Nobody ever said you had to win American Idol to have a successful music career. In fact, each year more former contestants are finding a niche for themselves in some corner of the music business. Enter the latest of those, Season 7 alum Michael Johns, who used Idol as a springboard not just for popularity, but as a means to finally make the kind of music he wants—blue-eyed soul. Johns had been down the rock road before, his Australian roots bringing comparison to the late Michael Hutchence, among others. But it was when a phone call from his mom prompted Johns to follow his true passion, which was to sing the music he grew up on, and his path had suddenly been set out before him. Several years later, Johns has delivered a solid Downtown Music debut, Hold Back My Heart, with many of the songs being Johns’ co-writes with Dave Cobb. Falling somewhere between the music of his idols Otis Redding and Sam Cook and the sappy soul of guys like James Morrison, Johns has discovered a middle ground that could absolutely launch his career to lofty heights—though nothing is guaranteed in today’s music business. Coincidentally, the opening (and best) track was a song Morrison had a hand in, “Heart on My Sleeve.” Other standouts are the aching ballads “Fools Gold” and Heart is Weak” (the latter written by Diane Warren) as well as the bluesy boogie of “Little Bear.” As impressive as it is, though, Hold Back My Heart falls short of being a home run, but leaves plenty of room for growth. (LABEL: Downtown)

Michael Johns MySpace Page

On Brain Cycles, Radio Moscow’s sophomore release, there’s an eight-minute jam called “No Good Woman,” in which there is a three-minute drum solo complete with headphone-porn stereo effects. The audacity of said drum solo is matched immediately by a one-minute unaccompanied guitar solo that closes out the track, with equally ludicrous stereo-shifting effects thrown in for no good reason. If that sounds awesome to you, then you should probably just buy Brian Cycles (as well as Radio Moscow’s 2007 debut) right now. If not, well, then you have no soul. Radio Moscow is a blues-rock band with some heavy psychedelic influences. They’re carved from the same stone as Hendrix, Stevie Ray Vaughan and the Allman Brothers. Subtle as a punch in the face, their musicianship is without question; guitar solos run amok as drums fly at you in all directions, while Parker Griggs bemoans about womanly woes and many other of life’s common ills. It’s not original in the least, but sure as hell sounds good. These boys from Iowa know what they are doing, and Brain Cycles is sure to cause all but the most jaded blues rock fan to drop his head in awe and cry out “goddamn” at least once. This isn’t Wolfmother-style emulation of a classic rock sound - this is the real deal. (Alive 2009)

Radio Moscow’s MySpace page

Over the course of his career, Todd Snider’s gained a well-deserved reputation as something of a smart-ass, an artist who apparently can’t resist the temptation to mingle his sentiment with satire, much the same as Kinky Friedman, Randy Newman, Shel Silverstein and other musicians known for their humor and chutzpah. Snider’s last effort, the obviously irreverent Peace Queer EP, found that line between sarcasm and sincerity all the more difficult to discern, and even though The Excitement Plan has Snider turning somewhat introspective, its also clear that his tongue is still situated comfortably in his cheek. Even so, Snider seems to be plowing his roots, turning down the amps and relying primarily on acoustic guitar, piano and harp for a steady, bluesy shuffle. The rustic appeal brings to mind more esteemed musical masters like J.J. Cale and Dr. John, but when he opts for a weathered and reflective perspective – as on “Greencastle Blues” and “Corpus Christi Bay” – the music becomes unexpectedly endearing. Happily, Snider’s observations are as wry as ever – borne out by the trippy tale of the ballplayer who pitched a no-hitter zonked on acid (“America’s Favorite Pastime”), an amiable diatribe on the spoils of success (“Money, Compliments, Publicity”) and a rambling lament about a shiftless spouse (“Barefoot Champagne”). Whether or not The Excitement Plan is as energized as its title suggests may be a matter of debate, but there’s no denying the lure of these entertaining observations. (Yep Roc)

Todd Snider MySpace page

Eilen Jewell doesn’t take anything for granted in her multi-faceted approach. As comfortable emitting a bluesy wail as she is in delivering a down-home croon, she eschews the folk singer format to take a more old-fashioned approach, one that’s as close to a rootsy template as any other modern singer has ventured nowadays. On this, her fourth album and second for Signature Sounds, Jewell asserts her seductive prowess and spans references ranging from Billie Holiday (“Everywhere I Go,” “Final Hour”) to Patsy Cline (“The Darkest Day,” “Codeine Arms”). In between, she varies her delivery from sassy to seductive, maintaining an easy lilt that’s melancholy and mournful without sinking to the depths of depression. An unexpected cover of “Shakin’ All Over” notwithstanding, Sea of Tears does reflect its title accurately, but given her comfort with the material, this particular sea allows her remarkably smooth sailing. (Signature Sounds)

Eilen Jewell MySpace page

Even those with half an ear wouldn’t mistake the Gourds for anything but a Texas band. From their sound, which is tough to describe since it has so many different elements (alt-country with creole and Tex-Mex seasoning? Hillbilly soul?), to their songwriting (with topics that run the typical Gourds subject matter weirdness: road trips, love, a guy named Thurman, unrequited love, fossils, love, Shreveport, women), this Austin-based five-piece is definitely of a place. Haymaker!, their ninth studio album, boasts more of a country sound than their last two albums, 2007’s Noble Creatures and 2006’s Heavy Ornamentals, but with the Gourds, country gets rightfully twisted to include soul, rock, swamp boogie, and a lot of the usual elements that listeners have come to expect from a Gourds album. Haymaker! thankfully is also a lot less ballad-heavy than Noble Creatures, so it naturally has a more playful feel. And while there’s nothing here as immediately stand-out as their cover of Snoop Dogg’s “Gin and Juice” – c’mon, that was 12 years ago, man! – there’s enough here for Haymaker! to be a contender for the best Gourds album yet. (Yep Roc 2009)

The Gourds MySpace page

This is what happens when a young, potentially gritty blues vocalist hires a former member of Tonic to produce his album: Fifty Miles to Chicago, 11 perfectly inoffensive, slightly soulful rock numbers that suggest what might happen if Rob Thomas listened to a lot of Electric Mud (and did not suck). In fact, Ripp flashes a lot of talent here, both in his vocal performances and his songwriting; it’s just a shame that Dan Lavery’s squeaky-clean production was allowed to suck all the sweat out of the recordings. As a result, although Ripp clearly has the chops to carry a warts-and-all record, Fifty Miles makes him sound like an impostor, an impression deepened by frictionless belters like “Lifeline” that drop him squarely in the driest, whitest square of Taylor Hicks Territory. In all fairness, Ripp co-produced the disc, with Randy Coleman – but it’s hard not to assume that he’s a much more entertaining, dynamic performer in a live setting, and that the decision to geld this record was made purely for commercial reasons. Here’s hoping that subsequent albums find Ripp more willing to color outside the lines, and give his songs the rough treatment they deserve. In the meantime, he’s got a lot more than 50 miles to go before he gets anywhere near Chicago – other than maybe the one that gave us “Hard to Say I’m Sorry.” (Get Ripp’d 2008)

Andrew Ripp MySpace page

It seems like a lifetime ago that Taylor Hicks was being crowned the champion of “American Idol” in its fifth season back in 2006. And while America clearly fell in love with this gray-haired wonder, Simon Cowell didn’t get it and neither did many critics, but Hicks’ debut album went platinum anyway. And while yours truly was a big fan of the material on that debut, the same can’t be said for Hicks’ latest, The Distance, released on his own Modern Whomp Records. There is no doubt this guy can sing with a trademark Joe Cocker-ish bluesy growl, but it’s pretty obvious that the recording budget was substantially less this time around, and the songs are mostly mediocre with performances at times reminiscent of cruise ship karaoke. Nevertheless, a few tracks do stand out, and Hicks is at his best when he tones things down for piano ballads – “What’s Right Is Right” and “Nineteen” are both heartfelt and destined for light rock radio repetition. And “Woman’s Got to Have It,” with fellow Idol alum Elliot Yamin, is a soulful and catchy closer. (LABEL: Modern Whomp)

Taylor Hicks MySpace Page

Okay, here’s a quick question for anyone who may still be left unawares: which recent event helped to significantly narrow the racial divide? That is, what event other than the election of America’s first Black president? Give up? How about the first release by an African American artist on that esteemed Americana label, Lost Highway? It may not seem so significant at first glance, but with first listen, this debut disc by Black Joe Lewis & the Honeybears confirms the suspicions most folks knew along – that pure, unfettered, classic R&B is as much a part of American roots music as any other style borne from the heartland. And while prefacing his moniker with “Black” may seem like he’s expressing the obvious, Lewis’ ability to summon the spirit of classic R&B by invoking the power and passion of James Brown, Wilson Pickett and Otis Redding is awesome and impressive in itself. These ten tracks echo the sound of pure ‘60s soul, from the full-on funk of “Gunpower” and “I’m Broke” to the rock-steady shuffle underpinning “Master Sold My Baby” and the cool groove steering that “Sugarfoot.” With his band of twenty-somethings holding sway – think Booker T & the MGs and the sound of Stax Records – Lewis’ impassioned howl offers a sure sign he’s learned his lessons well. And if some of the songs reinforce certain stereotypes – “Big Booty Woman, “Get Yo Shit” and “Humpin’” being among them – suffice it to so that like his influences, Lewis isn’t timid when it comes to expressing raunchiness or wickedness. This Papa may not have a brand new bag, but he’s getting a lot of use out of it all the same. Lost Highway

Black Joe Lewis MySpace page

When Brad Delp, lead singer of iconic rockers Boston, took his own life in 2007, it sadly marked the end of a musical era. But consider that there were four other original members of that band, and that they were all amazing musicians in their own right. Fast forward over 30 years from Boston’s debut, and two of the original members, guitarist Barry Goudreau and drummer Sib Hashian, have formed a new band called Ernie & the Automatics. This band was named after guitarist Ernie Boch Jr. and features the lead vocals of keyboardist Brian Maes, but the elements of Boston are there - the big classic rock guitar riffs and pounding backbeat, as well as bluesy elements throughout on their debut, Low Expectations. It’s hard to re-invent the wheel in this genre, and Ernie & the Automatics don’t try to. But even though the songs are less than memorable, it’s the musicianship, and in particular Maes’ Joe Cocker-esque growl, that drives the band. The best tracks are “The Good Times Never Last,” which sounds a lot like Boston’s “Rock & Roll Band,” as well as the driving, bluesy (and quite creepy) “I’m Gonna Haunt You.” (LABEL: Open E)

Ernie & the Automatics MySpace Page

They’ve never had a hit or sold a ton of records, but the Blind Boys of Alabama have been making beautiful music for 70 years and running, so in lieu of the sold-out week at Madison Square Garden they deserve, this DVD – filmed during an appearance at the legendary New Orleans institution Tipitina’s last spring – serves as a suitable tip of the hat to one of modern music’s most distinguished careers. Fittingly, the Blind Boys were on the road promoting a CD, Down in New Orleans, that paid tribute to the city, and the show’s location also enabled them to enlist a passel of the Crescent City’s musical finest, including Susan Tedeschi, Dr. John, and the Preservation Hall Jazz Band. The production values aren’t the best you’ve ever seen, the sound mix occasionally wavers into muddy territory – and if you’ve ever been to Tipitina’s, you know that fitting all those performers on the club’s tiny stage requires some delicate balancing – but what Live in New Orleans lacks in polish, it more than makes up for with the performers’ obvious, bone-deep commitment to the music. There’s little showmanship here, just the performers’ decades of experience, but that’s more than enough for a damn fine show. Live showcases the Blind Boys doing what they do best, and functions as a nicely priced introduction for new converts, who will also enjoy the brief BET-branded documentary bonus feature. (Saguaro Road 2009)

Blind Boys of Alabama MySpace page

Dion’s Heroes: Giants of Early Guitar Rock is played and presented with such joy, authenticity and enthusiasm that it is one of the better cover records released since it became trendy some 10 years ago. Much like Brian Setzer’s Rockabilly Riot Volume 1: A Tribute to Sun Records, this is a love letter to those who mapped out the first avenues of rock & roll. The difference between the two, other than the era covered, is that Dion captures the vibe and adds his own touches to each track while Setzer tried to reproduce each song as originally recorded. The material covered by Setzer is also not necessarily automatically recognizable as the material covered on Heroes. “Summertime Blues,” “Come On, Let’s Go,” “Bye Bye Love” and “Jailhouse Rock” are songs that are a part of our collective musical consciousness. Dion’s voice has great character and moxie, which perfectly suits these tracks. His band, which includes Robert “Crow” Richardson on guitar, plays these tracks with an energy and a reverence that they deserve. Dion has the credibility to cover songs like “Runaway” and “Rave On” because he was a contemporary of these folks, jammed with Buddy Holly and toured with many of these artists. The guitar work is really excellent here. No, there is no Van Halen tapping and shredding, but there are great solos with character and zip. Great songs, great guitar, what more can you ask? A bonus DVD of Dion relating stories about these songs, the original artists who recorded them and impromptu versions of a couple of them played in a studio with Richardson is also a treat. One-half star is removed from the total in that the only track that doesn’t measure up to the others is a cover of his own masterpiece, “The Wanderer.” (Saguard Road Records)

Dion’s Website

Anne Weiss finds herself sitting comfortably in a blues folk style on this new release. On the quieter songs here, her voice often recalls that of Joni Mitchell’s, and at other times it’s gritty and soulful, making a unique contrast. This is well-played, well-produced music, but at times Weiss tries to hit a few notes that her delicate voice can’t quite muster, as on the opening track “Ain’t Got No Reason to Lie to You.” But then she turns it all around with something like “The Song About the Affair That I’m Not Having” and it’s hard not to want to hear more. Of course, there are also some seriously funky grooves on “Special Delivery,” which features beatboxing and a sweet brass arrangement. This is where Weiss becomes her own person and sheds the sounds of others. On the title track and “Write Me a Few of Your Lines,” Weiss hits a bluesy groove that is pretty strong as well, if only her voice didn’t seem to start losing it’s power on the latter track. Overall this is pretty good stuff that’s a refreshing break from the usual thing we hear from artists like Weiss. (Potter Street Records)

Anne Weiss MySpace page

It takes stones the size of volleyballs to name an album by prefacing your own name with The Phenomenal, but that’s just what Ruthie Foster did with 2007’s The Phenomenal Ruthie Foster - and damn if she didn’t just about live up to her own advance billing. Now she’s back with The Truth According to Ruthie Foster, a set of songs just as authoritative as its title, and once again, Foster has given blues fans a hell of a feast. Truth was recorded at the legendary Ardent Studios, with Jim Dickinson behind the boards – and if that wasn’t enough, she cut the tracks with a backing band that included Robben Ford, Charles Hodges, and Dickinson himself. The end result is an album that comes as close to the old Memphis spirit as anything has this century, stacked with songs that run the gamut from fiery struts (“Stone Love”) to slow-burning strolls (“Nickel and a Nail”) – and makes room for a cover of Patty Griffin’s “When It Don’t Come Easy” in the bargain. None of these tracks will make you forget the classics they evoke, but they will make you feel like howling at the moon for awhile…or at least knocking back a few mint juleps. Sounds like honesty is still the best policy. (Blue Corn Music 2009)

Ruthie Foster MySpace page

Bootsy Collins, Buckethead, and Brain join forces with producer multi-instrumentalist Greg Hampton to release the man/robot Orwellian-themed, musically eclectic Living on Another Frequency. As bizarre as the combination sounds, it really isn’t unique. Brain and Buckethead worked together on The Big Eyeball in the Sky, joining Bernie Worrell (who guests on this record), and Les Claypool in the one-off Colonel Claypool’s Bucket of Bernie Brains. Buckethead has worked with Collins before in Praxis. The X factor, and ultimately the weakness of the record, are the whiskey-soaked, cigarette-stained and underwhelming vocals of Greg Hampton who provides the lead voice on the majority of the record. It’s a shame because musically, it is as sophisticated as it is bizarre. It has much more structure than a Praxis project, but still roams all around a futuristic funk rock sound to tantalize the listener. The best tracks are the trippy instrumental based tracks which have weird vocal samples (and no Hampton singing like “Sci-Fax Theme” and “Famous”) or “Life-IS IN-Deliver,” featuring a spacey, Hendrix-influenced vocal by Collins, or a guest spot by the distinct Chuck D on “What It Is.” It’s adventurous and interesting, especially on paper, but much like the 2008 Chicago Cubs, being good on paper doesn’t guarantee success. (Mascot Records)

Science Faxtion MySpace page

2008 has been a fantastic year for rock & roll to this reporter’s view. Last year, I felt like I was struggling to come up with enough albums just to fill a top 10. It’s been a far different story this year as sifting the top 10 from the many worthy honorable mentions has been a tough process that has required rigorous listening and re-appraisal. When new albums by longtime personal faves like the Black Crowes and King’s X can’t quite crack my top 10, I can only pay homage to the music gods for such a plentiful bounty.

1. Jefferson Starship: Jefferson’s Tree of Liberty
One of the greatest rock heroes of the ‘60s comes back with superb new relevancy as Paul Kantner hits the jackpot again with Cathy Richardson, the band’s dynamic new vocalist. The soaring harmonies between Richardson, Kantner and David Freiberg are simply majestic, adding a revelatory new flavor to songs that are mostly covers of ‘60s tunes that inspired the Airplane back in the day. But the new “On the Threshold of Fire” might be the song of the year – no other gave me chills like it did.

2. Susan Tedeschi: Back to the River
The blues diva delivers her best album yet, packed with soulful rockers, guest stars and oh so compelling vocals that assure the blues are in good hands with the current generation. “People” is one of the top tracks of the year and should have been Obama’s victory song in Grant Park. It’s among several tracks that offer a taste of the musical magic that occurs when Tedeschi and hubby Derek Trucks (slide guitar) join forces. Look for a Soul Stew Revival album featuring that combo to top this list in 2009 or 2010.

3. Michael Franti & Spearhead: All Rebel Rockers
Franti and his rock/reggae/hip-hop/funk/soul crew help keep the Bay Area at the cutting edge of the music revolution with their best album since 2001’s album of the year, Stay Human. There’s no one else mixing it all up like Franti, and no one else lyricizes the zeitgeist of the times like he does. Guest vocalist Cherine Anderson sounds like a star in waiting.

4. Guns n’ Roses: Chinese Democracy
It’s overproduced, should probably be labeled an Axl Rose solo joint, and should have been released at least six years ago. But all that aside, Rose has finally delivered the unique type of kick ass rock n’ roll that only he can (although the lyrics aren’t nearly as accessible as they used to be.) He’ll probably never live down the backlash over the album’s tardiness, but tunes like “Better,” “There was a Time,” “Catcher in the Rye” and “I.R.S.” are epic rockers that conjure that classic Gn’R sound. Now if only Axl would pick up the phone, apologize to Slash & Duff for being so difficult, and get the band back together. They’d sell out every arena in America.

5. Blue Turtle Seduction: 13 Floors
I’d never heard of these Lake Tahoe jam rockers until they saved last New Year’s Eve in San Francisco with their stellar “Hitchhiker’s Guide to the 12 Galaxies” show to usher in 2008 in festive style. Then they issued this superb album packed with tight playing and a bunch of tunes that sound like instant classics. Is it rock? Bluegrass? Funk? Punk? All of the above and more.

6. Sound Tribe Sector 9: Peaceblaster
These electronica-oriented, yet still organic jam rockers make their bones with their incendiary live shows, but this release captures that energy and delivers it in an album form that can get ya bumping in your car or grooving around the living room. The production value is dazzling, as the electronic layering is expertly mixed with top-shelf percussion and superbly tasteful guitar on songs that still inspire deep thoughts even though they’re instrumental. The band also put up a great informational companion site, www.peaceblaster.com

7. Alanis Morissette: Flavors of Entanglement
Alanis joined up with British electronica producer Guy Sigsworth to create a dynamic album that’s her most compelling work since her 1995 breakthrough. Tunes like “Citizen of the Planet,” “Straightjacket” and “Giggling Again for No Reason” ripple with unique sonic energy, while the rock goddess delivers an array of dazzling vocals demonstrating she’s still one of the best in the biz.

8. Ryan Adams & the Cardinals: Cardinology
This album could have ranked higher but the songs are too short (it clocks in at a mere 40 minutes) and it could really use a couple more rockers. Still, Adams’ uniquely cathartic vocals are superb, the pedal steel guitar from Jon Graboff is majestic and it’s another solid collection of tunes. But it’s starting to look like Adams is falling victim to jam band recording disease – plays amazing live shows, can’t quite capture the same fire in the studio. Still waiting for another album to approach 2005’s best of the year Cold Roses.

9. The Watson Twins: Fire Songs
These Los Angeles-by-way-of Louisville gals break through in a major way with this compelling platter of alt-country magic. The identical twins’ otherworldly mix of country, soul, gospel and rock is mesmerizing – their voices are akin to the sirens they sing of on the ethereal last track, “Waves.” The girls can sort of rock ya too, on tunes like “Bar Woman Blues” and “How Am I to Be.” This is the first album since I can’t remember when that I was inspired to rush out and buy after witnessing a performance by a band I wasn’t so familiar with, following their revelatory Saturday night set opening for Railroad Earth at the Fillmore in September.

10. Anti-Flag: The Bright Lights of America
These political Pittsburgh punks polished up their sound a bit here to deliver an album of arena-ready rock that sounds big but still rails with punk angst and energy. The lyrics are a spot-on indictment of Uncle Sam’s paradigm of Titanic turmoil, and what could be more punk than that? Rolling Stone should be utterly ashamed to have given Bright Lights only two stars. Green Day’s American Idiot is the only punk album of the decade that tops it.

King’s X: XV
Ty Tabor: Balance
The Black Crowes: Warpaint
Donna the Buffalo: Silverlined
Indigenous: Broken Lands
Widespread Panic: Free Somehow
My Morning Jacket: Evil Urges
Jenny Lewis: Acid Tongue
Tea Leaf Green: Raise the Tent
Joan Osborne: Little Wild One
Railroad Earth: Amen Corner
Mike Gordon: The Green Sparrow
Lotus: Hammerstrike
Los Lonely Boys: Forgiven
Aimee Mann: @#%&*! Smilers
The Black Keys: Attack and Release
Taj Mahal: Maestro
Buddy Guy: Skin Deep

Cleveland – Mifune: Time Is Watching Us
Husband and wife team Jacob (guitar) and Chris (vocals) Fader dial up a dazzling sound on their second album that blends the rhythms and horns of an afro-beat instrumentation with a groovy psychededelic jam vibe. The politically edgy lyrics continue a band tradition of looking for trouble with authority, and modern rock can always use more of that.

Dallas – The Bright: In Lucid Dreams
Formerly known as Superstring, the Bright’s mix of alt-rock edge with power pop grandeur and charismatic vocalist Julie Lange is a winning formula. The production value here is superb. They’ve licensed songs to MTV, but the major labels still haven’t called for some reason. The band’s cover of “Kashmir” is epic.

Oakland – The Passive Aggressives: Conflict Resolution
Take an alt-rock power trio with a heavy Les Claypool influence, add in a vocalist who’s like a cross between Alanis and Amy Lee, and you’ve got a powerhouse sound. Former Israeli Defense Forces member Keren Gaiser is a breakout star on the verge now that she’s shed her Celine Dion-style past and found her inner rock goddess.

Cathy Richardson of Jefferson Starship – She not only sounds amazing on the album, she delivers stunning power and mesmerizing rock ‘n’ roll mojo onstage, from Airplane classics to the new mashup “Imagine Redemption.” She’s got the skills to land next to Grace Slick in the Rock and Roll Hall of Fame some day.

Multiple-night performance of the year

Phil Lesh & Friends @ the Warfield Theater, San Francisco CA
May 13-14, 16-18
This monumental run of five shows in six nights to close down the Bill Graham Presents era at the venerable Warfield was simply stunning, in so many ways. Start off with the fact that the 68-year-old bassist is not only still truckin’, but is at the height of his powers. The first three shows offered the Grateful Dead’s first six albums played in their entirety, but of course way more jammed out, which was tremendous. The sets featuring the GD’s eponymous debut album on night one and American Beauty on night three were among the best sets that Lesh has played since Jerry left us.

Night four featured two live albums in their entirety and then the finale was a three-set, six-and-a-half hour marathon akin to New Year’s Eve in May, complete with “Sugar Magnolia” balloon drop to kick off the last set. Lesh topped that off by offering up a free soundboard of the electrifying 5/13 show, a magnanimous gesture he is generally known to grant at least once per tour. How many other artists can say the same?

Unprecedented collaboratory jam of the year

New Monsoon + EOTO @ The Fillmore – San Francisco, CA – February 9
EOTO, the new electronica project from String Cheese Incident percussionists Michael Travis and Jason Hann, warmed up the night – with guest help from SCI mandolinist Michael Kang – for a set that blew the roof off. New Monsoon’s second set opener then built one by one until all members of both bands were onstage for an epic jam that summoned all of the Fillmore’s legendary psychedelic power.