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Randall’s Island gets Rocked from Phish and Phans

Phish and their dedicated followers are no strangers to New York City, seeing that they visit during the bitter cold New Year’s Eve runs each year. But the holidays came early for fans as they enjoyed the three-night run of beautiful weather, famous skyline and jam-packed Phish set lists on Randall’s Island, located between Harlem, Queens and the South Bronx. With a capacity of 35,000, Randall’s Island was a comfortable and familiar fit for fans that long for the Phish festival experience, but were happy to spread out on the lawn or rage by the stage.

There was a strict curfew each night of 11pm, causing the shows to actually start on time around 7, and with gates opening at 4, there were more than enough activities to keep fans entertained. Ben & Jerry’s handed out free Phish food ice cream and Hippieshop.com sold raffle tickets for a Fuego themed bicycle. One of the biggest attractions were the Official Phish Freezer and Water Wheel Foundation tents, offering vintage merchandise, Pollock posters, DVDs, and vinyls such as the new exclusive release of Picture of Nectar.

Thousands of phans travelled by ferry, car, subway, bus or walked the almost 2 mile hike over the East River to partake in the unique experience of Phish. The start of the three night run on Friday night brought a funky “Moma Dance” opener as the first “Ya Mar” of the season had the classic Page McConnell solo plus a stand out bass solo from Mike Gordon. The first set had possibly one of the best “Bathtub Gin” versions of the summer, clocking in at a solid 18 minutes. The Gin started in the traditional sense of phans singing along with the lyrics before the band dove into a fast paced melody of pure exploratory bliss.

The second set was a continuous flow of surprise and delight as they started with a dark and rare “Steam” with a slow build up that got pretty weird before the stand out “Down with Disease” that featured high energetic guitar riffs from Trey Anastasio. The soft and gentle melody morphed into a “Golden Age”, followed by a mellow “Limb by Limb”. The ever popular new hit “Fuego” made an appearance and set fire to the “David Bowie” that followed with triumph.

The show ended with a simple, yet groovy “Character Zero” as the first impressions of the night were grand, making everyone eager to return for two more nights of Phish. Randall’s Island has proved to be high on the list of venues and stand out jams for the summer tour this year.

Friday July 11th Setlist

Set 1: The Moma Dance, Kill Devil Falls > Ya Mar, Bathtub Gin, 555 > Rift > Sample in a Jar > The Wedge, Waiting all Night, Stash

Set 2: Steam> Down with Disease [1] -> Golden Age > Limb by Limb > Fuego > David Bowie, Cavern Encore: Character Zero

[1] Unfinished.

Notes: Trey teased the Munsters theme in Stash. DWD was unfinished.

July 28, 2014
Luna Light Festival: It’s About The Music

Pulling into the parking lot at Luna Light Festival in Barto, Pennsylvania, on Friday, July 11th foreshadowed the weekend ahead: clear blue skies were overhead, but an air of confusion hung about. Thinking we had made it to the festival, staff told everyone to unload their cars, park, and wait for a shuttle bus to take us to the actual festival grounds. No one seemed to know where the festival grounds really were, though.

After a five-mile ride on a yellow school bus into the woods, we were dropped on the side of a dirt road at Hex Hollow Farms. Despite being in the middle of nowhere, private residences sat on both sides of the road; behind one of those houses, the stage that would host Shpongle, Lettuce, and Keller Williams, among other artists, could be seen, evincing that we had actually made it to Luna.

Setting up shop turned into a free-for-all on a gently sloped and forested rectangular area that was adjacent to the main stage. Halfway down the length of the campground was the Wooded Stage, which became the late night haven after a last-minute late-night live drumming ban went into effect.  Great music wafted from the stages all weekend but, with no physical schedules printed and no wireless signal to check online, it often took a bit of investigation to figure out who was providing the aural enjoyment.

As folks settled in Friday evening, L.A. based Particle took the Main Stage around 7 p.m.  The band played an upbeat jamtronica set that had fans up and dancing.  The quartet sent jams out on dark, spacey trajectories but, before transporting listeners out of the stratosphere, cranked up the funk, inviting everyone back to a space disco.  Particle showed why they have been successful for so long, rocking the Main Stage in Particle-uarly groovy fashion.

The Main Stage was Shpongled next, as nearly all of the roughly 500 attendees came out to see Simon Posford play a DJ set.  For roughly an hour and a half, much of the crowd sat on the lawn watching the psychedelic show and soaking in the transcendent music.  Multiple sets of eyes surrounded by hypnotizing patterns were projected onto geometric prisms above the stage, lulling lookers into a contented daze that was meant to “open the third eye.” The music was also an entrancing ride; Shpongle mixed samples that transported listeners from a sensual cruise through a musical desert to a techno party to a tribal drum circle.  The ambient sound and captivating visuals added up to a unique experience that can only be described as getting Shpongled.

The dearth of schedules was exacerbated by the fact that planned set times were often changing. Because of a missed flight, Kalya Scintilla, scheduled to play late night Friday, missed the festival. Jimkata switched to an evening set Saturday rather than late night due to the drum ban, and Manifested came on earlier than anticipated.

With or without a schedule, there could be no mistaking Consider the Source when they plugged-in and exploded in the Hex Hollow lean-to early Saturday afternoon. If you could not see the source of their music, it would be easy to assume there were 5 or 6 musicians on stage rather than 3: consider that. The fretless top neck of Gabriel Marin’s custom axe proffers sounds that could come from a trumpet, trombone, xylophone, and, at times, even the guitar. He seamlessly moved from a trumpet-guitar solo into a hypnotic, Middle-Eastern fusion into funk into jazz, playing both necks the whole time. On the bass, whether he was slapping with ridiculously fast in-your-face aggression or tapping with mind-boggling precision, John Ferrara is the best bassist many people have never heard of. Rounding out the trio, Jeff Mann did more than just keep time, which would be a difficult enough task with Marin and Ferrara.  Mann changed time signatures on a dime, switching from metallic double-bass to snappy jazz beats.  He supplements his full kit sound with an electric Roland drum pad, which he beautifully employed during a cover of the Nine Inch Nails song “Hurt”. Adorned in their typical full-length white linens, Consider The Source pumped out rock as pure and smooth as their outfits Saturday afternoon.

The end of CTS’s first set was overlapped by Pigeons Playing Ping Pong on the Main Stage. The funktastic Baltimore quartet, fresh off the release of their album Psychology, played an upbeat afternoon set. Ben Carrey grooved out rolling bass lines during their catchy original tune “F.U.”, which was smoothly cut into a cover of “I Feel Good”. Their tune “Julia” –imagine Simon & Garfunkel’s “Cecilia” with two talented guitarists playing rich, elated melodies– had the crowd beaming and singing along. Pigeons finished the set with guitarists Jeremy Schon and Greg Ormont leading a psychedelic dive down the green pipe into a reggae jam of the Super Mario Bros theme.

Manifested played the Hex Hollow stage following Pigeons. Along with the band’s manager Joe DeAntonio, guitarist Mike Rabito deserves credit for planning and producing Luna. Like the rest of the musicians he brought to the party, Rabito and his bandmates rocked hard. They played an impressive set of improg jams before The Heavy Pets took the Main Stage. The South Floridians funky set was highlighted by heavy synth grooves, and a smokin’ version of “John Galt”.

Ithaca’s Jimkata was the next band to blow the roof off the Hex Hollow Stage, providing one of those most impressive sets at Luna. Lead vocalist Evan Friedell shined on vocals, and the group, whose indie roots shined through more than any band, also demonstrated they can jam hard led by guitarist/keys player Aaron Gorsch. They played an inspired version of “Feel In Light”, and “Die Digital>Legoland” had the crowd jumping. The set’s closer “Release” turned into a huge sing-along.  Throughout the set, poppy choruses led into heavy jamtronica waves that swept the crowd away.  Their growth as a band is evident from show to show, and Jimkata picked up quite a few new followers at Luna Light Festival.

Like Jimkata, who rocked before them, and CTS, who would play again after, Lettuce represented the Big Apple with aplomb.  Everyone came out of the wood-works for the weekend’s headliner. Lettuce waited for the crowd to build up, and with anticipation buzzing, an instant dance party ensued once they took the stage.  Despite the absence of guitarist Eric Krasno, the rest of the band rolled out their signature funk train.  Jesus Coomes’ huge presence was front and center all night as he slayed the bass.  Adam Smirnoff was silky on the guitar, while Ryan Zoidis and Eric Bloom provided blissfully blaring horns.  Coupled with an impressive light show, Lettuce’s soulful funk kept the crowd dancing and buzzing late into the night under the Supermoon.

Because of the late night drum ban, CTS took over Jimkata’s late night Saturday slot and played an unplugged set in the woods.  While Mann was as smooth as ever on various hand drums, Ferrara and Marin busted out some different toys for the acoustic set.  Ferrara produced dirty sounds with both his bass banjo and ukulele-like U-bass, while Marin switched between the Baglama saz and tanbour.  Their acoustic sorcery mesmerized onlookers early into Sunday morning, and forgetting the moratorium on loud late-night sets was easy.

The festival wrapped up early Sunday evening, but not after a few more bands had the chance to strut their stuff.  FiKus opened up the day on the Main Stage, pouring out rocking grooves.  Buffalo’s Aqueous was the last group of New Yorkers to own the Hex Hollow Stage.  Their improg rock had a fluid feel, fitting of the band’s name.  Their grooving melodies coupled with grandiose musicianship created a high-energy, face-melting rock show under the sun.

The day and festival wound down gradually, as people packed their belongings and tried to beat the masses to catch the shuttle back to the parking grounds.  NYC’s Turbine played the Main Stage and The Mantras rocked the Hex Hollow.  By the time Keller Williams took the stage for a solo acoustic set, much of the crowd had dispersed.  Whistling and strumming, Keller calmly brought the remaining fans back down to earth after 48 hours of great live rocking.  While there were bumps in the road and inaugural-year kinks, the Luna Light Festival’s success is a perfect reminder that it’s about the music.

July 28, 2014
Port Chester to Raise One Last Pint to Black 47

New York City’s own Irish-American rockers Black 47 may be winding down their career at the end of this year, but before they do so they’ll be hitting Garcia’s at The Capitol Theatre in Port Chester, N.Y. this Thursday.

Black 47 has had an incredible 25-year career and to cap things off they have recently released their final album, Last Call, this past March. Aside from their latest, they have 16 full-length albums, including a few live recordings.

While Black 47 will be making two more stops in the Hudson Valley (Kingston and Peekskill) before the end of September, a packed house at Garcia’s will prove to be one heck of a party.

Doors open at 6 p.m. and the show starts at 9 p.m. Tickets are $20 and available at the Capitol Theatre’s website here.

The event is open to 21-years and older, allowing all to raise their pints in the air!

Here’s a track off of Last Call: “The Night the Showbands Died”

July 28, 2014
Seth Yacovone Brings his Southern Style from the North to Putnam Den

The Putnam Den has been a staple in the Upstate music community for quite some time and is known for bringing acts spanning many genres. This has not changed, in fact, it’s about the only thing that has stayed familiar. The walls have all been painted a dark red, sending a warming vibe throughout the club. The bras that once hung from above the bar are gone. Tables are placed methodically around the soundboard, leaving plenty of room for people to shake their stuff in front of the stage, which is now graced with a red velvet curtain. These changes, along with many made to the outdoor patio (such as ping-pong and baggo), have made The Putnam Den an even more desirable place to have a great time and see live music. Saturday night exemplified this tremendously. With a packed patio and even more patrons inside to see The Seth Yacovone Band, all of the ingredients for a fantastic night were in order.

The Seth Yacovone Band, who hails from Burlington, Vermont with a sound coming from below the Mason-Dixon line, had the crowd hooked right away. “Tonight the Night”, a Neil Young song, was pure blue-blooded American rocking magic, with wailing guitar solos that set the mood for the entire night. Stellar musicianship was shown by the whole band. Steve Hadeka was on the kit while adding some vocals and Alex Budney slapped the bass, making a sound that was untouchable by many three-piece acts. “Botulism” was a high point of the set. Musically it held its own with the rest, but listening to the lyrics, which addressed nasty mayonnaise and other things that spurred the title, was very funny. If you didn’t listen close enough, the song was just another groovy danceable number. Closing the set out with Bob Dylan’s “Isis” was a treat. The band took the slow Dylan tune and sped it up a bit, yet didn’t stray too far from the feel of the original, a talent many bands do not possess.

The second half of music opened with the bass-heavy, fast-paced “Storage Space”, a fantastic way to start the set, attracting people walking the streets of Saratoga to The Putnam Den. This vibe continued as the club became more and more packed of people who were digging the sound coming from the Vermont trio. “Gnashing Golgotha Footstomp Shindig Blues” was intense. Channeling the late Frank Zappa on this tune was completely unexpected as the rest of the night offered nothing similar. The slow start with a funky bass groove and drum beat kept the cool vibe going while Seth sang over it in a different tone than the crowd had grown accustomed to. As the solo emerged, the crowd was in awe. Shredding does not even begin to describe how hard and fast Seth was playing. It was as if he was on another sphere. Slowly bringing it down enough to not lose the groove was just pure brilliance and, without a doubt, the high point of the show. Closing with “What Have I Done Wrong”, a song where the title pretty much sums it up, is about a man wondering what he did wrong and asking his lady with little or no response. Showing the more bluesy side of the band as well as some pure emotion was a great way to end the show. Not a single person was not screaming for an encore; the band gracefully obliged by playing “Little Richard Will Rise Again”, a song that sounds exactly how you’d picture it with a title like that. The band picked a fantastic way to end the show and was tops from the first note to the last.

July 26, 2014
Jerod Mankin to Leave Bobaflex

In a Facebook statement early Saturday morning, Bobaflex member Jerod Mankin announced he will soon be leaving the band.

It’s with a very heavy heart that I make this statement.This next west coast tour will be my final tour with Bobaflex.The road life has taken its toll on me and I’m just not made for the lifestyle any longer. I have zero regrets and have loved every minute I’ve spent with this band. These guys are not only my band mates, but have been my life long friends. We knew each other way before the band and will continue to be friends throughout the rest of our lives.

I can’t thank all of the fans out there enough for all of the support and love you’ve all given me over the past 13 years.

Most of all, I can’t thank the band members themselves enough for all of the opportunities and experiences they’ve given me. I love every one of these guys like family and will forever be their biggest fan. They are, without a doubt, the hardest working band out there.

I’m completely confident that big things will continue to happen for them and I’ll be cheering them on the entire way.

Thanks again for all of the years of joy and fun that everyone has given me. Hope to see you all soon…

Love,

Jerod Mankin

The bassist stated how life on the road has taken a toll on him. He married his wife Ashley in 2012. And, in a recent interview with , he had spoken of the sacrifices band members often have to take to pursue their dreams. In that interview, when asked what he would do if not playing in a band, he said he would continue to work in music as a producer.

Bobaflex kicks off their West Coast tour with a show in Scottsdale, AZ on August 1. Mankin has been with the band for 13 years.

July 26, 2014
Bruno Mars Dazzles Times Union Center

Albany was buzzing with anticipation Sunday night at the Times Union Center as Bruno Mars was set to make his debut appearance in Upstate N.Y, bringing his “Moonshine Jungle Tour” to the Tri-State area.

Bruno Mars – Times Union Center – July 2014

Fans of all ages came out for this highly anticipated, sold out concert. Some seats opened up right before the show, but were gone just as fast with some lucky fans even scoring front row seats.

After a short delay letting fans into the arena in the hot muggy weather, all was forgotten when this concert started.

Multi-talented Bruno Mars and his band are some of the best live entertainer’s I’ve seen on stage this year. A very charismatic bunch of musicians. This concert had a little of everything – pyro blasts, fire, sparklers and an awesome light show.

Both artists were very interactive with the crowd.

Aloe Blacc was the opener for this show in Albany. He and Pharrell Williams have rotated dates throughout the tour in select cities.

Aloe started the night off with the song “You Make Me Smile”. Some fans were still filing in from the delay during this song. The song broke down into a dance break, which prompted Blacc to ask the crowd “who likes to dance?”. He paused for the crowd’s response, then Aloe himself broke out into a dance.

The crowd stood for the rest of the performance when the song “Here Today” started.

Blacc now sheds his jacket and tells the crowd “here’s an oldie but goodie” and sings the song “I Need A Dollar”. Aloe had the crowd on their feet clapping along to his hit “The Man”. Blacc talked about his other hit “Wake Me Up”, saying, “I had these words that I wanted the whole world to hear”, and proceeded to talk about hooking up in the studio with DJ Avicii in 2013 to record the track.

Blacc was a great opener. The only drawbacks that I had were that his mic was a little bit low and he was drowned out by his band. Also, I didn’t like the plain black curtain behind him. I think a logo or themed curtain for intimacy as a back drop would have felt like more of a big deal, while the black made it seem like he was not that important.

Blacc signed CDs and T-shirts at the merchandise booth after his performance for fans.

Bruno Mars – Times Union Center – July 2014

Excitement from the fans started to rise as Bruno Mars was set to take the stage next. Concertgoers broke out into a wave around the arena in anticipation for Mars to come out.

After a quick intermission to set up the stage for Mars, the lights went out to a thunderous, almost deafening, roar. Everybody’s attention was now focused on the gold palm tree themed curtain, just waiting for it to fall as the beat started for the song “Moonshine”.

As the beat played, Bruno Mars welcomed the crowd to the moonshine jungle. A pyro blast cued the curtain to fall to Bruno and his band, jamming the first verse of the song.

Before he sang the song “Treasure”, Mars said how it was his first time in Albany, N.Y as a giant mirror ball lowered from the ceiling above the stage.

Mars then went into a medley of different songs, including the Beatles hit “Money (That’s What I Want)”, “Billionaire” (Bruno’s song with Travie McCoy), which drew loud cheers from the crowd, “Pony” (Ginuwine) and “Ignition” (R.Kelly).

Bruno blended his songs “If I Knew” and “Runaway Baby” by asking the crowd to sing along with him by hitting certain notes. Then, Mars asked the crowd to repeat the words “do you love me”. After having everyone repeat it, he asked for just the ladies to sing it. After singing it with all the women in the building, he answered them, “yes I do.” The screams from the ladies were insane.

When Mars teased the crowd that they were quiet, he said, “hey we can get quiet.” He and the band slowly faded down to silence, but were still dancing and snapping fingers like there was a beat still playing. Then Mars and the band slowly brought the volume back up; fans ate this up and just loved it.

Another funny moment happened at the end of the song “Nothing On You” (his song with B.o.B). Mars asked the guys to grab their lady’s hand, look into her eyes and say…”Bruno’s gonna do the talking tonight.” Mars then didn’t forget about the single ladies in the house. He said, “singles ladies don’t worry,” and he and his band shouted, “we’re here,” as they did a hip thrust gesture.

Bruno Mars – Times Union Center – July 2014

Mars then got serious and told the audience that his next song was the hardest song for him to write and was still the hardest for him to perform. He then played “When I Was Your Man” as cell phones lit up the whole arena during this song.

A minute-long keyboard solo led into the song “Grenade”, and finally, the smash hit “Just The Way You Are” ended the set.

During the last song, gold confetti fell from the rafters. It was an awesome scene. There was so much confetti it was like a white out in the middle of winter.

Mars introduced his whole band, while each member did their own signature dance as they were introduced.

The two-song encore started with Mars doing a drum solo, which led into the song “Locked Out Of Heaven” and wrapping up with “Gorilla”.

An amazing performance by Mars left me wanting more; he played about an hour and forty minutes it total. It’s nice to see Upstate N.Y. finally getting some different musical acts to this area who have never traveled here before, including Mars, Justin Timberlake and Paul McCartney. I hope this opens the door for more artist to come to our area for summer concert events in 2015 who would have not considered this area before.

July 26, 2014
Road to Backwoods: The Blind Owl Band

With less than two weeks to go, is gearing up for one of the best kept secrets of the North Country known as Backwoods Pondfest. The intimate festival offers a weekend of live music, camping, art and much more on August 8 and 9 at Peru, N.Y. Going strong in their 8th year, Backwoods Pondfest never disappoints with this year’s all-star lineup including Chali 2na and House of Vibe, Twiddle, Spiritual Rez, Turkuaz, Cabinet plus many more.

This “Road to Backwoods” series will shine a light on the Blind Owl Band, the all string quartet from Saranac Lake.

The Blind Owl Band will be a part of Troy’s Rocking on the River series on July 30th. Every Wednesday the downtown Troy area comes to life with free, outdoor concerts for guests to experience a wide range in musical genres. The music starts at 5pm and ends at 8:30pm, set up by the Green Island Bridge parking lot. Armed with a banjo, standup bass, mandolin and guitar, Arthur Buezo, Christian Cardiello, Eric Munley and James Ford create harmonious vocals and melodies that stretch as high as the Adirondack Mountains and their sound is an authentic, rebellious freight train. Despite the vintage and bluegrass vibe, Blind Owl Band pulls inspiration from modern day music to create a sound that is uniquely fresh. The long haired, mountain men will also makes stops at Nectar’s in Burlington, VT on July 31st and the Sterling Stage String Fling at Sterling, NY on August 1st.

Tickets are still available for Backwoods Pondfest and can be purchased on their website here or at any show featuring Lucid, The Garcia Project, Capital Zen and North Funktree. Tickets are only $70 including over 20 bands on 2 stages with 2 nights of car camping. Bring a non-perishible good and receive $5 off ticket price if you buy tickets Day of Show. Be sure to follow on Facebook and Twitter for more to come from out “Road to Backwoods” series.

July 25, 2014
Gypsy Punk Icons Gogol Bordello Played Host to a Melting Pot of Fans

A small congregation of people waited outside of Upstate Concert Hall on Tuesday, July 22nd. Much smaller than one might suspect, on a night helmed by gypsy punk band Gogol Bordello. But, more people did show for the performance as the night went on, possibly in part for the ‘Upstate Common Sense’ on tap behind the bar, instilling in the 500 plus crowd a feeling of liquid camaraderie. Gogol Bordello has a reputation for bringing a combo platter of life together for an all-inclusive party atmosphere, and by the end of the night, this was exactly the case. The gypsy punk band, with members from all over the world, brought quite the spectacle to Clifton Park once again.

The show opened with the raucous energy of Man Man from Philadelphia. Experimental rockers at their core, they descended onto the stage with a wall of sound and main singer/keyboardist Honus Honus presiding over the crowd in a sparkling hooded cape and his trademark mustache. With a hurried explosion of notes, Man Man started their set with what sounded like the middle of it. Cheering along at full intensity immediately, the crowd fell right in step. The four-piece switched instruments constantly, and between horns, strings and percussion, they welcomed the masses into their chaos. Pow Pow the drummer acted as de-facto conductor for the band and the audience, keeping the White Stripes meets Frank Zappa vibe at peak energy the entire set. By the end, the crowd was hungry for more.

The crowd exemplified the feeling of the night — the idea that no matter who you are, you would belong, here, at this show. People shirtless with multicolored LED gloves, or fedoras over dreadlocks, or metal shirts and ripped jeans, all were welcomed and more. The lights dimmed and the crowd coalesced into one singular being, eager and willing as Eugene Hutz, the leader of Gogol Bordello, took the stage. He vocalized the feeling of the night and asked the audience, “Where did we leave off last time? Let’s pick it up right there.” He started the show alone, with a single spotlight for the aptly titled “Illumination”, with the entire band joining him by the end. They played their dirty, infectious gypsy grooves in expert fashion, from a band honed by constant touring.

The sound was great, allowing the crowd to pick out all the intricacies of the band, from the extra percussion, to the accordion and violin solos, to the subtle, but powerful, five-part vocal harmonies. The presence of Pedro Erazo and Elizabeth Sun, the band’s MCs, extra percussionists, and hype man and woman, add to the deliberate crowd control that Gogol emits. At one point, Hutz anointed the congregation with a bottle of wine as he sang “Immigraniada” and brought the audience to a fever pitch. They left the stage, and not a soul moved, waiting for instruction to proceed. The show had stripped the audience down to it’s innocence, and the band came back to emulate this, starting their three song encore with “Lost Innocent World”.

One thing can always be certain of a Gogol Bordello performance: it will be an experience to remember. One of the hardest working bands in the business, and it shows, they continue to enthrall audiences and provide tasty morsels of world-class rock, punk and folk to keep the audience eating right out of their hands.

Photo by Jim ‘JT’ Gilbert

Set List: Illumination, Ultimate, Rise Again, Wonderlust King, Dig Deep Enough, Other Side of the Rainbow, Companjera, TC Hustle, Immigraniada, Mishto, Rise the Knowledge, Malandrino, Purple, Pala Tute, Sun Is On My Side, Not a Crime.

Encore: Lost Innocent World, Alcohol, Think Locally.

July 25, 2014
Hearing Aide: Jerry Garcia Band ‘Garcia Live Volume Four 3-22-1978’

Released on compact disc this week by the Estate of Jerry Garcia comes Garcia Live Volume Four, the newest addition to the updated live release series hailing from Garcia’s bulging vault. The recording comes from March 22, 1978 at Veterans Hall in Sebastopol, CA and features a tour already well represented on official releases because of its crispy playing and plentiful jamming. The now defunct Pure Jerry series spotlighted the JGB’s March 18, 1978 early and late performances, as well as concerts from February and June on the Bay Area 1978 release.

This incarnation of the ‘Jerry Garcia Band’ is worthy of deep inspection and were together from November 1977 through November of 1978. In addition to Garcia the band included, John Kahn (Bass), Keith Godchaux (Piano, Vocals), Donna Godchaux (Vocals), Maria Muldaur (Vocals) and Buzz Buchanan (Drums). This performance also features future Garcia Band member Ozzie Ahlers sitting in for the final four songs of the second set. What makes this era so attractive to fans and archivists is the nimble and airy aesthetic of the group. Godchaux and Garcia provide the color to the tunes, spinning delicate and ornate webs of melody around one another. Kahn’s hide and seek bass playing is always a unique aspect of the JGB’s rolling mystical attitude and his relationship with the clean sheet drumming of Buchanan gives the tunes a flexibility not always available to Garcia in the Grateful Dead.

Garcia’s guitar tone during this era is also something of note. His famous Doug Irwin ‘Wolf’ guitar returned in the Fall of 1977 after putting away his touring Travis Bean guitar for technical issues. The ‘Wolf’ appeared refurbished and retooled with a big brassy tone, like a huffing and puffing psychedelic horn. Garcia’s vocals during this era are also some of the most emotive and expressive of his career. While his throat still contained a youthful exuberance, its continued maturity injected wisdom and inquisitive weariness to his storytelling. The Spring 1978 Grateful Dead tour the following month from this concert is well-known for Garcia’s emotional vocal performances, especially on the ballads. This new-found vocal investment may or may not be due to Garcia’s newly found love of Persian which is well-known for its effect on many artists vocal approach.

The concert begins with usual JGB show opener “How Sweet It Is (To Be Loved by You)” always a proper number to warm up the chops and rigid fingers. The swift and skillful group floats like a feather but drops musically like a melodic anvil. There was a full moon on this evening and its effect is immediately noticeable in the magical tides being created by the band.

One of the finest versions of “Catfish John” follows next in the set and is highlighted by both Garcia and Godchaux’s melodic explorations. Each nook and cranny of the song is searched for differing avenues of expression by the duo.

The preceding East Coast segment of the JGB’s tour had just concluded on March 19 and a definite contrast in vibe is felt with this introductory West coast performance. The first set floats along patiently, moving through three extended versions of elongated readings of Dylan’s ‘Simple Twist of Fate’, ‘Second That Emotion’ and a respectful and regal version of ‘The Night They Drove Old Dixie Down’. ‘Simple Twist’ clip-clop’s with a horse’s strut, Garcia lending his own special poignancy to the song with melodic interpretations of Dylan’s verses that draw out visual scenes not sketched by the original interpretation.

The set closing “The Night They Drove Old Dixie Down” looks trough a misty window at battlefields of the past. Again, the song is stretched out and examined dynamically with the prime interpreter Garcia illustrating new meanings through his ariose guitar runs. This flexing version lends an emotional and introspective conclusion to the set.

The second set begins excitedly with a bounding tempo as the band introduces Jimmy Cliff’s “Harder They Come”. A kinetic groove is developed around Kahn and Godchaux’s quivering exclamations, equaling another rendition that is representative of an all time version. Garcia’s guitar is plump and round, his slithering runs hitting the central spot of the frets each and every time. These are not the speed runs, or aimless noodles that Garcia is sometimes guilty of when he may be feeling too good. These are concentrated and developed reconstructions of the melody, bent and shaped into original forms and readings. This is when Garcia is at his best. Sometimes the spaces between the notes are as uniquely expressed as the flexed one note holds. Garcia’s prowess as a rhythm guitarist which is often highly underrated is also of note in this version. Garcia scrubs until creating bubbles under Godchaux’s solo segment which in turn is sandwiched by Garcia’s solo picked excursions.

Keeping with the increasing energy of the second set comes another definitive reading with a stoic “Mission in the Rain”. Even though this song could be considered a ‘ballad’, here it sways away at a strutting clip. One of Hunter/Garcia’s finest songwriting moments, the song never quite felt right with the Dead, here it elicits a downpour of Garcia trills that reflect Godchaux’s misty keys, eventually building and thundering into a massive musical storm. Also highlighting this performance is the aforementioned Garcia vocal reading, full of tasteful over enunciation and additional push.

Part of the reason for the fame and strength of performances hailing from this era is attributed to the fact that Garcia had just released possibly his finest record with the Garcia Band. Cats Under the Stars was being supported by this tour and its songs formed cornerstones for Garcia’s repertoire for years to come. “Cats Down Under the Stars” and “Gomorrah” are played back to back here, true to the recently released studio versions but performed with the same glory and attitude of preceding numbers. Throughout the intervening years these songs would develop into ‘big’ numbers, road tested and matured due to constant playing.

Garcia Band favorite “Mystery Train” follows and as expected chugs along blowing steam. The tempo shakes like a railroad bridge with Ozzie Ahlers now sitting in on percussive piano according to the liner notes. The band cruises over crossings, under bridges and through American rock and roll landscapes on Buchanan’s choogling drums.

The smoky ‘reggae’ burn of the Hunter/Kahn number “Love in the Afternoon” is played next and brings thing back down slightly, until Garcia whips a lasso around the band and drags them into a nice mid song peak. Ahlers piano playing fits in perfectly and nary a lick is misplaced by his guest appearance.

The traditional “I’ll Be with Thee” closes the concert on a soulful and secular note. Garcia Band’s vibe was always based in American values, traditional ideas, and soulful renditions of classic melodies. Donna Godchaux and Muldaur lend their gospel voices in close harmony on this hand raising, hip swaying closing number.

The band returns for an encore of “Midnight Moonlight” which is the victim of an unfortunate tape cut at its conclusion. Most of the song is available, which is fortunate because like the Full Moon that shined outside the venue, this version is luminescent and celebratory, sending the assembled crowd to walk hand in hand across the lunar lit night.

The new GarciaLive Volume 4 is a worthy release from a well represented time in the Garcia Band’s history. Similarly to the Grateful Dead’s 1972, 1977 and 1990 tours, this era is highlighted through official releases because of its historic value, beautiful playing and unique instrumental prowess. The available soundboard recording is sweet sounding, well-balanced and loaded with delicate and powerful playing, all coming from an era filled with jaw dropping guitar fireworks by Garcia and sympathetic backing from the players.

Key Tracks: Mission in the Rain, Catfish John, The Harder They Come

July 25, 2014
Hearing Aide: “Weird Al” Yankovic ‘Mandatory Fun’

It’s hard to comprehend a time when there has been so much fanfare surrounding a “Weird Al” Yankovic release; nonetheless, in 2014, Mandatory Fun is here.

The 54-year old from Lynwood, CA launched his career tape-recording a Queen parody from inside a bathroom. Today, he is using the numerous tools of the Internet, launching eight videos in eight days upon the consumer world. It’s the most aggressive marketing ploy from the three-time Grammy award winning artist, since he was able to take over MTV’s broadcasting with previous releases.

The media blitz is still upon us, but we wish to provide you a collection of three cuts from Mandatory Fun.

First World Problems:

Yankovic invokes the musical style of ’80s alternative group, Pixies in “First World Problems.” This track is a joke on all of us, as we have all suffered from at least one affliction referenced in the song – from having someone call our cell phone (instead of texting), to purchasing an extra item online only to qualify for free shipping. It’s a song full of chuckles, until you reach that awkward moment when you realize you’re guilty of doing this too.

Word Crimes:

OMG! Dis video will 4ever circulate da Internet for as long as theirs social media ant pour grammer.

(Please tell me you saw what I did just there. Anyway.)

Yankovic goes the way of They Might Be Giants to help educate the English-speaking world on grammar usage by doing a spoof off of Robin Thicke’s “Blurred Lines.” The highly controversial song, the live performance with Miley Cyrus, the lyrics, the subject matter, and just about everything involving this song has been a dumpster fire despite its popularity. Yankovic turns Blurred Lines into a song music critics love to hate, into one they adore. The potential uses for this 3-minute-plus video is endless – from business seminars to teach technical writing, to an addition to Common Core’s academic curriculum. But, likely, you will be seeing this for the next twenty years as a witty response to whomever attempts to write something online without consulting a dictionary. This is another track that will have you laughing until you find yourself questioning why one (or many) reference(s) is (are) funny.

Mission Statement:

The 1980s is when hippies turned to yuppies, casting aside their collective search for free love and peace for monetary growth and addressing sound investments to build an adequate retirement nest egg. Here, Yankovic takes a Crosby, Stills, Nash and Young tune and affects your brain somewhat differently than a contact high, intoxicating listeners with annoying corporate buzz phrases. Any white-collar worker is nodding his head to this right now.

Mandatory Fun is Al’s 14th release, and by far his masterpiece. Like Warner Brothers through Looney Tunes, Yankovic is able to tie in current events with references to the past, allowing listeners from multiple generations to enjoy.

Key Tracks: Word Crimes, Mission Statement, First World Problems

You can purchase Mandatory Fun through most retailers. For more information please visit his website.

July 25, 2014