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\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 On August\u00a017,\u00a02010 Billy Idol played a sold out show at San Francisco\u2019s 1,200\u2011seat capacity Fillmore.\u00a0 Billy Idol (\u201cBI,\u201d vocals) played a 15\u2011song, 115-minute set from 9:00 to 10:55.<\/p>\n
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\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 1. Ready Steady Go (Generation X cover: Generation X, 1978) is an up tempo song from Generation X (British punk rock band 1976\u20111981 for which BI handled vocals) that began with Steve Stevens (\u201cSS,\u201d lead guitar) and Billy Morrison\u2019s (\u201cBM,\u201d rhythm guitar) chugging guitar riffs and Jeremy Colson\u2019s (\u201cJC,\u201d drums) tom\u2011toms that they continued to play when BI four times sang, \u201cReady, steady, go.\u201d\u00a0 BI wore black combat boots, black denim slacks with a zipper on each the outer side from ankle to cuff and chains extending from belt loop to his back right pocket, black leather belt, black suspenders dangling below his hips, black cotton tank top shirt, black denim jacket with a zipper on each outer side from forearm to cuff, and leather wristbands.\u00a0 BI then sang the first verse during which SS and BM played fast\u2011paced guitar chord progressions followed by the first chorus during which SS and BM played the chugging guitar riffs from the introduction.\u00a0 BM played a black and white stripe Gibson Les Paul guitar. \u00a0<\/p>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 BI then repeated the pattern from the first verse and chorus when he sang the second verse and chorus, the difference being that SS and BM only played single guitar chords after the first four sentences of the chorus before they resumed playing chugging guitar riffs.\u00a0 SS then played a 15\u2011second (approximations presumed throughout) guitar solo on his black Gibson Les Paul guitar.\u00a0 BI then repeated the pattern from the first verse and chorus when he sang the third verse and chorus.\u00a0 The band then engaged in a jam during the last 40\u00a0seconds during which BI thrice shouted, \u201cReady steady go!\u00a0 Go, go, go, go!\u201d and SS played a second 15\u2011second guitar solo during which he quickly flipped his guitar\u2019s toggle switch.<\/p>\n
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\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 2. Dancing With Myself (Don\u2019t Stop, 1981) began with JC\u2019s up beat snare drum pattern augmented shortly thereafter by Stephen McGrath\u2019s (\u201cSM,\u201d bass) tandem bass line and SS\u2019s catchy series of high guitar notes that they continued to play while BI sang the first two verses in quick succession and at an up tempo pace.\u00a0 BI then sang the first chorus during which SS and BM played power chords while SM and JC continued to play an up tempo bass line and drum beat.\u00a0 BM and SM aided BI by four times chanting, \u201coh\u00a0\u2026\u00a0oh\u00a0\u2026 oh.\u201d\u00a0 BI then repeated the pattern from the first two verses and first chorus when he sang the third and fourth verses and second chorus.\u00a0 The band then engaged in a jam that began with JC playing his snare drum at an up tempo pace for 10\u00a0seconds after which SM joined in with a punchy bass line and BI four times chanted, \u201coh\u00a0\u2026\u00a0oh\u00a0\u2026 oh\u201d followed by, \u201coh\u00a0\u2026 oh\u00a0\u2026\u00a0oh\u00a0\u2026 dancing with myself.\u201d<\/p>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 SS then played a 20\u2011second guitar solo comprised of seven bars of an ascending note scale.\u00a0 SS played part of his solo with his guitar propped on the back of his neck while he continued to play.\u00a0 SS wore shiny silver boots, rust denim slacks with embossed skull and crossbones icons on each rear pant pocket cover, black leather belt with multiple hollow silver hoops of varying sizes, and long\u2011sleeve button\u2011down pink silk shirt with subtle vertical ruffled texture.\u00a0 BI then repeated the third and fourth verses and second chorus.\u00a0 SS and BM stood center stage facing each other and engaged in a mini jam during the chorus.\u00a0 Dancing with Myself and four other songs to be performed received the strongest audience reaction.<\/p>\n
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\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 3. Love is Strange (unreleased) is an up tempo song that began with a quick burst of JC\u2019s snare drum followed by two bars of SS and BM\u2019s groovy riff augmented by SM and JC\u2019s up tempo bass line and drum beat.\u00a0 BI then sang the first verse followed by the even catchier first chorus, \u201cHey, hey hey. \u00a0Love is strange. \u00a0She feels me comin\u2019 through the highway haze.\u00a0 Hey, hey, hey. \u00a0Love is strange. \u00a0I saw you dancing in the dance hall days.\u201d\u00a0 BI then repeated the pattern from the first verse and chorus when he sang the second verse and chorus during which audience members bobbed their heads to the catchy melody.\u00a0 SS and BM then played a 30\u2011second (combined) guitar solo a la Adrian Smith and Dave Murray (Iron Maiden guitarists).\u00a0 BM played a cherry sunburst Gibson Les Paul guitar.\u00a0 BI then repeated the chorus.<\/p>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 4. Flesh for Fantasy (Rebel Yell, 1983) is a sultry, mid tempo song that began with JC\u2019s mid tempo bass drum and SM\u2019s punchy bass line reminiscent of the discoth\u00e8que era that they continued to play when BI sang the first verse introduced with SS and BM\u2019s strumming of a melodic guitar chord.\u00a0 DS\u2019s keyboard notes and SS and BM\u2019s guitar riffs and notes accentuated the song\u2019s sultry vibe.\u00a0 BI then sang the first chorus during which SS and BM continued to play the sultry guitar riffs and notes, \u201cFace to face\u00a0\u2026 and back to back.\u00a0 You see and feel\u00a0\u2026 my sex attack.\u00a0 Sing it\u00a0\u2026 flesh, flesh for fantasy.\u00a0 We want\u00a0\u2026 flesh, flesh for fantasy.\u201d\u00a0 BI emphasized the phrase, \u201cflesh, flesh for fantasy,\u201d which he sang in a lower than usual octave.\u00a0 BI thoroughly enjoyed performing and interacting with the audience to the point that he autographed records for fans stage left and right.\u00a0 BI then repeated the pattern from the first verse and chorus when he sang the second verse and chorus while standing atop a three by three feet platform extending into the crowd center stage.\u00a0 [The female audience members who outnumbered the male three to one stroked BI\u2019s well\u2011chiseled thighs and taut abdomen as if admiring the statue of a Greed god.]\u00a0<\/p>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 The tempo slightly escalated during the 25\u2011second musical interlude between the second chorus and first pre\u2011chorus during which BI played a tambourine, SM a punchy bass line, JC an up beat drum beat bordering on techno rock, and SS and SM a sinful guitar riff.\u00a0 The tempo then resumed its initial mid tempo pace as BI sang the pre\u2011chorus augmented by DS\u2019s atmospheric keyboards, SM\u2019s bass line, and JC\u2019s drum beat.\u00a0 BI then sang the third chorus after which the band engaged in a 55\u2011second jam during which SS played the sultry guitar riffs and BM the melodic guitar notes.\u00a0 BM then modified the record version of the song by singing a third verse that contained parts of select lines from the first and second verses.\u00a0 BI then four times chanted, \u201cFlesh\u201d in quick succession and encouraged audience participation, an act he thrice repeated.\u00a0<\/p>\n
[Photo Insert Scream]<\/p>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 5. Scream (Devil\u2019s Playground, 2005).\u00a0 Before Scream BI said, \u201cCheers.\u00a0 How are you doing today?\u00a0 I want to introduce you to the band.\u00a0 Steve Stevens on guitar.\u00a0 From San\u00a0Francisco, Jeremy\u00a0Colson on drums.\u00a0 From Santa\u00a0Cruz, Derek\u00a0Sherinian on keyboards.\u00a0 I have a slow one. But I have a feeling you still want to rock.\u00a0 Steve, what should we do?\u201d\u00a0 SS shouted, \u201cScream.\u201d\u00a0 Scream began with amplifier (\u201camp\u201d) feedback from SS\u2019s guitar followed by two and one\u2011half bars of a wicked guitar riff he played while the stage was immersed in darkness.\u00a0 SS, BM, and SM then played chugging riffs after which BI sang the first verse in a deep, relaxed tone mainly augmented by SM\u2019s rollicking, prominent bass line and SS and BM\u2019s recurring, subtle guitar riffs.\u00a0 The first verse includes sexually oriented lyrics, \u201cYou are the lock.\u00a0 I am the key.\u00a0 Climb up my lemon tree.\u00a0 You are the one.\u00a0 You\u2019re on your knees.\u00a0 You are my little queen.\u00a0 You know just what I mean.\u00a0 Climb up my lemon tree.\u201d\u00a0 [I do not think BI was encouraging the youth contingent in the audience to set up lemonade stands.]\u00a0<\/p>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0BI screamed the final line of the first verse (i.e., \u201cclimb up my lemon tree\u201d) and then transitioned to the first chorus, which he continued to scream and during which the tempo escalated and SS and BM played a recurring series of high guitar runs.\u00a0 The band stopped playing for one second at the end of the first chorus.\u00a0 BI then repeated the pattern from the first verse and chorus when he sang the second verse and chorus.\u00a0 BI then shouted, \u201csuck it,\u201d serving as the cue for SS to play a 25\u2011second guitar solo on his black Gibson Les Paul.\u00a0 SS and BM then played the wicked guitar riffs from the introduction, which BM played on his black and white stripe Gibson Les Paul guitar.\u00a0 BI repeated the pattern from the first two verses and choruses when he sang the third verse and chorus.\u00a0 BI then screamed, \u201cOne more time now\u201d and repeated the chorus.<\/p>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 6. Sweet Sixteen (Whiplash Smile, 1986).\u00a0 Before Sweet Sixteen BI said, \u201cThis next song certainly has a story.\u201d\u00a0 BI told a story about visiting the Coral Castle (stone structure created by eccentric Latvian American Edward Leedskalnin north of the city of Homestead, Florida. \u00a0The castle includes numerous megalithic stones, mainly limestone formed from coral, each weighing several tons).\u00a0 BI said, \u201cI asked, \u2018What the f**k did you build this place for?\u2019\u00a0 He looked me in the eye and said, \u2018It is for my sweet sixteen.\u2019\u201d \u00a0\u00a0Sweet Sixteen is a sentimental ballad with a country tinge reminiscent of Johnny Cash (American country singer, guitarist dubbed \u201cThe Man in Black\u201d).\u00a0 The song began with BI, SS, and BM playing melodic acoustic guitar notes, SM prominently playing a punchy bass line, and JC playing a basic beat on his snare drum and cymbal using drum brushes.\u00a0<\/p>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 BI sang the first verse, pre\u2011chorus, and chorus in a particularly emotional and raspy tone.\u00a0 The melody remained consistent during the verse, pre\u2011chorus, and chorus except that Derek Sherinian (\u201cDS,\u201d keyboards) played a cascading series of keyboard notes during the chorus.\u00a0 BI then repeated the pattern from the first verse, pre\u2011chorus, and chorus when he sang the second verse, pre\u2011chorus, and chorus followed by the third verse, pre\u2011chorus, and chorus with the accompaniment during the chorus being provided by acoustic guitars and snare drum until the final line (i.e., \u201crock her far from here\u201d).\u00a0 The song ended with a 40\u2011second jam during which BI, SS, BM, and SM stood stage front center stage and included a 20\u2011second SS guitar solo he played on a maple acoustic-electric guitar.\u00a0 BI played a natural wood acoustic guitar while BM played a black acoustic guitar.\u00a0\u00a0\u00a0<\/p>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 7. Scarred for Life (unreleased).\u00a0 BM played the introductory guitar notes and handled lead vocals to this mid tempo song during the first verse, which he sang with both hands on the microphone stand.\u00a0 The lyrics are poignant, \u201cI gotta believe. \u00a0If I\u2019m for real, this whole fu**ing life can\u2019t be in vain. \u00a0I can\u2019t be insane\u00a0\u2026 am I?\u00a0 The damage I\u2019ve done, with a needle and spoon. \u00a0I was entombed in a lonely dark room. \u00a0I can\u2019t be insane.\u201d\u00a0 BM wore bright red loafer shoes, blue denim slacks, long\u2011sleeve button\u2011down black cotton shirt with a red left and white right sleeve rolled up to his elbows. \u00a0BM and BI then co\u2011sang the first chorus that featured a fluid, catchy guitar chord progression and melody a la Green Day (American punk rock band).\u00a0 [It is the type of melody I hum off\u2011key while wearing my Aquaman shower cap and playing with my rubber duckies in my bath tub.]\u00a0 BI and BM then repeated the pattern from the first verse and chorus when they sang the second verse and chorus.\u00a0 SS then played a guitar solo on his black Gibson Les Paul followed by BI and BM repeating the pattern from the first two verses and choruses when they sang the third verse and chorus.<\/p>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 8. Eyes Without A Face (Rebel Yell, 1983) began with DS\u2019s atmospheric keyboard chords that he played for 35 seconds amidst blue stage lights at which point SS came on stage and played a 60\u2011second melodic piece on his natural wood acoustic-electric guitar augmented by DS\u2019s keyboard chords.\u00a0 DS wore black denim slacks, long\u2011sleeve black cotton shirt with a gray chest\u2011level cross logo.\u00a0 DS played three keyboards, including a Korg and Roland, positioned at the rear of stage right behind finely spaced vertical metal grills with mini lights of varying colors four feet high and 10\u00a0feet wide.\u00a0 [DS\u2019s set up gave the false impression he was quarantined to a limited, designated region as if suffering from a contagious ailment like the bubonic plague.\u00a0 BI does deserve credit for the wherewithal to have DS play keyboards on stage.\u00a0 When DS played keyboards with Kiss on the Revenge tour (1992) Gene Simmons (Kiss bassist, vocalist) and Paul Stanley (Kiss rhythm guitarist, vocalist) relegated DS to a location out of audience view as they have done with keyboardists on other tours (e.g., Gary\u00a0Corbett).]\u00a0 DS then played two bars of descending keyboard chords augmented by SM and JC\u2019s mid tempo bass line and drum beat at which point SS sat on the stage monitor positioned at the front edge of stage right.\u00a0 BI came on stage and sang the first verse and chorus at a slow tempo and in an emotional tone while SS and BM played melodic guitar notes and SM and JC played the mid tempo bass line and drum beat from the introduction.\u00a0 BI wore a thigh\u2011length black wool blazer with nothing underneath.<\/p>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 BI then repeated the pattern from the first verse and chorus when he sang the second verse and chorus, the only difference being that SS and BM played more colorful and intricate melodic guitar notes.\u00a0 BM played a maroon Gibson Les Paul guitar.\u00a0 During the second chorus BI stood atop the platform center stage, once again prompting female audience members to caress and grope his thigh. \u00a0[The slew of hands reaching for BI looked like a scene from George\u00a0Romero\u2019s zombie film, \u201cNight of the Living Dead\u201d (1968).]\u00a0 SS then got up from the monitor and went to the rear of the stage where he switched to his black Gibson Les Paul electric guitar.\u00a0 SS\u2019s quick guitar chord unexpectedly and momentarily escalated the song to an up tempo pace.\u00a0 SS and BM played wicked guitar riffs supported by SM and JC\u2019s solid rhythm section that they continued to play when BI sang the third verse.\u00a0 SS then played a searing, sultry guitar solo reminiscent of Vinnie Vincent\u2019s (Kiss\u2019s lead guitarist 1982\u201184) on Kiss\u2019s Creatures of the Night record (1982) and during which he incorporated Pete Townshend\u2019s (The Who guitarist) signature windmill move (twice) followed by the thumbs up sign to the audience. \u00a0The tempo then abruptly shifted back to its initial slow tempo pace as BI repeated the pattern from the second verse and chorus when he sang the fourth verse and third chorus.\u00a0 Eyes Without A Face, Dancing with Myself, and three other songs to be performed received the strongest audience reaction.<\/p>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 9. Kings and Queens of the Underground (unreleased).\u00a0 The first 20 seconds of this ballad featured DS\u2019s atmospheric keyboards augmented by a pre\u2011recorded tape track of an echoing male voice uttering something indecipherable.\u00a0 [Somewhat like what I mutter after chugging a 40\u2011ounce bottle of malt liquor.]\u00a0 SS then played melodic guitar notes on his natural wood acoustic-electric guitar that he continued to play when BI sang the first verse.\u00a0 BI\u2019s sang in a soft tone augmented by SS\u2019s melodic guitar notes, DS\u2019s keyboard notes, and JC\u2019s occasional cymbals, which they continued to play when BI transitioned without pause to the first chorus.\u00a0 Four large, vertically\u2011aligned green stage lights positioned in the rear of stage left and right (eight total) shined on the audience.\u00a0 SS and DS continued to play melodic guitar and keyboard notes during the 10\u2011second musical interlude between the first chorus and second verse.<\/p>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 BI then repeated the pattern from the first verse and chorus when he sang the second verse and chorus, the difference being that SM and JC played a slow tempo bass line and drum beat during the second verse and chorus while SS and BM switched to playing guitar chord progressions during the second chorus.\u00a0 BI then four times repeated the bridge, \u201coh, golden years\u201d during which JC delivered a healthy dose of cymbal crashes.\u00a0 SS then played a 20\u2011second guitar solo.\u00a0 BI then repeated the pattern from the second verse and chorus when he sang the third and fourth verse\/chorus combinations.\u00a0 The third verse contains particularly candid lyrics, \u201cSold all my vinyl.\u00a0 It went up my arm.\u00a0 And I thought rock and roll wouldn\u2019t do me no harm.\u00a0 Now I\u2019m rolling a joint.\u00a0 Yes I\u2019m dressed in black.\u00a0 If we lose the music baby we can never go back.\u201d \u00a0Kings and Queens of the Underground is an autobiographical song because BI references various releases in his storied career, Kiss Me Deadly (1981 Generation X record), Hot in the City (1982 song on BI\u2019s self\u2011tiled debut solo record), Rebel Yell (1984 song and record), and Eyes Without A Face (1984 song on BI\u2019s Rebel Yell record).<\/p>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 10. L.A. Woman (The Doors cover: L.A. Woman, 1971).\u00a0 Before performing L.A.\u00a0Woman BI, who wore a long\u2011sleeve button\u2011down black satin shirt (unbuttoned) came on stage and tossed four white Frisbees followed by some JC drumsticks into the audience.\u00a0 L.A.\u00a0Woman began with two bars of DS\u2019s shuffling, up tempo keyboard notes reminiscent of Jerry Lee Lewis (American rock and roll and country singer, pianist) followed by two bars of SS and BM\u2019s fiery guitar runs.\u00a0 SS played his black Gibson Les Paul guitar while BM played a maple sunburst Gibson Les Paul guitar.\u00a0 BI then sang the first verse augmented by SS and BM\u2019s chugging guitar riffs, DS\u2019s up tempo keyboard notes, SM\u2019s up tempo bass line, and JC\u2019s solid drum beat.\u00a0 BI then sang the first pre\u2011chorus during which SS and BM played mid tempo guitar chord progressions followed by SS\u2019s fiery guitar run during the 10\u2011second musical interlude between the first pre\u2011chorus and chorus. \u00a0BI then sang the first chorus during which SS and BM resumed playing chugging guitar riffs, DS up tempo keyboard notes, SM up tempo bass line, and JC solid drum beat.\u00a0 SS and BM switched to playing mid tempo guitar chord progressions toward the chorus\u2019s end when BI sang the line, \u201cInto your blues.\u201d\u00a0 BI modified the chorus line from \u201cL.A.\u00a0Woman\u201d to \u201cS.F.\u00a0Woman.\u201d\u00a0<\/p>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 The tempo then reduced to a slow tempo pace as BI sang the first four lines of the second verse augmented by SS and BM\u2019s melodic guitar notes and SM and JC\u2019s subtle bass line and drum beat.\u00a0 The vertical metal grills with mini lights mounted on the wall behind and flanking the two sides of JC\u2019s drum set (see set up discussion below during JC\u2019s drum solo) featured neon blue and green lights.\u00a0 DS played a 90\u2011second keyboard solo during which BI played a cowbell and SM and JC a bass line and drum beat that provided a solid rhythm section.\u00a0 SM stood in front of DS\u2019s keyboards.\u00a0 The tempo resumed a mid tempo pace when BI sang the fifth line of the second verse (i.e.,\u00a0\u201cdrivin\u2019 down your freeways\u201d) augmented by DS\u2019s shuffling, up tempo keyboard notes while SS and BM switched to playing chugging guitar riffs.\u00a0 SS played a series of vibrato\u2011laced low guitar notes during the 10\u2011second musical interlude between the second verse and chorus. \u00a0After singing the second chorus BI repeated the first verse and chorus.\u00a0 The song concluded with BI, SS, BM, and SM standing stage front center stage where they engaged in a jam during which the tempo slightly escalated.\u00a0 The song ended with JC bashing his tom\u2011toms five times.<\/p>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 -Steve Stevens Guitar Solo. \u00a0SS\u2019s four\u2011minute guitar solo commenced with DS\u2019s dark, atmospheric keyboard chords while the eight vertically\u2011aligned stage lights shined on the audience.\u00a0 These lights were initially electric blue but eventually turned red and then white.\u00a0 SS played flamenco style guitar notes traditionally played on an acoustic guitar on his black Gibson Les Paul while he smoked a cigarette.\u00a0 SS progressively played faster until he reached a frenetic pace.\u00a0 SS then reduced the tempo of his playing and incorporated some of Jimmy Page\u2019s (Led Zeppelin guitarist) guitar notes from Led Zeppelin\u2019s Over the Hills and Far Away (Houses of the Holy, 1973).\u00a0 SS then played fiery notes during which he demonstrated his dexterity by playing part of his solo with left\u2011hand vibrato.<\/p>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 11. King Rocker (Generation X cover: Valley of the Dolls, 1979).\u00a0 Before King Rocker BI said, \u201cSteve Stevens thank you.\u00a0 That was fu**in\u2019 great.\u00a0 We are going to do a song that we wrote almost 40\u00a0years ago.\u201d\u00a0 King Rocker is an up tempo rockabilly song that began with JC\u2019s rollicking tom\u2011toms.\u00a0 BI then sang the first verse at a fast tempo augmented by SS and BM\u2019s shuffling guitar riffs, SM\u2019s punchy bass line, and JC\u2019s up tempo tom\u2011toms followed by the first chorus during which SS and BM played chugging guitar riffs and JC the rollicking tom\u2011toms from the introduction.\u00a0 BI then repeated the pattern from the first verse and chorus when he sang the second verse and chorus followed by the pre-chorus, which he sang in pseudo\u2011rap fashion solely augmented by SM and JC\u2019s rollicking bass line and tom\u2011tom.\u00a0 BM then played a guitar solo on his black and white stripe Gibson Les Paul guitar while standing center stage next to SS.\u00a0 BI, who wore his black denim jacket atop a long\u2011sleeve button\u2011down white cotton shirt with black vertical pin stripes (unbuttoned), then repeated the pattern from the first two verses and choruses when he sang the third verse and chorus. \u00a0SS played a beautiful Gibson Les Paul guitar with a cracked pearl surface resembling a smashed mirror.\u00a0 King Rocker is reminiscent of a mix of Elvis Presley (American rock and roll singer) and Stray Cats (American rockabilly band).<\/p>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 12. Running with the Boss Sound (Generation X cover: Valley of the Dolls, 1979) was preceded by a 60\u2011second SS guitar riff showcase reminiscent of Eddie Van Halen\u2019s (Van Halen guitarist) guitar work on Eruption off Van Halen\u2019s self\u2011titled debut record (1978).\u00a0 SS\u2019s guitar riffs, which he played on his electric burgundy standard Fender Stratocaster body shape guitar while smoking a cigarette amidst flashing blue stage lights, led straight into the song\u2019s 15\u2011second introductory mid tempo guitar run augmented by SM\u2019s bass line and JC\u2019s drum beat.\u00a0 SM\u2019s punchy bass line and JC\u2019s driving snare drum and cymbals escalated the song to an up tempo pace.\u00a0 BI then sang the first verse during which SS and BM played up tempo, chugging guitar riffs while SM continued to play a punchy bass line.\u00a0 BI transitioned without pause to the first chorus during which SS and BM played shuffling guitar riffs.\u00a0 BI sang in a punk tone that did not entirely mesh with the rhythm section.\u00a0 [The vocals and rhythm section were not diametrically opposed but rather operated on different wavelengths toward a common goal, somewhat like a virgin\u2019s testosterone\u2011laced, goal\u2011oriented brain and overexcited jittery hands as he clumsily unbuttons a willing girl\u2019s bra.]<\/p>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 BI then repeated the pattern from the first verse and chorus when he sang the second verse and chorus after which the band engaged in a 20\u2011second jam during which BM played a brief two\u2011second guitar solo on his gold Gibson Les Paul guitar.\u00a0 BI then repeated the pattern from the first two verses and choruses when he sang the third and fourth verse\/chorus combinations.\u00a0 SS then played an extended four\u2011minute blues\u2011based guitar solo during which the tempo momentarily reduced to a mid tempo pace and that was augmented by BI\u2019s tambourine and JC\u2019s simple hi\u2011hat and bass drum.\u00a0 During SS\u2019s guitar solo the song\u2019s tempo progressively increased and resumed an up tempo pace at which point BM and SM joined in with their bass line and drum beat.\u00a0 SS concluded his solo by picking notes using his teeth a la Jimi Hendrix (iconic black American guitarist, vocalist).\u00a0 BI, who was still wearing his long\u2011sleeve button\u2011down white cotton shirt with black vertical pin stripes (unbuttoned chest and sleeves) but without the denim jacket, then repeated the pattern from the first four verses and choruses when he sang the fifth verse and chorus.\u00a0 During the first few lines of the fifth verse SS, BM, and SM stopped playing and JC\u2019s bass drum was BI\u2019s sole rhythm section prompting the audience to clap along.<\/p>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 13. Rebel Yell (Rebel Yell, 1983).\u00a0 Before Rebel Yell BI, who was bare\u2011chested, once again introduced his band, \u201cSteve Stevens, Jeremy Colson, Derek Sherinian.\u00a0 Last night I forgot his [DS\u2019s] name.\u00a0 Next week I am going to put you [DS] up here [center stage].\u00a0 Let\u2019s do Rebel Yell!\u201d\u00a0 Rebel Yell is a timeless up tempo anthem that began with DS\u2019s recognizable keyboard chords and SS and BM\u2019s short, sputtering guitar riffs during which BI and SS crisscrossed one another as they ran from the front edge of stage right to stage left.\u00a0 A powerful series of triple chords by SS and BM served as the cue for BI to sing the first verse augmented by DS\u2019s keyboard chords, JC\u2019s solid drum beat and SS and BM\u2019s short, sputtering guitar riffs from the introduction.\u00a0 BI sang in a tone reminiscent of Elvis Presley until he reached the last line when he screamed the final phrase (i.e., \u201cpray help from above\u201d).\u00a0 BI\u2019s scream served as the cue for SS and BM to play heavy, drawn\u2011own guitar riffs while BI sang the first chorus with ample audience participation, \u201cIn the midnight hour she cried, \u2018more, more, more.\u2019\u00a0 With a rebel yell she cried, \u2018more, more, more.\u2019\u00a0 In the midnight hour babe, \u2018more, more, more.\u2019\u00a0 With a rebel yell, \u2018more, more, more.\u2019\u00a0 More, more, more!\u201d\u00a0 [SS and BM played powerful, grinding riffs of the type that compelled me to rip off my shirt and beat my chest like a silver back gorilla.]\u00a0 SS played a short, fiery guitar run as BI sang the final phrase (i.e.,\u00a0\u201cmore, more, more\u201d).\u00a0 [SS\u2019s guitar run was so smoldering it would singe my Andy Rooneyesque eyebrows if I stood too close to his deadly axe.]<\/p>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 BI then repeated the pattern from the first verse and chorus when he sang the second verse and chorus followed by the third verse with the latter particularly reminiscent of Elvis\u2019s singing style.\u00a0 SS then played a 25\u2011second guitar solo, part of which he used a toy laser gun in lieu of a pick to strum his guitar strings. \u00a0[SS\u2019s solo was fitting for a heavy metal song.]\u00a0 The tempo then momentarily reduced to a mid tempo pace.\u00a0 During the 60\u2011second musical interlude between the third and fourth verses JC played a heavy, recurring series of tribal beats on his tom\u2011toms while BI chanted, \u201cDo you feel alright?\u201d prompting the audience to repeat the phrase.\u00a0 BI then sang the fourth and fifth verses still at a mid tempo pace augmented by DS\u2019s keyboard chords and JC\u2019s snare drum.\u00a0 BI sang in a tone reminiscent of Elvis Presley until he reached the final two lines of the fifth verse, which he screamed (i.e., \u201cI\u2019d give you all, and have none babe.\u00a0 Just, just, justa, justa to have you here by me.\u00a0 Because\u00a0\u2026.\u201d)\u00a0 The tempo then resumed an up tempo pace and SS and BM played heavy drawn\u2011own guitar riffs that they continued to play when BI sang the third chorus atop the platform center stage while the eight vertically\u2011aligned stage lights shined neon red.\u00a0 BI then twice sang, \u201cOh yeah little angel\u00a0\u2026 she want more\u00a0\u2026 more, more, more, more\u201d and ended the song with his right fist pointing forward standing atop a stage monitor.\u00a0 Rebel Yell, Eyes Without A Face, Dancing with Myself, and two other songs to be performed received the strongest audience reaction with Rebel Yell receiving the strongest reaction.\u00a0 The band left the stage at 10:33 and returned in one minute to play two additional songs.<\/p>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 14. White Wedding (Billy Idol, 1982).\u00a0 Before White Wedding BI said, \u201cYou guys are great\u00a0\u2026 very loud.\u00a0 Thank you for making my life so fu**in\u2019 great, and Steve [Stevens], thank you for making my life so great.\u201d\u00a0 White Wedding began in acoustic form with just BI and SS on stage with the sole spotlight shining on SS as he played a short ascending guitar riff and two bars of melodic guitar notes on his natural wood acoustic-electric guitar.\u00a0 BI then sang the first verse and chorus in a soft tone while SS played a melodic guitar chord progression.\u00a0 BI, who wore a black cotton jacket and black and white muscle shirt bearing the phrase, \u201cNo on Prop.\u00a08\u201d [California ballot proposition restricting the definition of marriage to opposite\u2011sex couples],\u00a0 \u00a0then repeated the pattern from the first verse and chorus when he sang the third verse and chorus with his foot on the stage monitor (skipped second verse and chorus).\u00a0 BI screamed the last line of the third chorus (i.e., \u201cit\u2019s a nice day to start again\u201d) extending the final word at least seven seconds and then motioned with each hand for the audience to \u201craise the roof\u201d (i.e.,\u00a0make more noise).<\/p>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 BM, SM, and JC then joined BI and SS stage front to perform an electric version of the song.\u00a0 BI shouted, \u201cTake me back home yeah!,\u201d SM prominently played an up tempo, groovy bass chord progression, and SS and BM played six bars of the melodic guitar notes from the introduction accentuated after each bar by BM\u2019s short guitar riff and JC\u2019s bass drum.\u00a0 BI then sang the fourth verse during which SM played a punchy bass line, JC an up tempo drum beat, and SS and BM sporadic, brief droning guitar chords on their black and maroon Gibson Les Pauls, respectively.\u00a0 BI then sang the fourth chorus during which SS and BM played an ominous series of solid guitar chord progressions while SM and JC played the same rhythm section as the fourth verse.\u00a0 SM\u2019s bass line carried the song.\u00a0 SM wore black denim slacks, black Harley Davidson muscle shirt with the \u201cHarley Davidson\u201d logo in red and white letters on his chest along with the phrase in white letters, \u201cPut Your Ass in Some Class.\u201d\u00a0 SM switched during the show between playing a natural wood and a tobacco sunburst Fender Precision bass.\u00a0 SS then did a duck walk across stage made famous by Chuck Berry (black American rock and blues guitarist, singer) after which the band engaged in a 30\u2011second jam.\u00a0 White Wedding, Rebel Yell, Eyes Without A Face, Dancing with Myself, and one other song to be performed received the strongest audience reaction.<\/p>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 -Jeremy Colson Drum Solo.\u00a0 JC played a solid three\u2011minute drum solo during which he shouted, \u201cSan\u00a0Francisco make some fu**in\u2019 noise!\u201d\u00a0 As JC bashed away he thrice shouted, \u201cHay, hay, hay, hay!\u201d prompting the audience to repeat the phrase.\u00a0 JC wore black and white knee\u2011length cotton shorts, no shirt, and played a matte black drum kit with single bass drum and a drum head featuring the black and red Billy Idol logo against a black background.\u00a0 JC\u2019s drum set was positioned atop an 18\u2011inch high, black\u2011colored wooden drum riser.\u00a0 Mounted on the wall behind and flanking the two sides of JC\u2019s drum set were finely spaced vertical metal grills with mini lights of varying colors.\u00a0 The grill behind JC\u2019s drum set measured six feet high by 30\u00a0feet wide while those on each side of his drum set were four feet high and 10\u00a0feet wide.\u00a0<\/p>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 15. Mony Mony (Tommy James & The Shondells cover: 1968) is a catchy song that began with SM and JC\u2019s up beat bass line and drum beat that they continued to play when BI sang the first verse.\u00a0 DS played three short keyboard notes after each of the first three verse lines while SS and BM played lingering power chords beginning with the fourth verse line.\u00a0 BI then sang the catchy first chorus during which SS and BM played groovy riffs, \u201c\u2019Cause you make me feel.\u00a0 Mony mony.\u00a0 So good.\u00a0 Mony mony.\u00a0 So good.\u00a0 Mony mony.\u00a0 So good.\u00a0 Mony mony.\u00a0 So fine.\u00a0 Mony mony.\u00a0 So fine. \u00a0Mony mony.\u00a0 It\u2019s all mine.\u00a0 Mony mony. Well I feel all right.\u00a0 Mony mony.\u00a0 I said yeah, yeah, yeah, yeah, yeah, yeah.\u201d \u00a0SM and BM sang the \u201cmony mony\u201d parts of the chorus while BI sang the remainder.\u201d \u00a0BI then did some jumping jacks and then repeated the pattern from the first verse and chorus when he sang the second verse and chorus.\u00a0 BI slapped hands with front row fans while he sang the second verse.\u00a0 The tempo then slowed to a mid tempo pace during the pre\u2011chorus and BI did more jumping jacks.\u00a0 [BI looked like he was in boot camp commanded by an ornery drill sergeant.] \u00a0SS and BM played catchy mid tempo guitar chord progressions, SM and JC played a mid tempo bass line and drum beat, while BI and SM eight times repeated the phrase, \u201cI love you Mony mo-mo-mony sure I do\u201d and then five times repeated the phrase, \u201ccome on come on.\u201d\u00a0 BI did more jumping jacks and then repeated the pattern from the first two verses and choruses when he sang the third verse and chorus.<\/p>\n
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\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 A stage hand came on stage and poured some talcum powder on BI\u2019s right palm that BI rubbed into his left palm.\u00a0 [BI looked like an Olympic gymnast preparing for the men\u2019s rings competition.]\u00a0 The stage hand handed BI a light blue standard Fender Stratocaster body shape guitar.\u00a0 The band then engaged in a 210\u2011second blues\u2011based jam during the first 90\u00a0seconds of which BI stood atop the platform center stage and played a simple guitar solo replete with snarls.\u00a0 SS, BM, and JC joined BI stage front center stage for the remaining 120\u00a0seconds of the jam.\u00a0 However, BI spent the last 60\u00a0seconds of the jam back on the platform center stage with his guitar slung on his back and headstock pointing at the stage floor where he used hand gestures (e.g.,\u00a0fists in the air) to encourage his band mates to continue jamming.\u00a0 Mony Mony, White Wedding, Rebel Yell, Eyes Without A Face, and Dancing with Myself received the strongest audience reaction.\u00a0 After the song ended the band waved and clapped in appreciation of the audience\u2019s enthusiasm.\u00a0 BI introduced his band for one final time, \u201cFrom San\u00a0Francisco\u00a0\u2026 Jeremy Colson.\u00a0 From England, Billy Morrison.\u00a0 On keyboards, from Santa\u00a0Cruz, Derek Sherinian.\u00a0 And from New York City, on lead guitar, fu**in\u2019 Steve Stevens!\u00a0 And I am on guitar and my name is Billy fu**in\u2019 Idol!\u201d<\/p>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Venue: The Fillmore (\u201cTF\u201d) is a historic San Francisco theater that, in the mid\u20111960s, under the direction of legendary late Bay Area rock promoter Bill Graham, was the site of psychedelic and rock music and counterculture.\u00a0 TF\u2019s early days featured acts such as Led Zeppelin, The Who, Pink Floyd, Cream, The Grateful Dead, Jefferson Airplane, Jimi Hendrix Experience, and The Doors.\u00a0 TF is a 1,200\u2011seat capacity venue with a standing room floor similar to an oversized dance hall.\u00a0 Positioned above the floor are 10\u00a0chandeliers.\u00a0 The second floor contains a bar and box seats, specifically, six box seats stage right and another two, along with the mixing room, across the stage.<\/p>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Opening Band (first to last): none<\/p>\n
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Arash Moussavian, Entertainment Law Attorney<\/p>\n