After being banned from SPAC for three years, the Grateful Dead returned on Tuesday, June 28, 1988 for one final outing at the famed Saratoga Springs venue. This being their first show since the release of 1987’s In the Dark and the Top 10 single “Touch of Grey,” a new generation of Deadheads were seeing the group for the first time, who were disparagingly referred to as ‘Touchheads’ by some veteran fans.
While this was the final performance for the Grateful Dead’s at Saratoga Performing Arts Center, the band had a strong fanbase in the greater Capital District. Add in a new audience of younger fans and the band would find themselves heading half an hour south for future performances in the region, at the Knickerbocker Arena, starting in 1990.
Locally broadcast on WPYX, the Tuesday show was aired on the radio in an effort to dissaude fans from arriving at the show without a ticket. This did not prevent gatecrashing from occuring early in the night, and fans on the lawn were found heading into the pavilion balcony as they did in 1985.
Rain fell on the crowd as storms passed through, and lightning was seen during the rain-soaked “Candyman,” leading to a chill coming over the crowd as the show wore on. A solid variety in the straightforward first set seemed to swap Bobby and Jerry songs from the outset of “Hell in a Bucket,” and ending with “Victim or the Crime” and “Foolish Heart.”
More rain came down early in the second set, similar to the rain in 1985 that began during “Fire on the Mountain.” Listen to “Scarlet Begonias” > “Fire on the Mountain” > “Estimated Prophet” > “Crazy Fingers,” and you’d likely be enjoying dancing in the rain as the thousands of fans did that night.
Following a hypnotic “Drums” and “Space,” a beautiful version of “I Will Take You Home” by Brent Mydland appeared, and a late second set “Stella Blue” found Jerry stumbling just before pouring buckets of emotion into the ending jam. The Dead had left their mark on SPAC, one of the most beloved venues in the Northeast.
Grateful Dead, Saratoga Performing Arts Center (SPAC), June 28, 1988
Set 1: Hell In A Bucket-> Bertha, Walkin Blues, Candyman, When I Paint My Masterpiece, Row Jimmy, Victim Or The Crime, Foolish Heart
Set 2: Scarlet Begonias-> Fire On The Mountain, Estimated Prophet-> Crazy Fingers-> Drums-> I Will Take You Home-> Goin’ Down The Road Feelin’ Bad-> I Need A Miracle-> Stella Blue-> Not Fade Away
On June 26, 1995, Phish performed for the third time (and second as a headliner) at Saratoga Performing Arts Center. Phish’s 1995 Summer Tour was into full swing by this point with the final 11 shows in the Northeast, four of which were in New York.
Back in 1995, reserved tickets for this performance at SPAC cost only $20. An “Acoustic Army” soundcheck with teases of “Shine” (six months and a day before “Shine” would debut on New Years Eve during “Fly Famous Mockingbird”), and Little Feat’s “Time Loves a Hero” reappeared for the first time since soundcheck on April 15, 1989.
A little Led Zeppelin could be found in “Possum” with a “Heartbreaker” tease, and in “You Enjoy Myself” containing a hint of “Immigrant Song.” The highlight of the show is surely a spacey and unfinishes “Down with Disease” that led into a monster “Free,” seen below.
The penultimate performance of The Meditations “Don’t You Want to Go?” was found in the first set, alongside a unique trio of “It’s Ice” > “Dog Faced Boy” > “Tela,” and the aforementioned “Possum.” Set 2 is a fiery one from the start, with a “Down with Disease” > “Free” that Phish.net calls “a multi-movement masterpiece.” A huge “You Enjoy Myself” (seen below) and “Sleeping Monkey” > “Rocky Top” encore are among the many highlights of this stand out show. It would take 9 years before Phish returned to SPAC, shows that stack up well against June 26, 1995. This show was released by Live Phish in 2017.
Soundcheck: Time Loves A Hero > Dog Log/Time Loves A Hero mashup, Nellie Kane, Santana Instrumental, Rocky Mountain Way
Set 1: My Friend, My Friend, Don’t You Want To Go?, Bathtub Gin, NICU > The Sloth, My Mind’s Got a Mind of its Own, It’s Ice > Dog Faced Boy > Tela > Possum
Set 2: Down with Disease [1] -> Free > Poor Heart > You Enjoy Myself, Strange Design > Run Like an Antelope
Encore: Sleeping Monkey > Rocky Top
[1] Unfinished. My Friend started with a Pomp and Circumstance March No. 1 tease from Trey. Trey teased and quoted Long Tall Glasses in Bathtub Gin. Possum contained a Heartbreaker tease and YEM contained Immigrant Song teases from Trey. Down with Disease was unfinished.
One of WNY’s tightest and most eclectic rock groups is back with a new album release on July 3. Rochester based indie rock band, Animal Sounds, has a great discography already, with early material like “Ghosts” paving the way for their first full album, Ennui. It is important to take into context how the band’s music has matured over the past few years. Layers is a whole new beast, with intricately crafted structure and infinitely danceable tunes. Animal Sounds hasn’t compromised on what’s made them an indie staple in the area while continuing to grow.
The album’s opener, “Layers,” is a great exemplification of how the band can mend and bend the genre’s they write around. The core of the song is a dance-able, Young-the-Giant-type-groove complete with wobbly keys and deft guitar work. While the hook and the vocal performance are worthy of the spotlight, the guitar parts and drum feature early on showcase how technically sound their musicianship is. The song breaks out into a New Orleans style brass section before diversifying into a chill and bouncy bridge. The drop downs in the song really make the chorus hooks shine through. One track in, and the album already makes a strong impression.
“Rollin,” the second track, hits heavy with a bluesy, Steely-Dan-style guitar lick underneath reverb-soaked vocal ooh’s. Little hints of shoegazy, early Modest-Mouse-type guitar parts play beneath the verse lyrics. The bass thrusts the song onward into an energetic chorus. Again, the musicianship is stellar as the band navigates very tonally different verses and choruses without missing a beat.
The third track of the album is really a unique sound for the group, with a mix of their essential indie, along with a more twinkly guitar background- similar to some of the tones you’d expect to find on a math-rock album. Some of the guitar parts come off as math-inspired, but they never stray from being rhythmically accessible. The bass tone on this song hits heavy and offers more thickness while the drums provide a straightforward pulse.
“Blue on Burgundy” yields a nice, solid dream-pop feel that remains energetic but gives the album a great dynamic arc. The guitar compositions and their harmonies are so well written and performed here, hitting that perfect point where the guitars meld together and sound like one single instrument. The band’s foray into more jam-type music here (as well as at various other points in the album) pays off in a big way. The solo sections never hang on too long, and what’s being played never comes off as inarticulate or ‘noodly.’
Lastly, “The Feeling” brings the album out on a heavy note. The baritone guitar licks match the bass to create a really thick sound. A theme throughout this album has to be the thickness of the low end. It lends to bouncier drums and allows the guitar and vocals to sit well. The mixing holds up really well and offers plenty of easter eggs worthy of searching for indulging numerous listens. A true dance album with wonderfully designed tones and mixes, Layers is a perfect album for summer playlists and heavy listening. Animal Sounds will be doing a live-stream show on July 3rd, to benefit a local Rochester venue, Photo City. Check out the event here, and catch Animal Sounds live on release day!
Animal Sounds is comprised of Erick Gordon (vocals), Shawn Brogan (guitar), Alex Brophy (guitar), Zach Jonas (bass), and Angel Figueroa (drums).
In the midst of a global pandemic, as well as coping with trials and tribulations of being a twenty something, Rochester native, Garrett Eckl of Your Name Here has released a full length album that was written and produced by himself. Graduation of the Apocalypse is Eckl’s second full length concept album, which covers topics such as relationship troubles, self worth and mental health – topics that relate to Eckl on a more personal level that compared to his prior album.
His vulnerability and advancement of his musical prowess has birthed the story of an immersive journey where two teens find themselves in the middle of an apocalyptic world that has been ravaged by an alien invasion/ virus. His use of music technologies, personal experiences and opinions on current world issues act as fuel to propel his story through highs and lows, like a true theatrical experience – something that Eckl said he really strived for on the album.
Eckl, who left his job at NASA to pursue music, recently moved to San Diego where he received bachelors in music recording technology. He has set his sights on a masters in computer music and intends to pursue academia. In an interview with NYS Music, he said recent life events pushed him to create a new album, namely his move to San Diego. His cross country move and relationship troubles have spilled onto the album, in the best way possible. He said the experience taught him that he needs to learn to let go of certain things in his life.
“The album is very cyclical in nature. The first song “Graduation Day” ends with me singing about not wanting to grow up and lose my youthfulness (“some kids live into their forties, some kids live until they’re married, some kids die on graduation day but I’m never gonna go that way”). That same verse is repeated at the end of the album in “Now I Know.” This signifies that despite everything the protagonist has been through, he still hasn’t become the jaded and boring person he feared he would become.”
The result of these revelations and life experiences is this: Sonically, this is what you get when you mix Ben Folds 5, Weezer and the play Dear Evan Hansen together. Listeners will feel an array of emotions, as one does in a play. There are tracks that are instrumentally uplifting and chipper, coupled with lyricism describing the complexity of love in relationships, like in “Graduation Day.” “Everyone Thinks You’re A Little Strange” is also a prime example of Eckl’s style – a huge sound consisting of string quartets, chanting choirs, dynamics and builds, highs and lows and stories that everyone can relate to.
But we’re also strung through songs that set the scene of how grim things are in this reality – i.e. “The Apocalypse.” This was a stand alone song that proves how Eckl is growing and learning. The song never speaks of the protagonists, says Eckl. “I wanted this album to be open to interpretation, but I wanted it to be very clear that this (song) was about the apocalypse.” In this track, Eckl is able to hold onto his style that sets him apart from others in the genre, but is able to create an intense tonal shift, all while using recognizable instrumentation and voicing that is seen throughout his other works. It’s an incredible feat and once again legitimizes this album as something that could easily be mistaken as an OST from a Broadway show.
Each song is unique and easily distinguishable. Everything sounds just as Your Name Here should sound, but each one feels like it’s own standalone story. String them together, and listeners will go on a personal, reflective journey as well as getting a taste of Eckl’s experience. It’s been exciting to run through each of the songs, and it’s been exciting to wait for each track, as Eckl has been releasing 1 song per week for the past few months. The last song of the album, set to be released July 5, is called “ Letter In A Locket”. We’ve made a playlist on Spotify of every released track, but listeners can find it on Apple Music and below via Youtube. Those who want to dive even deeper into the immersive world Eckl has created, can also look into the Alternate Reality Game (ARG) that he has made to coincide with the album. Find more information on his ARG, here.
Key Tracks: Graduation Day, Everyone Thinks You’re A Little Strange, The Apocalypse
At Transit Drive In in Lockport, NY, live music returned for the first time in over three months. The drought was lifted with three shows from Aqueous, who performed with a limited crowd that was safely distanced throughout the grounds.
As Sunday attendee Pete Connors of Utica attested, “For a post-apocalytpic world, they put together as close to a first class event as you’re gonna see this year.” From the looks of therecap videoby Jim Houle and just shared by Aqueous, the joy on the faces of the fans, even spread out among the Drive-In grounds agrees with this sentiment.
With a line forming at noon for the matinee concert, doors opened at 1pm for two sets starting at 2pm. From most points around the state, you’d be home in bed before it was dark. The sound was reported as fantastic from all fronts, even if the sound had to be adjusted to appease neighbors.
Each dad had its own unique highlight from the band. Friday opened up with local legend Rick James’ “Below the Funk,” and Saturday featured a single song second set of “Half In Half Out,” with teases throughout. On Sunday, the band left the stage before “Kitty Chaser” with a looped beat playing, as they staged a runaway golfcart marathon around the ground, saying hi to fans (from a safe distance).
In time, we’ll remember the shows and the return to live music, even if the details get foggy. Fans are grateful for music more than ever thanks to intimate experiences like Live at the Drive In, and the easing back into live music will present us all with a new appreciation for the blessings of music around us.
Setlists via Darren Kemp
Friday, June 19th, 2020
Set 1: Below the Funk¹ > They’re Calling For Ya > Numbers and Facts, Little Something to Me, Strange Times² > Burn it Down³ > Below the Funk
Set 2: Mind Games, Say it Again > Complex Pt. II, Realize Your Light
Encore: What’sThe Connection?⁴
Notes: ¹ BUSTOUT LTP 12/7/2018 (100 shows)² Unfinished³ G’z and Hustlaz (Snoop Dogg) tease⁴ Birds of a Feather (Phish) tease
Saturday, June 20th, 2020
Set 1: Staring into the Sun¹, Good Days, Split the Difference² ³ > Underlyer, Bring Me Down⁴
Set 2: Half In Half Out⁵
Encore: Freedom⁶
Notes: ¹ w/ ending² Wedge tease (Phish) between songs³ So Fresh So Clean (Outkast) tease⁴ Original – Debut�5⁵ Teases galore, including 20/20, Below the Funk (Rick James), Sample in a Jar (Phish), YYZ (Rush), Echoes (Pink Floyd), Californication (Red Hot Chili Peppers)⁶ Jimi Hendrix Cover, BUSTOUT – LTP 2011/6/11 (858 shows)
Sunday June 21st, 2020
Set 1: Dig It Good, Josie > Second Sight¹ > Good Enough, The Median
Set 2: Can You Get Me There?, Willy is 40 > Loop Jam² > Kitty Chaser (Explosions)
Encore: Freebird³, Complex Pt. I > Second Sight⁴
Notes: ¹ Unfinished² Band set loops on their instruments and proceeded to drive through the audience on golf carts thanking fans³ Lynyrd Skynyrd cover, Partially played as a joke, mostly acapella from Rob⁴ Ending
Many will remember Phantom Planet for their song “California,” but for many fans there more than just a theme song. The band actually started their career at just 15 years old and will later be an indie rock staple with songs like “Lonely Day,” “Big Brat,” and “Do the Panic.” Now after 12 years the bank has come back with their highly anticipates album Devastator – now available worldwide.
Devastator is the first album Phantom Planet has released in 12 years.
The album is a great tribute to summer with songs like “BALISONG” and “Only One,” and the lyrics are on point! However, after listening to the album, it left me with several questions for the band.
Fortunately, I had the amazing chance to chat with lead singer, Alex Greenwald to not only discuss about the creative process with the album- but to also discuss the challenges that were involved:
Tamara Estrella: Thanks Alex for chatting with us here at NYS Music, I remember when there were teasers that a song was being produced. However, once you did the release and the mini tour, what led to the creation of the album? Was this all a part of a big plan that fans didn’t know about?
Alex Greenwald: The night we played our first show in January 2019, our last album’s producer Tony Berg (who is a LEGEND) said he was floored watching us and invited the band to record in his new studio. The ‘new studio’ happened to be Sound City which is one of LA’s most historic places to record, where many, many great records have been made. Nirvana’s “Nevermind” for example. Also, the hugely successful version of Fleetwood Mac with Lindsey Buckingham and Stevie Nicks actually formed in the room we recorded in. THEN ,when we were mixing the album, Bob Dylan was recording at the same time across the hall. Making this album was incredible.
TE: Listening to songs like “Time Moves On” and then seeing the album art….I hate to ask…but was this album inspired about personal events? Or was there another meaning behind it?
AG: Before I answer this question, I’d like to make it clear – as the person who wrote it – that these songs are about whatever you think they’re about. You, the listener are who gives these songs meaning. Ok. Now to answer your question. Yes. A lot of the songs on Devastator were inspired by a breakup with someone I’d been in a relationship for seven years. Every time I told someone about the breakup – that she got to keep our dogs – they would say something like: “My G_d that’s devastating!” Always that word. So, the album just kind of titled itself.
TE: I love watching your YouTube videos and it’s great to see that you guys were even able to release a music video during all of this. How has this whole pandemic experience been for you guys as a band?
AG: The pandemic has affected everyone in such different ways, but the one thing we all have in common is that we are trying to live our lives to the best of our abilities while under house arrest. I’ve been learning all I can about anything I can, and being as creative as I can be during this time. The band has been sharing music amongst its members, collaborating via “satellite”. We’ve been making home vids of certain songs and putting them up online. I made a music video for our new song “Only One” with a green screen. I found a bunch of royalty free video from the internet, and edited it to the song. I filmed myself with my iPhone. It came out way better than I thought it would, seeing as I had absolutely no experience making music videos or editing or green screening. One of my favorite qualities of human beings is our ability to adapt. I see a lot of adapting, and although the circumstance are FAR from ideal, I have seen so many flashes of beauty through this dark unprecedented time. Stay strong everyone. We still have each other, even if we can’t be close right now. Love will carry us through.
So as Billboard shares, be ready to ‘dance, smile, cry and go through all the emotions,’ for an 11-track musical narrative that was seriously 12 years in the making- and honestly worth the wait.
Check out Phantom Planet’s latest video “Only One”:
With the times changing week by week, it’s been pretty hard for bands to get together and practice safely like they used to. However, Baked Shrimp had a different idea all together. This progressive-funk trio from Long Island just released their second full album, Bubble Suit, and their approach towards recording this new LP is ingenious.
Jared Cowen, Scott Reill and Jager Soss recorded their parts virtually and used cloud-based systems to send the tracks back and forth to create the final product. These 12 tracks have never been performed live or even played at practice and the band is quick to point out that this is not a studio album… it’s a quarantine album!
Regardless of how you classify it, this album is an impressive musical and technical feat from start to finish. The opening track, “The Vision That I Can See,” is a jaw-dropping epic that really showcases the prowess of this band and make you scratch your head as you ponder how they were able to put this album together. “Conduit” fits this same description too and will undoubtedly become a staple at their live shows. The band also shows off their light-hearted side with humorous tracks like “I Wanna Do Nothing” and “Drinking on the Beach”, but they really flex their skills on more upbeat songs like “Koko” and “Rock Bottom.”
Bubble Suit is a response to Baked Shrimp’s 30-date Summer Tour being cancelled. The band plans to resume touring as soon as safely possible and will stay true to release new music frequently in the future. For now, this album is a milestone achievement for Baked Shrimp and the music scene as a whole. They’ve taken our current uncomfortable situation and truly made the most of the situation. Bubble Suit was released on June 18 on Bandcamp.
Key Tracks: Conduit, The Vision That I Can See, Koko
The writing was on the wall, and if 1994 didn’t confirm it, 1995 certainly did. And on June 21-22, the Grateful Dead performed their final shows in the state of New York at the Knickerbocker Arena (The Knick) in Albany.
The Dead had performed over 300 shows in New York State alone since their first in 1967, but the last two in Albany would serve as a curtain call for a band that treated the state as a second home, musically speaking. After all the shows and runs at Madison Square Garden, Radio City Music Hall, Fillmore East, Paradise Garden, Capitol Theatre, Nassau Coliseum, Rich Stadium, the Carrier Dome and more, and these would be the finale, even if it was not announced as such.
via JerryGarcia.com
The June 21st show would offer up the final “Row Jimmy,” “Man Smart, Woman Smarter,” “Supplication Jam” and “Morning Dew,” and what a “Morning Dew” this was. Fans were in tears as the ballad played, one fan saying “all difficulties disappeared for a few precious moments and we were all treated to a beautiful, final rendtion from the boys.” Listen or watch the full show below and judge for yourself.
Grateful Dead – The Knick, Albany, NY – June 21, 1995
Set 1: Hell In A Bucket, Loser, Take Me To The River, Row Jimmy, Broken Arrow, Promised Land
Set 2: Scarlet Begonias-> Fire On The Mountain, Women Are Smarter, It’s All Too Much, Playin’ In The Band-> Drums-> Space-> Easy Answers-> Morning Dew
Encore: U.S. Blues
The next night would be the final show in Albany, at The Knick, and in New York State for that matter. The tour would head to Washington, D.C., Auburn Hills, MI, a few more stops in the Midwest before the final show at Soldier Field in Chicago, IL.
via JerryGarcia.com
This show features an incredible “Franklin’s Tower,” clocking in at 18 minutes, a near-record for its final version ever. The final “Help on the Way” and “Slipknot” preceded the set closing jam, as did an emotional “It Must Have Been the Roses.” Early in the second set, “Estimated Prophet” -> “Terrapin Station” combine for 30 minutes followed by 25 minutes of “Drums” and a “Silent Way” jam ahead in “Space.” Final versions of “All Along the Watchtower,” “Black Peter” show up later in the set, with an encore of “I Fought the Law” to close the run.
The Grateful Dead made their mark on the Empire State through nearly 30 years of performances, one that lasts in every corner of the state to this day. Revisit those final shows, 25 years later.
via gratefuldeadoftheday.com
Setlist June 22, 1995
Set 1: Touch Of Gray, Walkin’ Blues, It Must Have Been The Roses, When I Paint My Masterpiece, So Many Roads, The Music Never Stopped Help On The Way-> Slipknot!-> Franklin’s Tower
Set 2: Samba In The Rain, Estimated Prophet-> Terrapin Station-> Drums-> Silent Way Jam-> Space-> All Along The Watchtower-> Black Peter-> Around & Around
Kendrick Lamar once said, “Critics want to mention that they miss when hip-hop was rappin’/ Motherf*****, if you did, then Killer Mike would be platinum.” As great of a line as that was, let’s make one thing clear; all forms of hip-hop are respectable. Lyricists, mumble rappers, crooners, they all have their place within the genre. Moreover, while we often look for messages in our art, understand that you won’t find it in what I like to call “easy listening rap.” Artists who view hip-hop as a competitive sport tend to challenge themselves. They think of more elaborate rhyme schemes, pick more challenging beats to rap on and (some) interpolate different subject matters in their music. Easy listening rappers find a formula and stick to it, no matter how redundant their sound. However, their inability (or unwillingness) to change does not invalidate them. We need fun-party music, but we need the former as well. Hip hop duo Killer Mike and El-P probably won’t go platinum with this latest effort – much to Kendrick Lamar’s chagrin – yet, their latest project — RTJ4– is undeniable.
Give up the information.
Originally scheduled to be released June 5, the album was pushed up, releasing two days early, with an accompanying note: “F*** it, why wait. The world is infested with bullsh** so here’s something raw to listen to while you deal with it all. We hope it brings you some joy. Stay safe and hopeful out there and thank you for giving 2 friends the chance to be heard and do what they love. With sincere love and gratitude, Jaime + Mike.”
The fourth installment of the Run the Jewels series covers similar themes as its predecessors: racism, capitalism, socioeconomic issues. Basically, you know what you’re going to get. Even so, their ability to pinpoint America’s discriminatory ways – and Killer Mike doing an excellent job of reversing the black community’s ethos from victimhood to one of power – have resulted in 39 minutes of thought-provoking content, which is not a given in today’s hip hop climate. On “walking in the snow” Killer Mike exposes the corrupt ways in which black people are targeted, while attacking the black community themselves for their acceptance of their role as casualties.
“The way I see it you’re probably freest from the ages one to four / Around the age of five you’re shipped away for your body to be stored / They promise education, but really they give you tests and scores / And they predictin’ prison population by who scoring the lowest / And usually the lowest scores the poorest and they look like me / And every day on evening news they feed you fear for free / And you so numb you watch the cops choke out a man like me / And ’til my voice goes from a shriek to whisper, “I can’t breathe” / And you sit there in the house on couch and watch it on TV / The most you give’s a Twitter rant and call it a tragedy / But truly the travesty, you’ve been robbed of your empathy / Replaced it with apathy, I wish I could magically / Fast forward the future so then you can face it / And see how f***** up it’ll be / I promise I’m honest, they coming for you / The day after they comin’ for me.”
“I’m robbing you.” “What for?” “Whatever you got.”
Throughout the project, Killer Mike shares several cathartic moments with the audience while veteran emcee El-P plays the role of ally, addressing the nation’s corruption. On the album’s intro “yankee and the brave (ep.4)” he raps,
“it’s scammer bliss when you puttin’ villains in charge of shit / All of us targeted, all we doin’ is arguin’ / Pardon them as they work until every pocket’s been picked and soul been harvested / I’m ready to mob on these f***** Charlatans.”
On the same track, Killer Mike takes the term “Black Power” to a whole new level by doubling down on his refusal to be martyred. “I got one round left, a hunnid cops outside / I could shoot at them or put one between my eyes / Chose the latter, it don’t matter, it ain’t suicide / And if the news say it was, that’s a goddamn lie / I can’t let the pigs kill me, I got too much pride / And I meant it when I said it, never take me alive.”
It is noteworthy to mention that he also did this, but his words are powerful nonetheless.
He maintains his stance of power throughout the project, only relenting on the albums outro “a few words from the firing squad (radiation),” where he grapples with his role as a famous entertainer, his potential to make a difference within the Black community, its sometimes deadly consequences and the divisiveness it can cause within Black families.
“It’d be a lie if I told you that I ever disdained the fortune and fame / But the presence of the pleasure never abstained me from any of the pain / When my mother transitioned to another plane I was sitting on a plane / Tellin’ her to hold on and she tried hard but she just couldn’t hang / Been two years, truth is I’ll probably never be the same / Dead serious, it’s a chore not to let myself go insane / It’s crippling, make you want lean on a cup of Promethazine / But my queen say she need a king / Not another junkie, flunky rapper fiend / Friends tell her he could be another Malcolm, he could be another Martin / She told her partner I need a husband more than the world need another martyr.”
Even with excellent lyricism, there are supplementary elements that make this album noteworthy. While the duo’s cohesiveness is seen through their mutual world views, the beat selection, however, is raw and unfiltered. Heavily rock influenced, RTJ4’s production is not always sonically pleasing – possible to deter the masses who are only trying to hear “good vibes.” Instead, they are purposeful. Loud guitar riffs, drums and alarms are heard throughout as they amplify the messages. Almost as if they picked beats that would not allow the audience to drift away (sometimes a catchy beat or chorus can hinder the record’s message).
Run the Jewels 4 is meaningful. Not only because of the subject matter, but the delivery itself. In our current climate, it’s rare to find conscious rap that doesn’t portray Black people as victims. El-P and Killer Mike take the opposite approach, challenging the oppressed to defend themselves, let’s hope they take heed.
Let’s head north on I-87 to Glens Falls for the May 5, 1981 Grateful Dead show at Glens Falls Civic Center. This is a high energy show, especially Set 2.
The opening set goes back and forth on Jerry and Bobby tunes until “Althea” breaks out for 10 minutes, and the set-closing pair of “The Music Never Stopped” -> “Don’t Ease Me In” is worth a listen. Set 2 stands out on paper, and for good reason. The transition from “Scarlet Begonias” into “Fire on the Mountain” is as musically tight as one could ask for, with melodic solos throughout each.
backstage pass via Larry St.Pierre
“Estimated Prophet” gets dark quick and leads into the uplifting “Eyes of the World.” A Spanish jam that develops from “Truckin’” leads into “Alabama Getaway,” and closes a set with “Johnny B. Goode.” This show is a hidden gem among Dead shows in Upstate New York. Listen below.
Grateful Dead – Glens Falls Civic Center – May 5, 1981
Set 1: Feel Like A Stranger, Peggy-O-> El Paso, Ramble On Rose, CC Rider, Althea, Passenger, Brown Eyed Women, The Music Never Stopped-> Don’t Ease Me In
Set 2: Scarlet Begonias-> Fire On The Mountain, Estimated Prophet-> Eyes Of The World-> Drums-> Uncle John’s Band-> Truckin’-> Alabama Getaway-> Johnny B. Goode
