A small crowd at the California Speedway for the Doors concert on September 6th. After all the hype and media advance from Harley Davidson, the anticipated 10,000 bikes did not materialize. There were about 10, 000 people total.

The band took the stage at a couple minutes after 9 PM and, after intro by KLOS's Jim Ladd, the Doors broke into a rousing rendition of Roadhouse Blues, Ian fully confident from the outset. It was live karaoke; everyone sang along: Ian started, "Well I woke up this morning and" ,., the throng came back with, "I got myself a beer". Before the crowd could cheer, they broke right into Break On Through. By the finish of the third song, When The Music's Over, the people were won over, and judging by the huge applause and cheers, Ian proved he was the only option for the shoes he was filling. The Doors knew they could not replace the American poet Jim Morrison, but Ian Astbury wonderfully tributed him. Manzarek said, "This is The Doors for the 21st century." He was right.

Next up was Love Me Two Times, which showcased the musicanship of the band with duelling solos between Ray and Robbie. Then came Alabama Song. Between tunes, Ian looked out at the crowd and asked, "Is that marijuana I smell?"

Ian was dancing and swaying to the rhythms that are now over 30 years old. He made them come alive as modern and vital. Five To One was next, followed by, as Ray called it, "a new arrangement" of the classic, Strange Days.

John Doe, of 80's punk legends "X" came out, with 2 Indian tribal dancers and offered a very moving performance-art reading of Morrison's poems Awake / Ghost Song / The Hill Dwellers with accompanying music from the band. Ian stood to the side of the stage and watched intently, obviously a fan. The presentation was a highlight, as it made the mood even more authentic,.,. this was truly a concert by The Doors, not a tribute band trying to ring the cash register off of old songs. And Doe was the only celebrity guest of the night. No Scott Stapp, no Scott Wieland, no Kid Rock. It was Ian singing with his band.

Ian was at his best and most relaxed during his presentation of Love Street.,., he did an awesome job with emotion and presence. You could not take your eyes off the man.,., and I know he realized that he was the focus of most of the show. Again, the reaction of the crowd, mostly 30+ in age, accepted this reformed group as "authentic". Moonlight Drive kept the spirit alive. LA Woman was a popular anthem. The show closed with John Densmore's teenager onstage with his dad's band to do an encore cover of the already-played-once Roadhouse Blues. I would have had the kid stay at the side of the stage and had Ian sing "The End", a Doors mainstay live, which was glaring in its absence.

Stewart Copeland knew his drums and Doors songs, and nailed every note he played. He was obviously joyed being able to be play as a menber of the Doors. Robbie Krieger and Ray Manzarek gave the millennium crowd a look back at the magic of the 60's era Doors' onstage act. But it was Ian Astbury who made this concert the success it was. He explained that he, too, was a fan of Jim Morrison.

At various times during the show, pictures of Morrison were shown on the bigscreens at stageside, and left on as the show ended.

Kudos to Harley Davidson for putting together this 100th anniversary celebration. The Cal Speedway was overkill for a venue, totally huge,., the exhibits were tremendous; a full history of the product. Ford Motor Company also had a cool exhibit of their history, and were a co-sponsor of the tour. My pal Ralph and I walked through them more to kill time till the headliner act then as if we really wanted to delve into motorcycle culture.

Los Lobos were mediocre at best, their Cal-Mex songs dated and bland. Earl Scruggs had no business being anywhere near a Doors concert. His band would have stunk under water, and hardly got a reaction from those who did not turn and leave moments into his show.

And the food,.,., one little kiosk sold the best, most authentic steak tacos I ever had, and that includes anyplace on Olveras Street in LA. Long lines at the tent selling marvellously large tri-tip sandwiches. Couple that with Fosters Lager on tap and the MadMan had a spectacular time leading up to the main event.

Open Road Tour rolls in to speedway

When the Doors debuted with their 1967 self-titled album, they lighted a musical fire that attracted many instant devotees and that today continues to draw new generations of fans.

Keyboardist Ray Manzarek said he didn't necessarily expect such longevity, but it is welcome.

"That's from the grace of God and the energy of the universe," he said in a phone interview Wednesday. "We drew on the light of the sun and we tried to harmonize our vibrations with the true teachings of Jesus Christ. In other words, love, love, love. That is the lasting vibration. Hate dies. Love is eternal."

The group is among several acts to be featured in this weekend's Harley-Davidson 100th Anniversary Open Road Tour at the California Speedway in Fontana. It is a celebration of music, historic motorcycle exhibits, stunt shows and other entertainment. The Doors perform Friday, along with Los Lobos and Earl Scruggs. Other performers include George Clinton, Kid Rock, the Doobie Brothers, Billy Idol, Journey and Stone Temple Pilots.

The Open Road Tour is an international event that began in Atlanta on July 20 and will end in Hamburg, Germany, on July 27, 2003. Modeled after a road trip, Harley enthusiasts are encouraged to ride from spot to spot if they can. Organizers have included family friendly events as well.

Three exhibit spaces measuring 20,000 square feet are set up at each stop and filled with motorcycles, vintage artifacts, photographs and films. National and regional acts perform as well, with the lineup changing as the tour goes on.

Doors veterans Manzarek and Robby Krieger anchor the group. Joining them for the first time are Ian Astbury, formerly of the Cult, on lead vocals and Stuart Copeland, formerly of the Police, on drums.

Copeland and Astbury were eager to join the lineup when asked, Manzarek said. Doors drummer John Densmore is suffering from damage caused to his ears during a lifetime of rock drumming and could not play, Manzarek said.

The surviving band members have played together only twice since disbanding in 1973, two years after the death of lead singer Jim Morrison.

With a possible tour and new music in the works for next year, Manzarek said he sees no difference between the audiences of the past and fans of today.

"The audience doesn't change. The vibration is the exact same vibration as in the '60s," he said. "People want passion, excitement and good musicianship."

Opportunity Knocking

Retooled Doors find new magic in old hits before revved-up fans at Harley fest.

A strange tension gripped the California Speedway in Fontana on Friday night as the Doors, circa 2002, took the stage. Striding up to the microphone in black jeans, cowboy boots and lace-up blouse shirt was not Jim Morrison but his doppelgänger, British rocker Ian Astbury, complete with a head of natural black curls.

As original keyboard player Ray Manzarek and guitarist Robbie Krieger stepped up to a roar of approval from the 5,000 bikers and classic-rock fans gathered in the dusty infield for a concert celebrating the 100th anniversary of Harley Davidson, the legacy of the Doors hung for a moment in the balance.

When they last left the stage at the Hollywood Bowl on Sept 10, 1972, almost 30 years ago to the day, Manzarek said, "Next time we'll be back with Jim" --meaning they'd never be back (Morrison died in 1971). So the songs have remained as they were then, unsullied museum pieces of FM rock radio, perfect, the past. But as Krieger laid into the loping opening riff to "Roadhouse Blues," it suddenly seemed that the band's risky endeavor could work: there could be a new Doors. Astbury's rich baritone picked up the verse with Morrison's inflections--"Keep your eyes on the road, your hands upon the wheel"--and the crowd began to roar.

Yes, it was the Doors' greatest hits, with all that that implies. But it was more too. It wasn't Morrison, it wasn't a tribute act, it was Astbury revealing that the familiar songs --L.A. Woman, Break On Through (to the Other Side), Five To One-- held new potential.

Manzarek, visibly moved by what was happening before him, couldn't help but shout out what he'd been waiting 30 years to say: "Ladies and Gentlemen, this is the Doors! We're here to witness the new Doors for the 21st century."

Whether the rock audiences, young or old, will accept a new Doors is a major question. It's not, for instance, likely to be embraced by either radio or MTV, and none of the four principals--including ex-Police drummer Stuart Copeland--have been involved in high-profile rock projects for years.

Manzarek and Krieger are comfortable in using the Doors' name again. Not as a nostalgia act, not playing the rock revival circuit, but to step into a spiritual leadership void that has haunted rock music since at least the mid-'90s with the demise of Nirvana and the movement of rap toward R&B, which has become acute in post-Sept. 11 America.

"It's kind of comin' back around to how it used to be," said Krieger, 56, sitting in the lounge of a rehearsal studio in Hollywood last week. "In the '60s we had the Vietnam War, and now we have the war with Iraq and terrorism."

"So we're going to offer Doors passion and Doors spirituality to a new generation," said Manzarek, 63, breaking in with his rapid-fire, youthful enthusiasm, "that looks like right about now could really use a dose of truth and reality and making music just for the sheer love of making music."

During an afternoon in the cool dark of the black-walled rehearsal studio, with Stone Temple Pilots thundering in the next room, it became clear just exactly how the original members of the Doors see themselves having an impact. The revolutionary aspects of the '60s, for instance, the civil rights and anti-Vietnam War movements, are still largely communicated through the music of the time. The Doors albums from 1966 to '71 did not shy away from the bloody, menacing news of those days, but transformed them truthfully with the poetic and theatrical sensibility of "The End" or "When the Music's Over."

"There's a spiritual crisis in light of what happened last year," said Astbury, 40, his intense eyes almost mocking his Mickey Mouse T-shirt, his light English accent deepened by hours of singing.

"Right now, we seem to be in this void where there's no real patriarchal figures that we can depend upon," he said. "I think Morrison was a great, strong model for masculinity--how to carry yourself without being phony baloney and hippie about it."

While Astbury and his hard-rock stance with the British band the Cult might seem like a strange fit for the Doors, he suits the combination of romantic poet and spiritual warrior that drove the original band members. Manzarek and Krieger, who met drummer John Densmore when all three were part of the original Transcendental Meditation group of the Maharishi Mahesh Yogi in 1965 (later popularized by the Beatles), are committed to preserving the shamanistic and poetic tradition embraced by Morrison.

"I read principally because of Morrison," said Astbury. "I studied native cultures because of Morrison, I went to Tibet because I was introduced to indigenous and shamanistic cultures through the Doors' work. Even when I was a longhaired rock guy, I've constantly pushed Native American philosophy, indigenous philosophies, Buddhist philosophies."

Now it looks as if the new Doors will give him the opportunity to write new lyrics as well. After a bit of touring, Manzarek and Krieger plan to work on the first new Doors material since 1978's "American Prayer," which featured Morrison vocals and poems recorded before his death. Krieger says they've been writing for six months, the first time they've written together in decades, and have eight to 10 new songs. The core band will be the one that appeared in Fontana: Manzarek, Krieger, Astbury, explosive drummer Copeland and young bassist Angelo Barbera. Densmore may work on the project if his current bout of tinnitus, a ringing in the ears common to rock musicians, improves.

They'll also be be working with other poets such as musician-actor John Doe of the seminal Los Angeles rock band X and "Basketball Diaries" author Jim Carroll, whose 1980 rock album "Catholic Boy" remains a touchstone of urban punk poetry.

Doe came out at Fontana to read "Ghost Song," Morrison's poem about an apparent car accident that killed a group of native Americans, later immortalized in Oliver Stone's film "The Doors" as a formative experience in Morrison's artistic life.

Copeland, whose virtuoso drumming pushed the old songs toward a new aggression, says his new role couldn't have been more natural. "I already knew all the songs," he said with a laugh. "I used to play Doors songs when I was 14 years old in a cover band in Beirut. These are such great songs, so well structured, I haven't had this much fun since the Police."

For Danny Sugarman, the Doors' longtime manager, the new Doors are the culmination of a long struggle. Standing backstage, he said, "I've been trying to make this happen with Ian for 10 years."

The only Doors song they won't do, say Manzarek and Krieger, is "The End." That song was Jim's. Everything else is being put back in the lineup, and they're finding the old feelings are flooding back.

"I don't think it's any different 30 years ago than it is today," said Manzarek. "Human beings are sentient, they want to be hit in the loins with a good beat, and they want to stimulate their brain, and they want to feel their heart chakra just pumping love. We all want exactly the same thing: We want to get off. We want to rock."

I cannot believe it's all over! I have been waiting since February for this show, that's when I was first tipped off that a special and wonderful Doors event would occur on September 6th .. and better yet, that no out-of-town travel would be necessary!

Security entering the CA Speedway was ample, and thorough to the extent of searching purses, bags, etc. I was asked if I had any guns, which seemed to be their focus. It would've been a looooong hike back to the car if I'd had to take my weapons back to the car! :=) There was also a metal detector to go through. There was no security resistance to bringing in cameras or recorders.

The weather turned out to be perfect. It has been brutally hot in SoCal recently. We had some odd, scattered non-seasonal showers the day before and day of the show. Weather reports for Fontana had included scattered thunderstorms for September 6th, which would have been interesting karma ... Riders On The Storm ... but that was a hassle we did not have to deal with. We were blessed with a comfortable cloud covering which provided a very pleasant air temperature. It didn't even get cold after sundown, although we were in the foothills of the mountains.

Los Lobos was already on stage when we arrived; the schedule indicates they began at 5:00 and played until 6:30.

Earl Scruggs took the stage at 7:00 through 8:30. I missed band introductions (if there were any), but I am certain that it was stellar guitarist Albert Lee on stage with the band.

At 9:00 as the audience was restlessly chanting for The Doors, the Harley-Davidson officials and family members came out and did some talking about their year-long 100th anniversary event. They also introduced a young girl with muscular dystrophy ... apparently H-D has been a long-time corporate sponsor for the Muscular Dystrophy Association.

The stage was about 12 feet high and very large, so the band was going to have lots of room to move, and would easily be visible to everyone there. There were also giant screens on both sides, and the young lion photo of Jim with 1943-1971 below it, was projected on both screens.

FINALLY, at 9:10 without any fanfare, Angelo and Ray and the others strolled to their stage positions and the audience erupted. Jim Ladd came out and did a brief intro, and - just as he did at the House of Blues show on Tuesday afternoon - he asked: Is everybody in? Is everybody in? Is everybody in? The ceremony is about to begin. Ladies and Gentlemen, from Los Angeles, California ... The Doors

With those famous words we were treated to Robby's opening chords to Roadhouse Blues, and a major sing-along was underway! Robby was dressed in green camouflage pants and a white t-shirt with a picture of someone I didn't recognize (as usual!).

They plowed directly into Break On Through, with some 'Dead Cats, Dead Rats' thrown in.

Ian was dressed in black jeans and a black long sleeved shirt with black embroidery on its back. He had a music stand by the microphone, as he did on Tuesday, but he appeared fully confident with the lyrics as he performed. He looked pretty darn good, with his hair longish - over his ears - curly, wavy and tousled!

With no time wasted, Ray began the opening chords to When The Music's Over on Alesis keyboards. Ray wore a light colored long sleeved shirt over a white knit shirt. I love to watch Ray play, with his head rocking back and forth in time to the music. Ian really nailed this song ... it was right on! Stewart did all the 'right things' too ... he was true to the Densmore drumming style. No complaints here, he was fantastic back there on those drums!

Love Me Two Times was the next song, with great musical interplay between Robby and Ray. This was followed by Alabama Song (Whisky Bar) which segued into Back Door Man. Next came Five To One. At the end of that song were the band introductions ... Ian introduced Stewart Copeland and Angelo Barbera; Ray introduced Ian.

Strange Days followed, with its new, updated "middle eastern" introduction and overall sound. I confess to liking the new treatment of this song, a lot. And there is a burning guitar at the end of the song. There was a psychedelic light show projected behind them for this song.

I glanced at my watch and noticed it was 10:00 already. Damn, only one hour to go, but literally dozens of songs I still hoped to hear!

Next, Ray introduced John Doe of X, who came out to read some of Jim's poetry as Ian disappeared from the stage. With musical accompaniment as on American Prayer, John recited Awake / Ghost Song / The Hill Dwellers. The surprise was two Indians in native American costumes dancing around on stage during the entire performance. I did not clearly catch Ray's introductions at the end of the number, but I believe he identified them as Navajo Indians.

John left the stage, and the opening notes of Love Street delighted us. The song ended with a solo, tinkly keyboard outro, very similar to what Steve Bach has been doing with that song at Robby Krieger Band shows.

Robby slipped the bottleneck on his finger, which signalled to me that Moonlight Drive would follow. Ian recited Horse Latitudes at the end of Moonlight Drive, and then the band went right into Wild Child. We were too close to easily see the giant screens on each side of the stage, but during this song I glanced up and saw portions of the Wild Child video being projected.

Ray mentioned that it was almost fall, and introduced a song from Venice, California ... leading into a beautiful Summer's Almost Gone with Robby on bottleneck again.

Next came Robby's blistering guitar work signalling we were being treated to L.A. Woman ... WOO HOO! That song ROCKED. At the end of the song, Ian asked if that was any way to behave at a rock & roll concert! I don't know if he was responding to something he saw in the audience, or if he was just being relevant. Ian said this was "so new", and thanked everyone for coming and supporting this.

Ray said we were there for the debut of The Doors for the 21st Century, then introduced Robby Krieger on guitar, Ian Astbury on lead vocals, Stewart Copeland on drums, Angelo Barbera handling all the bottom, and himself.

Straight into Light My Fire, which lasted ten minutes. Just like in days of old, the vocalist left the stage when that middle ride began and the musicians went into their hypnotic grooves. OH MY GAWD. Robby strolled around the stage as he played, sharing those special musical moments with Ray, Angelo, and Stewart. Some Eleanor Rigby was tossed in, as Robby came to the edge of the stage to give everyone a good look at his incredible guitar playing style. Ian returned to the stage to wrap up the song, and -- bless him -- at least he can hit those final, crucial notes that Scott Stapp failed so miserably on during Storytellers.

It was now 10:40 p.m., we knew it was almost over. The band left the stage briefly, and the audience was wildly chanting WE WANT DOORS. They returned to the stage amid sound effects of thunder, to launch into a lengthy and haunting Riders On The Storm. One more surprise treat: Ray's introduction of Robby's son Waylon, along with birthday wishes. Waylon's birthday was the previous day. Waylon stood on the far right side of the stage, next to his proud Pop, and shyly waved and acknowledged the crowd's applause and pleasure. Robby announced that for those who arrived late, they were going to play Roadhouse Blues again, which was led off by Waylon's guitar. Another sing-along!

And then, the worst possible thing happened .... IT WAS OVER. It was 11:00. Finis. No Mas. The End. There were crowd chants for more, but the roadies swarming the stage to begin the breakdown made it clear there would be no more. The security guys also made it abundantly clear that it was time to leave!

This show WAS special. Sure, John wasn't there and we missed his presence terribly .... but if you closed your eyes and listened, you wouldn't have known it was someone else. Stewart Copeland was clearly a perfect choice to fill in for John's very unique drumming style.

Ian isn't Jim and never could be, but more important, isn't trying to be. I've never particularly been a Cult fan, but Ian did a fully terrific job. He was not in black leather. He did not do Jim's slinky moves and dances ... instead, he did Ian's moves! He was energetic and exciting to watch. He covered the entire stage, from end to end. He jumped, danced, and did HIS OWN interpretations of the music. Angelo stayed in the background, chugging away like he does. He must be sooooo thrilled and honored to be a part of this.

During the long walk out, I did not hear a single complaint about the show. Everyone within earshot or who we spoke to, was totally blown away by the performance, and more than satisfied with Ian's performance. The Doors are back in the 21st Century. Hopefully the footage will result in a DVD so that everyone can experience this.

The Webmaster at www.robbykrieger.com has already uploaded several dozen photos from the press conference and the concert itself. Be sure to check them out in the Photo Gallery on that site.

http://www.idafan.com/HarleyShowFontana.htm

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Well the atmosphere was supercharged and the good thing was that a large portion of this crowd was not just here to see The Doors. The set list has been posted already (and Ian did sing one verse of Dead cats/Dead Rats). I will admit that in a couple of places the pace was a little fast, this however could have been due to the fact they had 17 songs to play in just under 2 hours. Ian did a remarkable job. Ray and Robby got down to business and really were on fire, Stuart Copeland added such an amazing job adding plenty of jazzy theatrics. I didn’t see a person in the crowd that wasn’t ecstatic at what they were seeing or hearing. During When The Music’s Over and Five To One the screens either side of the stage showed some very graphic and violent images of animal slaughter, nuclear bombs, bullfights, dead bodies, and various other images. It was very compelling as it shows that the guys still want us to think about the music words and images we are confronted with. Ian tried to liven the crowd up a few times, but those who have seen The Cult know that he often berates the audience until he gets the madness he desires. Personally for me the a John Doe bit of the night didn’t work, it threw a spanner in to a well oiled machine, the Navajo Indians dancing throughout his reading didn’t really work. The original Doors logo was displayed on both screens (I know a few of you have been curious about this). The songs sounded tremendous and if I were being critical the only song that seemed a little lost in places was LA woman, although this is if I were being hyper critical. I really find it hard to believe that anyone could not have walked away blown away by this performance, on the way out all I kept hearing was praise from the audience at the show they had seen. Ian stated they had only had 7 rehearsals, if they can do this in only 7 rehearsals, then by the time they get to your city the seats in the venue better have seat belts, as it’s going to be a wild ride.

Just got back from LA and let me tell you the show was excellent!!! The atmosphere was something I will never forget. Temperature was right, people in the audience were Doors fans and the stage set-up was outstanding, with 2 large video monitors. I was standing about 15 ft. away from the stage.

The American Poet shot of JDM appeared in the darkness and Jim Kerr from KLOS took the stage and asked "is everybody in? The Ceremony is about to begin, Ladies and Gentlemen from Los Angeles, California The Doors!!! Right into Roadhouse Blues. My first impression was that the sound was a bit heavier. This was due to the fact the Robby's chops have gotten better over the years, and Stuart Copeland hits the drums a bit harder & faster than Densmore. That fit very well with Ian Astbury's style. Ian came out on stage and started singing with a lot power & passion in his voice. I must say he did better than I thought he would in terms of nailing the vocals. For the record Ian was being Ian not trying to be JDM. He even acknowledged that during the show. Ian took a very humble approach. He was dressed in a black designer shirt(60s style) with black jeans and dark Gray, Dan Post boots.

Thought the band did outstanding versions of Road House Blues, Break On Through, When The Music's Over, Wild Child & Moonlight Drive. On these songs I felt the band was tight. Stuart Copeland is an outstanding drummer, but I thought he did not really try too hard to sound like John. Thought he did a good job on Wild Child and made a great attempt on When The Music's Over, but it did not really sound the same. With practice he could pull When The Music's Over off better. I made a decision to write that part of the performance off and just enjoy Stuart as a drummer. With only 7 rehearsals there was no way Copeland was going to be able to play all of John's parts correctly. At times he did do some drumming acrobatics that rivaled Neil Peart or Keith Moon. Not exactly appropriate for Doors music, but cool to watch just the same.

I thought Ghost Song and part of COTL with John Doe was cool, but the Indians dancing on stage (similar to the video of Ghost Song) was a nice attempt but came off looking like a recreation of an Oliver Stone scene from the movie.

Ray & Robbie really enjoyed playing together again. During Love Me Two Times Robbie walked over to and they jammed on different riffs for about 2 minutes with big smiles the whole time. They also seemed very comfortable with Ian and Stuart by letting them interpret the tunes as they saw them. And in the end that is what evoked the magic of The Doors on that night. At the same time you could tell Ian and Stuart were trying to do their best and I believe after they practice more it will only get better. Would it have been great to have John there? Of course, but he wasn't and according to Ray he may never play with The Doors again. I HOPE THAT IS NOT TRUE.

If you are Doors fan it would have been hard to be disappointed by this show.

Met some cool people at the show, especially Jason from "The Other Side" tribute band. We got to down a few beers before the show and he does kind of look like JDM, so go see his band if you live in LA.

I was towards the front of the stage, off to the left side. I remember the crowd going berserk during the first few songs. Roadhouse Blues and Break On Through sounded great, but it was When The Music's Over that really blew me away. Stuard Copeland did a fine job on that one. It was great to hear "We want the world and we want it.." live. Ian Astbury brought out a music stand before starting When The Music's Over, which presumably contained the lyrics! (Ray did mention that they've only rehearsed seven times.) I remember Ian coming in a little early on Back Door Man. Ray looked at the band and gave an "oh well" look. At some point, Ian walked off stage and Ray introduced John Doe from the L.A. punk band X. He came out and they did Ghost Song, which then merged into The Hill Dwellers from the Celebration of the Lizard. That ended with "..and you're the one I want to come!" Too bad they didn't go into Not to Touch the Earth. During this medley, two native american dancers came out in costume and "blessed" the members of the band with feathers and smoke. After the song, Ray said one was a Lokota and the other was a Navajo. John Doe then walked off stage and Ian came back. At some other point in the concert, Ray announced they would play a new arrangement of Strange Days, which I thought was excellent. I was also thrilled by the addition of Horses Latitudes at the end of Moonlight Drive. I thought the highlight of the show were the solos during the Light My Fire. Ray and Robbie really played off of each other. Stuart and Robbie exchanged some solos as well towards the end of the middle section, before Ian screamed the customary "Fuck, fuck, fuck, fuck!" before going back into the last verses of Light My Fire. The band then left the stage and came back for two more songs. They first did Riders on the Storm, which was great to hear done live. After that, Ray announced they would play Roadhouse Blues again, with Robbie's son playing along side dad. Then the show came to an end.

All in all, I thought it was good show. I was happy to hear these songs being played again after all these years. Robbie was in topnotch form and so was Ray. Stuart was great too. I also think Ian did a good job; he even looked like Jim. My only criticism of Ian was that he did not engage/communicate much with the audience during the songs.

Roadhouse Blues
Break On Through
When The Music's Over
Love Me Two Times
Alabama Song (Whiskey Bar)
Back Door Man
Five To One
Strange Days
Awake / Ghost Song / The Hill Dwellers
Love Street
Moonlight Drive/Horse Latitudes
Wild Child
Summer's Almost Gone
LA Woman
Light My Fire
Riders On The Storm
Roadhouse Blues