Great! We go on Aug. 2nd and Aug 5th. Can't wait!! How does Whitesnake sound?
I've never heard of a venue (as large to hold Priest etc. shows) that doesn't sell beer...isn't that how most venues make their money, beer food and lots more beer?
Snake's sound was a bit rough...too much low end and some distortion. The music was spot-on but David's vocals were really rough....more screeching than singing. still, it was enjoyable.
They played most of the 1987 album, Fool for Your Loving", "Love Aint no Stranger", "Slow & Easy", and one song from "Bad to be Good".
Not sure why Jones Beach no longer serves alcohol....it's a state park and not a privately owned venue which may be the reasoning behind that.
Here's a review from the previous night's gig in NJ:
JUDAS PRIEST / WHITESNAKE – Demon Doubleheader
Posted on Sunday, July 12, 2009 at 16:57:52 EST
Special report by Mark Gromen
Not often the concert promoting gods give the fans two heavyweights on the same bill, but such is the case for the current incarnation of JUDAS PRIEST (even better, performing their classic British Steel album in its entirety) and rejuvenated WHITESNAKE touring the outdoor amphitheaters of North America. With its proximity to NYC, Holmdel, NJ brought out many a known musician within the crowd. Those spotted included Halford/Painmuseum guitarist “Metal Mike” Chlasciak, Jack Frost (Seven Witches) and the Symphony X team of Mike LePond and Russell Allen.
While the warm overcast day threatened rain, it held off until an appropriately timed portion of the Priest’s set. Whitesnake took the stage with little pre-fanfare, strolling onstage, David Coverdale smiling like the Cheshire cat, waved to the crowd as they launched into ‘Bad Boys’. The well-tanned (for an Englishman!) singer wore a frilly white “pirate shirt” emblazoned with various logos, open to the navel. It took but one song for him to utter his famous, “Here’s a song for ya…” prefacing ‘Fool For Your Loving’. The song selection was safe, sticking to the big Americanized songs, even though most in the old-timers crowd undoubtedly own a vast cross-section of the back catalog, if not its entirety. Shame about the lack of ‘Burn’, ‘Love Hunter’ or ‘Lay Down’ (OK, that’s a bit of a stretch for the US, even if its on the bonus live disc with Good To Be Bad) that are performed overseas. Was but the first to highlight guitarist Doug Aldrich. ‘Love Ain’t No Stranger’ segued into ‘Slow & Easy’ (adjectives for the evening?). ‘Lay Down Your Love’ turned into a guitar battle between Aldrich and six-string partner Reb Beach, alternating spot-lit solos in a variation on the dueling banjos theme. Truthfully, it went a little long and another song (maybe one of the aforementioned odd-ball omissions?) would have been preferable, but that’s just me. ‘Crying In The Rain’ saw a drum solo within its midst and when completed, the English gent introduced his band. As the stage lights shone a blue hue, keyboards started the ballad ‘Is This Love’. Coverdale was aided by an enthusiastic crowd from the opening notes of ‘Give Me All Your Love’, the frontman turned cheerleader, walking side-to-side imploring the audience to sing, clap, etc. The concluding ‘Still Of The Night’ shows off Coverdale’s range, from the pensive middle part, to his vocal barrage when it picks up tempo. Applause from the musicos onstage, a big group bow and they were off. No encore.
During the intermission, a curtain was erected, hiding the stage. It was a depiction of a factory, heavy industrial site, with a sign outside the gate reading, “This is the home of British Steel.” When Judas Priest took the stage, the curtain fell from the rafters, revealing the band, replicating the 1980 look as close as possible. Still bearded, Rob Halford wore a full-body denim get-up (chaps included) and drummer Scott Travis grew a mustache, apparently to appear as close to Dave Holland as visually possible. The band stayed “in character” throughout the entire British Steel running order (delivered chronologically according to the UK release, the American version flip-flopped the opening ‘Rapid Fire’, ‘Breaking The Law’ and ‘Metal Gods’
. Sadly, the band just tore through this material, never really interacting with the crowd (“This next song contains the word ‘the law’ in the title,” being about the only moment Halford spoke during the opening 40 minutes), the seemingly immobile singer never removed his mirrored sunglasses and simply stared at his feet. That said, they sounded terrific and it was great to hear some of the rarities (‘Rapid Fire’, ‘The Rage’, ‘Steeler’
, as well as get staples like the aforementioned ‘Law’ and ‘Living After Midnight’ (got a surprised uproar of recognition from the crowd, despite the sequential set list) out of the encore slot. Tonight was really KK Downing’s moment in the spotlight, by far the most active of the four onstage, the song selection also seemed to emphasize his playing over partner Glenn Tipton. He was really the only one to approach the front of the stage during the first half of the show.
The stage was bathed in purple during ‘The Rage’, those unfamiliar with it headed for the restrooms or a re-fill, as Halford rocked back and forth in place, like a speed skater going nowhere. ‘Steeler’ ended with the guitarists at opposite ends of the black stage, green lasers flickering atop the heads of the crowd. British Steel material completed, Halford returned to the stage, minus shades and began to talk. At the front of the stage, bookended by the guitars, the trio kicked into ‘The Ripper’. Ignoring most of the highs, Halford was much more active and he didn’t bail on the final penultimate note/scream. During the thunderous ovation that rewarded its completion, the stage went black, only to be illuminated by the eyes of Nostradamus, heralding the arrival of ‘Prophecy’, complete with laser enhancement. Halford twitched to the same fringed coat he wore on the last tour, then removed for the ‘Hell Patrol’ follow-up.
Smoke fills the stage and Tipton mockingly chides the crowd for more applause, as he sidles up to Downing as the tandem begin the patented twin leads to ‘Victim Of Changes’. A sustained echoing effect is employed, rather than the vocal highs and during the sedate “She was wonderful…” passage, lasers tease the stage. The band leave the stage and silence of the blank stage is cracked twice, first by a flash of lightning courtesy of mother nature (as a rain begins to fall) and secondly by the roar of motorcycle engine. No, it’s not ‘Hellbent For Leather’, nor ‘Painkiller’ (two noticeable absentees this evening), but ‘Freewheel Burning’ the initial foray of the encore. It’s followed by ‘Diamonds And Rust’, then ‘You’ve Got Another Thing Comin’. While few can fault the decisions within the set, especially having the opportunity to see a 30 year old classic played end-to-end, the brevity (75 minutes of music) leaves a little bit to be desired, especially with such an expansive history and the favorites (‘Screaming For Vengeance’, ‘Beyond The Realms Of Death’ or ‘Sinner’ ). Guess that’s why there’s the Touch Of Evil CD, in stores Tuesday!
Long live Judas Priest and Whitesnake!
