Articles on this Page
- 04/26/12--13:20: _Grateful Dead – Eur...
- 04/27/12--06:00: _Televised Tune: On ...
- 04/27/12--06:46: _Phil Lesh & Friends...
- 04/27/12--07:00: _Video: Newport Folk...
- 04/27/12--08:00: _Allie’s Adventures ...
- 04/27/12--08:44: _Umphrey’s McGee Wel...
- 04/27/12--11:57: _Friday Mix Tape: Th...
- 04/27/12--23:23: _Umphrey’s McGee – U...
- 04/28/12--14:32: _Video: Phil Lesh Qu...
- 04/29/12--10:50: _More Wilco Summer T...
- 04/29/12--11:43: _Bustouts Galore at ...
- 05/01/12--11:06: _Briefly: Anastasio ...
- 05/01/12--12:00: _Technology Tuesday:...
- 05/02/12--06:32: _Photos: Umphrey’s M...
- 05/02/12--07:00: _Video: Cass McCombs...
- 05/02/12--08:00: _HT Interview: The T...
- 05/02/12--09:57: _New Orleans Jazz Fe...
- 05/02/12--12:00: _Wayne Coyne Tweets ...
- 05/02/12--14:00: _God Street Wednesda...
- 05/02/12--20:43: _Springsteen Finally...
- Europe ’72: 40 Years Later – Stuck Inside of Copenhagen With The Aarhus Blues Again, A Tale of Two Cities, Pt. 1 – London, Dusseldorf Revisited
- 04/27/12--06:00: Televised Tune: On The Tube This Weekend
- Miike Snow on David Letterman [CBS 11:35PM]
- Jason Mraz on Jimmy Kimmel [ABC Midnight]
- Nick Lowe on Jimmy Fallon [NBC 12:35PM]
- fun. on Carson Daly [NBC 1:35AM]
- Roy Orbison on Austin City Limits [PBS]
- The Killers – World Stage [Palladia 1PM]
- Blackberry Smoke – Live at the Georgia Theatre [Palladia 6PM]
- Bon Iver on Saturday Night Live [NBC 11:30PM]
- Vampire Weekend – Unplugged [Palladia 10AM]
- Phoenix – Unplugged [Palladia 11AM]
- Sublime with Rome – Live [HDNet 2:50PM]
- Oasis – Standing On The Edge of the Noise [HDNet 5:45PM]
- 04/27/12--06:46: Phil Lesh & Friends Welcomes Back The “Q”
- 04/27/12--07:00: Video: Newport Folk Festival 2011 Mini-Documentary
- 04/27/12--08:00: Allie’s Adventures in Eating: Dinner at Franny’s
- 04/27/12--11:57: Friday Mix Tape: The Return Of The Phil Lesh Quintet
- 04/27/12--23:23: Umphrey’s McGee – UMBowl III Setlist & Recap
- 04/28/12--14:32: Video: Phil Lesh Quintet – Levon / She Said, She Said / The Wheel
- 04/29/12--10:50: More Wilco Summer Tour Dates: Wolf Trap / Brooklyn
- 04/29/12--11:43: Bustouts Galore at Fan-Thrown Private Umphrey’s Show
- 05/01/12--11:06: Briefly: Anastasio to Throw First Pitch @ Padres Game
- 05/01/12--12:00: Technology Tuesday: Logitech Cube Mouse Review
- Retail cost is about $70 and can be purchased directly from Logitech, Amazon or most other electronic retailers. A little steep for a mouse, but remember, you are getting a slick presenter as well. I was able to expense as a business cost fortunately as despite shopping around, I was not able to find any discounts or deals on this.
- If you have other wireless devices from Logitech, like a keyboard, that run on the Unifying Compatible receivers, you will not need to take up another USB port as they can handle up to six separate devices.
- The Cube Mouse comes with a USB charging cord and a cool travel pouch.
- 05/02/12--06:32: Photos: Umphrey’s McGee – UMBowl III – Chad Smith
- 05/02/12--07:00: Video: Cass McCombs – Bradley Manning
- 05/02/12--08:00: HT Interview: The Then, Now World of Steve Kimock
- 05/02/12--12:00: Wayne Coyne Tweets Show How Blood Vinyl Is Made
- 05/02/12--14:00: God Street Wednesdays: Video Premiere – Other Shore
- 05/02/12--20:43: Springsteen Finally Plays One For Levon
- No Surrender
- We Take Care of Our Own
- Wrecking Ball
- Death to My Hometown
- My City of Ruins
- BISHOP DANCED (1st time since 1973, First ever Full E Street)
- It’s Hard to be a Saint in the City
- Jack of All Trades
- Candy’s Room
- She’s the One
- Shackled and Drawn
- Waiting on a Sunny Day
- The Promised Land
- Talk to Me
- Apollo Medley
- The Rising
- Lonesome Day
- We Are Alive
- Land of Hope and Dreams
- The Weight (Cover)
- Rocky Ground (w/ Michelle Moore)
- Born to Run
- Dancing in the Dark
- Tenth Avenue Freeze Out
In honor of the 40th anniversary of Europe ’72, a legendary Grateful Dead tour now available in all its 16-track glory, we enlisted the help of Joe Kolbenschlag and the Steel Cut Oats team to break down a handful of the most memorable shows from the run. Today, they continue with a look at a performance that took place 40 years ago today at Jahrhundert Halle in Frankfurt…
April 26th, 1972, Jahrhundert Halle, Frankfurt, West Germany
Portions of the almost four hour Frankfurt show from April 26th were released in 1995 – the first archival release after the passing of Jerry Garcia- as Hundred Year Hall, a phenomenal, yet heavily abridged 2-disc set. Everything from the beautiful artwork to Robert Hunter’s reflective liner notes still makes this one of my all-time favorite releases. 2011′s ‘Euro Box’ now presents the entire show spanning four CDs. The 20-song marathon first set is sprinkled with great versions of many classics including Bertha, Jack Straw, Tennessee Jed and the debut reading of Pigpen’s final tune – The Stranger (Two Souls In Communion) – one of only seven versions ever performed.
The new mix and clarity are light years better than the original 1995 release – technology certainly has come a long way since then, as this new version proves. The “Plangent Process” was used during the production phase of the box set – a process designed to remove wow and flutter that commonly exists on playback of analog tape. Beyond correcting those anomalies, it also fleshes out a fuller dimension of the actual music while still retaining the depth and warmth of the original analog recording. A comparison of the two versions is literally night and day – the new version’s notes jump right out of the speakers – a perfect excuse to crank this one up a bit.
Most of the equally exciting second set can already be found on Hundred Year Hall, but watch out for yet another excellent Good Lovin’ to kick off the set. It’s one of the shorter ones from Europe, but the band charges on from the first notes, forcing Pigpen to work a little bit harder to find his entrances. Instead of allowing Pig his usual space, the band maintains the momentum throughout this version – Pig even drops a James Brown-inspired ‘tighten up!!’ midway just to make sure they didn’t forget who owns the stage. Archivist David Lemieux selected this particular version to be on 2011′s Europe ’72 : Volume 2 – the long overdue follow-up companion to the almost 40-year old Europe ’72 album.
For me, the final 30 minutes of the Frankfurt show are what will always remain in my own personal listening rotation. The Turn On Your Lovelight > Goin’ Down The Road Feelin’ Bad > One More Saturday Night medley – while not a standout on paper – is a perfect microcosm of the 22-show tour. Lovelight, the first of three versions from Europe, begins as most others, but once Pig concludes the verses – like the majority of the second set – we’re treated to another extended musical workout co-led by Jerry Garcia and Billy Kreutzmann. As if this tune was selected to simply ‘continue jamming’ beyond the normal time constraints the band was generally playing under is impossible to determine – but it sure sounds like it. Phil Lesh recalled in a 1995 interview, “Billy played like a young god on this tour. I mean, he was everywhere on the drums, and just kickin’ our butts every which way, which is what drummers live to do, you know.”
During the fitness created, tons of bluesy licks keep the driving tempos hot, and at the verge of an inevitable release it is here where the band stands at the crossroads. Garcia cues Goin’ Down The Road Feelin’ Bad at a brisk pace, while Billy and Bobby coax the band to step into Not Fade Away territory. As tempos and band member alliances change hands a couple of times during these very interesting two or three minutes, a six-sided conversation blossoms with nobody willing to give up the musical conch. With one last effort, Garcia wrestles for the reins, and eventually the group concedes, falling beautifully into GDTRFB – like it was the plan all along. Reflecting on that particular musical section, Lesh further explains, “That’s the stuff that we dream about. That’s the stuff that we aim for, that’s the stuff that’s the most fun to do, and it’s the most magical and it’s the stuff that nobody – you can never predict what’s gonna happen. Although there are some factors that are involved – for instance, with only one drummer, we could turn faster, we could shift gears rhythmically, differently than we do with two. It’s like you’re heavier, and going faster with two drummers, and it’s hard to change direction. So that was a particular thing we could do with tempo, and the thing about it was, it was never all in one direction – we could go faster or slower, and sometimes both at the same time. And, uh, it was just – those moments are, you know, true goose-bumpers, for me.”
Bobby Weir lights one final batch of fireworks with a well-executed One More Saturday Night to close out the longest non-festival show of the European trek in brilliant fashion. No encore necessary, this did the trick – well played. It’s clear the band was now gaining significant momentum with each passing show. The next two from Hamburg and Paris are some of the best of the entire tour – an amazing run.
Grateful Dead, April 26th, 1972, Jahrhundert Halle, Frankfurt, West Germany:
Set I: Bertha, Me and My Uncle, Mr. Charlie, He’s Gone, Black-Throated Wind, Next Time You See Me, China Cat Sunflower > I Know You Rider, Jack Straw, Big Railroad Blues, Playin’ In The Band, Chinatown Shuffle, Loser, Beat It On Down The Line, You Win Again, El Paso, Tennessee Jed, Greatest Story Ever Told, The Stranger (Two Souls In Communion), Casey Jones
Set II: Good Lovin’, Dire Wolf, Truckin’ > Drums > The Other One > Comes A Time, Sugar Magnolia, Turn On Your Lovelight > Goin’ Down The Road Feelin’ Bad > One More Saturday Night
Austin City Limits airs a classic episode this weekend in the form of a Roy Orbison performance from 1982. Orbison plays many of his biggest hits including Crying, Only The Lonely and Pretty Woman.
Friday, April 27 [All Times EDT]
Saturday, April 28
Sunday, April 29
From Fall 2000 to 2003, The Phil Lesh Quintet, featuring the Grateful Dead bassist along with guitarists Warren Haynes and Jimmy Herring, drummer John Molo and keyboardist Rob Barraco excited Deadheads with their interesting jam style and inventive song selections. What many consider the best Post-Jerry band finally returned after nearly a decade last night for a two-set set show to kick off a series of four performances at Lesh’s Terrapin Crossroads venue in San Rafael, Calif.
As they did in their heyday, The “Q” started the evening with a deep jam before settling in on the show’s first song selection – Shakedown Street. Over the course of the night, the band’s three vocalists – Barraco, Haynes and Lesh – took turns singing classics from the Grateful Dead repertoire, along with a few choice covers.
Here’s a look at the setlist, along with notations of who sang each tune…
Set One: Jam -> Shakedown Street [WH] -> Pride Of Cucamonga [PL], Doin’ That Rag [RB], Acadian Driftwood [WH/RB], Dire Wolf [RB], Here Comes Sunshine [RB] -> Into The Mystic [WH], Cumberland Blues [RB/WH/PL]
Set Two: Jam -> The Golden Road (To Unlimited Devotion) [WH] -> Viola Lee Blues [WH/PL/RB] -> Bertha [RB] -> Jam -> Viola Lee Blues [WH/PL/RB] -> She Said, She Said [WH] -> Viola Lee Blues [WH/RB/PL], Levon [WH] * -> Jam -> I Know You Rider [WH/RB/PL], Help On The Way [RB] -> Slipknot! -> King Solomon’s Marbles -> Slipknot! -> Franklin’s Tower [PL]
Encore: In The Midnight Hour [WH], Band Intros
*first time played – Elton John cover
Of particular note were a pair of tributes to the late Levon Helm in the form of two covers. First up was The “Q”‘s version of The Band’s Acadian Driftwood, which they had performed nine times between 2000 and 2002. Later in the night Warren stepped to the mic to deliver the band’s debut cover of Levon by Elton John. Also of note was the group working the instrumental King Solomon’s Marbles into another lyric-less tune – Slipknot! before barreling into Franklin’s Tower. During his donor rap, Phil had high praise for the ensemble, calling the show one of the best he’s played in a long time. The sold-out run continues tomorrow night and check back later for a PLQ mix.
The Newport Folk Festival has a storied history that dates back to 1959, when the fest was founded as a companion to the Jazz Festival. Over the last handful of years, Newport Folk has once again gained the cache of being one of the premiere music festivals around, with its eclectic lineups and idyllic setting at the historic Fort Adams State Park. The fest, which is definitely something of “the music fan’s music festival,” is also one that the artists who play it have complete reverence for. Earlier this week a new 28-minute mini-doc shot at last year’s festival was uploaded to the festival’s website. The film showcases the familial atmosphere and genuine enthusiasm that the performers have for it.
The 2012 edition of the Newport Folk Festival is officially sold out, but tickets still remain for Wilco’s Friday night show at Fort Adams State Park, which will also feature Blitzen Trapper and Megafaun.
It’s no secret that I’ve grown incredibly fond of Brooklyn in a short period of time. I live in a self-contained borough with some of the best restaurants in New York City, which are typically more understated than many of the popular restaurants in Manhattan.
One establishment has received much praise since opening in 2004–Franny’s. Franny’s opened in Prospect Heights, most likely putting the neighborhood on the map from a culinary perspective. Their farm to table approach to pizza and pasta is well received by food lovers all over the city.
My friend Brooke and I had dinner there recently, and the locavore’s delight lived up to the hype overall. I would like to thank Brooke for taking over most of the photography duties for the evening too.
We decided not to wait for a table and instead eat at the bar. I’ll admit that I’m not usually a huge fan of eating at a restaurant’s bar because the seats aren’t very comfortable. Thankfully, for most of our evening, we had a very relaxing meal for two.
We started the meal with a Salumi Plate consisting of Mortadella di Fegato, Spicy Salami and Pancetta. This was quickly followed by Crostini of Homemade Ricotta, Spinach and Nettles. I wasn’t overly blown away by any of the salumi, which surprised me–I’m a mortadella obsessed girl. I admittedly missed cheese to pair with the meat. We were both fans of the crostini, however, which was deceivingly flavorful. The nettles added a surprising lemony zing to each bite, which left us wanting more. Our only slight complaint was not having more topping on the bread.
After having relatively light starters, we had the opposite experience with our mains — first up was Pizza with Ramps, Egg, Buffalo Mozzarella, Chilies, Capers and Pecorino. Soon after, we received our Maccheroni with Spicy Pork Sausage, Scallions and Parmigiana Reggiano. Wow! Talk about a fulfilling pair of plates to warm our bellies with.
After breaking the egg on the pizza, it was time to dig in. Ramps, which are essentially wild leeks, are an uber popular spring vegetable in New York City, and these were delightful to the taste. I loved the twists of buffalo mozzarella, coated in pecorino with accents of chilies. I could have eaten these on their own dipped in the egg, but the crust on the pizza was incredible as well. It was cooked perfectly, and held up very well with the toppings.
Brooke loved the maccheroni, stating the flavors were exactly what she was looking for. The dish reminded me of an elegant version of cheeseburger macaroni, a huge childhood favorite of mine. The pasta was cooked al dente, which always adds nice texture. I wonder if Franny’s offers takeout, because this would be a wonderful dish to eat in the comforts of one’s home.
Our only faux pas of the meal–in my opinion–was opting for a pair of Meyer Lemon Limoncello drinks over an actual dessert. Disappointed that the drinks weren’t ice cold, I also found mine overly sweet and syrupy. Brooke was kind enough to compliment the beverage after a few minutes, but my opinion was formed. Unfortunately, by then, we were surrounded by a loud group of people waiting for a table, so that made it hard for us to converse over our already mediocre potables.
All in all, we each had positive reviews about the meal–the pizza and maccheroni highly outshined the minor weaknesses I’ve pointed out. Best of all, Franny’s is just a few blocks away from my apartment, so I can go back any time I want. Next time, I’ll eliminate the limoncello for sure.
Yesterday was a day of ups and downs for HT faves Umphrey’s McGee as the group took a beating on the internet for their new Chicago theme song and then went on perform with legendary blues man Buddy Guy at a private show in Chicago for Choose Chicago volunteers.
For the group’s performance at Park West, the band debuted their theme song for The Windy City titled “Chicago.” The tune went viral on Thursday and not in a good way. An A.V. Club Chicago article lambasted the cheesy song, which also features contributions from Buddy Guy and the Chicago (the band) horn section, and the attention led to a bevy of harsh reactions via Twitter. Even Mountain Goats’ John Darnielle weighed in on the mini-controversy by coming up with alternate Chicago theme song ideas via Twitter. By the end of the day there was even a “karaoke style” video of Chicago on YouTube…
With last night’s “private” show, tonight’s UMBowl III and another private gig tomorrow, the band didn’t have time to dwell on the reaction to their newest song. Yesterday’s performance was set up as a thank you to volunteers of Choose Chicago, the city’s tourism board. Following the instrumental Nipple Trix and performances of Conduit and the Chicago-referencing In The Kitchen, Chicago Cubs chairman Tom Ricketts came out to introduce the debut take on the much-maligned Chicago. Though Buddy Guy didn’t help out on the first live version of the tune, the legendary guitarist did guest on Willie Dixon’s Hoochie Coochie Man and Guy’s own Damn Right I Got The Blues at the end of the set. Guy and Umphrey’s played both songs, as well as Muddy Waters’ She’s Nineteen Years Old, the last time they hooked up – at The Auditorium Theatre on December 29, 2008.
Set: Nipple Trix> Conduit, In The Kitchen, Chicago*, Miami Virtue, End of the Road, Booth Love, Baba O’ Riley, Partyin’ Peeps, Puppet String, Hoochie Coochie Man**, Damn Right I Got The Blues**
Encore: Africa, Nemo
* First Time Played – Introduced by Cubs owner
** w/Buddy Guy
[via The Bort]
Tonight, UM returns to Park West for the football-themed UMBowl III in which the group will play four quarters, each with a different theme. Tickets sold out immediately, but iClips is offering a $12.99 Pay-Per-View webcast.
It was 2001, and we were spending a lot of time at a place called “The Clubhouse” – it was my friend Dan Wolf’s long-abandoned poolhouse at his parents’ house – and we were in the summer after our freshman year of college. Phil Lesh was touring with what I considered at the time (and what I still think to be true), the best post-Jerry Garcia Grateful Dead related lineup of musicians. Warren Haynes, Rob Barraco, John Molo and of course – Jimmy Herring. We had three sets of CD’s in heavy rotation, 10-1-2000 from Memorial Auditorium in Burlington, Vermont; 10-6-2000 from The Orpheum in Boston and 10-27-2000 from the Las Vegas House of Blues. I don’t know how we picked those three – I’m sure we downloaded them off of GDLive because they were officially released free soundboards. It is with great excitement that I can say I am going to see that lineup once again tonight in San Rafael, Calif. As you may have read, this lineup played their first live show since 2003 last night.
For Friday Mix Tape, I have thrown together seven covers, and sometimes the ensuing ridiculous jams, from those three shows that I seem to know by heart. While I apologize for any abrupt transitions, (I recommend listening to these shows in their entirety for uninterrupted listening) the playlist goes…
Broken Arrow (Robbie Robertson) – 10/1/2000
Just Like Tom Thumb’s Blues (Bob Dylan) – 10/1/2000
Low Spark of High Heeled Boys (Traffic) – 10/6/2000
Into The Mystic (Van Morrison) – 10/6/2000
She Said, She Said (The Beatles) – 10/6/2000
Dear Mr. Fantasy (Traffic) – 10/27/2000
Strawberry Fields Forever (The Beatles) – 10/27/2000
Umphrey’s McGee returned to Chicago’s Park West this evening for their third annual UMBowl interactive concert. The marathon show – it started at 8 p.m. local time and ran until 1:22 a.m. – was geared towards the most rabid UM fans. Each of the football-themed performance’s four “quarters” were driven by fan interaction. UMBowl III featured an exciting new wrinkle, that was executed flawlessly, in which the band revisited eight classic improvisational segments during the last quarter.
For the first set, which was an “All-Request Quarter,” the fans chose the instrumental pairing of Flamethrower > Night Nurse > Voyager, marking the fourth UM performance of the latter, a Daft Punk cover. Fan-favorite original Front Porch was next followed by Comma Later, the band’s choice for the “UM original debut” option voted on by the audience in the pre-show balloting. From there, Umphrey’s embarked on their first version of the Grateful Dead’s Help on The Way since March 4, 2000 which led into the GD instrumental Slipknot! – a song which was on the shelf even longer (last played – June 18, 1999). Instead of embarking on the traditional Franklin’s Tower to close to the song suite, Umphrey’s debuted their version of 46&2 by Tool, a group bassist Ryan Stasik once pointed to as his favorite band. Q2 contained a “Stew Art Event” in which Umphrey’s interpreted fans’ tweets such as “Middle Eastern Metal,” “Hip Hop Tribute,” “Afternoon Bus Ride In Jamaica” and the transcendent “Soaring Uplifting Jam Part 2.”
(8:01 CST) Quarter One: Flamethrower > Night Nurse > Voyager > Front Porch, Comma Later*, Help On The Way > Slipknot!, 46&2** (8:55)
(9:19) Quarter Two: Afternoon Nurse > Funk Our Face Off! > Middle Eastern Metal > Drum n Bass > Soaring Uplifting Jam Part 2 > Afternoon Bus Ride In Jamaica$ > Increasing Tempo Jam > Yacht Rock Jam$$ > Hip Hop Tribute% > Take Us To The Disco Tech (10:09)
(10:35) Quarter Three: All In Time > Glory > The Linear, August%%& > Bridgeless, Preamble > Mantis%% > Making Flippy Floppy > Nothing Too Fancy&& (11:30)
(12:05) Quarter Four: Mulche’s Odyssey 10/20/07 > The Haunt 06/10/06 > Bright Lights 02/11/11 > Intentions Clear 03/03/11, The Triple Wide 12/11/04 > Nemo 04/08/05, Groove Holmes 11/02/06 > In The Kitchen 01/22/09 (1:03)
(1:08) Overtime: Divisions (1:22)
* first time played, original
** first time played, Tool
$ with 4/1/03 Example 1 jam
$$ with Breezin’ jam
% with Tribute To the Spinal Shaft, I Keep Forgettin’, Xxplosive, and Gz and Huslatz teases
& with Lay Down Sally jam
&& ending only
Quarter One: All Request
Quarter Two: Stew Art Event
Quarter Three: Choose Your Own Adventure
Quarter Four: Raw Stewage
last Help On The Way 03/04/00
last Slipknot! 06/18/99
[via Shpongled of The Bort]
The audience was given a big role in Q3, the “Choose Your Own Adventure Quarter,” as at various points during the set multiple options for the direction Umphrey’s would take the performance were displayed on screens for fans to vote on via text. For instance, during the All In Time opener, fans were given the choice of the song seguing into Glory, Much Obliged or Resolution and Glory won out. In other vote-driven moments, the audience decided Umphrey’s should play August instead of 40′s Theme and Puppet Strings as well as picked Mantis over 1348 and Nothing Too Fancy.
In between the third and the fourth quarter, Umphrey’s announced that they will bring their annual mashup-laden Halloween celebration to Milwaukee this year for performances at the Riverside Theater on October 26 and 27.
Coming into UMBowl the most anticipated part of the evening was Q4, the “Raw Stewage Quarter,” in which the band would weave together the top vote-getters from a list of past “Jimmy Stewart” improvisational passages distributed to attendees before the show. Before the set started Stasik talked about how much work the band put into meshing the jams into one cohesive set of music. The hard work showed as the group reeled off one historic passage after another with unyielding precision and grace to create an extremely impressive set. After 57 minutes of recreating their most highly regarded “Jimmy Stewart”s, Umphrey’s took the In The Kitchen jam from Mayan Holidaze ’11 into the ending the of the song with its timely line about “wasting time on the internet.”
For “Overtime” the sextet delivered a short-and-to-the-point take on Divisions, one of their earliest originals. On a night in which the band honored their fans’ desires by revisiting past glories, it was a fitting choice.
For the past two nights Terrapin Crossroads has played host to the Phil Lesh Quintet, aka The “Q,” a highly regarded ensemble put together by the Grateful Dead/Furthur bassist in 2000 that acted as his main band until The Dead reformed in 2003. Thursday marked the band’s return after nearly nine years. A few videos have surfaced, including The “Q” debut of Levon by Elton John…
Here’s a staple of the PLQ repertoire throughout the early ’00s – The Beatles’ She Said, She Said…
Finally, watch as The “Q” works their way through The Wheel last night…
In just a few weeks HT faves Wilco begin an extensive four months of touring that will see the group visit the Southeast, Northeast and Midwest here in the States as well as perform a handful of festival sets in Europe. This afternoon Wilco added a batch of dates to the docket, namely a pair of shows in Brooklyn’s Prospect Park and at Wolf Trap in Vienna, Virginia, plus a show at nTelos Pavilion in Charlottesville.
[Photo by Jeremy Gordon]
Another new addition to the band’s schedule is a headlining slot at the legendary Hollywood Bowl on September 30. Tickets for the just-added performances go on sale to the public on May 4 or 5, while pre-sales take place this Wednesday. Here’s a look at Wilco’s full tour schedule…
May 10 Fayetteville, AR Arkansas Music Pavilion
May 11 Birmingham, AL Sloss Furnaces
May 12 Jackson, MS Thalia Mara Hall
May 14 Tampa, FL Morsani Hall
May 15 Miami Beach, FL The Fillmore Miami Beach
May 16 Saint Augustine, FL St. Augustine Amphitheater
May 18 Gulf Shores, AL Hangout Music Fest
May 19 Memphis, TN Mud Island Amphitheatre
May 31 Barcelona, ES Primavera Sound Festival
June 4 Dublin, IE Forbidden Fruit Festival
June 8 Porto, PT Primavera Sound Festival
June 22 Morrison, CO Red Rocks Amphitheatre
June 23 Morrison, CO Red Rocks Amphitheatre
June 25 Salt Lake City, UT Red Butte Garden
June 26 Boise, ID Idaho Botanical Garden
June 28 Missoula, MT Big Sky Brewery
July 1 Duluth, MN Bayfront Festival Park
July 2 Rochester, MN Mayo Civic Center Aud
July 3 Davenport, IA Adler Theatre
July 7 Sioux City, IA Saturday in the Park
July 8 Geneva, IL Fifth Third Bank Ballpark
July 15 Louisville, KY Forecastle Festival
July 17 Vienna, VA * Wolf Trap
July 18 Vienna, VA * Wolf Trap
July 19 Charlottesville, VA * nTelos Pavilion
July 21 Camden, NJ Susquehanna Bank Center
July 23 Brooklyn, NY * Celebrate Brooklyn / Prospect Park
July 24 Brooklyn,NY * Celebrate Brooklyn / Prospect Park
July 27 Newport, RI Fort Adams State Park
July 28 Cooperstown, NY Brewery Ommegang Field
July 29 Essex Junction, VT Midway Lawn
July 31 North Adams, MA MASS MoCA
August 1 Hartford, CT The Bushnell
August 3 Rochester, NY Highland Bowl
August 4 Columbus, OH LC Pavilion
August 10 Goteborg, Sweden Way Out West Festival
August 11 Rees-Haldern, Germany Haldern Festival
August 12 Cornbury Park, Oxfordshire, UK Wilderness Festival
August 14 Luxembourg City, Luxembourg Den Atelier
August 16 Saint Polten, Austria Frequency Festival
August 18 Hasselt, Belgium Pukkelpop Festival
Sept 30 Los Angeles, CA * Hollywood Bowl
* = on sale 5/4 or 5/5
According to an email from the band, there’s “much more to come.” Stay tuned!
Last Fall Chicago-based sextet Umphrey’s McGee put a number of inventive packages up for sale involving once-in-a-lifetime experiences with members of the band in an effort to recoup the costs of making their Death By Stereo LP and raise money for charity. One of these “Deeper Packages” was called the “Bill Graham For A Day Package” in which the purchaser would receive a ”private UM concert for you and your friends at an intimate Chicago venue (let’s talk). You collaborate with us on the set list and introduce us from the stage.” This show took place last night at the cozy confines of Martyr’s in the band’s hometown and UM delivered a performance absolutely stacked with rarities and even a few debuts.
[“Aftermath of 100's of bras and panties being thrown at #umphreys (and me)” - @JeffersonWaful]
The first set at Martyr’s included UM’s first version of Down Under by Men at Work since 2008 (and only the second since 2004), the second-ever rendition of The Weight Around from their Safety In Numbers LP and a take on Paul Simon’s 50 Ways to Leave Your Lover (last played in 2009). In addition, the sextet offered a “Jimmy Stewart” with lyrics out of the rare Robot World and worked In The Kitchen teases into Puppet String – the only Umphrey’s original penned after 2007 played during the two sets.
Set One: Wappy Sprayberry > Space Funk Booty > Last Man Swerving > Out of Order, Down Under, The Weight Around, Robot World > “Jimmy Stewart”* > 50 Ways to Leave Your Lover > Puppet String**
Set Two: Utopian Fir, The Trooper$, Baby Honey Sugar Darlin’, Hurt Bird Bath > The Other Side of Things > Hurt Bird Bath, The Good Times Are Killing Me$$ > Nopener%, The Triple Wide, Hangover%%
Encore 1: 2 Dips, 1 Bump & A Fuckload of Pills&, Wizard Burial Ground
Encore 2: Waiting Room
Notes: private show put on by fans, billed as “Bill Graham for a Day”
* with lyrics
** with In the Kitchen teases
$ debut, Iron Maiden
$$ debut, Modest Mouse
% lounge style
%% with La Grange (ZZ Top) jam
& debut, Brendan with Wade Wilby and Clayton Halsey
For the closing stanza, UM reached even further into their bag of tricks and came out with cover debuts of The Trooper by Iron Maiden and The Good Times Are Killing Me by Modest Mouse as well as their first take on the originals The Other Side of Things since July 20, 2001 and Baby Honey Sugar Darlin’ since November 14, 2009. As if that wasn’t enough, the group worked a La Grange (ZZ Top) jam into Hangover, revisited the famed “Zsa Zsa Gabor Fi Fi” jam in a lengthy Utopian Fir and brought drummer Kris Myers out front to deliver the seldom-seen lounge version of Nopener. The setlist shenanigans continued through the double encore as UM treated attendees to the debut version of 2 Dips, 1 Bump and A Fuckload of Pills – a hilarious ditty penned by HT contributor Wade Wilby with Brendan Bayliss and Clayton Halsey. The evening ended with Umphrey’s cover of Waiting Room by Fugazi, another highly-regarded rarity.
Reactions to yesterday’s concert on UM message board The Bort border on ecstatic, with many attendees calling it the best Umphrey’s show they’ve ever seen. Here’s hoping a recording circulates so those of us who weren’t there can judge for ourselves. Following the just-completed three-night stand in Chicago, the band is off the road until the end of June with the exception of festival slots at Hangout, Summer Camp, Wakarusa, Bonnaroo and Re:Generation.
Hands on a Hardbody, a musical featuring music co-composed by Phish front man Trey Anastasio, is currently showing at the La Jolla Playhouse near San Diego. This Monday, May 7th, the cast of the musical will sing the National Anthem at Petco Park before the San Diego Padres take on the Colorado Rockies. In addition, Anastasio will throw out the ceremonial first pitch at the baseball game.
I spend A LOT of time both on my laptop and giving presentations. Seems like I’ve been searching forever for a decent travel mouse that can double as wireless presenter when need be. While I have found decent alternatives for each, I haven’t, until now, found a device that ably does both jobs. And frankly, the Logitech Cube Mouse is so enjoyable to use, and performs so well, that I’ve taken to using it as my primary mouse at my desk.
The Logitech Cube Mouse is a sleek, well designed wireless mouse that completely re-imagines what a mouse should look like and also doubles as a wireless presenter. If you have the need to quickly jump between a mouse and a presenter or simply need a small form factor mouse for easy travel, this device could be for you. And you may enjoy it so much that it earns a spot on your desk even when you are not travelling.
Wireless Mouse? What’s the big deal? Sure, there’s tons of wireless pointing devices out there ranging in size from large gaming style devices all the way down to tiny little ovals, not much bigger than an egg. Yet, the smaller ones typically dispense with features and become a simple mouse while the larger ones are difficult to travel with and not portable at all. The Logitech Cube Mouse will fit unobtrusively in your shirt pocket and offers a slew of great features in a stunning design and form factor.
Why is it called Cube? Brilliant question. I guess because the packaging box is a square? Other than that, it is certainly not a cube. It’s a rectangle not much bigger than those big pink erasers that we used to use in elementary school which fits perfectly in the palm of your hand. Nevertheless, it is a far cry from the design of most mice that have proliferated since the very first mouse that graced the first Apple. Frankly, it’s a design that is enough to turn a head or two when in a conference room or working at the local coffee shop.
How does it work? Plug in the tiny dongle into an available USB port, power the Cube on and start using it as a regular mouse. The dongle is so small and unobtrusive that I leave it permanently plugged into one of my ports. Of course this is no different than most other wireless mice. The difference is that you can easily scroll by swiping your fingers along the top (just like Apple’s Magic Mouse). And, in a real dose of awesome, you can pick it up off the surface you are using and it instantly becomes a presenter. To flip through slides, you can can simply hit the button. Need to back up? Turn the Cube over and now clicks move backwards. Sweet and simple.
How’s the performance? There’s a handful of things that are imperative for a good wireless mouse. First off is dependability and battery life. This is a durable, well-made device that should last indefinitely. Battery life is very good too. While the Cube Mouse should give a couple week’s of heavy use, it’s nowhere near that of a desktop mouse that runs off of AA batteries which seemingly last for a year or so. Conveniently though, the Cube Mouse is recharged via a micro-usb port. A low battery life indicator helps prevent presentation embarrassment when the batteries die.
Another important criteria is how well the mouse actually tracks across different surfaces. I find that the Cube Mouse works on practically every surface that I’ve tried it on, tracking smoothly and without skips. Likewise, with scrolling, I absolutely demand glass-like, silky scrolling that I’ve become accustomed to on my Galaxy SII smartphone. Fortunately, the scrolling by sliding your finger across the surface is as fluid as can be imagined.
Why you may not like the Cube Mouse: I can see how many people will likely not enjoy using this as a mouse because it is so small. If you demand a really large mouse that fills the entire palm of your hand and like resting your hand on your mouse while you work, then this is definitely not for you. However, I’ve always gravitated to smaller devices and like that form factor. Also, the size of the dongle is minuscule. Again, to me that is positive as I use the same computer on both my desk with a dock and for travelling. So the dongle stays permanently in one of my four available USB ports. If you constantly need to switch between computers and pack for traveling and presentations, the risk of losing the dongle is something to consider.
Three more things to know about the Logitech Cube Mouse:
Bottom Line The Cube Mouse is stylish, well-made and a conversation starter that performs well as both a desktop wireless mouse and a presenter with good battery life and great features. Beware though, that it is extremely small and that may be a turn-off for you.
Hidden Track Technology Tuesday
voice-mail: (781) 285-8696
Have an idea for an article? Product, app, or web service you are passionate about? Feel free to get in touch with me.
Umphrey’s McGee and their most rabid fans filled Park West in Chicago on Friday night for UMBowl III, a marathon football-themed concert where the audience played a major role in determining what happened. As promised, we’ve got our second of two galleries worth of photos from this historic night in UM history, thanks to Chad Smith of JambandsJam.
[All Photos by Chad Smith]
The show (full recap here) featured four “quarters” worth of music, each with a different theme. Chad was on hand and captured the band preparing for the show and on stage.
Here’s a full gallery of Chad Smith’s UMBowl III photos…
[The Game Plan Going Into The Show]
[Drummer Kris Myers In Discussion]
[Road Manager Bobby Haight at Work]
[LD Jeff Waful Prepares The iPhone For Four Quarters of Tweets]
[Bassist Ryan Stasik Talks Mustache Maintenance]
[Q4: "Raw Stewage"]
[Last Minute Studying by Guitarist Jake Cinninger]
[A Stew Art Marriage Proposal]
[Umphrey's McGee - Mid Jam]
[Stasik Gets Air]
[Guitarist Brendan Bayliss Belts One Out]
[Myers Signals His Band Mates]
The latest video from folk-singer Cass McCombs pays a heavy-handed tribute to Bradley Manning, the army private who Wiki-leaked classified information and later found himself in a world of shit. It’s a long and unfinished saga, but in the two years since his arrest, Manning has been charged with over 22 different allegations and held in a maximum custody detention center. Meanwhile, the social media response is being cited as a key catalyst in the uprisings of the Arab Spring. So, check out the video and cheers to Cass McCombs for creating what feels like a real folk song for the first time in quite a while.
I’m a little late calling Steve Kimock for a planned interview, but he’s totally cool. All he needs is 10 seconds to fix a bowl of… “What is this?” he says. “Gorilla munch and Honey Nut O’s? This is a special mixture. Somebody here is four.”
“Somebody” would be Kimock’s youngest boy, Ryland Cazadero, and why shouldn’t Kimock be firing up tasty cereal treats around this otherwise nondescript Thursday lunchtime? What did you expect him to be doing?
“He’s an absolutely lovely little terror,” Kimock laughs, checking to make sure I’m asking about the youngest of his four sons: John Morgan, 22, Miles, 18, Skyler Joe, 8, and Ryland, 4.
Family played a big role in Kimock’s decision, in 2006 or so, to retire the much-beloved Steve Kimock Band, a hard-touring unit that still represents the fullest expression of Kimock’s guitar wizardry. But then, Kimock, 56, is never too far from a stage, having toured since that time with the Rhythm Devils, filled in for RatDog during Mark Karan’s recovery, reunited with his old band Zero, got good n’dirty with Melvin Seals in Steve Kimock Crazy Engine, and had numerous one-offs, guest appearances, sit-ins and quick-hit projects and tours with a seemingly endlessly variable cast of friends and co-conspirators.
But what makes the current Steve Kimock spring schedule particularly interesting is that it’s Kimock’s first stab at a full-scale band tour in at least three years. Starting Wednesday (May 9), Kimock will canvas the Northeast, Midatlantic, Midwest and Southeastern U.S., kicking off in Bethlehem, Penn. and visiting such celebrated rooms as Brooklyn Bowl (May 11), Chicago’s Bottom Lounge (May 19), Nashville’s Exit/In (May 22) and Washington DC’s Howard Theatre (June 4) before his next break.
Along for Kimock’s ride this time around are his good buddies Bernie Worrell on keys, Wally Ingram on drums, and, for four dates, Reed Mathis on bass. Mathis wraps up with the group on May 12 in Portland, Maine, and then Andy Hess picks up the slack two nights later in Boston for the remainder of the run of shows.
We asked the chameleonic, but always-friendly Kimock to catch us up on his latest goings-on. If you squint, you might be able to see his next project — a family affair, we’ll call it — on the horizon, too.
HIDDEN TRACK: Going back to the Steve Kimock Band that you maintained until about 2006, you seemed at that time to be committed to that one particular group above all, versus now when it’s a number of projects and less consistent who’s with you. Is that an accurate assessment?
STEVE KIMOCK: Yeah, in a way. It’s not so much by design as by circumstance, you know. After that band, I kind of didn’t feel like being on the road. I didn’t have the resources or the wherewithal to keep going a lot on the road, and I was really enjoying just staying home with family. But it’s certainly true that that singular focus wasn’t there for me anymore, and it wasn’t available to be seen. It’s been a while. Musically, I kind of went into a very different place around then too, and wanted to focus on other things.
HT: What do you mean by that?
SK: It was a whole lot more introspective stuff, and working on some real specific harmony and tuning type of solo stuff that didn’t have any real place in performance. Maybe it kind of set the foundation for some stuff later, but eventually, I’ll have a more realized take on the microtonal stuff I’ve done and maybe get it out there performance-wise, or in composition. There was kind of a limit to how much I could do that when it was all straight ahead rock ‘n’ roll and electric fretting. I’m hoping more of the other stuff gets out: more slide, more steel, more fretless stuff. I played no fretless at all in the Steve Kimock Band, really, and not much slide.
HT: Why have you chosen this group of players to do a larger-scale tour again? How did it come about that you wanted to take out this band?
SK: That’s a good question. I think it was just one of those things where I just sort of scouted around for folks I could play with and wanted to play with and this made sense as something we could take driving around the country. It’s a crew of all my friends. I love working with Bernie, he’s sweet, Wally’s sweet. They’re great. They’re cool enough to do this with me.
HT: So you put the word out and it’s a matter of logistics? “Who’s available?”
SK: Yeah, I mean, it’s a lot less by design than it is timing and serendipity. It has to be a confluence of events. There are a lot of offers to play, and a lot of people curious about what’s going on with me, and then we start looking at holes in peoples’ schedules. This isn’t something I would have been willing to do even a year ago, because I was — and I still totally am — fine with being home mostly playing acoustic guitar with the family. But I was looking to do some playing out.
HT: How do you choose material for a group like this?
SK: We don’t have a good sense of exactly what it is this early. What excites me about the material specifically is that if the guys play together long enough, they all sort of gravitate to writing to fill a specific need in the setlist for a certain type of material. We might be out for a week or two and play something and say, “We need another song like that.” So we’ll write one. It’s a dig-in process.
HT: Have you always done a lot of that type of writing — on the road, improvisational?
SK: More than most people, yes. When you have a steady group of players — a band, as opposed to just going out and doing one-offs – you understand their tendencies. You know what they’re good at, and what they’re feeling hot about, and you direct some energy toward taking advantage of that. I think a lot of the best stuff comes from taking advantage of that quality.
HT: Before the tour begins, what do you think this lineup will feel like, tendencies-wise? Specifically the Reed Mathis lineup, which starts the tour.
SK: Hmm, I don’t know. It depends on what kind of space Reed is in when he shows up and does his thing. I’ve done stuff with him where he shows up and we play together and he’s completely in outer space. But I’ve also seen him play completely straight ahead.
HT: And how about Bernie? You’ve played with him for a long time, so I imagine you know what you’re getting?
SK: Oh yeah. The Bernie thing is a known quantity. I think of him as cutting up. He’s got an amazing sense of humor, and a very deep bag, musically. He’s so fun to play with. You know, I don’t think he’s worked with Reed before. Those guys are going to get on well.
HT: Who haven’t you played with that you’d like to?
SK: [Long pause] I’d like to get a chance to play with Bill Frisell someday. I love his playing. He’s fantastic. But I’m trying to think, and right off the top of my head I think there’s 10,000 singers I’ve never worked with that I’d like to work with.
Overall, I think I’d like to do something more, though, and that’s travel around without the burden of carrying the band around. I’d love to go to Africa and play a little. It’d be nice to go to Brazil or India. In the bigger picture, having a little bit more first-person, direct encounters with those musical cultures would do me good. I’m a huge fan of the music of those places, and never having been to Brazil, or Africa, or India, I think I’d do that.
HT: You have plans to do that anytime soon?
SK: No, not exactly, but it’s going to keep coming up. I have fans in India, you know. That blows my mind. I had a bunch of fans from India visit me playing gigs right in New Jersey and in Baltimore — they just came, and they’re saying come play New Delhi. They desperately want me to go to India. I want to. Brazil might be a little easier first.
HT: Will you do any acoustic playing during this run of shows?
SK: It would depend on the venue, and I would play that by ear. It’d have to be the right size room, and if it’s quiet enough, that is something I’d really want to do. But it’s not going to be a square peg in a round hole, I’m not going to sit up there on a Saturday night with a dancing crowd in some cavernous place shushing so I can cool out with them. If I can get any cooperative venues along the way I’ll look at it. Maybe I’ll play some fretless, or some acoustic, or some Hawaiian guitars.
HT: You mentioned before your studies of harmonics and microtones. For someone who’s heard you playing guitar in these bands for a decade or longer, what would he or she hear in your playing now that you took from those studies?
SK: I think for the people that are sensitive to it, I think they’d hear it more musically mature, and maybe a little bit more connected emotionally. I mean, that’s how it seems to me. As my studies take me places, I’m more conscious of exactly what it is I’m doing — and definitely clearer. There are plenty of conscious players out there. Frisell would be one of them, and all of that Indian music I like so much, you hear it there. But any decent singer knows what I’m talking about, they all have specific intonations where they sing a certain way and intend the pitch to be just so.
I had to work at that, and focus on it consciously. Maybe other people focus on it less consciously or at least in a less formal way. You ever listen to early Neil Young, and listen to his voice? Man, he was singing exactly what he meant to sing. You’d hear that same delivery and intent in opera — it’s just not left to chance. Technically speaking, from me you’d hear finer resolution and better motor skills. I’m now used to making very small adjustments to get things exactly where I need them. It’s detailed refinement.
HT: Your musical interests and influences seem wide enough, but do you have any that would surprise people?
HT: Are you being serious?
SK: [Laughs] Yeah, man, I like polka music. German polkas more than Italian polkas, definitely. I grew up hearing a lot of that, actually, and the wife is Swiss, and over there there’s always some channel on TV where you get this Lederhosen MTV type of thing with guys playing alp horns and stuff like that and they rock the polka. It’s awesome. I have no problem with polka.
HT: Do you seek it out?
SK: If polka’s on, I’m like, OK, that’s cool. I’m a big fan of the accordion as an instrument.
HT: Earlier this month you did one of the Les Paul Monday shows at the Iridium in New York. Did you ever meet Les?
SK: No, I never met Les Paul, although that would have been a fantastic meeting. I tend to be shy around people with that kind of acclaim. The gig itself was a riot. I really didn’t know what to expect, and I didn’t want it to be one thing or presume that I would go in there and we’d say, OK, we’re going to do this Les Paul tune and this Les Paul tune and that kind of thing. I felt that would be rude. But we actually stuck to playing more blues and funk and straight-ahead jamming. There was no drummer, an upright bass, and it was really fun.
HT: While we’re talking about departed legends, did you ever play with Levon Helm?
SK: No, I never did play with Levon, although I would have liked to. I spent some time with a couple of the guys involved in that band. That was a great band.
HT: Do you think you’ll go back to any of the projects you did in the last couple of years, particularly Crazy Engine?
SK: No, no, probably not. Like I was saying earlier, the perception that any of this, at the level I’m working at, is very deliberately thought out is not what’s happening. We were able to do that band at that time. I’m able to do this at this time, and this is what’s interesting.
HT: What will you do next, once this tour wraps up?
SK: Hmm. I don’t know what’s going to happen. My son John and I continue to play and work on stuff at home. We’ll probably have something that looks like a record, and maybe even something that looks like an act. It’ll be just guitar and drums. He’s good with computers — he writes on the computer — and sometimes I play the guitar and play bass pedals, too. He’s good in that duo format, he’s in a duo [XVSK] with a cello player [Trevor Exter].
HT: And they’re opening up a few nights on this tour, right?
SK: That’s right, they’ll be out with us.
HT: What do you like most about playing with John?
SK: He’s just, I think, a very musical guy. He listens really hard and plays with incredible grace and balance — he’s a very old soul musically. It’s a real pleasure, and it has nothing to do with him being my kid, he’s an awesome musician. It’s all fun.
Yesterday, we told you about YouTube’s plans to stream performances live from the New Orleans Jazz & Heritage Festival. At the time we didn’t know exactly which sets would be simulcast during the free webcast, but now we do and the schedule is filled with HT faves.
In addition to the My Morning Jacket and Preservation Hall Jazz Band & Friends sets we mentioned would be webcast, you’ll be able to watch Fairgrounds sets from fellow HT faves Bon Iver, Bruce Hornsby & The Noisemakers, Grace Potter and the Nocturnals, Trombone Shorty & Orleans Avenue, Anders Osborne, Glen Hansard, Ivan Neville’s Dumpstaphunk, Galactic, funky METERS and The Neville Brothers. The webcast starts on Friday at 2PM CDT and runs through Sunday evening.
Here’s a full schedule (click for full-size image)…
Some performances were filmed during last weekend’s first weekend of Jazz Fest and select sets are being “time-shifted to provide greater festival coverage.” You can stream the free Jazz Fest Webcast through YouTube’s JazzFest channel.
Wayne Coyne (@waynecoyne) of The Flaming Lips (@theflaminglips) is one of my favorite people to follow on Twitter. The band’s frontman and all around freak keeps a running diary of his everyday life through the various pictures and videos he almost constantly tweets. Lately he’s been keeping his followers apprised of the process of adding blood to a special limited edition vinyl pressing of their 2012 Record Store Day released The Flaming Lips and Heady Fwends. The 13 track, double LP features a slew of guest artists who donated blood samples to Coyne for inclusion in the super limited edition of the record. Thanks to Coyne’s tweets we can see how the process went down.
Did you score a copy of The Flaming Lips and Heady Frewnds on Record Store Day? The album is a stellar blend of spacy and groovy psychedelic rock, and the guests make the record a must hear. With or without blood, track down a copy if you can.
Today we continue our series of posts that feature the exclusive premiere of video from GSW’s reunion shows in 2010, lovingly shot and put together by our pal Mike Wren. As with our last post, God Street Wine guitarist Lo Faber tells the tale of the song in the video. Here’s Lo’s take on Other Shore as well as the video of GSW performing the tune at the Gramercy Theatre on July 9, 2010.
Other Shore by Lo Faber
One of a handful of tunes written in the fall of 1988. The band had “formed” but we had no gigs and no name. Aaron, Tom and I were living in a small apartment at West 82nd and Amsterdam, as Aaron and I were attending Manhattan School of Music and Tom was working at Tower Records. This was one of the five songs on our first studio demo recorded that October.
[Photo by Jason Strong]
It was also one of the half dozen or so tunes I co-wrote with drummer Tom Osander over the years. Tom wrote almost all the lyrics; I think my only contribution was the first phrase “Floating down the river, in the country of the Indians, dreaming of the ocean that we left behind.” After that I was stuck, and Tom finished the tune taking it in a totally different direction than I’d had in mind. His lyrics like “so black in my room but there’s light on the square” really remind me of living in that tiny apartment that fall.” At least that’s sort of what’s in my head, but you have to ask Tom if you really want to know what these words are about.
Musically this is similar to Weird Dream in the intro, with those Metheny-like chords. In the beginning we always played the intro with the whole band, but over the years it morphed into just the guitars and that seemed to work nicely. Then it goes to that funky Cm-F groove for the chorus which often works its way into a jam featuring guitar quotes from the Dead’s Feel Like a Stranger. In the early days we very often took that jam into a drum solo.
Another good representative example of the blend of early GSW influences: some mellow Dead flavor, some funk, and some complicated jazz school chords. Never recorded on any album (except for that October 1988 demo tape).
Upcoming God Street Wine Shows:
August 9 – TRI Studios (Free Webcast)
August 10 & 11 – Sweetwater Music Hall, Mill Valley CA
August 16, 17 & 18 – Gramercy Theatre, NYC NY
Thanks to Lo for sharing the story behind the tune.
The first leg of Bruce Springsteen and the E Street Band’s Wrecking Ball came to a close tonight at the Prudential Center in Newark, New Jersey. Not only did The Boss bust out a song he hadn’t performed in 39 years, but he also led a singalong tribute to the late Levon Helm.
To start, the 17-piece band opened with the second No Surrender of the tour before tackling the newer We Take Care of Our Own and Wrecking Ball. Following the raucous Badlands and all the musician intros in My City of Ruins, Springsteen treated the crowd to the incredibly rare Bishop Danced. There are only three known performances of this original by the New Jersey native and they all took place in 1973 – 39 years ago – making it the biggest bust out of Bruce’s illustrious career. Bruce wasn’t done yet with the rarities and dusted off It’s Hard to Be A Saint In The City for the first time all tour immediately following Bishop Danced. The rest of the main set saw a mix of Wrecking Ball numbers, greatest hits and a few underplayed gems in Candy’s Room and She’s The One.
05/02/12: Newark, NJ
[via Blog It All Night]
Following the bows that mark the end of the main set, The Boss grabbed a sign that said “Play 1 For Levon” and told the crowd about how much he loved Levon Helm’s voice. With that, Springsteen grabbed an acoustic guitar and started The Band classic The Weight as a tribute to Levon. The debut cover turned into a singalong, with the crowd handling all of the harmonies. All in all, the encore segment spanned six songs including the oft-requested Rosalita. The tour moves to Europe later this month and returns to this side of the pond in August.