New York-based alt rock trio CANVAS has recently released a new single titled “Jealousy.” With their soaring vocals and driving distorted guitar sound, CANVAS has been favorably compared to other rock contemporaries such as Mariana’s Trench and Muse. Living up to their experimental ways, the band melds sounds of Western-roots rock and old-school funk on this release. Lead singer Jerid Nowell’s vocals dance through steady guitars, a funky bassline and triumphant trumpets in what many fans may deem a new sound for the alt-rock trio.
The emerging alt-rock trio consists of singer-songwriter Jerid Nowell, Billboard-charting producer/keyboardist Daniel Glavin, and drummer Jesse Rothman. Their divergent roots (influenced by bluegrass, folk, punk/metal and hip hop) have sparked a musical journey ranging from triumphant anthems to soulful ballads, and edgy fusions of alternative pop, rock and funk. When describing their creative process, the band states, “Our approach is different for every song. We are focused on bending genres and blending electronic/acoustic production to achieve an ever-evolving hybrid sound. We believe nothing is certain, including creation.”
On writing this record, Nowell says, “Jealousy symbolizes the moment in our minds when we lose ourselves to the buried emotions that we tend to deny are there. It references the decisions we make at weak points in our lives that we know are less dignified, yet we make them anyway to regain any semblance of control.”
CANVAS has also released “Jealousy” on YouTube that includes a full visual rundown of the lyrics which can be seen below. CANVAS has built up a loyal fan base in New York City, and their music has been streamed over 250,000 times across platforms and operate their own record label and recording studio Penthouse Studios. With their new single “Jealousy,” CANVAS lives up to their self-proclamation: Genreless, Timeless, and Relentless.
There’s a certain feel of adrenaline, intensity and excitement before a big bout. Surely the fighters experience their own range of emotions before they enter the squared circle, but for us fans who are counted on to set the tone within the arena, our passion helps create the “big fight” atmosphere that makes an encounter between two great fighters truly special. As the hours and minutes wane before four-time world champion Evander Holyfield takes on former multi-class UFC champion Vitor Belfort, the level of vigor and forecasting might make us feel as though we’re the ones putting the gloves on.
Here lies the beauty of music, for every emotion, there is an adequate melody, lyric, or song to match. With “Fearless,” Queens emcee Irv Da God, Onyx’s Sticky Fingaz and Grammy-nominated producer Bizkit manage to capture the feeling of “the moment we’ve all been waiting for.”
The record and music video is boxing/fighting themed, beginning with an introductory ring announcer — portrayed by Bizkit’s production partner, Butta — Fitting, as rap has always been described as a “contact sport,” for the competitiveness of the artform as well as the violence it is capable of inducing. Irv Da God’s round consist of a fluid and technical style of rapping, resembling that of a pacier, quicker fighter relying on his skill and brains rather than brute force. Beginning with successive boxing idioms and finishing each bar with clever world play.
Rain on ‘em like April and give them Mayweather.
Give me a headcount, get down for the 10-count. Whoever counted me out can get knocked out.
In between each round, Bizkit serves as a pseudo corner man delivering an inspirational and anthemic hook, before Sticky Fingaz takes the proverbial ring for his own. The “Get It Up” emcee’s entire aura is based on the aggression that his raspy voice and boundless energy provides. And if Irv Da God’s verse was that of a technically proficient fighter, Sticky Fingaz represents the overwhelming knockout artist, as he delivers aggressive verbal attacks.
Representing Vitor Belford, Sticky goes on offense with his raw and vivid lyrics, while shouting out the former UFC heavyweight champion:
You Punch like a soccer mom. I swear to God I’ll break your legs and drag you into the Octagon, when you boxing with The Phenom.
It just wouldn’t be a Sticky Fingaz record if he didn’t deliver any eyebrow raisers.
It’s 9/11 the arena is ours and he goin’ down just like those towers.
Combined the trio put on a show, previewing the highly anticipated bout between Holyfield and Belfort.
Two Truths, Rochester’s newest indie pop/rock outfit, was conceived during the 2020 COVID-19 pandemic by musicians and roommates Blake Pattengale and Garrett Mader. Quarantine went quite swimmingly, as this new indie pop/rock band set off on the right foot with their first single “Brushstrokes,” with their forthcoming debut EP, Electric Campfire.
To fill out Two Truths, Max Greenberg joined on keys and Byron Cage on drums. Together their band’s sound pulls from a range of genres from Americana to rock, mixed with folk and a little electronic. Pattengale provides down to earth lyrics which are complimented by full vocal harmonies with electric drums and synths.
As ambiguous as “Brushstrokes” sounds, the song itself has more meaning than what meets the eye. Kerry Regan portrays a man who is looking to connect with his lost love. We see him at his art studio to revisit an old painting. The story unfolds to explain the man’s dreary present day life, compared to his past young happy and inlove self. A scenic picnic, a couple running through the fields accompanied with “When I was a younger man, I’d chase you through the fields that we painted with soft brushstrokes.”
Kerry Regan becomes covered in paint, attempting to immerse himself in his past with his young lover. The music almost feels ambient through its synth texture and angelic guitar picking. Luckily for the protagonist, he finally finds himself in the painting with his lover.
Two Truths serves up true potential in their first single, and we’re excited to see where they will go next. Follow Two Truths on Instagram.
The music for “Brushstrokes” was produced by Pattengale & Mader in Pattengale’s home studio, accompanied by Max Greenberg & Byron Cage, Mixed by Pattengale and Mastered by Ed Brooks. Video production for “Brushstrokes,” was made possible with collaborations by Olivia Rose (pre-production, artistic director, actor), Krit Upra of Floated Magazine (videographer, post-production, director), with additional help from Jeanne De Keyserling (painter, actor) & Kerry Regan (actor).
Canadian-born and NYC-based singer-songwriter Jenny Kern has released the heartfelt and lyrically rich song, “Where Did the Time Go.” The new single follows a string of acclaimed singles that will precede the release of her long-awaited self-titled EP I Never Thought You Were Listening, due out on October 1.
Jenny’s career began when she was still in University, performing around Montreal. Eventually, she gained more confidence in her sound, leading her to move to NYC in 2013. NBC welcomed Jenny as a Page seeing her true potential, where she would late work for acclaimed filmmakers Noah Baumbach and Greta Gerwig, allowing her to make the leap into film and television. Her love for music became so apparent that in 2018 she decided to take a leap of faith and pursue music full time.
In her rise to fame Jenny found herself performing at notable venues around New York City like Rockwood Music Hall, Pianos, and Mercury Lounge. Her debut EP was not only down to earth but intimate; a self-reflection on her personal experience with self-doubt, regret and the search for comfort in painful seasons. Jenny lures her audience through a confession-like delivery portraying her vulnerability through each lyric.
The COVID-19 pandemic served as a catalyst for Jenny’s writing style. Her anticipated self-titled EP I Never Thought You Were Listening will be released this October 1st, with her new single “Where Did the Time Go” giving her audience a tease of what we can expect from her.
“Where Did The Time Go” is an intensely personal and self-reflective song about dealing with anxiety. I started writing this song in quarantine while having an existential crisis, and not knowing what my purpose was, or why I was existing. While it’s dark in nature it was very cathartic to write. There’s something powerful in laying out your fears and anxieties and admitting that you don’t have all the answers.
Jenny Kern on Rock and Roll Globe
Jenny’s first single of 2021, “Coming Back For Me” released this January has spun on XPN and NPR’s World Café and earned a spot on Spotify editorial playlists like New Music Friday, Fresh Finds, and Indie All Stars.
Watch Jenny’s new music video below, produced by Tashaki Mikyaki, with a focus on the reality of isolation that pushes us to question ourselves.
Don Everly, the remaining half of the iconic Everly Brothers, has passed away at the age of 84. Together with his brother Phil, The Everly Brothers helped revolutionize and form the early sounds of the rock and roll movement that would engulf America. Their distinguished harmonies accompanied with elements of country music would go on to influence an entire generation of fellow musicians, enabling them to be one of the first artists to be inaugurated in the Rock & Roll Hall of Fame, alongside Elvis Presley, Chuck Berry, Little Richard, Buddy Holly and Jerry Lee Lewis in 1986. Phil Everly later passed on in 2014 at the age of 74.
Issac Donald “Don” Everly was born on February 1, 1937, about two years before his brother Phillip. They spent most of their childhood in Shenandoah, Iowa, raised by musically-inclined parents who performed country music throughout the South and Midwest before moving to Iowa. Their father Ike hosted a show on local Iowa radio, first singing with with his wife Margaret, and later “Little Donnie” and “Baby Boy Phil” joined them as the Everly Family. The family would later relocate to Knoxville, Tennessee. Here, the brothers would find work on Cas Walker’s Farm and Home Hour, a regional radio and TV variety program. They managed to catch the eye of Chet Atkins, who managed RCA Victor Studios in Nashville and was also a family friend. Atkins was somehow able to get the brothers a recording deal with Columbia Records in 1956. However, the lone single “Keep a-Lovin Me,” which Don wrote and composed ,flopped and the Everlys were quickly dropped by the label.
Again with the help of Atkins, they were later hired by Acuff-Rose music publishers in Nashville, but strictly as songwriters. However, this connection helped finally launch their career as they were soon introduced to a Cadence Records label that was looking for recording artists. At Cadence, they were presented with a song that had been rejected by dozens of other artists previously. But the Everly Brothers would record it in February of 1957, and their lives would never be the same again. “Bye, Bye Love” reached No. 2 on the pop charts, fighting with Elvis for radio airplay, and also reached No. 1 on the country and No. 5 on the R&B charts.
Their follow up to “Love” was somehow even more successful, with “Wake Up Little Susie” topping both the pop and country charts just a few months later. Both songs, and many of their other hits like “All I Have To Do Is Dream” and “Bird Dog,” were all written by the husband-and-wife Nashville writing team of Boudeleaux and Felice Bryant that Cadence Records employed. Their early hits helped them land an opening spot for Buddy Holly and the Crickets for tours in the late ’50s. Their innovative “countrified” rock style and distinct harmonies would begin to plant the seeds of influence for some of the greatest bands of the latter half of the 20th century. The Beatles once referred to themselves as the “British Everly Brothers” in their nascent days and Simon and Garfunkel have readily admitted to them being the driving influence behind their collaboration.
Phil and Don were the most beautiful sounding duo I ever heard. Both voices pristine and soulful. The Everlys were there at the crossroads of country and R&B. They witnessed and were part of the birth of rock and roll.
Paul Simon
After three years at Cadence, the Brothers would sign with Warner Bros. Records in 1960. It was here that they recorded their first successful hit that they wrote and composed themselves, “Cathy’s Clown.” It would go on to sell eight million copies and become the duo’s biggest-selling record. It’s also the first song ever that Warner Bros. released in the UK. If there’s any doubt as to the popularity of this song, it somehow even made its way into a Phish show as the opener for their show at SPAC on 7/2/19.
The Everly Brothers would continue to churn out Top 10 hits in both the US and UK throughout the early ’60s like “Walk Right Back,” “Crying In The Rain” and “The Price Of Love.” In fact, they would average one Top 10 hit on the pop charts every four months from 1957 to 1961. However, royalty disputes would later emerge with Acuff-Rose, to the point where The Everly Brothers would only record songs from other composers/publishers so as not to pay them anything. This also meant they were cut off from working with the Bryants who had written so many of their hits.
Both brothers enlisted in the United States Marine Corps Reserve in 1961. They did resume their career after being discharged from active duty, but their success in the US would begin to dwindle. The Everly Brothers’ last US top 10 hit was 1962’s “That’s Old Fashioned (That’s The Way Love Should Be)”, a song recorded but unreleased by The Chordettes. Album sales began to dwindle as well. The Everlys’ first two albums for Warner Bros. peaked at No. 9 US, but after that, of a dozen more LPs, only one made the top 200: 1965’s Beat & Soul. By the end of the 1960s, the Everly Brothers still maintained some success in Canada, the UK and Australia, but returned to their country rock roots with 1968’s Roots which was critically acclaimed. But this wasn’t enough to keep their contract with Warner Bros. from lapsing after ten years. In 1970, Don Everly released his first unsuccessful solo album. The following year, the brothers would resume touring once more, with Lindsey Buckingham joining them in 1972. But sadly, the brother’s relationship also frayed over the years. Their last performance together took place on July 14, 1973 at Knott’s Berry Farm in Buena Park, CA with Phil smashing his guitar and walking off stage leaving Don to finish the show by himself while famously remarking, “The Everly Brothers died ten years ago.”
Both brothers would then go on to pursue solo careers, with Don Everly finding some minimal success on the US country charts in the mid- to late-1970s with his band Dead Cowboys, and playing with Albert Lee. He also recorded with Emmylou Harris on her 1979 album Blue Kentucky Girl. But nothing approached the commercial success he had experienced with his brother.
The brothers would later reunite in 1983, with a concert at the Royal Albert Hall in London which was recorded for a live LP and video broadcast on cable television. This helped put them back on the map and included a new album EB ’84, produced by Dave Edmunds with its single “On The Wings Of A Nightingale” written by none other than Paul McCartney. It returned The Everly Brothers to both the US and UK pop charts for the first time in more than a decade.
Their last charting hit would be in 1986 with the title track to Born Yesterday. Afterwards, their career consisted of mainly collaborations with other artists. They would go on to provide backing vocal’s on Paul Simon’s signature solo effort, Graceland. And later, in 2003 and 2004 on Simon and Garfunkel’s “Old Friends” reunion tour, they would share the stage again. As a tribute to the Everly Brothers, Simon & Garfunkel opened their own show and had the Everlys come out in the middle of it. At almost all shows, Simon made a point to express how much of an influence the brothers had on his career.
Spencer Barnett, rising indie-pop genius from Brooklyn, has just released a new music video for his catchy single, “Dancing.” The video features groovy moves from Spencer and a unique color palette that makes it delightful to both the eyes and the ears.
“Dancing” is written and produced by Spencer Barnett alongside Jon Hill and Alessandro and Gianluca Buccellati [Arlo Parks, Tei Shi] and follows the release of Spencer’s dynamic Welcome To My Mind EP. Welcome To My Mind is the final part of Spencer’s three-part EP trilogy which came directly after debut EPs I’m Fine (“Waste My Time”) and Reckless (“17”). His first EPs gained him lots of attention from influential tastemakers such as Paper, V MAN, Ones to Watch, and Flaunt. They also led him to be included on the most coveted playlists on Spotify and Apple Music.
Welcome To My Mind blends soulful melodies, indie rock leads, and bedroom-inspired guitar riffs while keeping his youthful side through majestic lyrics. “Dancing” encapsulates the fun feeling of youth while incorporating mature musical and production skills. The video is a perfect next step for the up and coming indie artist that has an exciting future ahead of him.
Badflower have always spoken unapologetically through their lyrics about feelings, mental health, and relationship issues. Their latest single and video release “Don’t Hate Me” is no different.
“It’s a lot of self-awareness” Josh Katz (vocals) explains. “On the bridge, there’s a meta dialogue where I explain how I’ve changed my entire life and appearance to make somebody else like me more. I think I have experienced versions of trying to be something else for someone else throughout my life, I think everybody has.”
Badflower never drift into sappy territory, however. They address serious issues either with startling directness, or with a dose of lightness, mockery, and humor, which makes their music relatable to a broad audience. The music video for “Don’t Hate Me” is a spoof about morphing into others in order to belong. It is funny, creating caricatures of our weaknesses, and as all Badflower videos, entertaining and very well made. The band produce most of their videos “in house,” with cameo appearances from friends and family members. They forgo large manufactured productions, in favor of genuine hands-on creativity from everyone involved.
Catch Badflower at one of the major festivals, or on their headlining tour starting in September. They will play at Webster Hall in New York City on September 23.
D’Arcy is a fresh alternative musician hailing straight from New York City. Her first single, “Crush,” was released in October of 2020 and has recently been remixed by Bubblegum. She just released a brand new creative lyric video for the remixed “Crush.”
D’Arcy is known for her dark and dramatic alternative flair. Her first single “Crush” was released in October 2020 followed by “Bad Girls” in December and “Bad Girls” remix by Morgothbeatz (Juice WRLD, Lil Xan). D’Arcy is the first musical act launched from DRØME, a media company that previously published a multi-issue print magazine featuring Billie Eilish, Sofi Tukker, LPX, OSHUN, Girlpool, Nakaya and more.
If you like Billie Eilish or Lorde, you’re bound to like NYC-based indie act D’Arcy. Coming in with her dark and alternative pop sounds, she’s making her presence known and offering a unique take on the genre that’s setting her apart from the aforementioned artists.– EARMILK
“Crush” is one of her upbeat tracks, illustrating the first feelings of realizing you have a crush on a special somebody. It is both cute and hard-hitting at the same time, showing off D’Arcy’s unique talent of being an astounding female punk artist. The Bubblegum remix slightly speeds up the original track, making it more pop rather than rock. The new lyric video features youthful graphics that make the heart of the song come to life.
D’Arcy’s musical career is off to an insanely promised start, and fans can only be expecting more great sounds coming from her in the future.
Jess Novak, winner of Best Pop Artist at the 2021 SAMMY Awards, is out on the road this summer across Central New York. But first, she has “The Joke” to share with you.
With Joker inspired song lyrics and an accompanying music video where Novak channels Harley Quinn, “The Joke” creates Novak’s own version of the super villain – sweet, yet angry, with a custom jacket by Adirondack Ink – allowing the singer to step outside herself as she got into character.
Written and recorded by Jess Novak and The Jess Novak Band at Hobin Studios in 2020 and filmed by DripNetwork and Lights on Fayette in 2021, “The Joke” captures her love of music videos and the inspiration drawn from the film.
A huge music video nut when I was a kid, I had wanted to make music videos for a living. I love the idea of telling a whole story in five minutes using a song. It’s always thrilled me. In the past we’ve made really fun videos, but this is the first that really tells a story and I couldn’t be happier about it.
Jess Novak
Setting out to make a video that goes deeper, and teaches people about the world and themselves, “The Joke” was shot at Lights on Fayette in their new warehouse on West Fayette Street in Syracuse, where they plan to hold more photo and video shoots, record music and hold live performances.
The concept came directly from the lyrics and was something Novak had in her head since she wrote the song. Moved by the origin of the classic supervillain, she had begun writing lyrics for the song before she left her second screening of the film.
My mom always said when I was growing up that the villains were her favorite part of Disney movies because they had more depth, more story – and it took a long time for me to understand that. Joker really proved it.
I appreciated that movie because it not only provided an alternate perspective, but it made me root for the bad guy, which I found fascinating. It also touched on the subject of mental health, which I feel is often skirted around in mainstream entertainment. Artists talk about it, but they don’t dive so deeply into it because it’s scary and almost taboo. But Joker took it head-on.
Jess Novak
The lyric “I hope that my death, it makes more sense from my life” is a direct draw from the movie, one that connected with Novak.
I really hoped the movie would make people see that people who are “bad” or do “bad things” are really just a product of their environment, which is what this song is saying, too. We place too much blame, or in reverse, pride, on people when really, they are just formations of their upbringing and situation.”
Jess Novak
For the music video, Novak’s concept has drawn out a storyboard and then the team took it from there, altering it to make the video more like a movie, with action scenes and a short plot. Starting with Novak as the villain, her boyfriend splits and leaves her to deal with the cops. Betrayed, she chooses to stand up, get out of the handcuffs and wreak havoc. This theme is explored on the album Standing Now, that “The Joke” is featured on.
Novak is already talking about the next video with the same team for a song they are currently recording, “Devil’s Walk”, a follow-up to her 2016 song “Counting on Love.” Look for this video and more this fall from Jess Novak.
The Jess Novak Band members featured in “The Joke” video include Novak, Byron Cage, Anthony Saturno, Nick Fields, Gavin George and Jabare Mckinstry. “The Joke” was directed by Mac Cushing and edited by Bryan Wolcik.
The latest album from Jess Novak Band, Standing Now is available here and you can watch “The Joke” below. Pre-order her new album A Thousand Liveshere.
For the summer, you can catch her solo, duo or full band performances across Central New York.
Jess Novak Summer 2021 Tour Dates
June 29 – Great Northern Mall Food Truck Fest – Clay, NY – 6 p.m. – DUO June 30 – The Taste Smokers – Bethlehem, PA – 8 p.m. – SOLO July 1 – Tiki Island – Baldwinsville, NY – 6 p.m. – SOLO July 2 – Homer Hops – Homer, NY – 6 p.m. – DUO July 3 – Middle Ages – Syracuse, NY – 4 p.m. – JNB July 4 – Steamers – Oswego, NY – 3 p.m. – DUO July 8 – Heritage Hill – Pompey, NY – 6 p.m. – JNB July 9 – Rome Summer Concert Series – Rome, NY – 7 p.m. – DUO July 12 – Northside Bar and Grille – Surf City, NY – 6 p.m. – TBD July 18 – Willie’s Chop Shop – Sylvan Beach, NY – PIRATE’S WEEKEND – 2 p.m. – DUO July 22 – Meier’s Creek – Cazenovia, NY – 6 p.m. – SOLO July 23 – Gibby’s – Oswego, NY – 7 p.m. – SOLO July 24 – Skaneateles Brewery – Skaneateles, NY – 3 p.m. – DUO July 25 – Concerts on the Waterfront – Sackets Harbor, NY – 3 p.m. – JNB July 28 – Alex’s on the Water – Oswego, NY – 6 p.m. – SOLO August 4 – Perseverance Park – Syracuse, NY – 12 p.m. – NOVAK/SATURNO August 5 – La Parrilla – Oswego, NY – 6 p.m. – NOVAK August 7 – McConnellsville Golf Club – Blossvale, NY – 7:30 p.m. – NOVAK August 7 – Lukins – Utica, NY – 10 p.m. – LAST CALL KINGS August 8 – The Nest – Tully, NY – 5 p.m. – DUO August 10 – Farmers Market – Clinton Square, Syracuse, NY – 11:30 a.m. – NOVAK August 12 – Heritage Hill – Pompey, NY – 5 p.m. – NOVAK August 13 – Stinger’s – Manlius, NY – 6 p.m. – NOVAK August 14 – Private Event – SAFE WORD BAND August 15 – Willie’s Chop Shop – Sylvan Beach, NY – 2 p.m. – NOVAK August 16 – Levitt AMP Music Series – Utica, NY – 6 p.m. – JNB August 18 – The Preserve at 405 – Syracuse, NY – 6 p.m. – DUO August 19 – Duskees – Phoenix, NY – 6 p.m. – NOVAK August 20 – Canale’s – Oswego, NY – 7 p.m. – DUO August 21 – Private Event – DUO August 22 – Steamers – Oswego, NY – 3 p.m. – JNB August 24 – New York State Fair Experience Stage – Syracuse, NY – 2 p.m. – JNB August 25 – Alex’s on the Water – Oswego, NY – 6 p.m. – NOVAK August 26 – Hops Spot – Clayton, NY – 6 p.m. – NOVAK August 27 – Bellevue Country Club – Syracuse, NY – 6 p.m. – NOVAK August 28 – Clinton Music and Arts Festival – Clinton, NY – 3 p.m. – NOVAK August 28 – Tiki Island – Baldwinsville, NY – 7 p.m. – JNB August 29 – Panther Pub – Allamuchy, NJ – 5 p.m. – NOVAK
To celebrate the 4th of July in 1989, the Grateful Dead decided to heed the advice of their song “Truckin’” and return to Buffalo. By now, it was near tradition for the band to celebrate our nation’s independence with summer tour shows in the Northeast. Starting with a show at the same venue, Rich Stadium, for a 4th of July gig in 1986, the Dead followed this up with another one in 1987 in Foxboro, MA.
In classic Grateful Dead style, for 1989, they mixed it back up, with a summer run of shows that began at Foxboro two days prior and landed back in Buffalo on the 4th. It’s a well-crafted and enjoyable show that sees the band in fine form, all fully engaged, cohesive, and perhaps most importantly, healthy. In 2005, it was officially released on DVD, with an accompanying CD soundtrack, appropriately titled Truckin’ Up To Buffalo. Although, oddly, the title track never makes an appearance tonight.
For an opener, the Dead bring out an old faithful in “Bertha” that sparks the ignition at Rich Stadium this evening. Jerry Garcia adding a little extra “4th of July” mustard to the lyrics and the band easily toying with the reentry at one point only enliven the crowd further. This is succeeded by “Greatest Story Ever Told,” with fellow guitarist Bob Weir taking over the controls, admirably backed up, as usual, by Brent Mydland both vocally and instrumentally on electric piano. In the pivotal three-spot tonight, the band reverts back to another old standby, their signature take on the folk classic “Cold Rain And Snow.”
Weir then tags back in for another cover tune. This time it’s the band’s take on “Walkin’ Blues,” an old blues standard that was reintroduced to their live shows a few years prior. A lively Hammond organ solo from Mydland that’s supplanted by slick work from Weir on guitar along with his signature vocal stylings highlight this one. Garcia seems to take great delight in playing the “Row Jimmy” that follows, as made evident by the smiles that accompany two poignant guitar solos and a flawless vocal delivery. It’s a beautiful rendition from an era of the band’s history that produced a lot of them.
The Dead then go back to their vaunted bag of “covers,” this time going with a choice version of the Bob Dylan-penned “When I Paint My Masterpiece.”
The Dead go back even further for the next song, “Stagger Lee,” their electricized cover of another folk song that dates back to the early 20th century. To close out the rest of the first, they return to their immense catalog of original material, starting with “Looks Like Rain.” Weir tackles the emotional vocals with ease while Garcia tacks on some more transcendent guitar fills for good measure. A rowdy “Deal,” accentuated by more frenetic work from Garcia on the fret board, then caps off the first set, with the Rich Stadium crowd vociferously making their appreciation known.
To ring in the second set for Buffalo’s 4th of July celebration in 1989, the Grateful Dead rip into an immaculate “Touch Of Grey.” The pulsating bass line deployed by Phil Lesh that doesn’t quit and more nimble guitar play from Garcia gets the communal engine revved backed up again in a big way.
After a quick pause, “Man Smart (Woman Smarter)” keeps the line moving. Brent Mydland steals the show on this one, lending both his signature raspy singing tone and some dazzling work on the organ that flavor the song perfectly. The Dead then go back into the earlier pages of the songbook again and slow things down a touch with “Ship Of Fools.” Some exquisite rhythm guitar play from Weir and fully engaged vocals on Garcia’s end seem to give this “Ship” a little extra edge to it.
But instead of a full stop afterwards, the Dead effortlessly slink into an instrumental section of “Playin’ In The Band” before taking it out for one verse, merely serving as a reprise. Perhaps remembering they opened the previous show with PITB two days ago at the Foxboro show, the proverbial ripcord is deployed and the band effortlessly shifts gear into a different classic, “Terrapin Station.”
Like it’s done so many times before, the percussive heavy outro of “Terrapin” slowly gets consumed by drummers Bill Kreutzmann and Mickey Hart and the “Drums” portion of the evening ensues. They leave no stone unturned, unleashing an impressive arsenal of percussive agents from around the world, including an electronic-sounding steel drum and an African talking drum.
Some heavy duty kaleidoscopic imagery accompanies their playing on the video, as the rest of the band begins to reenter the fray for the “Space” portion. Eventually, a familiar tone breaks through, a quasi-trumpet sound, courtesy of one of Garcia’s many guitar filters. This paves the way for the delicate “I Will Take You Home,” sung passionately as always by Mydland, that’s juxtaposed wonderfully with the scorching take of “All Along The Watchtower” that follows.
The end of the second set wraps with another couple of tried and true Grateful Dead live staples. “Morning Dew” allows Garcia to drop a few more staggering guitar solos, which he does with ease in conjunction with some truly inspired and emotional singing. “Not Fade Away” then gets the rest of the band, and the Buffalo faithful, singing together one last time to close out the set.
The crowd continues to serenade the band through the encore break which ends once “U.S. Blues” emerges, a fitting closure to this 4th of July show, and just like they had done three years ago as well.
Both full audio and video of this vintage Dead show can be found below. Happy birthday, America!
Grateful Dead Rich Stadium – Buffalo, NY July 4th, 1989
Set 1: Bertha > Greatest Story Ever Told, Cold Rain And Snow, Walkin’ Blues, Row Jimmy, When I Paint My Masterpiece, Stagger Lee, Looks Like Rain > Deal
Set 2: Touch Of Grey, Man Smart (Woman Smarter), Ship Of Fools > Playin’ In The Band Reprise > Terrapin Station > Drums > Space > I Will Take You Home > All Along The Watchtower > Morning Dew, Not Fade Away
