Friday July, 9 the sands of J.D. Legends were once again tossed and trampled by dancing feet as the summer schedule continued its return of live music celebration.
The evening brought one of Dayton’s most diverse and traveled group, Bohemian Funk to the stage. A group that dressed for the occasion bringing back waves of nostalgic ‘60s, and ‘70s vagabond vibes along with some magical, mystical mojo from the gypsy caravan.
Guitars bounced off the bright lights playing notes from the mystic mountain tops to the murky-deep, dark swamp. There was some definite voodoo magic and other-worldly spirits hanging out in the funk as fans and travelers grooved to the tunes like it was the Summer of Love, redone.
“I Ain’t the One” sounded very bluesy with hard working pride played with experienced fingers with stories to tell through the strings.
Singer/guitarist Rocko Dalian looked every bit the part of a gypsy shaman, like he could’ve stepped out of more than one historical era into 2021 with flash and a guitar strapped strut. The rest of the group looked less period-tagged but still distinguished with guitarist Eric Webber mirroring some of Tommy Shaw’s reflection but not quite a Damn Yankee. Drummer Graham Werts and bassist Montana Iverson came off the most modern though the overall visual flow fit the music and presentation.
“Rock the Night Away” held guitars necks high for the ‘70s banner.
With guitars squealing and vocals screaming it was a growlin’, teeth grinding good time with the “Bad Dog.”
The ladies were every bit part of the show dancing like it was first day Woodstock, with the magic bus parked around the corner. Several attired in era outfits, and gypsy swag, adding to the overall cool effect. Those sitting on deck with cell phones almost looked out of place in comparison.
At one point Dalian played guitar behind his back, ala Hendrix, though it wasn’t the “Star Spangled Banner” and no lighter fluid was used.
They definitely might’ve had a few sweat-lodge trips or ceremonial sessions with “The Medicine Man,” giving the crowd a taste of the after effects.
They ended the musical circle, readying the crowd for the next ceremony as the sun slowly melted down.
The Ultimate Doors had it all down from the stage presentation to the attire, playing a long set of everything associated with the West Coast legends.
Todd Huffman played Robby Krieger; the man responsible for some of the most hypnotizing notes put on vinyl or played live. Nate Shaw sat as the key stroking master of the Gibson G-101, Ray Manzarek dressing for the occasion, looking like he stepped out of The Sunset Strip, for a quick 2021 breather. Jordyn Huffman manned John Densmore’s eternal beat of the psychedelic heart and hippie dream.
Nash Stover emerged decked in Morrison black and leather immersed in character. A young version of the original, yet if you looked hard enough and paid close attention you could see the spiritual shadow accompany him, throughout the show.
He carried the stance, mannerisms, swagger and cool bravado of a dedicated fan and student of The Lizard King never breaking character even when the stage was stormed by adorning ladies and fans later.
It didn’t go too far or resemble the riotous scene depicted in Oliver Stone’s version, though Morrison dancing through the crowd might have been the first ‘circle pit.’ Nash did break into a few tribal movements, but didn’t display the unpredictable behavior of Kilmer’s version and no animals were offered as gifts.
The set was a healthy dose of all things Doors. With samples from each record, giving fans the hits, some deep cuts and favorites with a definite retro vibe in the air saying it was time to turn on, tune in and drop out. We were the evening’s counter culture.
The carnival-like organ intro of “Soul Kitchen” started the trip back to the Summer of Love, while, “Love Me Two Times” was the first reminder that Morrison and crew had many ‘strange days’ during the ‘60s and beyond.
“The Wasp” was the first ‘trip’ to The City of Angels and it’s lovely ladies.
“Hello I Love You” spoke of love at first sight, Doors style. Who would’ve brushed off The Lizard King back in the day? The poetic parlor-room charm of “People are Strange” highlighted the differences between the hippies and the squares.
Soft Parade got the least amount of free love with “Touch Me” as its sole moment under the lights. “Love Her Madly” told the timeless tale of doomed/toxic relationships on scratchy repeat. “Peace Frog” reminded of Morrison’s pass by encounter with a Native America medicine man.
Night descended on “Moonlight Drive” as the thunder cracked and lovers rode into the tranquil, serene storm. “Light My Fire” was performed unedited with Nash delivering the forbidden word in Morrison fashion rather than Kilmer’s in your face version.
The honky-tonk jam of “Roadhouse Blues” got feet moving and bodies dancing. “The Unknown Soldier” was acknowledged in song, symbolically waiting for the sun to rise on a new day.
The first revolutionary notes of “The End” brought back the long distance, distant memories and shadows of Vietnam and the dark side of flower power. The séance continued until the sands and stage morphed into a packed 1960’s Whisky A Go-Go, as the killer awoke, visiting the ancient gallery and hallway. Father?
“Break on Through” was saved till (after) the end with the salute to California’s favorite ladies finishing as a few Buckeye state ladies took to the stage ending the evening in true rock show fashion.
Bohemian Funk – https://www.facebook.com/profile.php?id=100023071157091
The Ultimate Doors Tribute – https://www.facebook.com/theultimatedoors
