Brooklyn-based four-piece band Space Bacon released their debut album, CONE, on June 11. CONE features 16 original instrumental tracks and blends rock and jam-band influences with an electronic flare.
Space Bacon is made up of Sam Crespo on drums, Chris Gironda on keyboards, Kevin LeGall on bass and Jack Willard on guitar. The band previously came out with their Nodes EP in 2016. CONE‘s recording process was split between Sabella Recording Studio in Roslyn Heights, NY and also with the help of Alfred Rylands in Wilmington, VT.
CONE features fan favorites such as “Ice Planet”, “Cloud Coast”, and “Heatseeker”as well as deeper cuts from their catalogue, reworked songs from their early years, and never before heard interludes.
Space Bacon Press Team
On CONE, tracks like “Cone” and “Throwing Shade” open with undeniable rock-n-roll guitar riffs. The riff on “Throwing Shade” even emulates a pop punk sound similar to 2000s-era hits like “The Middle” by Jimmy Eats World.
The band’s electronica-inspired grooves stand out on tracks like “Satellite,” “Lodge” and “Triangulation” with airy synths and reverb-heavy background sounds. Though the electronic influences stand strong, there is simultaneously a fun and energetic jam-band energy woven throughout the album. Since CONE is entirely instrumental, Space Bacon’s strength as a band is able to shine and they certainly dive into a funky rhythm.
Space Bacon recently celebrated the release of CONE with two sold out performances at the Safe and Soundz Music Festivalin the Catskills. Be sure to look out for more shows and connect with Space Bacon on Instagram, Twitter, YouTube and their website. CONE is available to stream on all platforms.
Amy Helm will release her third album, What the Flood Leaves Behind, on June 18 through Renew Records/BMG. Helm, the daughter of The Band’s legendary vocalist and drummer Levon Helm and singer-songwriter Libby Titus, has successfully stepped out from behind of her parent’s considerable musical shadows and has successfully staked her own claim in the highly competitive music industry.
Helm’s success comes from honing her craft and paying her dues as a founding member of folk group Ollabelle and additionally as a longtime member of The Midnight Ramble Band. The culmination of Amy’s hard work and experience is apparent on this gem of a record which consists of ten tracks of new and reimagined material.
What the Flood Leaves Behind was recorded at the historic Levon Helm Studios located on Amy’s home turf of Woodstock, NY. She also enlisted a group of incredibly talented players to contribute to WTFLB including Kaufman and Phil Cook (keys, harmonica), Michael Libramento (bass, organ, percussion), Tony Mason (drums), Daniel Littleton (guitar), Stuart Bogie (saxophone), Jordan McLean (trumpet), and her son Lee Collins (congas). Helm describes the experience of creating the album at the studio that her father built as a cathartic homecoming.
Going back to the place where I learned so much about how to express music, how to hold myself in music, how to listen to music,” she begins, “it was humbling in a funny way. I could see clearly where I came from and where I am now in my life. I was singing from a different place now and for a different reason.
Amy Helm
Produced by Josh Kaufman, whose credits include working with an eclectic roster of musicians that includes Bobb Weir, Taylor Swift and the Hold Steady, WTFLB reflects a creative working partnership that fits like a glove between Helm and Kaufman. The evidence of this successful collaboration is apparent in adept and deft way that Kaufman focused on Helm’s vocal ability, showcasing it as a major focal point on the record, he explains.
I wanted her to feel like she had that freedom to be herself on the recordings and she just filled up the whole room. Her singing was coming from this deeply rooted place of family and music and wanting to convey a beauty.
Josh Kaufman, producer of What The Flood Leaves Behind
This philosophy is executed brilliantly on “Verse 23,” the first track on WTFLB, which is a soulful ballad from which the album derives its title. The lyrics of the song evoke a rich religious sentiment that when beautifully delivered by Helm’s ethereal voice. The results are sublimely divine.
WTFLB is steeped in fusion of traditional roots, gospel and contemporary music. This is probably most evident on the nineth track of the LP “Terminal B.” The tune starts with Amy playing mandolin, which sets the sonic stage for the piece, which then leads into an organ accompaniment provided expertly by Libramento. The marriage of these instruments transports the listener to a front pew at a rural church service in Anywhere, USA. Lyrically it describes a remembrance of a fleeting Californian love affair that, retrospectively, one could look back on fondly.
“Cotton and the Cane,” WTFLB‘s third number also has a southern sleepy gospel feel to it. Injected with a heavy dose of Hammond Organ, this updated version of a fan favorite is a departure from previous renditions and is a fitting tribute to Helm’s father Levon. It is a definite highlight of the record.
Amy Helm will be touring this summer in support of What the Flood Leaves Behind, kicking off with a pre-release live stream webcast scheduled for June 17. This will then be followed up by a sold out record release event at the Levon Helm Studios on June 19.
Key Tracks: Carry It Alone, Cotton And The Cane, Terminal B
Two members of Snarky Puppy, violinist Zach Brock and guitarist Bob Lanzetti, closed out a quick run of shows as a duo Sunday night, June 13, in Rochester at Lovin’ Cup.
Lovin’ Cup always boasts immaculate sound, and when the seats and tables are out, it provides a nice intimate setting. Both were welcome for the rich and beautiful music Brock and Lanzetti were laying down this night. Being a free show, a disengaged crowd might be expected. However, everyone in the room was completely rapt, respectful and there for no other reason than to squeeze out just a bit more of that sweet live music that has been so absent from the world for way too long.
Unlike their regular gig with Snarky Puppy, this music was less booty shaking and more ear tickling, less dance party more dinner party. Each a master of his instrument, together they could interweave enough complex notes to create swells of sound and also bring it down to simple taps and plucks. Brock would put away the bow to create rhythmic “bass” lines for Lanzetti to play a whirlwind solo over, and Lanzetti would likewise settle into a groove for Brock to take the violin to eclectic heights.
Their dynamic range wasn’t left to just how they played, but also what. The evenings program covered chamber music, jazz, world, Americana, blues and even some choice tributes. Many artists cover the great Gillian Welch, but few do so as an instrumental. They took her “Elvis Presley Blues” for a ride early in the first set, which proved to be a highlight. Brock’s violin conjured up all the emotion of Welch’s voice in such a way that the lyrics still pushed through. Later, on a tune dedicated to Steve Lacy, Brock summoned different tones from his instrument, resurrecting Lacy’s early adoption of the soprano sax as an improvisation vehicle.
Both musicians were open and friendly from the stage, telling stories and imparting musical knowledge that furthered the attentive audience’s enjoyment and created a connection between the two.
We’ve been missing Sunday shows for over 15 months. Those are the ones they say to never miss, right? There’s just no better way to finish or start a week. Zach Brock and Bob Lanzetti fit the bill, snark or not.
On June 12 and 13, at the new Westville Music Bowl in New Haven, CT, Goose presented two unique anthologies, juxtaposed just so. The raw, epic intensity of the first night enabled the spirit of shenanigans and invoked a welcomed fugue where we forget about the factory and fiction became reality. Fortunately, Capt. John O’Hagan was not the one asking, “What happens to the next guy who says “Shenanigans?””
Frankie Bosco inviting shenanigans
The Venue
The Westville Music Bowl felt like home. There was an air of recognition that was difficult to place. The access, the reasonably tight security providing a sense of shelter, and most importantly, there was not a bad seat in the house to be found. Upon reaching the ticketing area, it all made sense. The show was put on by the Twilight company, best known for making sanctuary happen at the beloved, now defunct, South Farms in Morris, CT.
Bunny interpreting an echo of a rose
It was comforting to discover people hanging out behind the bowl for a pre-show jam session and socializing. Alien it felt, but glorious it was – violin, familiar faces and the occasional shenanigans involving small sloths and remote control cars.
Jon “Coach” Lombardi giving his blessing as the show begins
Saturday: “Greg Knight’s Quest for the Holy Jam”
On Saturday, the Goose army assembled and became fully aligned. Tony Vasile, longtime fan, commented, “In Goose country, the long haulers would be more likely to ditch their family Thanksgiving celebration before missing out on this.” The band communicated endless gratitude through their commitment to a flawless execution of the curated evening of music.
Love in the air for royal Goose court minstrel DJ Doey Joey.
As the night progressed and sequined clothing glistened under Andrew Goedde’s superb lights, the crowd appeared to become more cohesive.
Franz Petit Lupen wearing all of this gold
People were chatting on the bathroom line. Jenny Ruthie Pearlman theorized, “People were running into each other for the first time. There had been friendships cultivating over the internet and it was hard to figure out who someone was when our faces were covered. There were songs I loved that came on, but what was more beautiful was that I could think of all the people that were excited not because it was their favorite song too, but because they knew I loved it.”
Man of the hour, Greg Knight catching up with pal Little Baby Crepes
The Battle
Just as we were together in the throes of battle with the elusive pauses during “Earthling of Alien?,”things were getting desperate. Spirits were dwindling in the “Madhuvan”forest.
The army was beginning to doubt their planetary origins when suddenly a Knight by the name of Greg Knight appeared to contribute some reality through his flawless rapped verses. The battle was over and we were rewarded with a sought after and rare “Factory Fiction.”Greg’s last appearance with the band was a year ago during Bingo Tour, which happens to also be the last time we heard “Factory Fiction.” Were they related? I don’t know…
Shenanigans colors tastefully woven in by Andrew Goedde
The first night’s encore finished what they started the night before. After getting the PA cut during the encore of “So Ready” the night before, it was only fitting to start exactly where they left off in New Haven.
“So Ready” music video
But Make It Fashion
The anthology of Goose tales continued with a segue that could not have been more clever. Closing with a tune from their animated music video for “So Ready” was the perfect setup for the capsule-style show similar to the themes they have done with movie soundtracks on Halloween.
Shenanigans Trailer and fashion inspiration
The band showed up on stage wearing their respective outfits and opened with the “Trailer Jam” from their wildly cinematic video announcement for the album Shenanigans Nite Club. Goose and its incredible crew worked so hard over the past few years. Nothing could signify a moment worthy of celebration then a home show “flodown” party than the outfits (and very importantly, the hair) worn by the characters each band member played.
Frankie Bosco relishing
Shenanigans Under The Stars
Sunday kicked off with an upbeat, bubbly energy that was completely reversed, yet somehow, with essence of yin and yang, the band made thoughtful selections to perhaps assist our future long term memories of the weekend to seem as if they were one night. For example, we had a knight for both shows, but this time it was the cover “Knights in White Satin.“
Kevin hamming
Many bands created communities within their following, but Goose created a safe, supportive space for exploration of our own metaphysical dark forest in order to understand which turn might be next in the labyrinth. A fanbase full of artisans, creatives, and empaths. A healthy dose of unquestioned, unchallenged quirk made for a remarkable time for connection during the come up of Goose, especially during shutdown.
Tony Vasile and Orion Jewelry Design’s Val Walis have attended all but two Goose shows this season.
When artisans would post something they made to one of the many Goose Facebook groups, things would not only sell immediately, but the overwhelming support would have been hard to find in any other social group, pandemic or not. Some found even more down this electric avenue.
The elusive Lloyd 2.0
The mood progressed into actually feeling exactly like Thanksgiving dinner. Val Walis commented that “it was a feast of music and so many favorite people everywhere. There was hardly enough time to have a conversation with anyone, but the voltage level of emotion we were all feeling at the same moment did not need words.”
(dawn) Of A New Era
Both sets on Sunday felt like a victory lap of sorts. The aged and trusty jam vehicles like “All I Need” and mustache anthem “Mustang Sally” helped usher in the dawn of a new era for Goose to creep out somewhere along the line with the live debut of “SOS” and its accompanying jam-hymnal (dawn).
Same old shenanigans for Phil Paquet, Mr. McGoose 2.0 and Little Baby Crepes
From the ashes of solitude, we were able to give ourselves permission to go everywhere, see everyone and feel everything. Admirals like Greg Knight kept more in line than we could imagine.
Commander in Scarf Marc Komito basking in the “(dawn)”
The crowd could not have been more friendly. The amount of smiles might almost parallel the amount of scarves on peoples heads used as dance props. There were scarves everywhere!
Marc Komito (aka Scarf Guy) is perpetually the fearless (and fashionable) leader we all needed. He has taught to so many the responsibility we have to relish in these rare, perfect moments. By expressing our gratitude with individuality and without apology, balance is found. For some, it might have looked like giving Mike, from Spafford and JamBandWorkout, a run for his money. For those that prefer to turn inward, simply sitting still and watching with full attention could have been an equally respectful avenue.
Terry Alfredo in the new light
We as a community, felt the light of dawn creeping out while enjoying great music, and hopefully the band and its rock solid crew felt the little bit of ourselves that we tried to send up. Goose got us through it and Coach only knows what might happen as the days get brighter.
Setlist June 12: Me and My Uncle (John Phillips), Flodown, The Whales, Honeybee, Yeti, Seekers on the Ridge Pt., Seekers on the Ridge Pt. 2, Madhuvan>Fish in the Sea (Fat Freddyâs Drop), Jive I, Earthling or Alien?, Tumble > Factory Fiction
Encore: Slow Ready
Setlist June 13: Shenanigans Jam > All I Need > Indian River >Time To Flee > Your Ocean, So Ready >Arrow > Nights In White Satin (Moody Blues), Rosewood Heart > Bob Don > SOS > (dawn)
Encore: Mustang Sally > Butter Rum
It has been rumored that Frankie Bosco gained some kind of super shredding power when he is wearing bracelets from Orion Jewelry Design, made by my sister Val. If you would like to support her (and Little Baby Crepes,) check out https://orionjewelrydesign.com/
Frankie Bosco’s wrist adorned with Orion Jewelry Design Bracelets
Pink strat or bracelet? I don’t know, but it can’t hurt to support your local Goose Chick Val Walis and her jewelry business https://orionjewelrydesign.com/
Want to get in shape for scarf season? Check out this workout featuring a killer version of what some have affectionately nicknamed “Lookout Clav-land”
Curious what all the hype is about with Factory Fiction? Check out this similar, yet different version from the historical Bingo Tour
Buffalo continues to make its way back in the music scene while also bringing back the crowds. Local music venue The Cave, held a Funk Night on Thursday, June 10, presented by NYS Music.
Photo: Maddie McCafferty
The show established a nostalgic feeling as people gathered around for the jam band hits. The upbeat performance was held by Donny Frauenhofer on keys/vocals, Matt Fantini on guitar/vocals, Colin Brydalski on bass/vocals, Ellen Pieroni on sax/vocals, and Ryan Nogle on drums.
The group kicked off the night by opening with “Do It Like You Do” by Lettuce. The excitement from the crowd did not go unnoticed as everyone collectively felt a sense of normalcy again. This high energy extended even further when the musicians performed a mashup of The Whispers’ “And the Beat Goes On” and Will Smith’s “Miami.”
Photo: Maddie McCafferty
This month’s Funk Night was really special because although we’d been able to play the last few months, the guidelines didn’t allow for many of the things that make a funk show a funk show – dancing, musician sit-ins, interacting with the crowd, etc. This was the first show back where we could do all of that and we’re really excited to have more special guests and get more people dancing!
Donny Frauenhofer
The group invited guests on stage for a few songs, which included contributions from a singer and another sax player. The band closed the set with “What Is Hip?” by Tower Of Power. However, with the audience’s plea and many still wanting to dance, they performed “Squadlive” by Lettuce for the encore.
Photo: Maddie McCafferty
The set left many feeling energetic and ready for more. Luckily, the jam sessions are far from over. Funk Night will continue every second Thursday of the month. So, make sure to check out the next show on July 8 at The Cave.
Songwriter Peter Bogolub under the moniker Loops & Loops has created the album, Fake Face, released on June 11.
Knowing that this project was recorded during quarantine and almost entirely in the closet of his NYC apartment, listening to it feels like even more of a personal experience. Aptly so, Pete took a dive into analyzing failed relationships throughout his life, relying on his affinity for shoegaze-style indie rock while merging elements of pop synths and melodic guitar/ukelele loops.
Citing Yo La Tengo, My Bloody Valentine, and The Magnetic Fields as his biggest musical influences, Fake Face can be seen as a return to his DIY/ indie roots. A self-taught musician and collaborator in bands for over 20 years, this album showcases a side of Pete that could only be brought out as a solo act.
So far, the singles for this album have been “County Fair”and “Pain In My Heart”.
“Dark Clouds” is the opening of the album, a slow soft beginning to a melancholic motif. A stand out lyric being, “People see what they want to see / They can tell there’s something wrong with me.”
“The Light,” the second song, has bright happy guitars with a familiar beat. Telling the story that sometimes the end of something is really the beginning. None of the songs on the album are really happy but they’re neither all doom and gloom either, this song really highlights that.
“Down in Mexico” is almost wistful but similar to how I do not speak Spanish beyond a high school level I could understand about 50% of the words in this song. That isn’t a dealbreaker considering what could be heard clearly is, “Someday it’ll be okay,” which is comforting.
“Things Are” is the focus track, an indie anthem reminding us how to get by in life. Sometimes things just don’t go our way, but not sweating what we can’t change. The line “Things are what they are no matter how you feel” a lament to the unchangeable nature of life and the relationships within them. An acceptance of the hard truths despite the hope that it won’t be true.
It’s a song about accepting things as they are instead wishing circumstances were different. Written during the pandemic when life was rather chaotic, the upbeat melody offers a glimpse of hope.
Peter Bogolub
“Pain in my Heart” with its squishy beat as if hitting a cartoon frog stretched into a banjo. Echoey vocals are a heavy feature on this album but they really shine on this track. The lines “There’s a pain in my heart / Why are we so far apart” painting the picture of when you make a promise with someone and find it is no longer being kept and you’re alone.
“Outta Control” has the vibe of the opening track to a lighthearted coming of age movie that will inevitably take a turn and have a sad ending or the two best friends will fall in love after much trial and error. “Making bad choices too many times”
“Gaslight” a slow track in tribute to society’s general growing awareness to the toxic trait of gaslighting. With the lyrics “that’s not really an apology,” there’s a realness. Very reminiscent of mooseblood, joyce manor. “Run To You” is very instrumental heavy where the vocals seem to be more of a background element to the song. Gives the same vibes as an underwater town being explored.
“Drawn To You,” with the acoustic guitar being the star of the track and johnny cash style, is about being drawn to someone without control. Whether for better or for worse the attraction is there.
“Not Yet” feels like the end credits to a comedy show. Which is ironic considering the line “You ain’t catch me yet.” “County Fair”, if “Not Yet” felt like the end “County Fair” is the after credits scene.
Overall the album delivered on what Pete set out to do, which is to tell the stories of relationships and their messy ends in a way that is pleasing to the ears. Stream Fake Face on your chosen platform.
Irving Plaza reopened on Saturday, June 12 with a performance by The Strokes in front of a fully vaccinated crowd, in support of Maya Wiley’s campaign for Mayor of New York City.
John Mulaney started the night with a stand-up, not far from his run of sold-out City Winery show. Wiley and Congresswoman Alexandria Ocasio-Cortez both spoke from the stage prior to The Strokes set.
photo via The Strokes Twitter
Guitarist Nick Valensi was unable to make the show, and had Longwave’s Steve Schlitz fill in for the night. Dev Hynes from Blood Orange joined The Strokes for âOne Way Trigger” amid a 16-song setlist that spanned the group’s discography. Check out videos from the night below.
photo via The Strokes Twitter
photo via Maya Wiley Twitter
The Strokes – Irving Plaza, NYC – June 12, 2021
Setlist: Juicebox Someday, The Adults Are Talking, One Way Trigger (w/ Blood Orange), You Only Live Once, Hard to Explain, Ize of the World, The Modern Age, 12:51, Is This It, Bad Decisions, Take It or Leave It
Encore: Automatic Stop, Last Nite, Ode to the Mets, Reptilia
On Friday, June 11, Dee Snider came back to Long Island and rocked Stereo Garden in Patchogue. The show was filmed and will be released simultaneously with his new album Leave a Scar. Check out the video for the first single “I Gotta Rock (Again)” below.
Snider joined Twisted Sister in 1976 and became the band’s sole songwriter. In 1982 they released their first studio album Under the Blade. By 1984 they had released their third and most successful album Stay Hungry. The album featured the metal anthems “We’re Not Gonna Take It” and “I Wanna Rock”. In 1985 Snider was pushed further into the spotlight when he spoke before Congress against censorship in music and the PMRC (Parents Music Resource Center).
I wasn’t sure what to expect since it has been a few years since Snider has performed. The the show was electrifying to say the least. Dee was full of energy and kept the crowd connected and engaged throughout the entire seventeen song set. His band also did a great job. He was accompanied by Charlie Bellmore on guitar, Nicky Bellmore on drums, Nick Petrino on guitar and Russell Pzutto on bass. Five songs from the new album made their debut as well as all of the classics. One of the highlights of the night was when former Twisted Sister bandmate Mark “The Animal” Mendoza joined Dee for a rendition on the 1982 song “Under the Blade.”
The show ended with a cover of what Dee said he considers to be the greatest rock song ever, Ac Dc’s “Highway to Hell.” The show was awesome and Dee proved he can still bring it! It was also good to see live music return after 16 months. This was the perfect show to bring it back.! You can preorder Dee’s new album here
Dee Snider – Stereo Nest, Patchogue, Long Island, NY – June 11, 2021
Setlist: I Gotta Rock (Again), Tomorrow’s No Concern, You Can’t Stop Rock and Roll, Down But Never Out, American Made, Under the Blade, Time to Choose, I Am the Hurricane, We’re Not Gonna Take It, Before I Go, Become the Storm, Burn in Hell, Stand, Ready to Fall, I Wanna Rock, For the Love of Metal, Highway to Hell
Brooklyn-based electronic dream-pop duo Corbu has released their Lost & Found EP. The EP reimagines the title track with five new remixes, along with the original version.
Corbu, comprised of Amanda Corbu and Jonathan Graves, focuses on bringing an ethereal, even other-worldly sound to their psychedelic and ambient pop tracks. They have previously toured with Bloc Party, performed with Goldfrapp and played both Austin City Limits and Electric Forest festivals. Last year, Corfu released their debut album Crayon Soul, featuring mixing by Tame Impala and MGMT collaborator Dave Friedman.
[Corbu is] trying to lure their audience deeper into their own subconscious while giving them something to sing along to.
Corbu
On the original single version of “Lost & Found”, Corbu collaborated with Doves frontman Jimi Goodwin. Goodwin produced the track and added reggae and electronic flares, creating a laid-back yet energized soundscape.
The EP features “Lost & Found” redone five times over and explores new genres and sounds. On the “Seaside Version”, the track goes vintage and utilizes upbeat 80s synth to create a sound that could easily fit into an episode of Stranger Things. On the “JKriv Remix”, Brooklyn DJ JKriv remixed the track to fit a more booming club sound evocative of traditional house music and drum loops. The EP as a whole is perfect for the summertime.
By 1992, there was no secret about the affinity the Grateful Dead had for Albany’s Knickerbocker Arena. This would be the third year in a row they made sure to make a tour stop here. But after two previous three-night runs, including the acclaimed one from 1990 that will always be associated with their acclaimed Dozin’ At The Knick live album, the Dead only had two nights to play all the hits this year. This first of these performance went down 29 years ago today.
Tonight’s Grateful Dead show, despite a ravenous Knickerbocker Arena, has a very relaxed open as the band slowly ambles into a “Bertha” opener. No complaints are heard as the crowd drowns out the opening lyrics in delight. After a mild jam that’s peppered with some thunderous bass notes from Phil Lesh, the entire room seems to be singing along for the remainder of this first set staple. The “New Minglewood Blues” that comes next begins in similar fashion. Garcia and keyboardist Vince Welnick each drop a couple of bluesy solos and get stretched out a little while, in between, Bob Weir takes care of the vocals, making note of the “Upstate fllies” in a nod to the locale.
“Row Jimmy” gets the rest of the band singing again, and sees more dexterous work from Garcia on guitar, as he digs into his MIDI bag of effects and offers something that sounds closer to a flute solo at one point. After three classic Dead originals, the first cover of the night is Bob Dylan’s “Queen Jane Approximately,” with Weir once again manning lead vocals. Welnick gets in on the act here and highlights this one with a blissful, ethereal piano solo.
“Dire Wolf” finally brings the tempo back up and the band rips through another first set mainstay, with Garcia plowing through his requisite solo with ease. But it’s near a minute and a half until the next selection is made, “Beat It On Down The Line.” With both the Dead and Knickerbocker Arena now alive and well, the sing-a-long is back on thanks to “Loose Lucy” as the crowd continues to add their collective backing to the lyrics in revelry. Welnick makes the shift from piano to Hammond organ nicely and adds some flavorful support as well. “The Music Never Stopped” then puts the fitting finishing touches on a crisp opening set that’s nothing but treasured Dead originals and a Dylan cover.
The Dead dive into one of their more recent originals with “Foolish Heart” to kick off the second set at the Knick. Garcia and Welnick once again complement each other beautifully on guitar and keys, respectively, as the band sears through this one effortlessly. No extended jam of note develops afterwards. Instead, it’s a brief pause and away with “Playin’ In The Band” where, after a quick run through of verse, the collective improvisation starts almost immediately and doesn’t let up anytime soon. When it does, the beginning to “Uncle John’s Band” ensues, as the audience seems to come back up for air after the quick yet heavy display of psychedelic mayhem that immediately preceded it.
The Dead then go back down to the bottom, the way bottom, courtesy of an extended “Drums” > “Space” sequence that stretches out to nearly a half hour. A well rested Knick is more than happy to help out with the vocals for the “I Need A Miracle” that finally emerges. A quick jam, punctuated by an aggressive Welnick piano solo, is crafted before things slow down one last time with “Wharf Rat.”
After another set comprised of solely live Dead originals, and some intense improv, the evening closes out with a pair of covers. Weir hams it up one last time on vocals, and Welnick on piano as well for that matter, on Chuck Berry’s rocker “Around and Around” that suits the crowd perfectly. And the band help themselves to some more Dylan material with “The Mighty Quinn” that serves as tonight’s encore.
With night one of the two-night run now in the books, expectations were surely through the roof for the following evening. Thanks to some sort of odd cross-promotional gadgetry straight out of 1992, if you held onto your ticket stub from tonight, the Dead would make sure you were well fed for tomorrow.
Grateful Dead Knickerbocker Arena – Albany, NY 6/11/92
Set 1: Bertha, Minglewood Blues, Row Jimmy, Queen Jane Approximately, Dire Wolf, Beat It On Down The Line, Loose Lucy, The Music Never Stopped
Set 2: Foolish Heart, Playin’ In The Band-> Jam-> Uncle John’s Band-> Drums-> Jam-> I Need A Miracle-> Wharf Rat-> Around and Around
