{"id":58,"date":"2011-12-26T02:34:50","date_gmt":"2011-12-26T10:34:50","guid":{"rendered":"http:\/\/www.moussavianlaw.com\/blog\/?p=58"},"modified":"2011-12-26T02:34:50","modified_gmt":"2011-12-26T10:34:50","slug":"queensryche","status":"publish","type":"post","link":"https:\/\/www.moussavianlaw.com\/concerts-interviews\/concert-reviews\/58\/queensryche\/","title":{"rendered":"Queensryche"},"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%2F58%2Fqueensryche%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: Queensr\u00ffche, Regency Ballroom, San Francisco, CA, 07-25-10 (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\/tate.jpg\" alt=\"\" width=\"350\" height=\"263\" \/>\u00a0\u00a0<\/td>\n<\/tr>\n<tr>\n<td valign=\"top\"><\/td>\n<\/tr>\n<tr>\n<td valign=\"top\">\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 On July 25,\u00a02010 Queensr\u00ffche played San Francisco\u2019s 1,050?seat capacity Regency Ballroom (RB) that was two?thirds full (approximations presumed throughout).\u00a0 Queensr\u00ffche played a 17?song, 120\u00a0minute set from 8:10 to 10:10.\u00a0 The show was dubbed Queensr\u00ffche Cabaret because it featured the band performing accompanied by go?go dancers, burlesque dancer, dominatrix, drag queen, juggler, ballerina\/contortionist\/aerial trapeze artist, psychiatrist and Native American Indian.\u00a0<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 &#8211; Life is A Cabaret (Intro).\u00a0 The show began with a pre?recorded, four?minute tape track of a Louis Armstrong (American jazz trumpeter, singer) song followed by background cabaret music.\u00a0<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone\" src=\"http:\/\/www.moussavianlaw.com\/images\/hit_1.jpg\" alt=\"\" width=\"350\" height=\"263\" \/><\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 1. Hit the Black (Hear in the Now Frontier record, 1997) began with rapidly flashing white lights atop the stage.\u00a0 Geoff Tate (\u201cGT,\u201d vocalist), who was lumbering, was helped onto a red leather sofa shaped like female lips positioned center stage by two attractive female stagehands who wore very short black one?piece strapless outfits.\u00a0 [GT\u2019s lumbering reminded me of my inebriated state in high school after chugging homemade beer out of a gigantic peanut butter jar.\u00a0 Fortunately, that pungent concoction did not cause blindness.]\u00a0 GT wore black knee?high leather boots, tight black denim slacks, black blazer, black pin?stripe vest, and black sunglasses.\u00a0 The stage floor near the sofa was littered with six empty liquor bottles.\u00a0 GT lied in the middle of the sofa between the stagehands and rested his shaved head on the thigh of the stagehand to his right.\u00a0 GT sang lyrics for 100\u00a0seconds in a monotone somber tone and at a slow tempo pace accompanied by Michael Wilton (\u201cMW,\u201d guitarist) and Parker Lundgren\u2019s (\u201cPL,\u201d guitarist) melodic subtle guitar notes.\u00a0 The lyrics are not part of the record version of Hit the Black.\u00a0 One of the stagehands handed GT a mirror he used to admire his handsome facial features.\u00a0 [Fortunately the stagehand did not hand a mirror to me as a similar act would have caused the mirror to crack and subsequently turn to dust.]\u00a0 GT then five times repeated the phrase, \u201cWhen you are going down.\u201d\u00a0\u00a0 The stagehands got up and left the stage while a juggler walked in front of GT and handed him a black top hat and a microphone (\u201cmike\u201d) on a stand.\u00a0 GT put the top hat on his shiny dome and grasped the mike stand as he got up, serving as the cue for Scott Rockenfield (\u201cSR,\u201d drummer) to strike his snare drums to ignite Hit the Black.<\/p>\n<p>\u00a0<img loading=\"lazy\" decoding=\"async\" class=\"alignnone\" src=\"http:\/\/www.moussavianlaw.com\/images\/hit_2.jpg\" alt=\"\" width=\"350\" height=\"263\" \/><\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Hit the Black is an up tempo rocker that began with PL\u2019s up tempo guitar chord progression atop which MW played a fiery guitar run.\u00a0 GT then sang the first verse in a pseudo?rap fashion augmented by MW and PL\u2019s guitar riffs.\u00a0 The juggler returned and juggled three balls.\u00a0 GT then sang the first chorus in a more melodic fashion but still at an up tempo pace.\u00a0 MW once again played a fiery guitar run supported by PL\u2019s up tempo guitar chord progression on his white ESP Eclipse guitar during the 10?second musical interlude between the first chorus and second verse.\u00a0 GT then repeated the pattern from the first verse and chorus when he sang the second verse and chorus.\u00a0 The tempo slowed to a mid tempo pace for 15\u00a0seconds during which MW played melodic guitar notes on his black ESP signature guitar with 12\u00a0white skull and crossbones prints atop PL\u2019s guitar chord progression.\u00a0 GT then sang the third verse and chorus after which he thrice repeated the phrase, \u201cI\u2019m going down\u201d while SR bashed his tom?toms.\u00a0 At the end of the song a drag queen with a platinum blonde wig who wore black high heels and a short white one?piece see?through mesh dress brought GT a glass of red wine on a silver platter.\u00a0 Hit the Black and two songs to be performed received the strongest audience reaction.<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 2. Desert Dance (Tribe, 2003) began with Eddie Jackson\u2019s (\u201cEJ,\u201d bassist) atmospheric bass chords augmented by MW\u2019s short guitar run.\u00a0 EJ wore black boots, black denim slacks, and long?sleeve button?down black cotton shirt with the sleeves rolled up to his forearms.\u00a0 PL then played a fairly up tempo, heavy guitar chord progression on his maroon ESP\u00a0335 guitar augmented by MW\u2019s fiery guitar run and SR\u2019s bombastic drumming.\u00a0 GT danced with a female stagehand who wore black high heels, black thigh-high pantyhose, black skirt, and burgundy on black top.\u00a0 GT wore a burgundy on black knee?length suede coat atop his vest.\u00a0 A crop?wielding busty brunette dominatrix dressed in black stiletto heels, thigh?length black spandex shorts, black latex girdle, biker\u2019s cap then brought out two scantily clad go?go dancers in silver shorts and bras.\u00a0 The go?go dancers took position adjacent to SR\u2019s drum set stage left and right where they danced.\u00a0 GT then sang the first verse while MW and PL played fairly up tempo staccato guitar riffs and SR solid drum beats.\u00a0 GT then sang the first chorus in a more melodic tone and at a slightly slower tempo than the verse while MW and PL played nice guitar chord accompaniments.\u00a0 A female stagehand wearing a short silver one?piece strapless outfit walked across the rear of the stage holding a sign that read, \u201cTrue Love.\u201d\u00a0\u00a0\u00a0<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 GT then repeated the pattern from the first verse and chorus when he sang the second verse and chorus, the difference being that after the second chorus GT invited audience participation when he four times chanted at an up tempo pace, \u201cWe\u2019re never coming down.\u00a0 Keep reaching.\u00a0 Come on, come on!\u00a0 Keep reaching.\u201d \u00a0The tempo then reduced to a slow tempo pace for 30\u00a0seconds during which MW played a melodic guitar run.\u00a0 SR\u2019s up tempo tom?toms escalated the song back to an up tempo pace, and GT sang the third verse and chorus at the end of which GT once again invited audience participation by four times chanting the same phrase he did after the second chorus.\u00a0 At the end of the song the dominatrix came out holding a cardboard cutout of a red heart covered in glitter.\u00a0 The dominatrix threw the heart on the floor and trampled it with her stiletto heels. \u00a0She then shoved GT off stage.\u00a0 [The dominatrix\u2019s busty frame permitted her to handle GT with ease as if he was made of paper mache.]<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 3. I Am I (Promised Land, 1994) began with sitar?like guitar notes followed by MW and PL\u2019s fairly driving, mid tempo guitar riffs that they continued to play while GT sang the first two verses.\u00a0 During the entire song GT scurried around on stage wearing a black wool blazer and sunglasses chased by four female stagehands impersonating paparazzi (photojournalists specializing in candid photography of celebrities) who wore fishnets, black skirts, black wool blazers, and black sunglasses (three stagehands) and shoved cameras and tape recorders in GT\u2019s face.\u00a0 GT then sang the first chorus (i.e.,\u00a0\u201cCare to look inside?\u00a0 I am I!\u00a0 I am I!\u201d) during which MW and PL played atmospheric guitar notes.\u00a0 A female stagehand who wore a short cheetah print one?piece strapless outfit twice walked across the rear of the stage holding signs that read, \u201cFame\u201d and \u201cFortune.\u201d\u00a0<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 The tempo then momentarily slowed down a bit while GT sang the pre?chorus followed by MW\u2019s 10?second guitar solo.\u00a0 MW wore black combat boots, black denim slacks (with two chains extending from his belt loop to his back left pocket), long?sleeve button?down black satin shirt, black cotton hooded jacket atop which he wore a black wool blazer with vertical satin stripes, and black sunglasses.\u00a0 [MW\u2019s outfit confused me because he was dressed like a cross between a Jawa (hooded character in George Lucas\u2019s science fiction film, \u201cStar Wars\u201d (1977) and Don Vito Corleone, aging patriarch of organized crime dynasty played by Marlon Brando in Francis Ford Coppola\u2019s American gangster-drama film, \u201cThe Godfather: Part II\u201d (1974).]\u00a0 GT then repeated the pattern from the first verse and chorus when he sang the second verse and chorus.\u00a0 At the end of the song the female stagehands stripped GT of his blazer, revealing his bare chest.\u00a0 After the song concluded a stagehand placed a black knee?length silk coat with circular white patterns and a silver disco?ball sparkle derby hat on GT.\u00a0 GT continued to wear sunglasses.<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 4. Sacred Ground (Q2K, 1999) began with SR\u2019s tom?toms and tambourine and MW and PL\u2019s chugging mid tempo guitar riffs with echoplex effect that they continued to play when GT sang the first verse.\u00a0 PL wore black boots with side buckles, black denim slacks, long?sleeve button?down black cotton shirt with vertical satin stripes with the sleeves rolled up to his elbows, black leather belt with silver skull and crossbones buckle, and black pilot sunglasses (that he eventually took off).\u00a0 GT then sang the first chorus during which MW and PL continued to play chugging mid tempo guitar riffs followed by a 10?second musical interlude during which SR stopped playing while MW and PL played subtle guitar notes.\u00a0 GT then repeated the pattern from the first verse and chorus when he sang the second and third verse\/chorus combinations followed by MW\u2019s 10?second guitar solo.\u00a0 GT then repeated the pattern from the first three verses and choruses when he sang the fourth verse and chorus.<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 5. Promised Land (Promised Land, 1994).\u00a0 Before Promised Land six winged female dancers walked into the crowd and danced with audience members for two minutes.\u00a0 Promised Land is an eight?minute brooding opus that began amidst GT\u2019s saxophone (\u201csax\u201d) notes, SR\u2019s heavy drum beats, and EJ\u2019s solid bass lines.\u00a0 GT sang the first verse at a slow tempo pace augmented by his sax notes, SR\u2019s drum beats, and EJ\u2019s bass lines.\u00a0 GT wore his black wool blazer and a black derby.\u00a0 A bright red scarf hung on GT\u2019s mike stand.\u00a0 A female aerial trapeze artist climbed a violet mini?drape dangling from the ceiling stage left adjacent to SR\u2019s drum set and performed impressive tricks (e.g.,\u00a0spinning, hanging upside down, stretching her legs apart at a 180\u00a0degree angle, climbing up and down the drape).\u00a0 [If I attempted to climb the drape, my fried food?based figure would bring down the ceiling, converting the ballroom to an amphitheater.]\u00a0 MS and PL played a series of heavy guitar chord progressions and brooding guitar notes during the 35?second musical interlude between the first and second verses.\u00a0 GT then sang the second and third verses followed by MW\u2019s 40?second guitar solo on his black ESP signature guitar augmented by SR\u2019s subtle drum beat and GT\u2019s sax notes.\u00a0 GT then sang the fourth and fifth verses.<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 6. Dis Con Nec Ted (Promised Land, 1994) was preceded by 30\u00a0seconds of random sound effects (e.g.,\u00a0creaking door, thunder, rustling rodents) and rapidly flashing white lights atop the stage.\u00a0 Disconnected began with EJ\u2019s groovy, mid tempo bass lines he played on his black Fender Jazz five?string bass augmented by MW and PL\u2019s guitar chords of the same manner.\u00a0 A curvaceous burlesque dancer wearing a hot pink cape and wig danced provocatively in front of SR\u2019s drum set.\u00a0 [If I was in SR\u2019s place, the dancer\u2019s presence would have distracted me to the point where I would have either fallen off the drum stool or accidentally poked myself in the eye with a drum stick.]\u00a0 GT then sang the first verse and chorus in a soft tone and at a fairly slow tempo pace while MW, PL, and EJ continued to play the guitar chords and bass lines from the introduction.\u00a0 GT then played his sax for a few seconds after which he sang the second verse and chorus.\u00a0 The band then stopped playing for one second at which point GT softly stated, \u201cDown,\u201d serving as the trigger for MW and PL to repeatedly play a lingering, haunting note for 25\u00a0seconds augmented by GT\u2019s sax notes and SR\u2019s heavy drum beats.\u00a0 GT then sang the third verse and chorus.\u00a0 Disconnected is reminiscent of songs on Pink Floyd\u2019s A Momentary Lapse of Reason record (1987).<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 7. Lady Jane (Promised Land, 1994) is a sentimental ballad that began with the sole spotlight on GT as he sang the first verse in a soulful tone accompanied by his melodic keyboard notes he played while sitting behind a keyboard adjacent stage left to SR\u2019s drum set.\u00a0 A ballerina who wore a black tutu and black spandex top decorated with a red heart on her chest was draped on the floor center stage.\u00a0 The ballerina got up and gracefully performed ballet dance moves, including pirouettes (rapid whirling of body on the toe of one foot).\u00a0 GT then sang the first pre?chorus that marked the introduction of SR\u2019s drum beats and MW and PL\u2019s guitar riffs.\u00a0 GT then sang the first chorus at which point the song converted to a power ballad.\u00a0 GT played keyboards during the 15?second musical interlude between the first chorus and second verse.\u00a0 GT then sang the second verse augmented by his keyboards and MW and PL\u2019s guitar riffs followed by MW\u2019s 25?second guitar solo on his black ESP guitar.\u00a0 GT then sang the second pre?chorus and chorus with the former containing guitar riffs reminiscent of The Beatles\u2019s Helter Skelter off The White Album (1968).\u00a0 GT sat on his keyboard stool and the ballerina danced during the entire song.<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 8. Another Rainy Night (Without You) (Empire, 1990).\u00a0 Before Another Rainy Night (Without You) the juggler juggled three balls.\u00a0 Another Rainy Night (Without You) began with MW and PL\u2019s catchy, mid tempo guitar run.\u00a0 GT sang the first verse at a fairly slow tempo pace augmented by MW and PL\u2019s melodic guitar chords, SR\u2019s basic drum beat, and EJ\u2019s up tempo, groovy bass lines.\u00a0 In contrast to the other songs that EJ played standing near the rear of stage right, EJ stood center stage slightly stage right adjacent to PL\u2019s mike stand.\u00a0 The curvaceous burlesque dancer sat in an erotic pose in a chair placed in front of SR\u2019s drum set and twirled an umbrella.\u00a0 [I did not see any rain but would have gladly done a rain dance in the buff if that would have prolonged the dancer\u2019s erotic escapades.]\u00a0 The dancer got up, put the umbrella down, draped a light blue chiffon scarf across her chest and performed a mesmerizing striptease during which she took off her skirt and bra that exposed her underwear and pasties that covered her small, fair complected breasts.\u00a0 GT then sang the first pre?chorus during which MW and PL played melodic arpeggio guitar notes.\u00a0<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 GT then sang the first chorus during which the tempo momentarily escalated to a mid tempo pace and MW and PL played the catchy guitar run from the introduction augmented by SR\u2019s tom?toms and snare drums.\u00a0 The tempo resumed its earlier slow tempo when GT began to sing the last line of the first chorus (i.e.,\u00a0\u201cIt\u2019s just another rainy night, without you\u201d).\u00a0 MW and PL continued to play the catchy guitar run during the 10?second musical interlude between the first chorus and second verse.\u00a0 GT then repeated the pattern from the first verse, pre-chorus, and chorus when he sang the second verse, pre?chorus, and chorus. GT then sang the bridge augmented by SR\u2019s tom?toms followed by MW\u2019s 25?second guitar solo.\u00a0 MW had switched from his long?sleeve button?down black satin shirt to a black leather vest decorated with a metal wire that created random elliptical patterns.\u00a0 GT repeated the first pre?chorus and second chorus and ended the song with the phrase, \u201cIt\u2019s just another rainy night, another rainy night, another rainy night without you.\u201d<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 9. The Art of Life (Tribe, 2003).\u00a0 Before The Art of Life GT, who sat on the red lip?shaped leather sofa center stage said, \u201cCan I be honest?\u00a0 I think I might have made a big mistake.\u00a0 I know this all looks so glamorous.\u00a0 The lights, the camera, the action, beautiful girls, this wonderful outfit I am wearing.\u00a0 But honestly it\u2019s all a facade really.\u00a0 I am really, really lonely.\u00a0 I had everything.\u00a0 This beautiful love.\u00a0 This thing that was so, so, so amazing.\u00a0 (GT\u00a0laugher)\u00a0 And I lost it.\u00a0 I am now all by myself.\u00a0 With all you wonderful people of course.\u00a0 (audience applause)\u00a0 Oh you are so kind.\u00a0 You are so damn beautiful.\u00a0 What an amazing?looking audience we have here tonight.\u00a0 But after you have travelled the world and been to all these amazing places and had true love, a beautiful audience like this is not quite enough.\u00a0 Just being honest with you.\u00a0 I feel so empty.\u00a0 I feel everywhere I look people want something from me.\u00a0 There is nothing left to give.\u00a0 I honestly think I need to talk to somebody \u2026 some professional help or something\u00a0\u2026 maybe a psychiatrist.\u201d\u00a0 A stagehand dressed as a psychiatrist (i.e., grey wool slacks, long?sleeve button?down white cotton shirt, and grey wool vest holding a notepad) came on stage, patted GT on shoulder and sat in a chair next to him.<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 The Art of Life began with MW and PL\u2019s chugging guitar notes that they played for a few seconds and then, with the introduction of SR\u2019s drum beats, converted to fairly slow tempo guitar chords.\u00a0 GT, who was still sitting on the sofa, then sang the first verse in a fairly slow tempo pace augmented by MW and PL\u2019s melodic guitar notes.\u00a0 The psychiatrist jotted down notes in his notepad as if conducting a therapy session.\u00a0 [Presuming I was the patient the psychiatrist would get carpal tunnel from jotting down my litany of psychological problems.] \u00a0GT got up midway through the first verse.\u00a0 GT then sang the first chorus during which MW and PL played heavy, slow tempo guitar chord progressions.\u00a0 GT then repeated the pattern from the first verse and chorus when he sang the second verse and chorus.\u00a0 The psychiatrist, who had gone off stage, returned and handed GT his sax at which point GT played a 10?second sax solo and then repeated the chorus.\u00a0 GT sat down on the sofa and ended the song with the phrase, \u201cThe art of life is\u00a0&#8230; without rushing, without faltering, unraveling the secrets of knowledge.\u00a0 We must challenge and defeat our four natural enemies:\u00a0 fear, clarity of mind, power, and the desire to rest.\u201d\u00a0 After the song concluded GT said, \u201cSo there you have it.\u00a0 That session cost me about $125.\u00a0 How many of you have been to a psychiatrist?\u00a0 (numerous audience members raised their hand)\u00a0 That is an alarming number.\u00a0 Mental illness must be running amuck in this city.\u00a0 This is a beautiful city, but you people are fu**in\u2019 crazy!\u201d<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 10. The Thin Line (Empire, 1990) is a power ballad that began with MW and PL\u2019s mid tempo guitar riffs and SR\u2019s ample cymbal crashes.\u00a0 The song\u2019s tempo slightly slowed down when GT began to sing the first verse augmented by MW and PL\u2019s melodic guitar notes and EJ\u2019s bass lines that were prominent in the mix.\u00a0 Four scantily clad female stagehands who wore black shorts and bras dragged a male audience member on stage including by his dog collar, sat him in a chair center stage, blindfolded him, and strapped his wrists to the rear chair legs.\u00a0 The stagehands provocatively danced around the male, caressed his chest, and gave him a lap dance while being commanded by the dominatrix.\u00a0 GT then sang the pre?chorus in an emotional tone followed by the first chorus during which the song\u2019s tempo slightly escalated and featured SR\u2019s tom?toms and MW and PL\u2019s guitar riffs from the introduction.\u00a0<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 GT then repeated the pattern from the first verse, pre?chorus, and chorus when he sang the second verse, pre?chorus, and chorus followed by MW\u2019s 30?second guitar solo on his natural wood ESP guitar with a standard Fender Stratocaster body shape augmented by GT\u2019s sax notes.\u00a0 The stagehands teased the male by decorating him with prosthetic female boobs, a red wig, and whip cream across his face.\u00a0 A female stagehand who wore a short one?piece strapless outfit twice walked across the rear of the stage holding signs that read, \u201cWoody\u201d and \u201cBoner.\u201d\u00a0 [For the mentally challenged like me \u201cWoody\u201d did not refer to the aroused male\u2019s nickname.]\u00a0 GT then sang the third and final chorus after which he played a 40?second sax solo at the front edge of stage right while MW played guitar at the front edge of stage left.<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 11. Jet City Woman (Empire, 1990).\u00a0 Before Jet City Woman GT asked, \u201cAre you having a good time?\u00a0 I was.\u00a0 (stagehand handed GT a glass of red wine)\u00a0 This is San\u00a0Francisco?!\u00a0 No way.\u00a0 San\u00a0Francisco is one of the more (inaudible) rock towns in the world.\u00a0 This can\u2019t be San\u00a0Francisco.\u00a0 (GT put on his burgundy on black knee?length suede coat)\u00a0 This can\u2019t be San\u00a0Francisco.\u00a0 This is San\u00a0Francisco?!\u00a0 No wonder it\u2019s so beautiful.\u00a0 It\u2019s a little cloudy in San\u00a0Francisco.\u00a0 Last night we were in Las\u00a0Vegas.\u00a0 Tonight when you leave could you do something for me?\u00a0 Keep your eyes out for my true love.\u201d\u00a0 Jet City Woman began with SR\u2019s cymbals and EJ\u2019s up tempo bass lines that he played adjacent to PL\u2019s mike stand and augmented 10\u00a0seconds afterwards by MW and PL\u2019s melodic guitar notes.\u00a0 MW and PL then played a searing guitar run and heavy up tempo guitar chords, respectively.\u00a0<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 The burlesque dancer came on stage and danced in front of SR\u2019s drum set while holding two oversized hot pink feather?covered fans.\u00a0 GT sang the first verse in an emotional tone and at a slow tempo augmented by MW and PL\u2019s melodic guitar notes until the third to last line when the tempo escalated to a mid tempo pace and MW and PL began playing heavy guitar riffs.\u00a0 GT then sang the first chorus at a mid tempo pace during which SR\u2019s drum beats were prominently featured.\u00a0 GT then repeated the pattern from the first verse and chorus when he sang the second verse and chorus followed by MW\u2019s 35?second guitar solo. \u00a0GT then sang the pre?chorus and third chorus at a mid tempo pace augmented by MW and PL\u2019s guitar riffs.\u00a0 Jet City Woman, Hit the Black, and one song to be performed received the strongest audience reaction.<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 12. The Lady Wore Black (Queensr\u00ffche, 1983) began with MW and PL\u2019s atmospheric, slow tempo, melodic guitar notes that they continued to play when GT sang the first verse in an emotional tone.\u00a0 A drag queen who wore a full?length black dress and an oversized black sun hat with a red interior lip sat on a wrought iron bench positioned center stage bearing a saddened expression.\u00a0 GT sang the first verse while standing behind the drag queen and then sat next to the drag queen and serenaded him (or her).\u00a0 [I guess the red wine made GT delusional.]\u00a0 GT\u2019s voice escalated and MW and PL played up tempo guitar riffs augmented by SR\u2019s solid drumming when GT sang the final line of the first verse (i.e.,\u00a0\u201ceternal life was her debt to pay\u201d).\u00a0 GT motivated the drag queen to get up and dance with him while he sang the first chorus.\u00a0 GT held his right hand out and high above the drag queen\u2019s head leading her in a waltz?like dance. \u00a0[I knew I had not consumed any magical mushrooms.\u00a0 Otherwise I would have next expected GT to dance with a pink elephant.]\u00a0 The tempo resumed a slow tempo pace and MW and PL resumed playing melodic guitar notes when GT sang the final line of the first chorus (i.e.,\u00a0\u201cher love can set me free\u201d).\u00a0 GT then repeated the pattern from the first verse and chorus when he sang the second verse and chorus, including conversion of the tempo to an up tempo pace when GT sang the final line of the second verse (i.e., \u201cand I listened remembering all I heard\u201d).\u00a0 The drag queen sat down on the bench and posed during MW\u2019s 20?second guitar solo.\u00a0 GT then repeated the pattern from the first two verses and choruses when he sang the third verse and chorus, including conversion of the tempo to an up tempo pace when GT sang the final line of the third verse (i.e.,\u00a0\u201cbut for her love I\u2019ll gladly pay\u201d).\u00a0 The Lady Wore Black, Hit the Black, and Jet City Woman, received the strongest audience reaction.<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 13. Tribe (Tribe, 2003).\u00a0 Before Tribe GT, who was holding a glass of red wine, said, \u201cMaybe I have been going at this the wrong way.\u00a0 I love shopping.\u00a0 But you can only shop for so long.\u00a0 Maybe I should go to some exotic place.\u201d\u00a0 Four scantily clad go?go dancers came on stage bearing single?color feather boa tails, specifically pink, white, orange, and blue.\u00a0 The go?go dancers with blue and orange boas entered cages positioned stage right and left, while the go?go dancers with white and pink boas stood at the front edge of stage right and stage left.\u00a0 Each cage had 10 silver vertical bars and was positioned on an 18?inch high riser covered with a black drape.\u00a0<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Tribe began with MW and PL\u2019s mid tempo, groovy guitar riffs.\u00a0 The go?go dancers turned their backs to the audience and danced in a provocative manner shaking their buttocks.\u00a0 [My eyes were uncontrollably fixated on the go?go dancers\u2019s buttocks.\u00a0 It was like staring at a solar eclipse.\u00a0 I knew better but could not help it.]\u00a0 GT then sang the first verse augmented by MW and PL\u2019 chugging guitar riffs and SR\u2019s tom?toms.\u00a0 MW and PL played the guitar riffs from the introduction during the 10?second musical interlude between the first and second verses.\u00a0 GT then sang the second verse augmented by MW and PL\u2019s chugging guitar riffs and SR\u2019s conga drums.\u00a0 The song\u2019s tempo then escalated to an up tempo pace as GT began to sing the first chorus augmented by MW and PL\u2019s machine gun?like guitar riffs.\u00a0 MW then played a 15?second guitar solo on his honey burst maple ESP Eclipse guitar augmented by SR\u2019s drum beats reminiscent of John Bonham (late Led Zeppelin drummer). \u00a0GT then repeated the chorus.<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 &#8211; Drum Solo with Blackfoot tribal dance.\u00a0 SR played a four?minute drum solo during which a stagehand dressed in traditional Native American Indian garb danced on stage in beat with the drum beats.\u00a0 SR wore black wool\/cotton blend pants, black Nike cotton muscle shirt, black gloves, and black cotton headband.\u00a0 SR played a red ddrum drum kit featuring silver speckles, double bass drums, and Paiste cymbals.\u00a0 SR\u2019s drum set was on an 18?inch high drum riser covered in a honey?colored drape and positioned three feet in front of the \u201cQueensr\u00ffche\u201d logo backdrop with a black background and white lettering and graphic.\u00a0 Positioned between SR\u2019s drum set and the backdrop was a long 48?inch high riser covered with a sky blue drape that was not utilized.<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 14. Liquid Sky (Q2K, 1999) began with PL\u2019s recurring high guitar notes augmented 10\u00a0seconds afterward by MW\u2019s power chord.\u00a0 GT then sang the first verse at a fairly slow tempo pace augmented by SR\u2019s solid snare drum, EJ\u2019s bass lines, and MW and PL\u2019s chugging guitar riffs.\u00a0 GT then sang the first chorus during the first half of which MW and PL played a lingering guitar note and the second half of which the tempo escalated to a mid tempo pace and MW and PL played guitar chord progressions.\u00a0 GT then repeated the pattern from the first verse and chorus when he sang the second verse and chorus.\u00a0 GT pranced around holding a black cane with a silver ball tip and wearing black sunglasses and a silver disco ball mosaic derby hat.\u00a0 A black wooden soapbox comprised of three steps bearing the word, \u201cSoap\u201d in white letters on the side was positioned center stage.\u00a0 GT then sang the pre?chorus still at a mid tempo pace augmented by MW\u2019s guitar chord progression and PL\u2019s recurring high guitar notes.\u00a0 The tempo momentarily reduced to a slow tempo pace halfway through the pre?chorus as GT began to sing the final two lines.\u00a0 GT then sang the third chorus at which time the tempo resumed a mid tempo pace.\u00a0<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 15. Roads to Madness (The Warning, 1984).\u00a0 Before Roads to Madness GT, who was holding a glass of red wine, walked up the black wooden soapbox and said, \u201cCan I be frank with you.\u00a0 I looked everywhere and cannot find love anywhere.\u00a0 I think I am going mad.\u201d\u00a0 Roads to Madness is a near 10?minute opus that began with four bars of MW and PL\u2019s slow tempo brooding guitar chord progressions and GT\u2019s powerful scream followed by MW and PL\u2019s guitar riffs.\u00a0 Two go?go dancers came on stage and entered the two cages in which they danced.\u00a0 GT sang the first verse at a slow tempo pace augmented by MW and PL\u2019s melodic guitar notes and SR\u2019s subtle drum beats.\u00a0 The dominatrix brought GT a champagne bottle and glass on a silver tray, which he refused.\u00a0 The dominatrix returned with a full?length vertical mirror in which GT briefly admired himself.\u00a0 GT then screamed the first chorus during which the tempo slightly escalated and MW and PL played catchy guitar riffs.\u00a0<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 After a 25?second slow tempo musical interlude that featured MW and PL\u2019s melodic guitar chords and SR\u2019s drum beats GT repeated the pattern from the first verse and chorus when he sang the second verse and chorus.\u00a0 GT then sang the bridge followed by MW\u2019s 20?second guitar solo and the third chorus.\u00a0 GT then sang the second bridge still at a mid tempo pace.\u00a0 The tempo significantly slowed down for 100\u00a0seconds and MW and PL played melodic guitar notes as GT began to sing the final line of the second bridge (i.e.,\u00a0\u201cI can\u2019t scream, too late it\u2019s time.\u201d). Two female stagehands came on stage with a black hooded cape that they draped over GT\u2019s shoulder while he was stage front on his knees.\u00a0 GT stumbled off stage in a mock exhausted state.\u00a0 [GT\u2019s antics would have made James Brown (American singer, entertainer dubbed \u201cThe Godfather of Soul\u201d) proud.]\u00a0 The song\u2019s tempo then escalated to an up tempo pace and MW and PL played hook?laden guitar riffs augmented by SR\u2019s driving drum beats.\u00a0 GT came back on stage and sang the third and final verse at a fast pace.<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 16. Until There Was You (Q2K, 2006 reissue) is a sentimental ballad that began with an attractive female stagehand sitting on the red lip?shaped leather sofa center stage.\u00a0 MW and PL played atmospheric melodic guitar notes that they continued to play when GT sang the first verse in an emotional tone while kneeling in front of and serenading the stagehand.\u00a0 GT then sang the first\u00a0pre?chorus during which the song\u2019s tempo slightly escalated as SR began to play a mid tempo drum beat.\u00a0 GT then sang the first chorus during which MW and PL played catchy, mid tempo guitar chord progressions.\u00a0 GT then repeated the pattern from the first verse and chorus when he sang the second verse and chorus followed by MW\u2019s brooding 15?second guitar solo augmented by SR\u2019s ample cymbal crashes.\u00a0 GT then sang the third verse, second pre?chorus, and third chorus.\u00a0 GT, who wore the burgundy on black knee?length suede coat, motivated the stagehand to get up and seductively dance with him.\u00a0 At the end of the song the stagehand was in the midst of giving GT a passionate kiss when a male stagehand came on stage with a large broom he used to shoo the kissing couple off stage.<\/p>\n<p>\u00a0<img loading=\"lazy\" decoding=\"async\" class=\"alignnone\" src=\"http:\/\/www.moussavianlaw.com\/images\/right.jpg\" alt=\"\" width=\"350\" height=\"263\" \/><\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 17. The Right Side of My Mind (Q2K, 1999) began with MW and PL\u2019s melodic guitar notes and SR\u2019s basic drum beat that they continued to play when GT sang the first verse at a slow tempo and with great emotion.\u00a0 Four go?go dancers came on stage and two entered each of the two cages in which they danced.\u00a0 [I would have paid handsomely for an entrance pass into the cage, but then again my ill?suited frame around the beltline would have warped the bars.\u00a0 Superman spreads cage bars with his massive biceps while I spread them with my daunting derriere.]\u00a0 GT then sang the first chorus during which the song\u2019s tempo escalated to a mid tempo pace, MW played a brooding guitar run, PL a heavy guitar chord progression, and SR solid drum beats.\u00a0 GT then repeated the pattern from the first verse and chorus when he sang the second verse and chorus followed by MW\u2019s memorable 25?second guitar solo.\u00a0 GT, who wore the burgundy on black knee?length suede coat and black top hat, then sang the third and final chorus.\u00a0 The entire cabaret cast came on stage and danced amidst the band.<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 &#8211; Life is A Cabaret (Outro).\u00a0 The show ended with a pre?recorded, three?minute tape track of background cabaret music during which the band members and cabaret cast danced stage front.\u00a0 GT removed his top hat and bowed to the audience.<\/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 Local bands such as Janis Joplin, Quicksilver Messenger Service, the Steve Miller Band, and Big Brother and the Holding Company performed at RB during its original stint in the 1960\u2019s.\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<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Opening Band: none<br \/>\nArash 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%2F58%2Fqueensryche%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: Queensr\u00ffche, Regency Ballroom, San Francisco, CA, 07-25-10 (Saturday) \u00a0 \u00a0 \u00a0 \u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 On July 25,\u00a02010 Queensr\u00ffche played San Francisco\u2019s 1,050?seat capacity Regency Ballroom (RB) that was two?thirds full (approximations presumed throughout).\u00a0 Queensr\u00ffche played a 17?song, 120\u00a0minute set &hellip; <a href=\"https:\/\/www.moussavianlaw.com\/concerts-interviews\/concert-reviews\/58\/queensryche\/\">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":[25],"class_list":["post-58","post","type-post","status-publish","format-standard","hentry","category-concert-reviews","tag-queensryche"],"_links":{"self":[{"href":"https:\/\/www.moussavianlaw.com\/concerts-interviews\/wp-json\/wp\/v2\/posts\/58"}],"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=58"}],"version-history":[{"count":2,"href":"https:\/\/www.moussavianlaw.com\/concerts-interviews\/wp-json\/wp\/v2\/posts\/58\/revisions"}],"predecessor-version":[{"id":62,"href":"https:\/\/www.moussavianlaw.com\/concerts-interviews\/wp-json\/wp\/v2\/posts\/58\/revisions\/62"}],"wp:attachment":[{"href":"https:\/\/www.moussavianlaw.com\/concerts-interviews\/wp-json\/wp\/v2\/media?parent=58"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.moussavianlaw.com\/concerts-interviews\/wp-json\/wp\/v2\/categories?post=58"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.moussavianlaw.com\/concerts-interviews\/wp-json\/wp\/v2\/tags?post=58"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}