Today was unlike past pandemic-era Mondays for Phish fans, who were teased with a video of guitarist Trey Anastasio from what appears to be Phish’s Barn Studio in Vermont.
The video, shared via Jambase, was taken by Trey’s daughter Eliza Anastasio and posted to her Instagram stories.
Fittingly, Eliza used the original music of “2001” (née “Also Sprach Zarathrusta”) to demonstrate her dad’s new gear on stage.
Could Phish have something in store of fans in terms of a live stream from The Barn? Given the Dinner and a Movie series each Tuesday night, it’s possible that live performances are on tap, akin to Goose‘s successful Bingo Tour.
On July 13, 1995, Phish was the musical guest on The Late Show with David Letterman. “Julius” was performed with support from The Late Show Band as well as Dave “The Truth” Grippo on saxophone. The second of nine performances at The Ed Sullivan Theater, Phish performed on Letterman over a span of 20 years to highlight upcoming shows and recent releases. Their Letterman performance would be their last show until late September that year.
The band’s first performance included, at Dave’s supposed request, “Chalkdust Torture,” which was performed on the afternoon of the band’s first ever show at Madison Square Garden, December 30, 1994. Jerry Seinfeld was the first guest that night, which led to this iconic photo:
On June 21, 2004, the band memorably performed atop the Ed Sullivan Theater marquee to a crowd of hundreds dancing in the street on Broadway. Then in 2014, on the same night they performed “The Line,” they also treated a lucky group of fans to a set from the same stage where The Beatles made their American debut. Check out the setlist here.
On a steaming hot midsummer night in 1987, two legendary names in the music world combined forces to deliver three sets of music to a ravenous crowd in the swamps of New Jersey, locally known as the Meadowlands. The Grateful Dead’s 1987 Summer Tour included six shows that would see Bob Dylan accompany them for an extra set of music each night. Later immortalized through the live release Dylan & The Dead, these shows featured some Dylan-penned songs that would remain on the Grateful Dead’s live playlist for years to come.
Those who survived this unseasonably warm and muggy day were treated to three sets of music from some of the best in the business. The temperature and conditions were such a concern that concertgoers near the front of the stage were literally hosed down in an effort to cool off both before the show and during sets. So on a day where shade was at a premium, the festivities fittingly kicked off with “Hell in a Bucket,” and the show was off and running.
The rest of the first set resembled a fairly common one for this era of the band. Classics like “Loser” and “Greatest Story Ever Told” mixed with contemporary tunes like the Brent Mydland-helmed “Tons of Steel,” which would only be played five more times after this. There’s an incredibly jazzy version of everyone’s favorite Dead crowd PSA, “Take a Step Back.” And an atypical placement of “Bertha” in the first set closer’s spot seemed to energize the whole stadium and created a palpable buzz between sets.
Giants Stadium 7/12/87
The second set picks up right where its predecessor left off with another interesting placement thanks to an opening “Morning Dew” that was preceded by a little “Addam’s Family”-themed tuning. The rest of the set continued to serve as a traditionalist’s dream with an electric “Playin’ in the Band” and a thunderous “The Other One” before the crowd serenaded the band off the stage with the traditional lyrics from Buddy Holly’s “Not Fade Away.”
But instead of an encore to follow, there was an entire third set to be had first and this one would see Bob Dylan play in front of, arguably, one of the greatest backing bands in rock. While it may not have evoked the same widespread energy levels of the earlier sets, this one would serve as foresight to some degree for the Dead and give a glimpse of what was to come.
While they had been debuted earlier in the tour, this collaborative set of music would only be the third time that the band would attempt live performances of “Stuck Inside of Mobile with the Memphis Blues Again” and “Queen Jane Approximately.” Both of these songs would continue to be played for the rest of the Dead’s touring career, with “Queen Jane” even making an appearance at the band’s last show in July of 1995.
Fans were also treated to Jerry Garcia jumping on the pedal steel and showing off his chops on “Tomorrow Is A Long Time.” Songs were kept mostly straightforward in this set, absent of the long, psychedelic journeys which typically accentuate a Dead show. But it surely must have been a treat to see the band backup the legendary Dylan on numbers like “It’s All Over Now Baby Blue” (a song the Dead used to actually cover in the late ’60s) and “All Along the Watchtower.” The encore was a double bill as well as renditions of Touch of Grey, the Dead’s latest “hit” single, and “Knockin’ On Heaven’s Door” sent a packed Giants Stadium crowd back to reality and into the hot summer night.
Watch the entire third set and encore with Dylan:
The Grateful Dead with Bob Dylan 7/12/87 Giants Stadium – East Rutherford, NJ
Set 1: Hell In A Bucket, West L.A. Fadeaway, Greatest Story Ever Told, Loser, Tons Of Steel, Ramble On Rose, When I Paint My Masterpiece, When Push Comes To Shove, Promised Land-> Bertha
Set 2: Morning Dew, Playin’ In The Band-> Drums-> Jam-> The Other One-> Stella Blue-> Throwing Stones-> Not Fade Away
Set 3: Slow Train, Stuck Inside Of Mobile With The Memphis Blues Again, Tomorrow Is A Long Time*, Highway 61 Revisited, It’s All Over Now Baby Blue, Ballad Of A Thin Man, John Brown, The Wicked Messenger, Queen Jane Approximately, Chimes Of Freedom, Joey, All Along The Watchtower, Times They Are A Changin’
“Drag” was written before the countless changes of the past few months. The song explores the pre-pandemic ‘normal,’ but doesn’t paint it as being perfect. It looks into the monotony of life.
“I love New York City, though, some days it feels like a dysfunctional landscape of ill-routine. Living here, you realize you’re functionally necessary but of small significance or importance within the larger enterprise. I’m immersed in a series of habits: standing in line, getting on a train, heading to work, buying coffee, buying booze… Are these choices I want to make or am I just keeping the machine going?”
Sean Cahill, Songwriter.
This will be the band’s second album after I’ll See You in the Art You Love, released three years ago. The Next Great American Novelist, or NGAN for short, wanted their music to be something that could be enjoyed best live, by all sorts of people. Art You Love delves into depression with an emo-folk sound. Careless Moon includes songs that will “make sense live.” Atwood Magazine, who debuted the album’s first song “Blackberry,” notes that that the band’s new songs have “a heavy alternative sound that simply wasn’t present in NGAN’s previous repertoire — and yet, this growth feels natural and exciting.”
The upcoming album comes from a place of joy rather than sadness and is marked by their new sound. Despite the band’s evolution, fans will still be able to recognize NGAN in Careless Moon from their three-part harmonies and meaningful, storytelling lyrics. It explores the relationship between romance and indifference. The two can coexist at the same time within one symbol.
Watch The Music Video for “Drag” Below:
Cahill has gone through ups and downs with his relationship with music. Yet he realized that it is his calling. “For a while I felt guilty about playing music, playing shows, as if it was a shameful or self-serving pursuit,” he tells Atwood. “After some reflection, I’m realizing that music is the best way I can spend my time, as it brings more light into the darkness and opens up an avenue for sharing joy.” Cahill eventually met Helm and Cummings through a “chance encounter,” and the three then formed NGAN through a shared music taste and interest in becoming creative collaborators.
Atwood reports that Careless Moon is “bigger, edgier, and more alternative; an unabashed outpouring of raw dynamism. The Next Great American Novelist are ready to be your Next Favorite American Band.” “Drag,” along with “Kubler,”“Baby Duck Song,” and “Blackberry,” are available for streaming now.
Manhattan’s historic The Ear Inn has played a pivotal role in the music scene and beyond. It’s the oldest bar in New York City that has continuously served alcohol since 1817. Check out this recording of The Earregulars, from November 2009 via JAZZ LIVES.
The Ear Inn has a very unique history after being open for two centuries. It dates back to a time where there was African aide to George Washington and The Ear served as residence for John Adams and Aaron Burr, among others. The Ear Inn was nicknamed by patrons as an untitled bar (“The Green Door”) for obvious reasons. As a result, the bar is listed on the National Registrar of Historic Buildings.
Go ahead and enjoy these video selections of The Earregulars performing at The Ear Inn on November 8, 2009. The videos feature a plethora of musicians: Jon-Erik Kellso (trumpet), Matt Munisteri (guitar), Harry Allen (tenor saxophone), and Neal Miner (string bass). They also include Victor Herbert’s “Indian Summer” and Louis Armstrong’s swinging anthem of reproach, “Someday You’ll be Sorry.”
It’s the Fourth of July and if you’re looking for some patriotic music from the 80s, well you are in luck. We’ve got Bobby and the Midnites “(I Want to live in) America” music video from 1984, a video celebrating diversity and the global oneness of all people, united through our daily struggles and love for America.
But if you’re looking for a sound similar to that of the Grateful Dead, look at virtually any other Dead side-project and it will be closer than Bobby and the Midnites. The poppy/yacht rock sound of “(I Want to Live in) America” seems better suited for pre-Sports Huey Lewis and the News than Bob Weir’s short lived pop effort.
Filmed in Brooklyn with the Twin Towers of the World Trade Center behind the band, as well as in California with cars bouncing up and down the streets, the coast to coast vision for the video feels like a generic 80s video. Written by Weir, John Perry Barlow, Bobby Cochran and Gerrit Graham, “America” feels like an overarching effort to get radio play in an era where the Dead went seven years between studio releases.
Joining Weir on this album were fusion drummer Billy Cobham, who recorded with Miles Davis and Mahavishnu Orchestra, bassist for Little Feat Kenny Gradney, and future Rockabilly Hall of Famer Bobby Cochran. You’d think that all this talent would translate to something big, but instead we get an oozing song and accompanying video full of early 80s cheese.
Still, the lyrics are uplifting and positive, referencing dreams, surviving, and refugees living on a level playing field in America. Watch the video and live version below and share your thoughts on Bobby and the Midnites in the comments.
All this hometown history is slippin’ away Shattered by a miracle age I’m gonna roar through the night on a fantasy flight As soon as I come of age When the dream ignites, there’s a flame so bright Burnin’ in a young man’s heart Get your hands on the wheel of some Detroit steel You can hear the music start
I’m telling you I want to live in America I want to live in America
Have you ever been down south of Chinatown Seen the face of a refugee The kids are alive, they’ve learned to survive They’re just like you and me All their friends back home wonder what it’s like alone Living in the land of the free It’s another way of life, rev it up and take a ride Realize your dreams
I’m telling you I want to live in America I want to live in America
Where the electric guitars ring out loud It’s the heartbeat of the steet Where the engines scream and the music’s mean I just gotta feel the heat
I’m telling you I want to live in America I want to live in America
Where the electric guitars ring out loud It’s the heartbeat of the steet Where the engines scream and the music’s mean I just gotta feel the heat
I’m telling you I want to live in America I want to live in America I’m telling you I want to live in America I want to live in America
It’s not too often you see the Grateful Deadopening for another band, especially not in the 1980s. But on July 4, 1986, the Grateful Dead linked up with Bob Dylan and Tom Petty and the Heartbreakers for one of only four shows together that summer, performing at Rich Stadium in Orchard Park, NY, home of the Buffalo Bills.
The Pittsburgh Post-Gazette characterized the show on the 4th of July perfect for “The Dead’s vagabond odes and Dylan’s outspoken songs of freedom.” Sweltering heat during the day led to a first set that was cut short, but rain during “Cold Rain and Snow” to start the second set provided respite for the crowd. Perhaps out of exhaustion, fans were reported to have left after the Dead encored with “U.S Blues.”
While the Dead opened, a trio of songs were featured in a satellite broadcast live to Farm Aid 3. Prior to “The Wheel,” Bob Weir said to the crowd “America is an example of an agrarian nation, let’s keep it turning.”
Six days and two shows later, Jerry Garcia slipped into a diabetic coma and was unconscious for a week, but would recover and be back on stage later that year. This show at Rich Stadium would be one of the last times the Dead would perform in New York for nearly a year, before returning to Rochester on July 2, 1987.
Setlist, Grateful Dead, July 4, 1986, Rich Stadium, Orchard Park, NY
Set 1: Jack Straw, Dupree’s Diamond Blues, CC Rider, Tennessee Jed, My Brother Esau, Touch Of Gray
Set 2: Cold Rain & Snow-> Fire On The Mountain-> Samson & Delilah*-> The Wheel*-> I Need A Miracle*-> Uncle John’s Band-> Drums-> Gimme Some Lovin’-> Goin’ Down The Road Feelin’ Bad-> Turn On Your Love Light
Encore: U.S. Blues
*broadcast as part of Farm Aid 3
Dylan and fellow Traveling Wilbury Petty joined up for a tour featuring the Heartbreakers backing Dylan. Dylan played a few solo acoustic songs, while the Heartbreakers played their hits that are still classics today, and all joined together for “Rainy Day Woman # 12 & 35.”
Bob Dylan with Tom Petty and the Heartbreakers, July 4, 1986, Rich Stadium, Orchard Park, NY
Set: So Long, Good Luck And Goodbye, Positively 4th Street, Clean Cut Kid, Emotionally Yours, Trust Yourself, We Had It All, Masters Of War, Straight Into Darkness (Petty & The Heartbreakers), Think About Me (Petty & The Heartbreakers), The Waiting (Petty & The Heartbreakers), Breakdown (Petty & The Heartbreakers), To Ramona (Solo acoustic), One Too Many Mornings, (Solo acoustic), A Hard Rain’s A-Gonna Fall (Solo acoustic), I Forgot More Than You’ll Ever Know, Band Of The Hand, When The Night Comes Falling From The Sky, Lonesome Town, Ballad Of A Thin Man, Bye Bye Johnny (Petty & The Heartbreakers), Make It Better (Forget About Me) (Petty & The Heartbreakers), Spike (Petty & The Heartbreakers), Refugee (Petty & The Heartbreakers), Rainy Day Women # 12 & 35, Seeing The Real You At Last, Across The Borderline
“All I Can Say,” a documentary on the late Shannon Hoon, the late lead singer of Blind Melon, was released on June 26. The film will not be released in theaters as planned due to the COVID-19 pandemic, but will be available to rent on Relix.
The film is made up of many clips Hoon filmed of himself between 1990 and 1995. Hoon was known for religiously filming himself and his day to day life and left over 200 hours of raw footage right up until his death at the age of 28. The footage starts from before Hoon joined Blind Melon and through the band’s experiences in L.A, filming right up until a few hours before his death. The film was co-directed by Danny Clinch, Taryn Gould, and Colleen Hennessey.
The film was funded by a Kickstarter that hoped to raise $100,000 but ended up raising $115,524 with almost 2,000 backers to the campaign. The Kickstarter explained their hopes for the film saying, “This film documents the band’s rise to fame, Hoon’s family life, his creative process, his tumultuous struggle with addiction, as well as the politics, technology and culture of the 90’s. It is being made in a way that honors the footage Hoon shot while maintaining a genuine and authentic story.”
Oscilloscope Laboratories made the film available to the public via a rental program. Viewers can purchase a 3-day rental period of the film. Relix is partnered with Oscilloscope to share the film.
https://youtu.be/3xph8pPJMB8
For more information or to rent the film visit Relix Presents website.
Brooklyn-based singer-songwriter and self-taught musician Ian Holubiak, who goes by the name Great Ian Alexander, has released the music video to his new protest anthem, written in response to the death of George Floyd and in support of the Black Lives Matter movement.
“The Ballad of Michael Brown,” was originally supposed to be a battlecry for the late Michael Brown, a victim of police brutality. As the years have passed, the song has maintained its relevance, serving as yet another voice in defiance of the systemic racism inherent in America’s police forces. Great Ian Alexander presents a song to aid in the revolution, to form a new police system and oust the racism that has been perpetuated and brutalized through the 13th Amendment.
Written by Ian Alexander Holubiak, Larz Principato & Denis Lipari, the song is a part of Holubiak’s solo project, Great Ian Alexander.Holubiak, a self-taught musician from the age of nine has toured with the Atlantic Records band, Oh Honey, as both a member and co-songwriter. Among the other groups he has toured with include Beach Weather and singer-songwriter acts inducing Grammy award nominated Elle King.
Disney + has just released their trailer for Hamilton: An American Musical which will be available for streaming on July 3.
First produced Off-Broadway at the Public Theater in 2015, Hamilton then moved to the Richard Rogers Theater on Broadway later that year. The show’s music, lyrics, and book were written by the musical’s star, Lin Manuel-Miranda based off of Ron Chernow’s biography of Alexander Hamilton. Hamilton is most famous for presenting America as it was in the 1700s, but in today’s light. Every character save King George is played by a BIPOC to highlight the diversity of America today.
Hamilton took Broadway by storm and the hype has not yet let down. Due to the show’s popularity, tickets continue to be expensive: at one point, a premium seat went for $1,150. However, the show is famous for their memorable lottery, the #Ham4Ham, when lucky winners are given front row tickets for only $10, or one Hamilton. Fans have been anticipating the release of this recording for years, as Lin Manuel-Miranda confirmed that the show would be recorded in a tweet in 2016. The release of this high-quality recording makes Broadway more accessible to people who cannot experience it live for themselves.
Hamilton was nominated for a record-breaking 16 Tony awards, and won 11 in total, including best musical, best book, and best score, as well as Leslie Odom Jr. (Aaron Burr) winning best actor, Daveed Diggs (Lafayette/Thomas Jefferson) awarded best featured actor, and Renée Elise Goldsberry (Angelica Schuyler) receiving the Tony for best featured actress. Many other members of the cast were nominated for Tonys, and they can all be seen in the original Broadway cast recording on July 3.
This is Lin Manuel-Miranda’s second Broadway show. In The Heights, a story about a predominately Hispanic neighborhood community living in Washington Heights, had its Broadway debut in 2008 also at the Richard Rogers Theater and was nominated for 13 Tonys and won 4, including best musical. In the Heights has just been adapted into a feature film as well, with Anthony Ramos (who plays John Laurens/Philip Hamilton in Hamilton), playing the lead role of Usnavi. In the Height, previously scheduled for release June 2020, will now be released on June 18, 2021.
Hamilton will be available to stream on Disney+ on July 3.
