/revisions\/84"}],"wp:attachment":[{"href":"https:\/\/www.moussavianlaw.com\/concerts-interviews\/wp-json\/wp\/v2\/media?parent=57"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.moussavianlaw.com\/concerts-interviews\/wp-json\/wp\/v2\/categories?post=57"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.moussavianlaw.com\/concerts-interviews\/wp-json\/wp\/v2\/tags?post=57"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}