{"id":60,"date":"2011-12-26T02:41:49","date_gmt":"2011-12-26T10:41:49","guid":{"rendered":"http:\/\/www.moussavianlaw.com\/blog\/?p=60"},"modified":"2011-12-26T02:41:49","modified_gmt":"2011-12-26T10:41:49","slug":"scorpions","status":"publish","type":"post","link":"https:\/\/www.moussavianlaw.com\/concerts-interviews\/concert-reviews\/60\/scorpions\/","title":{"rendered":"Scorpions"},"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%2F60%2Fscorpions%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: Scorpions, Concord Pavilion, Concord, CA, 08-01-10 (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\/intro.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\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 On Sunday, August\u00a01,\u00a02010 the Scorpions played Concord\u2019s 12,500?seat capacity Concord Pavilion (CP) that was three?fourths full (approximations presumed throughout).\u00a0 The Scorpions played a 16?song, 95-minute set from 8:35 to 10:10.<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 1. Sting in the Tail (Sting in the Tail, 2010).\u00a0 Before Sting in the Tail James Kottak\u2019s (\u201cJK,\u201d drummer) drum set positioned on a 48?inch high riser covered with two metal grills that met at a 90\u00a0degree angle pointed at the crowd center stage elevated 30\u00a0feet, revealing a base covered with silver horizontal blinds.\u00a0 [JK\u2019s drum set rose so high I nearly got a nose bleed, and JK likely donned an oxygen mask.]\u00a0 Flanked on each side of JK\u2019s drum set were three metal steps and, further out, two ascending metal grill platforms, 30 and 80\u00a0inches high.\u00a0 Four amplifiers were beneath each of the four platforms.<\/p>\n<p>\u00a0<img loading=\"lazy\" decoding=\"async\" class=\"alignnone\" src=\"http:\/\/www.moussavianlaw.com\/images\/sting.jpg\" alt=\"\" width=\"350\" height=\"263\" \/><\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Sting in the Tail began with Rudolf Schenker\u2019s (\u201cRS,\u201d guitarist) recurring high guitar note with flanger effect he played on his half black and half white Dommenget flying V guitar that, after two bars, was augmented by Matthias Jabs\u2019s (\u201cMJ,\u201d guitarist) up tempo guitar riffs and JK\u2019s snare drums.\u00a0 JK\u2019s drum riser slowly descended to the point where it was 15 feet above stage.\u00a0 Klaus Meine (\u201cKM,\u201d vocalist) then sang the first two verses during which RS and MJ continued to play the up tempo guitar riffs reminiscent of Angus Young\u2019s (AC\/DC guitarist) riffing on early AC\/DC records.\u00a0 RS and MJ played mid tempo chugging guitar riffs during the five?second musical interlude between the two verses.\u00a0 KM then twice sang the chorus, \u201cHail, hail a sting in the tail\u201d prompting audience participation followed by MJ\u2019s 10?second guitar solo he played on his natural wood Dommenget explorer EX\u00a0Corinna guitar.\u00a0 MJ wore black sneakers, black leather slacks with two vertical red stripes on the outer sides, semi long?sleeve button?down black cotton shirt with studs and two thin chains on the right shoulder, large silver cross on a black rope necklace, and black cotton baseball cap.\u00a0 KM then repeated the pattern from the first two verses and first chorus when he sang the third verse and second chorus, the latter which he repeated six times. \u00a0I admire the Scorpions for starting the show with a new song, which they counter?balanced by shifting straight to a 30\u00a0year?old song.\u00a0\u00a0\u00a0\u00a0<\/p>\n<p>\u00a0<img loading=\"lazy\" decoding=\"async\" class=\"alignnone\" src=\"http:\/\/www.moussavianlaw.com\/images\/make.jpg\" alt=\"\" width=\"350\" height=\"467\" \/><\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 2. Make It Real (Animal Magnetism, 1980) began with RS\u2019s slow tempo guitar riffs he played that, after two bars, was augmented by MJ\u2019s guitar run, JK\u2019s drum beats, and Pawe? M?ciwoda\u2019s (\u201cPM,\u201d bassist) up tempo bass lines.\u00a0 RS wore black Converse sneakers, black leather slacks (with one chain extending from his belt loop to his back left pocket), black cotton vest with studded (mini, dull) lapels, black wrap?around sunglasses.\u00a0 KM then sang the first verse during which RS and MJ played subtle, mid tempo chugging guitar riffs and PM continued to play up tempo bass lines.\u00a0 KM then sang the first chorus augmented by RS\u2019s slow tempo guitar riffs and MJ\u2019s guitar run from the introduction.\u00a0 KM then repeated the pattern from the first verse and chorus when he sang the second verse and chorus.\u00a0 The tempo momentarily escalated to an up tempo pace for a 30?second jam session during which RS played frenetic guitar riffs, MJ a 15?second guitar solo, and JK his tom?toms and snare drums.\u00a0 The tempo then resumed its initial pace and KM repeated the pattern from the first two verses and choruses when he sang the third verse and chorus, the difference being that MJ began the verse by playing a lingering, recurring high guitar note before playing chugging guitar riffs.\u00a0<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 3. Bad Boys Running Wild (Love at First Sting, 1984) began with a 10?second cascade of MJ\u2019s quick guitar notes after which RS and MJ played mid tempo guitar riffs augmented by PM\u2019s bass lines and JK\u2019s drum beats that they continued to play when KM sang the first verse.\u00a0 At the end of the first verse the band stopped playing for one second after which RS and MJ resumed playing mid tempo guitar riffs (two bars) during the seven?second musical interlude preceding the second verse.\u00a0 KM then sang the first chorus during which JK added cymbals and RS and MJ played slightly more up tempo guitar riffs, including a short series of palm muted guitar riffs right after KM sang the last line.\u00a0 KM then sang the third verse and second chorus.\u00a0 As KM sang the last line of the second chorus (i.e., \u201cand you better get out of their way\u201d) he extended and four times repeated the final word, the last time being augmented by JK\u2019s tom?toms.\u00a0 MJ then played a 20?second guitar solo on his black Dommenget explorer Corinna guitar after which KM sang the third chorus.\u00a0 KM wore black Converse sneakers with velcro straps, off?black silk slacks with interwoven white spiral patterns on the outer sides, long?sleeve button?down black shirt with vertical satin stripes with the sleeves rolled up to his forearm and atop a short?sleeve button?down black shirt, fairly thin black tie (loosely?tied) with white line patterns set at a 45\u00a0degree angle, sleeveless black leather jacket, leather bracelet on his left wrist, and black sunglasses.<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 4. The Zoo (Animal Magnetism, 1980) began with two bars of RS and MJ\u2019s ominous guitar riffs followed by RS\u2019s chugging, slow tempo guitar riffs on his gray Dommenget flying V guitar and MJ\u2019s ominous guitar chord progression on his black Dommenget Corinna guitar augmented by PM and JK\u2019s solid bass lines and snare drums.\u00a0 KM then sang the first two verses during which RS and MJ continued to play the same guitar riffs and chord progression.\u00a0 The first two verses were separated by a 20?second musical interlude during which RS and MJ continued to play the same guitar riffs and chord progression.\u00a0 JK\u2019s snare drums served as the cue for KM to twice sing the chorus during which the tempo escalated to a mid tempo pace.\u00a0 RS and MJ then played a series of heavy guitar riffs for 10\u00a0seconds after which they resumed playing the guitar riffs and chord progression from the introduction.\u00a0<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 The band then engaged in a 70?second jam during which RS played the chugging guitar riffs while MJ added vocal effects using a Digitech GNX4 Talker effect.\u00a0 KM then repeated the pattern from the first two verses and chorus when he sang the third verse and twice repeated the second chorus.\u00a0 The band engaged in a second jam near the end of the song during which RS and MJ used flanger guitar effect.\u00a0 After the song concluded JK arose behind his drum set.\u00a0 JK wore knee?length off?black denim slacks that were falling off his waist.\u00a0 [Since JK was shirtless, his rotund belly was exposed raising doubt in my mind that we may be Siamese twins separated at birth.\u00a0 A sumo wrestling match between us would have been a spectacle of cataclysmic proportion.] \u00a0JK played ddrum drums, double bass drums, Zildjian cymbals, and each drum head featured the \u201cKottak\u201d logo with swords in place of \u201cTs\u201d against a black background.<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 5. Coast to Coast (Lovedrive, 1979) is an instrumental song that began with RS and MJ\u2019s mid tempo guitar notes augmented by JK\u2019s snare drums and PM\u2019s groovy, heavy bass lines he played on his cream bass with standard Fender Stratocaster body shape and brown pearl?colored pick guard.\u00a0 PM wore white loafers, black silk\/polyester blend slacks, mocha?colored vest with cream?colored laces and Native American motifs on the shoulders and outer sides.\u00a0 RS and MJ then began to play mid tempo, trudging guitar riffs.\u00a0 70 seconds into the song RS momentarily played a series of guitar runs atop MJ\u2019s guitar riffs, which he repeated at the 2:00\u00a0mark.\u00a0 At the 2:15\u00a0mark RS and MJ stopped playing for 35\u00a0seconds permitting PM\u2019s groovy bass lines and JK\u2019s solid snare drums to come to the forefront. \u00a0RS then resumed playing the mid tempo, trudging guitar riffs on his gray Dommenget flying V guitar while MJ played a guitar solo on his on gray guitar with standard Fender Stratocaster body shape that extended to the end of the song.\u00a0 KM joined RS and MJ by playing a black guitar with standard Fender Stratocaster body.\u00a0 KM, RS, MJ, and PM all jammed standing next to one another center stage.\u00a0 As KM, RS, MJ, and PM strummed the final chords JK left his drum set, came stage front next to KM, raised the devil horns, rubbed his hair like a lunatic, and returned to his drum set.\u00a0 [KM stared at JK as if observing his Ritalin?deprived (psychostimulant drug that treats attention-deficit hyperactivity) son or insane asylum escapee missing his straight jacket.]\u00a0\u00a0<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 6. Loving You Sunday Morning (Lovedrive, 1979) began with two bars of RS and MJ\u2019s melodic guitar notes followed by their mid tempo chugging guitar riffs and JK\u2019s solid drum beat that they continued to play while KM sang the first verse.\u00a0 KM, accompanied by JK, then sang the first chorus, \u201cLoving you Sunday morning.\u00a0 You were on my mind love everyday.\u00a0 Loving you Sunday morning.\u00a0 Your love makes me fly so far away.\u201d\u00a0 RS and MJ played drawn out guitar chord progressions they momentarily replaced with mid tempo chugging guitar riffs when KM sang the final word of even?numbered chorus lines (i.e.,\u00a0\u201ceveryday,\u201d \u201caway\u201d).\u00a0 Black and white images of the band\u2019s live performance appeared on each of the three video screens that stretched to the ends of the large stage. \u00a0The images were mirrored on each video screen and each screen was comprised of a rectangular?shaped panel mounted at the rear of the stage with the center screen positioned behind JK\u2019s drum set and each of the two adjoining screens positioned behind the dual metal platforms.\u00a0 KM then repeated the pattern from the first verse and chorus when he sang the second verse and chorus followed by MJ\u2019s 35?second guitar solo during which RS played a mid tempo guitar chord progression.\u00a0 KM then repeated the second verse (in partial form) and chorus. \u00a0The song concluded with JK\u2019s drum fills.\u00a0\u00a0\u00a0\u00a0<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 7. The Best is Yet to Come (Sting in the Tail, 2010).\u00a0 Before The Best is Yet to Come KM said, \u201cThank you.\u00a0 Good to see you.\u00a0 Good to be back in the Bay Area.\u00a0 We would like to sing a new song for you. \u00a0This is The Best is Yet to Come.\u201d \u00a0The Best is Yet to Come is a sentimental ballad that began with RS and MJ\u2019s melodic guitar notes, the introductory ones reminiscent of Adrian Smith and Dave Murray\u2019s (Iron Maiden guitarists) guitar work on Iron Maiden\u2019s Somewhere in Time record (1986).\u00a0 KM then sang the first verse and chorus that, until near the end, was solely accompanied by RS and MJ\u2019s melodic guitar notes.\u00a0 The second time KM sang the phrase, \u201cAnd the best is yet to come\u201d JK and PM added drum beats and bass lines while MJ played guitar chord progressions atop RS\u2019s guitar notes.\u00a0 Black on fluorescent green images of the band\u2019s live performance appeared not only on each of the three video screens but also the metal grills of the four platforms flanking JK\u2019s drum set.<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 KM then sang the second verse during which RS and MJ played melodic guitar notes augmented by JK and PM\u2019s drum beats and bass lines followed by the second chorus during which RS and MJ played guitar chord progressions. \u00a0KM then sang the bridge during which the song momentarily converted to a power ballad augmented by MJ\u2019s fiery guitar runs he played on his gold standard Fender Stratocaster body shape guitar.\u00a0 The song then resumed its initial slow tempo pace and KM sang the third verse and chorus.\u00a0 At the end of the song the band encouraged audience participation while KM twice sang, \u201cTake my hand, the best is yet to come\u201d augmented by JK\u2019s bass drums.\u00a0 Interestingly, an unidentified guitarist who stood stage left assisted by playing melodic guitar notes throughout the entire song.\u00a0 [If I had known the stage was a free?for\u00ad?all, I would have jumped on stage next to the mystery guitarist and played my kazoo.]\u00a0 After the song concluded KM said, \u201cArizona (error, KM meant California) thank you.\u00a0 [I hope 62\u00a0year?old KM\u2019s error was a careless oversight and not attributed to Alzheimer\u2019s disease (degenerative disease with progressive patterns of cognitive and functional impairments, including memory loss.]\u201d\u00a0\u00a0<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 8. Winds of Change (Crazy World, 1990).\u00a0 Before Winds of Change KM said, \u201cHere we go.\u00a0 This is Winds of Change.\u201d\u00a0 Winds of Change is a slow tempo, sentimental ballad that began with KM whistling the song\u2019s catchy melody after which RS and MJ played melodic guitar notes.\u00a0 RS played a black acoustic 12?string guitar mounted on a stand.\u00a0 KM then sang the first two verses solely augmented by RS and MJ\u2019s melodic guitar notes and separated by a 20?second musical interlude. \u00a0Black and white images of the band\u2019s live performance interspersed with audience shots appeared on the center video screen while the two side screens showed scenes of the Berlin wall\u2019s demolition that began on November\u00a09,\u00a01989.\u00a0 JK and PM did not play their instruments during the first two verses.\u00a0 KM then sang the first chorus during which JK and PM began playing simple drum beats and bass lines.\u00a0 PM played a coffee-colored Gibson Thunderbird bass.\u00a0 RS switched from the acoustic guitar to his half black and half white Dommenget flying V guitar.\u00a0 KM then sang the third verse, second chorus, and fourth verse at the start of which the song converted to a power ballad.\u00a0 RS then played a 25?second guitar solo followed by the third and final chorus.\u00a0 The song softly concluded as it began, with KM whistling the melody.<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 9. Holiday (Lovedrive, 1979).\u00a0 Before Holiday KM said, \u201cThank you.\u00a0 I guess this is the next one for you to sing.\u00a0 This is Holiday.\u00a0 Are you ready?!\u201d\u00a0 Holiday is a slow tempo, sentimental ballad that began with RS and MJ\u2019s melodic acoustic guitar notes they continued to play as KM sang the first two verses in an emotional tone, including the 10?second musical interlude between the first two verses. \u00a0RS played a natural wood Dommenget flying V Abalony acoustic guitar and MJ a natural spruce wood top Dommenget explorer acoustic guitar. \u00a0JK and PM did not play their instruments during the first two verses.\u00a0 RS and MJ went off stage and returned with electric guitars.\u00a0 [RS and MJ walked on stage like warriors armed with battle axes intent on wreaking havoc on the audience\u2019s auditory sense.]\u00a0 KM then sang the third and final verse at which point the song converted to a mid tempo power ballad for the remaining 150\u00a0seconds accompanied by RS and MJ\u2019s guitar riffs, PM\u2019s bass lines, and JK\u2019s snare drums.\u00a0 MJ played a guitar solo during the third verse atop RS\u2019s guitar chord progression.\u00a0 After the song concluded JK put on a muscle shirt with the Superman logo. \u00a0Holiday and two other songs to be performed received the strongest audience reaction with Holiday receiving the strongest reaction.<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 10. Raised on Rock (Sting in the Tail, 2010).\u00a0 Before Raised on Rock KM said, \u201cI don\u2019t know about you but I was Raised on Rock.\u201d \u00a0Raised on Rock began with RS and MJ\u2019s thin?sounding guitar riff and JK\u2019s basic drum beat.\u00a0 KM then sang the first verse, \u201cI was born in a hurricane.\u00a0 Nothing to lose and everything to gain.\u00a0 Ran before I walked.\u00a0 Reaching for the top.\u00a0 Out of control just like a runaway train.\u201d\u00a0 The bravado lyrics did not mesh with the song\u2019s pedestrian, mid tempo pace.\u00a0 [It was akin to a dude with a thimble?sized penis stuffing an eggplant in his trousers to appear more manly.] \u00a0KM then sang the first chorus during which RS and MJ played the guitar riffs from the introduction while JK took his shirt off, pounded his bass drums, and clapped his hands over his head, prompting the audience to sing along.\u00a0 KM then repeated the pattern from the first verse and chorus when he sang the second verse and chorus during which RS played guitar riffs incorporating Pete Townshend\u2019s (The Who guitarist) signature windmill move.<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Black and white images of the band\u2019s live performance appeared on the center video screen while the two side screens showed vintage images of the band\u2019s past live performances.\u00a0 Multi?color, marquee?like images shined on the metal grills of the four platforms that flanked JK\u2019s drum set.\u00a0 KM then sang the pre?chorus during which RS played mid tempo guitar riffs on his half black and half white Dommenget flying V guitar and MJ played melodic guitar notes on his white Dommenget explorer guitar with four black stripes.\u00a0 JK played his tom?toms while RS and MJ played the guitar riffs from the introduction during the 15?second musical interlude between the pre?chorus and third chorus. \u00a0KM then sang the third and final chorus during which KM, RS, MJ, and PM stood at the front of stage right and engaged in a jam session that included a 25?second MJ guitar solo and KM playing a tambourine.<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 11. Tease Me Please Me (Crazy World, 1990) began with four bars of RS and MJ\u2019s brooding, slow tempo guitar riffs reminiscent of Glen Tipton and K.K.\u00a0Downing\u2019s (Judas Priest guitarists) riffing on Judas Priest\u2019s Defenders of the Faith record (1984).\u00a0 JK\u2019s heavy snare and bass drums then escalated the song to a mid tempo pace and RS and MJ began playing recurring, groovy guitar riffs that they continued to play when KM sang the first verse.\u00a0 KM then sang the first pre?chorus during which RS and MJ played chugging, mid tempo guitar riffs.\u00a0 RS and MJ then switched to playing pedestrian guitar chord progressions when KM began to sing the first chorus in an overly pop?tinged tone at odds with the verse, \u201cTease me please me.\u00a0\u2026 no one needs to know.\u00a0 Tease me please me\u00a0\u2026 before I have to go.\u201d<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 During the 15?second musical interlude between the first chorus and second verse RS resumed playing the recurring, groovy guitar riffs from the introduction on his red Dommenget flying V Ferrari guitar, MJ played a catchy guitar run, and PM played groovy up tempo bass lines.\u00a0 KM then repeated the pattern from the first verse, pre?chorus, and chorus when he sang the second verse, pre?chorus, and chorus after which MJ played a 15?second guitar solo on his black Dommenget explorer guitar.\u00a0 KM then repeated the pre?chorus and chorus.\u00a0 Black on red images of the band\u2019s live performance appeared on each of the three video screens while images of woofers that pulsed in beat with JK\u2019s bass drums appeared on the metal grills of the platforms.<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 12. Dynamite (Blackout, 1982) began with RS and MJ\u2019s chugging, up tempo guitar riffs and JK\u2019s tom?toms.\u00a0 During the fifth through eighth bars of RS\u2019s guitar riffs MJ played searing guitar runs on his white Dommenget explorer guitar with four black stripes.\u00a0 KM then sang the first verse mainly accompanied by JK\u2019s loud snare drums and RS and MJ\u2019s twice repeated two?chord progression.\u00a0 KM then sang the first chorus while RS, MJ, and PM played the up tempo riffs from the introduction.\u00a0 PM stood on the lower platform stage right and played a natural wood bass with standard Fender Stratocaster body shape and brown pearl?colored pick guard.\u00a0 KM then repeated the pattern from the first verse and chorus when he sang the second verse and chorus after which MJ played a 40?second guitar solo atop RS\u2019s shuffling guitar riffs. The band then jammed for 20 seconds during which RS and MJ played the chugging, up tempo guitar riffs from the introduction.\u00a0 KM then sang the third verse and chorus.\u00a0 Images of fireworks appeared on the two side video screens.<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 -Kottak Attack (JK drum solo).\u00a0 JK played an extended nine-minute drum solo during which he successfully maintained the audience\u2019s attention because the two side video screens showed a short film of JM acting out various scenes in which the theme tied in with the Fly to the Rainbow, Love at First Sting, Lovedrive, Crazy World, Animal Magnetism, and Blackout album covers.\u00a0 For example, one scene showed JK in a gas station using a tattoo gun to tattoo a scorpion on a female\u2019s thigh similar to the Love at First Sting record cover while another scene showed him using a key similar to the one on the Crazy World record cover to open up a free?standing door situated in the middle of a desert.\u00a0 JK\u2019s drum riser elevated twice, rising a total of 30\u00a0feet. \u00a0JK said, \u201cOh my god.\u00a0 I wish you could see what it looks like from up here!\u00a0 It is great to be back in San\u00a0Francisco, California.\u00a0 Three words, you\u00a0\u2026\u00a0kick\u00a0\u2026 ass!\u00a0 Let\u2019s do it!\u201d\u00a0 JK then continued with thundering drumming on his bass and tom?toms.\u00a0 JK then arose, stood with his legs spread apart on his two bass drums, turned his back to the crowd and revealed the slogan on the back of his muscle shirt, \u201cRock &amp; Roll Forever.\u201d\u00a0 JK took his shirt off and revealed the same message tattooed across his entire back.<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 13. Blackout (Blackout, 1982) is a classic rocker that began with RS and MJ\u2019s up tempo, chugging guitar riffs augmented by JK\u2019s snare drums and PM\u2019s bass lines that they continued to play when KM sang the first and second verses.\u00a0 PM wore a black cowboy hat while RS donned a prosthetic face mask that covered his head (mouth excluded) modeled after the Gottfried\u00a0Helnwein (Austrian-Irish painter) self?portrait on the Blackout record cover.\u00a0 RS played an orange and yellow swirl Dommenget flying V guitar.\u00a0 KM, who had switched to a sleeveless black denim Levi\u2019s jacket with studded shoulders, then sang the first chorus during which RS and MJ played arpeggio guitar notes.\u00a0 RS and MJ played the guitar riffs from the introduction during the 15?second musical interlude between the first chorus and third verse.\u00a0 KM then sang the third verse and second chorus followed by MJ\u2019s 20?second guitar solo and the third chorus.\u00a0 Blackout, Holiday, and another song to be performed received the strongest audience reaction.<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 -Six String Sting (MJ guitar solo).\u00a0 MJ played a three-minute guitar solo on his black Dommenget explorer guitar.\u00a0 Black and white images of the band\u2019s past live performances appeared on the three video screens.\u00a0 MJ ended his solo with the catchy guitar riff from the introduction of Big City Nights, serving as the cue for his band mates to come on stage.<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 14. Big City Nights (Love at First Sting, 1984) began with RS and MJ\u2019s catchy, up tempo guitar riffs augmented during the second bar by PM\u2019s punchy bass lines and JK\u2019s solid snare drums.\u00a0 MJ played a fiery series of guitar notes during the third and fourth bars of RS\u2019s guitar riffs.\u00a0 KM then sang the first verse in a melodic tone augmented by PM\u2019s prominent, upbeat bass lines and RS and MJ\u2019s guitar chord progressions.\u00a0 PM had switched to a plain cotton black vest.\u00a0 KM then sang the first chorus during which RS and MJ played the guitar riffs from the introduction while standing at the front edge of stage right.\u00a0 KM then repeated the pattern from the first verse and chorus when he sang the second verse and chorus.\u00a0 KM, RS, MJ, and PM stood at the front edge of stage left during the second verse.<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 KM then sang the first pre?chorus during which the tempo momentarily slowed to a mid tempo pace and then resumed an up tempo pace at which point RS, who was wearing a black cowboy hat with skull and crossbones emblem as the crown centerpiece, played a 45?second guitar solo on his gray Dommenget flying V guitar.\u00a0 KM then sang the third chorus during which JK played bass drums, RS stood in front of JK on his drum riser, and PM stood on the lower platform stage right.\u00a0 Color images of a city street immersed in neon lights appeared on the video screens.\u00a0 Near the song\u2019s conclusion the word \u201cConcord\u201d scrolled atop the city street landscape in red letters while KM stood on the lower platform stage left, PM on the lower platform stage right, and RS center stage.\u00a0 After the song concluded KM said, \u201cThank you California.\u00a0 I love you all.\u201d\u00a0 The band left the stage at 9:58 and returned in two minutes to play two additional songs.<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 15. No One Like You (Blackout, 1982).\u00a0 Before No One Like You KM said, \u201cCalifornia there is No One Like You.\u201d\u00a0 No One Like You is a powerful rocker that began with MJ\u2019s searing guitar run he played atop two bars of RS\u2019s heavy, mid tempo guitar riffs and JK\u2019s drum beats.\u00a0 [MJ\u2019s guitar run was powerful enough to puncture a hole in my ear drum at high volume.\u00a0 No matter how stoned or inebriated, MJ\u2019s guitar run woke you\u2019re a** up.\u00a0 The auditory onslaught was tantamount to pouring sulfuric acid on an open wound.]\u00a0 KM then sang the first verse during which the tempo momentarily reduced to a slow tempo pace and MJ played melodic guitar notes atop RS\u2019s brooding, mid tempo guitar riffs.\u00a0 KM then sang the first chorus during which the tempo resumed a mid tempo pace and RS and MJ played the heavy guitar riffs from the introduction.\u00a0 KM then repeated the pattern from the first verse and chorus when he sang the second verse and chorus followed by MJ\u2019s 30?second guitar solo during which RS played guitar riffs positioned stage right and KM struck a cowbell using JK drum sticks that he individually tossed into the audience after a few hits.\u00a0 KM then repeated the chorus.\u00a0 Black on red images of the band\u2019s live performance appeared on each of the two side video screens while the center screen showed a kaleidoscope image (i.e.,\u00a0optical instrument in which bits of glass held loosely at the end of a rotating tube are shown in continually changing symmetrical forms by reflection in two or more mirrors set at angles to each other).<\/p>\n<p>\u00a0<img loading=\"lazy\" decoding=\"async\" class=\"alignnone\" src=\"http:\/\/www.moussavianlaw.com\/images\/rock_1.jpg\" alt=\"\" width=\"350\" height=\"467\" \/><\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 16. Rock You Like A Hurricane (Love at First Sting, 1984).\u00a0 Before Rock You Like A Hurricane KM said, \u201cTime to Rock You Like A Hurricane!\u201d\u00a0 \u00a0Rock You Like A Hurricane is the band\u2019s biggest commercial hit that began with RS and MJ\u2019s instantaneously recognizable mid tempo guitar riff augmented by PM\u2019s heavy bass lines and JK\u2019s snare drums.\u00a0 MJ played a fiery guitar run during the fifth through eighth bars of RS\u2019s guitar riffs.\u00a0 KM then sang the first and second verses after which the tempo slightly slowed down and RS and MJ played chugging guitar riffs while JK played a basic drum beat.\u00a0 KM then sang the first chorus during which the song resumed its initial mid tempo pace and RS and MJ played the guitar riffs from the introduction.\u00a0 KM then repeated the pattern from the first two verses and first chorus when he sang the third and fourth verses and second chorus followed by MJ\u2019s 30?second guitar solo during which RS played the guitar riffs from the introduction on his gold Dommenget flying V guitar.\u00a0 KM then repeated the first verse, fourth verse, and chorus.\u00a0 Black and white images of the band\u2019s live performance stretched across all three video screens.\u00a0 Rock You Like A Hurricane, Blackout, and Holiday received the strongest audience reaction.<\/p>\n<p>\u00a0<img loading=\"lazy\" decoding=\"async\" class=\"alignnone\" src=\"http:\/\/www.moussavianlaw.com\/images\/rock_2.jpg\" alt=\"\" width=\"350\" height=\"263\" \/><\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Venue: Concord Pavilion (\u201cCP\u201d) is an outdoor ampitheater built in 1975 and designed by Pritzker Prize-winning architect Frank Gehry and landscape architect Peter Walker.\u00a0 Gehry also designed the Guggenheim Museum in Bilbao, Spain and the Walt Disney Concert Hall in Los\u00a0Angeles, California.\u00a0 CP was built in response to the East Bay community\u2019s desire to have a venue for the annual Concord Summer Festival.\u00a0 CP is set in a natural bowl below Mt.\u00a0Diablo.\u00a0 CP was remodeled in 1996 to increase seating and make additional improvements.\u00a0 CP has a 12,500?seat capacity comprised of three?tiered seated sections and perimeter lawn section.\u00a0 For a period of time Concord Pavilion was called the Chronicle Pavilion, and it is currently called the Sleep Train Pavilion, both corporate entities that purchased naming rights.<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Opening Band: Cinderella<\/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%2F60%2Fscorpions%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: Scorpions, Concord Pavilion, Concord, CA, 08-01-10 (Sunday) \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 On Sunday, August\u00a01,\u00a02010 the Scorpions played Concord\u2019s 12,500?seat capacity Concord Pavilion (CP) that was three?fourths full (approximations presumed throughout).\u00a0 The Scorpions played a 16?song, 95-minute set &hellip; <a href=\"https:\/\/www.moussavianlaw.com\/concerts-interviews\/concert-reviews\/60\/scorpions\/\">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":[26],"class_list":["post-60","post","type-post","status-publish","format-standard","hentry","category-concert-reviews","tag-scorpions"],"_links":{"self":[{"href":"https:\/\/www.moussavianlaw.com\/concerts-interviews\/wp-json\/wp\/v2\/posts\/60"}],"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=60"}],"version-history":[{"count":2,"href":"https:\/\/www.moussavianlaw.com\/concerts-interviews\/wp-json\/wp\/v2\/posts\/60\/revisions"}],"predecessor-version":[{"id":64,"href":"https:\/\/www.moussavianlaw.com\/concerts-interviews\/wp-json\/wp\/v2\/posts\/60\/revisions\/64"}],"wp:attachment":[{"href":"https:\/\/www.moussavianlaw.com\/concerts-interviews\/wp-json\/wp\/v2\/media?parent=60"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.moussavianlaw.com\/concerts-interviews\/wp-json\/wp\/v2\/categories?post=60"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.moussavianlaw.com\/concerts-interviews\/wp-json\/wp\/v2\/tags?post=60"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}