Dan does the Stormy Monday downloads and he does a dam good job with them, but this week he tackled the first years of the Phil Lesh Qunitet and it is worth reading and listening to. As I mentioned before, the PLQ is my favorite post Jerry music ever created in regards to the original songs/group. Combing searing southern flavored guitars, excellent vocals and an uptempo energy the group had it all.
He offers two sets for you to download and listen to but there are also a bunch of them at the archive. One of my favorites was the first time I caught this combination of players live, 10-13-00. It was a rollicking Friday night and when the group went into Terrapin Station out of SlipKnot! the Beacon exploded. So you can give that one a listen too...
OK I will be taking a mini vacation, so catch up with you all on the flipside...All the best.
Monday Dead this week takes us back to July 16th 1970 and what we have here is anything but a failure to communicate. A major transitional year for the fellas, 1970 had it all, ups/downs/folk/freakouts but on this glorious day one of the groups most beloved friends came on stage and shined her lovelight all over the place.
Nice grab Pigpen...Listen right c'here:
I had a blast yesterday hanging out with a bunch of friends and loved ones (even if my football picks went south, but Chelsea had fine form) and the night ended with us watching the excellent Festival Express. If you haven't seen this movie, please, do yourself a favor and order it asap you will not be disappointed. A great documentary about a magical coming together of musicians. I was amazed when I caught the film on the big screen down in Union Sq. and the main reason for my fascination was not the Dead, nor even my man crush on Rick Danko, but the unbelievable force of nature that Janis Joplin was as a live performer.
Her scenes in the film jump off the screen with a richness and vitality that is unmatched, she was magnetic. beautiful and simply stunning as an artist. I love that the Dead wrote "Bird Song" in her honor, but I love even more this "Lovelight" with Pigpen. Before we get to that though I should mention that the quality of today's show is again top notch grade A+ stuff. Kudos to Scott Clugston for a pristine transfer allowing us to enjoy this timeless performance 30 years later. Before we get to the naughtiness we need to mention the quick and fun version of "China Cat Sunflower > I Know You Rider", it is a crisp version of an old favorite, but the "Candyman" here is skip-able. Never my favorite tune and a blown version on this night, it was as if the band was waiting for the front woman to take the stage.
Then comes the huge "Lovelight" and the interplay between Janis and Pigpen. An obvious chemistry blazes through the speakers and I would freak out to be able to see the video of this show as it is a happening man. The sexy interplay works even if we can't see it and you gotta love Janis ripping on the "Hippie Jack-offs", saying she wants a working man as the sparse band just keeps the minimal beats behind her. Then after some crowd encouragement the group starts the train up around the 11 minute mark. Jerry gets wah-wah'ing and Phil fuzzes out a few bass bombs as the revving up to the climax commences. What a time must have been had, and I can only imagine the quarts of whiskey and tequila that were consumed.
Here's hoping the party is still going on somewhere special, enjoy the show.
Good news on this Friday Funday, Uncle Neil is coming out with a new album in 2 weeks. Yippee!
From the first track released it almost sounds as a full on collaboration with producer Daniel Lanois, this is right up his alley, freaky noise parts/loops/sparseness...give it a listen:
I dig what these two crazy Canadians are going for. Got a soft spot in me old hardened heart for any time Neil gets his feedback/low rumble on. I do hope there are a bit more up tempo tunes on the album, but it will be an interesting listen no matter what. Uncle Neil, unlike most "classic" artists, has the ability to release complete bombs that even his die hard fans have a hard time defending...but this one sounds very intriguing, can't wait to give it a spin on the 28th. Enjoy the Weekend.
This review is part of the "Over Flow" Review Series. For various reasons these past reviews were not published anywhere else. I am tagging them as "Overflow Reviews" and may add some extra information after if needed but I will keep the ratings and reviews just as I originally wrote them. Enjoy:
SHINING
Blackjazz
**** out of *****
From their free jazz acoustic roots to this cataclysmic exercise in schizophrenic metal free-form it has been quite a journey for Norway's SHINING, but the fruits of their labor, Blackjazz, is a thrashing success. The band has completely changed from their debut Where The Ragged People Go, to there newest effort Blackjazz, so much so that a name change was probably due a few albums ago. The group is now a skittering smash of guitars tweaks, thundering bass lines over assault rifle drumming with distorted howls and screams acting as vocals. You can pretty much classify anything as 'jazz' but purists who favor Louie Armstrong and John Coltrane might want to check out something else. Now fans of industrial, thrash and death metal should take note as the album is adventurous yet directed and pummeling.
Opening with a wail comes "The Madness And The Damage Done" blowing out minds and woofers, increasing expectations with its frantic serial killer style; by the time the tracks violin filled reprise returns in the middle of the album you need to sit down and catch your breath. This is a primal earphone experience that rewards with a deep listen, for example when "Exit Sun" blasts to the forefront you can hear the multi-instrument layering with well timed pianos in the breaks and while fierce clanging is on the top, the group sports crafty sonic interplay below. Tracks run on and on (most waaay too long), such as the dueling/dying clashing between saxophone/guitar/keys/sludge bass and drums that makes "Helter Skelter" feel like the end of days as distortion creeps in and swallows the track whole.
Their epic, in length and structure "Blackjazz Deathtrance" begins as if they are electrifying an ancient kingdom of non-believers, before a satanic sounding chant delivers the track and the masses to hell via twisted keys and bashing skins. "Omen" builds and builds on feedback taking a vibe of minimalism and reverb until it's exploding crescendo, the track slightly resembles Sun O))) which is a refreshing take after all of the jumbled cacophony proceeding it.
Obviously SHINING are prog-rock fans (on speed and probably rat poison from the sound of things) and they invite Grutle Kjellson from Enslaved to join them on their screeching cover of King Crimson's "21st Century Schizoid Man", but this album will be much better received by fans of early Ministry then early Genesis as it's spastic flourishes and driving rhythms are more akin to industrial prowess then prog excess. If those are where your territorial pissings splash then fire up Blackjazz.
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Got this album earlier in the year and was blown away...I have always loved Ministry and had recently gone back to listen to a couple of their more recent albums (Rio Grande Blood really kicks major ass, thanks Glen) and remembered Blackjazz. If you are into this sort of thing, you really need to check this one out, a ferocious sonic assault, some video below (Not too Jazzy, Huh?):
A quick and hot country/folk studded first set takes place for us on this Monday, way back on July 3rd 1969. Listen via that link, or even better, stream it right here:
The group lets there folkie and frontiersmen come to the forefront on this night in Colorado. What needs to be addressed first is the amazing quality of this recording...it is an A++ thanks to Charlie Miller, Rob Eaton and company. It sounds perfect, there is no two ways around it. While this isn't a complete show, the quality of playing and sound won't disappoint anyone who wants to take this trip with me.
The other neat-o thing about today's show is the rarity of the songs played during this first set. Starting off we get Cowboy Bobby going to town on Claude "Curly" Putman Jr's country tune "Green, Green, Grass of Home." It seems like every classic country star covered this at one time in their careers, I am going to post the best dressed man in Country musics version, Porter Wagoner:
Both are dynamite versions and the Dead only played this tune a handful of times in 1969 and early 70. Bobby is loaded up and hunting a pesky huge bear in the classic "Ole Slew Foot" written by Manney Hausey. Here is Johnny Horton ripping a killer version out from back in the day to compare the Dead's version too...
That is another rare one from the fellas having only been played a couple of times in 1969. The next country/folk number to get an airing is the bit more familiar "Sittin' On Top Of The World" a classic penned by the Mississippi Sheiks. Here is the original to check out:
The first three songs almost act like a history lesson from the group. Then comes the cosmic freak out folk of the fan and band favorite "Morning Dew". This version is raging all over the place with huge crescendos a quick tempo and what could be sheets of metal getting played about midway through, this is a fun sonic journey.
What shows up next is an amazing Jerry Ballad worth every second it is played, "High Time" aches with pain making Jerry sound older then his years on the vocals, and the group supports him well, Lesh in particular plops in with some creative bass lines. A quick and cut off "Me and My Uncle" keeps the cowboy vein a flowin' for Bobby and has some nice keys from Pigpen. Then comes the highlight of this short first set, the wandering long version of "He Was A Friend OF Mine". Turns out this tune is actually a combo of a traditional ballad and a piece of Mark Spoelstra's song titled "Just a Hand To Hold", there is a pretty good round up on the tune here. Also some more discussion here on it. Whatever it's origin the Dead make it their own on this night with a spacious jam section that finds Garcia soaring.
This version seems to be the longest the Dead ever recorded of this song and the guitar intro is pretty magical all around. The band strolls and takes a leisurely walk in the summer night with this one watching the sunset and contemplating life as Jerry plays on and Phil starts the musical conversation that Bobby picks up as well. This is a unique track and one worth checking out if you never heard the Grateful Dead play it.
Hope you enjoy this set as much as I did, thanks again to the production team as this sounds pristine and will obviously get many return visits. Vaya Con Dios Amigos.
Hope everyone had a relaxing Labor Day weekend and to ease back into this short work week we are going to travel far back to the Labor Day weekend of 1967 which closed the highly adventurous Summer of Love and cemented The Grateful Dead as "A Happening, Man"!
Lets kick September Dead style off right as that show in Rio Nido, CA turned out to become a pretty righteous one in the Dead's history, listen to 9-3-1967 or stream it below, this is not a show to be missed:
I know this show is coming a day late in our Monday series, but you will certainly forgive the holiday tardiness when you are 10 minutes into the simply epic "Midnight Hour" that opens this. At that point we are about as far from the Steve Cropper/Wilson Pickett tune as you can go and still call the it a cover, but I am getting slightly ahead of myself, 9-3-1967 really is a high point from the Dead's early days and they knew it. When the band re-mastered and released their Self titled first album they added the "Viola Lee Blues" from this night as a bonus track...there was magic in the air at the Dance Hall in Rio Nido, California.
Like most relics from days gone by their is a bit of wear and tear on the recording, but considering the year and technology the damage is negligible, in fact as the show progresses the sound ebbs and flows but the playing would be worth listening to had the show been broadcast through a muffler of a Ford Fairlane.
(Ok Maybe not that kind of muffler...snapperhead!)
The version of "In The Midnight Hour" that opens this recording was probably from later in the show, or possibly even the next night, but when Phil Lesh complied his Fallout From The Phil Zone he handpicked this exact version to be on the disk and he is pretty sure it comes from this night, so the good people at the Archive have it for us check out...and it is a WHOPPER. Clocking in at over a half hour and not boring once throughout it is a stunning work from the band; longevity doesn't always equal succes with the group but on those special nights when you wished the group would just let it all hang out and never stop...well you get that right from the jump here.
After Pigpen (who is top-notch all show) gets the jam a-goin' with his slapdash blues vocals the group begins the adventure experimenting with the musical conversations to each other. Phil in particular is vibrant with his bass lines weaving in and out of Garcia while he keeps the dancing psychedelic groove bumpin'. Bobby's strums are flared out and around the 13 minute mark things are completelyout there and flying. In what would become a successful them this night, the structure of the cover tune would be wrapped up quickly and then the great wide sonic open would lay before them allowing the quintet to dabble like painters. When they get back around to the vocals Pig has some fun trying to get the crowd up and jivin', he even gets on young Bobby Weir telling him to take a break from his guitar and dance with a fancy lady. I haven't thought too much about my favorite version of the fellas covering this song, but I am guessing I will be hard pressed to unearth a better one then this.
Next comes "Dancing In the Streets", another soul cover from the cosmic cowboys and we follow the same pattern, all though this cover was a little newer to them and the original song part gets a bit of a butchering (with some wobbly sound to boot) but once they toss of the shackles of structure the night opens up with Jerry and Bobby playing in multiple directions while the groove is locked with Pig Phil and Billy holding down the rhythm (Mickey wouldn't join the fellas until later in the month). What starts off a bit shaky works really well in the spacey realm that the Dead were so comfortable in.
After some extended playing we dig in for soulful blues with a compact and powerful workout of the classic "It Hurts Me Too" from Tampa Red. Pigpen is again in his element taking the mic and making us feel with his words and harmonica playing that was missed after he passed, but it is Jerry's cutting lines that hit home and set the tone with their weeping power. This is a cover the Dead always did justice too no matter when in their career they chose to play it, but it sounds a bit different then the original, which has a more buoyant and uplifting musical shuffle.
Both great versions and another killer cover (notice a trend today?) scoots it's way into your ears, the traditional "Cold Rain and Snow" . I love the amped up fire of 1960's versions of this classic as it's energy is tight and the playing always seems crisp in front of Pig's high pitched organ runs and Phil's dropping bass notes; this version is a winner. Another Pigpen fronted cover came up next with the walking blues of "Good Morning Little School Girl" focusing on Phil's dynamite playing the slight rhythm strums of Bobby and the squirrely Garcia riff runs that transform into feedback blasts with ease. This is a cool daddy-o version with the band completely in sync with one another and when Jerry teases us via those ripping blasts he is hinting at a monster that is about to arise next...unfortunately when "Schoolgirl" seems to be peaking we get our audio nuts cut when the tape ends...ouch, blue ears.
It is unfortunate considering the quality of the playing being expressed on this night, but the end of "Schoolgirl" and "Viola Lee Blues" which is mega-highlight has it's beginning and end snipped, but we can't focus on what we don't have we can only showcase what is here and it is glorious....
As the tape fades back in we hear the boys ending a verse and Jerry is instantly off and riffing with support from a game Weir and Pigpen. Phil seems to be out on his own wavelength with Billy just slapping the shit out of the snare to march the tune up hill. "Viola Lee" was the song the Dead really started it's jamming ways on, it would take the Noah Lewis original and bring it to places I doubt the jug band musician could have even imagined. It sounds like Phil and Jerry really get into things around the 7 minute mark with the band digging in and furiously exploring different avenues as Kreutzmann keeps it fast and pulsing. Jerry and Billy both flash fire in a guitar snare duet around the 9 minute mark and the whole group is off again with the night as their sonic oyster; willing to go anywhere and they do.
Things get climatic at the 15 minute mark as the band builds to the inevitable crescendo and explode...back into the structure of the jug band original at 16:20. Then the groove starts up again with everyone building while Jerry runs full steam ahead until once again we hit the vocals to close things out, and while the tape is cut slightly it can't take away from the other worldly playing that just took place.
For a band that was closer to simple blues and folk then anything else at the start of the year to have this cataclysmic explosion of experimentation is amazing and it would serve notice to everyone else that they were the premier psychedelic band on the scene...well for the next 25+ years.
"Big Bossman" acts as set breather with a simple shuffle letting the boys and crowd ease down from the tripped out highs they just heard. Then a sleepy "Alligator" rears up and slinks onto the stage....it takes the group only a few minutes to rev the energy in the dance hall back up and get the night flying again. 3:41 in the funky strumming of Bobby works wonderfully with the lead high pitched notes of Jerry moaning along while Phil and Billy take no prisoners on the low end. Bobby keeps at it, turned up loud in the forefront laying an R&B foundation that the others can vibe around...in the speakers it sounds really crisp serving as a reminder that Weir was vital for the band even when he wasn't singing.
7 minutes in the band is peaking yet again on this amazing evening, hitting out in all different directions but maintaining it's center. The complete package is being expressed as the band can solo on their own while remaining a consistent force blowing minds with their power and electricity, everyone in their own space yet flowing communally...uber-impressive. At 10 minutes in you can't help but smile as they are locked and loaded, hunting for bear. You can tell they don't want the magic to stop, and luckily for us we have these amazing shows so it never will... what a tune, what a night, what a show!!!
As legend has it Robert Hunter who had been friends with Garcia for years, and had written the lyrics to "China Cat Sunflower/The Eleven/Alligator" and others already, was in attendance this night in Rio Nido (one of the supposedly 25 people who were). Legend continues that this impressive night of music moved him like never before with the group. It is said that after this night he decided that his future was tied to the boys and he would devote the next 30+ years to being a member of the band who just never took the stage with them, even going so far as to write the first verse of "Dark Star" that weekend.
Whatever the case may be, it is hard to deny the power of this show, perhaps the true highlight of 60's Grateful Dead musical prowess and fittingly it occurred on the final weekend of the Summer of Love...A Labor Day of Love? Nah, I won't get that cheesy, just enjoy the Show.
(Edit: after I wrote this up this weekend, I found a fantastic review today of the same show from the wonderful website Dead Listening, you can give that a read as well...I should have saved myself some time and just posted that one, even more thoughts on a historic night.)
you can also pay to download some bonus track the fellas created with the STS9 crew.
I will be honest, usually this stuff isn't my cup of orange juice but this release is smooth, engaging and inventive. The horn really helps things along producing a space aged jazz world that a guitar wouldn't be capable of. Maybe it is just the mood I am currently in but as the disk plays now the sax-keys-drums mix combined with the computer produced soundscape-thingie-ma-bobs produce a pretty A-Ok vibe on this Thursday. Some highlights after first listen were "Limelight" and "High and Rising", give it a peep if you dig this sorta stuff, or want to try something new.
Here are a couple vids of them in the live setting:
Originally I had planned to only do Grateful Dead shows in this Monday's project, but as it turned out I started a theme with this Saratoga August thing and of course this year there had to be 5 Monday's in August with the problem being the Grateful Dead only played Saratoga 4 times in their career. So what to do? I am dipping into one of the post Jerry incarnations of the group for today's show, but first a bit on the weekend...
Had an amazing time up in Saratoga this weekend with family, friends, horses and happenings. Thanks to everyone who made it up and out, I certainly had a blast and Travers Weekend is consistently one of my favorites of the year. I didn't do so well on the horses, just hitting one true winner on Friday, but I also didn't bet heavily at all this year.
In the closest Travers Race in my memory Afleet Express won literally nosing out Fly Down in a photo finish! I stuck with my initial feeling betting on A Little Warm who ended up being 5th. An exhilarating race that couldn't have been any closer. Maybe I will post some pictures from the weekend in the future, but now onto the show.
Today's we travel not to far back in time, only to 8-1-2004 Saratoga Performing Arts Center. It finds "The Dead" on their 2004 Summer Wave That Flag Tour, and I was lucky enough to be sitting up in the grass with some friends and family on this night:
This review is part of the "Over Flow" Review Series. For various reasons these past reviews were not published anywhere else. I am tagging them as "Overflow Reviews" and may add some extra information after if needed but I will keep the ratings and reviews just as I originally wrote them. Enjoy:
Avi Buffalo Avi Buffalo
*** out of *****
On this self-titled debut release we find a band of California crooners easing into delightful pop melodies that float in the air like a wayward balloon. The disk sounds assured and confident in its dreamy tone, shimmering guitar lines, and cymbal flourishes. You would have no idea that this four piece (Avi Zahner-Isenberg guitar, vocals, Rebecca Coleman keyboards, vocals, Arin Fazio bass, Sheridan Riley drums) were barely out of high school.
The group’s first single is “What’s In It For?” a slice of 50’s style sunshine complete with requisite Ooh’s and Aah’s building up to a happy-go lucky ending. “Summer Cum” is a hyped up acoustic tune that deals with lovers troubles in a high pitched voice that sounds like a joke and out of place; Zahner-Isenberg’s voice has its limits and he should leave the high notes to Coleman. Both “One Last” with its bar room style piano and the electric guitar squiggles of “Truth Sets In” manage to display a healthy balance between the vocalists. “Remember Last Time” adds a new dimension to the band with it’s drawn out coda that stretches the tune to over 7 minutes showing an exploratory avenue that the band could pursue with success.
Easy to digest west coast pop with boy/girl vocals that breeze around; this is a good disk for a summer drive in the country with the windows rolled down.
_______________________________________________________________________ Don't have much more to add, so enjoy some of the tunes of Avi Buffalo:
"What's It In For?"
"Remember Last Time"
It is of one of my favorite new groups, Rough Seven or R Scully's Rough 7,depending on what day of the week this is...
Whatever they call themselves...I will call them awesome.
I haven't been able to get the disk out of my ears since I got it, while there are a couple of tracks I am not sold on, the ones I like I REALLY like.
Tracks like "St. Anthony", "Meltdown", and "The Good Out Weigh's The Bad" are really something to behold. The style is basically rock and roll with flairs of gospel, ballads, heartache and joy mixed in...NOLA modern day music. Check out this myspace version of Meltdown Live at Saturn Bar...Sick!
I didn't talk about it much in the review, but backing up Scully in the group are some real players. Rob Cambre on guitar kills it multiple times over and the low end of CJ Floyd and Mike Anderpoint provide rock solid backing. Ratty Scurvics plays both organs and key boards while Erika Lewis and Meschiya Lake provide the glorious soul singing back-ups that elevate the album above others.
Basically it is a whose who of musicians from the big easy that I think are dope as all hell. It would make sense that the great talent down there would play with each other as the great musicians from NOLA have been doing since the city was founded. Concerning the back up ladies, I have already posted some Meschiya Lake in the Loose Marbles Interview, but below I got some sweet Erika Lewis Crooning (OK and one more Meschiya) to go along with the a couple of Rough Seven videos.
If you are lucky enough to live in NOLA go check them out live, hopefully we can get them up to NYC ASAP, as it would be a rip roaring blast to catch them in this town. I also hope to do some more work with them in the near future on this site, so stay tuned.
Until then grab the album if you can find it and Enjoy.
This review is part of the "Over Flow" Review Series. For various reasons these past reviews were not published anywhere else. I am tagging them as "Overflow Reviews" and may add some extra information after if needed but I will keep the ratings and reviews just as I originally wrote them. Enjoy:
Quasi
American Gong
***and1/2 out of *****
Quasi has changed up their style, no longer are keys at the forefront of their attack (if they are even present at all), now distortion cruises through the backbone of American Gong which is, at its heart, a guitar rock thumper. Another new flair is having bassist Joanna Bolme join Janet Weiss and Sam Coomes to construct these whacked-out-bluesy distortion-laced-psychedelic-punk-tunes. A long winded way of saying there is a lot here to take in.
"Repulsion" and "Little White Horse" begin the album by grinding out the dirty guitar shimmy to kick things off with Bolme's bass lines swaggering under the solos. “Bye Bye Blackbird” is the albums highlight putting the feedback into overdrive as Weiss beats the shit out of the drums, careening the number downwards into darkness under warbling guitars for 6+ minutes of mayhem. “Don’t Let Them Get You Down” has a piano verse section that finds Coomes crooning in his Doug Martch style to support fallen comrades while “The Jig Is Up” and “Death Is Not The End” are freak-out ditties that unfortunately show the limits of Coomes voice. “Black Dog and Bubbles” is a soup of metal noise that tastes hearty and the piano rolls out again for "Laissez Les Bon Temps Rouler" which closes the disk (I am ignoring the tacked on Dog howling track ridiculousness).
The playing can feel schizophrenic, but things are fresh and listeners never get too comfortable. Just when the weirdness starts to overwhelm a straight up crusher like “Rockabilly Party” strolls out and you could instantly imagine heads bopping everywhere to its rollicking bass, blazing riffage and perfectly matched Weiss/Coomes vocals.
American Gong is some damn good rambling/stuttering punk-ish work with a smile that shakes and rolls all over the place at its own drawn out pace. Weiss's stomp and playing style in particular remains in top gear here, her playing rivals the best rock drummers going today. While the other projects these members spend their time with get most of the headlines Quasi just seems content to keep slamming out killer albums.
For more thoughts a bunch of good live video click the read more sucker....
This is the 141st installment of The Mid Summer Derby. There is an epic history of champions when it comes to this race. I will be headed up there this weekend marking the 7th 8th year in a row my friends and I wake up early to find a prime spot on the grounds to watch the day flow by. Much loves goes out to Jeremy Paul for joining me every year at the ass crack o'dawn and the host of other people in my life who make this weekend one of the best of the year.
I am not going to pretend to be a handicapper on the races, but I will give a bit of preview and say I have always been pretty lucky when it comes to the main race (just don't ask about the races before it). We did win a nice sum of cheddar on Summer Bird last year in the slop:
Unfortunately I don't have much to preview as the horses haven't been announced completely this year yet, and honestly this has been a down year for marquee names to run in Saratoga's biggest race. There are reportedly 14 horses under consideration so we are going to have to wait and see who gets in and who is locked out. It looks like Jim Dandy winner A Little Warm will be there as will Super Saver who won the Kentucky Derby (in one of the least memorable Derby's I can recall). The owners and trainers of Trappe Shot hasn't decided yet to run him in the Big Boys Race or the King's Bishop Sprint which will be run before the Travers. With no commitment, post-positions, the Preakness winner Lookin At Lucky bailing and a forecast that can change ten times before Saturday it would be silly to say you like anyone more then anyone else right now, in fact with a week to go I would say this is the most wide open this race has been in sometime, which makes for exciting betting.
I will wait to see how the track plays, but why not be silly here for a minute. I do have a tendency to go with horses that have done well at the distance and specifically this track, so at this moment if I was forced to bet I would go with A Little Warm, but we are still a long time away...I will let you know next Monday how I did, now lets go to something I know a bit more about...The Grateful Dead:
"Good Evening! Please Welcome BACK to Saratoga...THE GRATEFUL DEAD!"
This was the fourth trip from the fellas to the upstate oasis and the first since they set the record for the largest crowd ever at the venue...and in the proceedings got banned for 3 years. The recording is perfect. A Soundboard affair that Charlie Conner supped up a bit and sounds clear as day.
1988 was a weird year for the band, lots of shows while the euphoria of having Jerry back and healthy was wearing off a bit, and we now know that Brent was only a few years away from leaving us. '88 gets lost in the shuffle or downplayed by most fans, and I think Bobby was one of the more consistent members of the band during this time and that could turn people off, but on this night everyone seems to be pretty much on the same wavelength. The fans were on a completely different one, over running the fence swelling the crowd to epic proportions, and ultimately causing the band to be barred for good from S.P.A.C. post show. Scaling the fence still goes on to this day, but security has made it a lot harder then back in the late 80's early 90's.
The first set is all over the place with some classics, new tunes and ballads performed in a slapdash fashion. "Hell In A Bucket" plays the role of opener instead of a bust-out cover classic that the fellas had chosen to open with in SPAC shows past (The First of 2 broken traditions). "Hell" does it's job getting the bugs out of the sound, letting Bobby sing with echo and Jerry warm up his fret board with some high powered runs. "Bertha" has the band clicking with a breeziness that they made seem so easy at points in their career. The "Walkin' Blues" and "Candyman" don't do much here, as they are slow paced and not that memorable, but an excellent midset Dylan/Band cover spices things up. "When I Paint My Masterpiece" is such a fun song and the Dead do it justice rolling around in the background while Weir strolls through the lyrics. Here is a version of the boys playing it in Berlin in '90:
The set then has a couple of my favorite tunes from the fellas but they are all over the style map. "Row Jimmy" is a heartfelt weeper that got better as the band aged and is excellent tonight, "Victim or The Crime" is one of the rare dark tunes that the band plays and since it is so unlike most of what they did I always have dug it. "Foolish Heart" ends the set and Jerry just butchers the lyrics and while you could skip it, you would miss Brent who is on fire for this one, playing anything he wants above the band and sounding like his quintessential 80's self.
After a break the band came out focused and with a ton of energy to dive into what is the highlight section of the show: "Scarlett Begonias>Fire On The Mountain". This version (like their 1983 SPAC combo) is one that can be talked about in the best ever discussions had around this band. Where in 1983 the rhythm section took the lead and pushed the song forward, here it is Jerry and Brent shining brightest with inventive lines that follow and challenge each other. The warbling of Jerry's guitar signals a transition into "Fire On The Mountain" and the band struts proudly into their reggae flavored classic as the crowd explodes. This is one of the cleaner late 80's versions to be found on the archive and it is hard not to smile while listening to it's soaring guitar parts and hip shaking groove.
Continuing in highlight mode finds the best Weir tune in the bands catalog "Estimated Prophet" get a hymn like airing with Bobby wailing out the lyrics "Filling the sky with flame" and his "Nah-nahnah-No's" exciting the crowd while Garcia's wah-wah works overtime. Then the band keeps the greatness going dipping with ease into the starry "Crazy Fingers" which has it's vocal issues, but airy playing. These opening 4 songs find the group peaking, it is too bad the "Drums>Space" shows up when it does as some of the momentum peters out, yet there is Brent with his melodious voice to get the show going again via his sweetest entry into the Dead's catalog, "I Will Take You Home". Tonight's version is the second ever live airing of the tune that saw it's debut 6 nights earlier in Wisconsin.
God what a beautiful song.
The band ramps things back up for a old-timey "Going Down The Road Feeling Bad" and brief foray into new school blues rock of "I Need A Miracle" before dipping back into the beautiful with "Stella Blue". This tune really gained in gravitas with later day Dead and this is a perfect example why. Jerry's aged voice makes it mean so much more, and the band is sparse behind him, letting Garcia control tempo and lead with his 6 strings. The crescendo starting around the 7:40 mark is majestic, and must have flown high above the pine trees in the state park this night.
The San Fran Band then plays the fan favorite cover of "Not Fade Away" to end the set before breaking their double encore SPAC tradition with only one tune; the heartfelt rendition of "Knockin' On Heaven's Door" (complete with WPYX106 shout out post song). Who knows, maybe the Dead realized they were not to play this wonderful venue again and figured they would end it in the heavens. Or more likely they were just done-zo for the night; while the pacing and song placements were questionable this evening the playing certainly wasn't. Solid throughout (minus some vocal forgetfulness on Jerry's part) make this a rewarding listen and among the best of the bands '88 output as well as the final piece in the groups Saratoga Puzzle.
I posted his writing on the NOLA incompetence here but I think today's piece is even better. He is not only a friend, but one of my favorite writers in any field and I think this is the best piece he has written for the Caller yet; they are lucky to have him.
It is a passionate topic for Mr. Carle like a lot of people, but I for one feel he expresses himself elegantly and straight up proper. Forget the fact I agree with him wholeheartedly, he makes his case and the idiots making comments are laughable...and if they knew him and his political history might take a step back and examine themselves a bit.
Besides as I said before, how can you not trust this guy:
He loves Dylan and The Lips...and Ireland!!!
That was a hell of a trip, we should have stayed for that show...Anyhow, what ever your beliefs are, have a great weekend....
It is of Dax Rigg's live set late on 8/14/10 from the Mercury Lounge in NYC.
The show was good, if a bit short for my liking and most of the crowd's, but there is something about this artist that draws me back every time...Oh I know what it is, his voice.
"His dramatic voice is something to behold: a blender mix of Trent Reznor, Jim Morrison Jeff Buckley, Syd Barrett, Mississippi Fred McDowell, Peter Steele, and Roy Orbison poured into a hurricane glass. There is a Cajun ghost of enchanted charisma floating around the stage when he performs - gothic soul incarnate."
When I was writing this most recent review I thought of that and nothing has changed, it is glorious. What I wish would change would be his song writing. I haven't spent much time with his newest album (I will probably review it soon) but I was simply hoping for a bit of light to be shed onto his dark words. Don't get me wrong, I love death metal and Dax's first band Acid Bath immensely, it is just that he has such potential and I believe variety in his lyrics and writing style is needed to fully achieve that.
Then again who am I? If he feels successful writing in this realm, and he obviously does, why should he expand his style? I will still go see him every time he comes to town and will grab all his albums because that voice keeps bringing me back like a desirable smell or feel.
Glide posted a video of the opener (all though I think it is from Sunday Night) so I will post a couple of different tunes below for you to get a feel, but def grab an album or see him live when he comes to your town:
Here is the bands cover of "Death Don't Have No Mercy":
A fan made video of a great tune of his "Waking Up Insane":
Another fan made video of one of my favorites from his last album, "Radiation Blues":
This review is part of the "Over Flow" Review Series. For various reasons these past reviews were not published anywhere else. I am tagging them as "Overflow Reviews" and may add some extra information after if needed but I will keep the ratings and reviews just as I originally wrote them. Enjoy:
Noun
Holy Hell
**** out of *****
The pint-sized power packing dynamo from Screaming Females has just released her first solo album, don’t let the band name Noun fool you, this is all Marissa Paternoster. Having shaved down some of the rougher caterwauls and the pogoing bass lines that color Screaming Females records, Holy Hell finds Paternoster employing pianos, along with her 6 string mastery and a more personally direct lyrical approach; there is an honesty here that draws you in.
“Black Lamb” the disk opener is a piano walk-through that cryptically deals with loss and power struggles. The tune eerily drifts away leaving unsettled before the distortion and fury kicks down the doors on “Outerspace” squiggling and screeching. Paternoster is a guitar goddess but Holy Hell disregards technical flair and focuses on questioning, personal matters and tone.
“Pearly Gates” is a mystery of lover fueled lyrics (“I draw your veins/onto my window pains/and then I sign your name/across the floor”) over crunching layered guitars as is “So Rough” with its plainly honest chorus of “How did it end this way/I miss you day to day”. The flirting with epic “Call Earth” soars on piano before a fluid guitar line takes the track to the mountain top and the disk closer “Talk” sounds naked and angelic with a splash of isolation.
An introspective work of art that seems to have been recorded at a crossroads in Paternoster’s career/life, Holy Hell is an open book that can rock or remain distant with equal ease, rewarding upon each listen.
Go catch Screaming Females Live, you will not be disappointed with Marissa or the fellas, in fact I am pretty sure you will be blown away like I was...
The town of Saratoga has a lot of appeal this time of year, and while there are numerous reasons why, here are a few of my personal favorites:
The Track- Obviously this is the major draw (besides visiting my family), but I talked about it a bit already and will talk about it more in the upcoming weeks so lets move on.
Golf- There are some picturesque links up there and while I haven't played the new and luxurious Saratoga National, there are number of other great courses in the area that are fantastic to play.
The Bar Scene- Caroline Street is the center of the town and the center of the partying for the area. There are a ton of bars worth checking out there but my favorite bar is off the beaten path a bit, The Parting Glass.
If I could take this bar and transport it to NYC I would be in heaven, with 3 rooms (1 dart room, 1 for live music and 1 regular pub-style) the bar has everything you could want for a night hanging out. I have tons of memories from this place from lots of great nights, making a point to visit there at least once every year to grab a "Cap Codder" Sandwich and a few pints. Some of my fondest memories are with my family catching some live tunes; we saw The Clancy Brothers there on Saint Patrick's Day one year when I was in High School
and seeing Black 47 with my father and friends making a roadtrip upstate while in college.
many other rollicking good times with lots of friends from all over (including Ireland itself). A fine piece of the Saratoga community place that supports great local acts as well, stop by if you are in town, worth the journey.
OK lets get to today's show from The Grateful Dead, it is third in our little trip into the bands past history with this town and conveniently the 3rd time they played there: 6-27-1985
This is a pitch perfect recording of this show, an excellent Matrix mix created by Hunter Seamons, sounding as if you are in the crowd on this hectic night. This was the most crowded show ever held at the venue with 40,231 people in attendance. That record breaking audience was in for a treat as The Dead were in the midst of fantastic run of nights, even if this one would get them banned from the venue for the next three years. I already reviewed a show from only 3 days after in Maryland, the boys were in clearly hitting their stride even if Jerry physically wasn't.
While Jerry's voice (and health) is clearly hurting all over, his guitar playing here is still excellent, and Bobby really goes overboard singing magnificently to pick up some of the slack. Like past SPAC shows a really sweet opener lets the fans know specialness is a'comin'. Their cover of Wilson Picketts classic "In The Midnight Hour" just oozes out after some tuning and grooves all over, it is relaxed easy playing that would be the staple of a top-notch first set, ranking amongst the best opening frames the band did during the 80's.
"Little Red Rooster" has the two guitarists playing in circles with Bobby breaking out the slide and getting loud in a good way on this one.
The show then has to take a break because people in the crowded house begin to hang off the balcony and the band tells them they won't play until the jokers get back into their seats. During the break the boys tell the groan worthy "Dog/Nose" joke to entertain the masses. Supposedly I read account years ago where the people in the balcony were dancing so much that it was bouncing up and down and there was a real safety concern that the balcony could collapse.
"Stagger Lee" winningly shows up and minus the Jerry vocals the playing here is fine. Then the group laces into "El Paso" with Brent twinkling away and Bobby taking over the Marty Robbins classic. The set then gets some mega highlights with "Crazy Fingers>Supplication Jam>High Time" which is a super run of dramatic scales and glorious group interplay. Both songs work well even with Jerry's strained vocals, and with "High Time" it is almost because of them. The desperation and ache that would make his ballads must hears in the late 80's and 90's is on display with this tune. It looks like the band is going to end the first set the same way they have done the last 2 years at SPAC with the "Hell In A Bucket>Deal" combo, but they throw a mini-curveball with "Don't Ease Me In" taking "Deals" spot as set closer. "Hell in a Bucket" has Jerry going ballistic on his 6 strings, and the drummers motoring along. A great set of playing that would be enough for most bands, but we got a whole other set to get too...
The opener of "Feel Like A Stranger" has a big time disco vibe with Wah-Wah from Jerry and some poppy bass from Phil. It has a "Shakedown Street" feel to it as the boys are getting funky and loose with the number before going directly into an old classic with "Eyes of The World". There is energetic playing being presented on this tune, highlighted by Brent's keyboard runs and Jerry's light airy guitar notes matching him. The group speak in song for 9 minutes with Eyes before the move into "Going Down the Road Feeling Bad". Showing up earlier in the set then normal it is a fun, upbeat ride that doesn't last long before the reggae splashdown of "Man Smart, Woman Smarter".
Things naturally work there way into a "Drums" segment that goes on really long as does the "Space" at this SPAC show. The band brings things back to song structure with one of their most beloved "Truckin'".
While "Truckin" is all smiles before melting into "Spoonful", the energy is certainly down a little bit and "Black Peter" is never one of my favorites especially at this point in the set, I am not sure why but this tune just doesn't resonate with me. The set closing Bobby version of "Lovelight" must have been a blast for the huge crowd and tries to end the set on a positive, if not all time memorable note.
The Double Cover SPAC Encore tradition is still alive and kicking with the band playing the Chuck Berry all time classic Johnny B Goode:
Before ending the night with Dylan's "It's All Over Now, Baby Blue" again like the year before. Because of the huge crowd, garbage, marshmallow fights, naked dancing and safety concerns the band would skip the next few summers up in Saratoga, but they would return...ahh but that is for next week. Enjoy this show, especially it's great first set (and beginning of the second).
