Joey Calfa of Cousin Earth drops his exhilarating new solo EP, Baby Kangaroo Baby Cow, Part II, bringing spring into summer with his vibrant sound.
Baby Kangaroo Baby Cow Part II Album Artwork
The EP opens with the track “Brain Lehrer” and is immediately funky with its building guitar grooves. This track can be easily imagined in a bar, feeding the room with its danceable beat. As a tribute to the legendary WNYC/NPR host, “Brian Lehrer” is an ebullient song that deserves a listen.
The second track “Double Whammy” opens with harmonic, virtuosic guitar lines. The shredding and the funky bassline intertwine for a sublime groove. Inspired by video game music, its technical prowess is shared with an ensemble put together by Calfa, including Frankie Coda and Ryan Liatsis (SchwizZ).
The third song on Baby Kangaroo Baby Cow Part II is “Small Hands,” which draws inspiration from Frank Zappa, as well as features an FDR snippet from 1941 that eerily parallels the politics of today. The guitar work is once again wildly funky, interspersed with 80s-inspired synths. Calfa’s vocals interacting with the vocal sample is creative and catchy.
Baby Kangaroo Baby Cow Part II is a solid EP, full of songs that become earworms after the first listen. Members included throughout the EP range from members of his main band Cousin Earth, as well as long time high school friends of Joey Calfa. The quirky, funky release is out now! You can listen here and find more information about Cousin Earth here.
While it may be Memorial Day Weekend, it’s also the ten-year anniversary of the one and only Phish run at the Bethel Woods Center for the Arts. In 2011, the band was still very much trying to gather its collective footing after reuniting only two years earlier. For some, these shows represent the first true “return to glory” moments for the band and fans alike. It’s only fitting that it took place on the hallowed grounds of Bethel, NY, the same ones that served as host for one the most influential music events of all time, Woodstock. Even though it was only Phish performing in Bethel this weekend, there were still plenty of magical moments to be had.
An argument can be made that some of the most passionate and inspired music of the entire weekend never even made its way to the public. On the night before the run was set to begin, Phish blessed their sound check with what many consider to be one of the best “Waves” of all time. It’s a version that stretches out to nearly a half hour, diving way beneath the surface without coming back up for air.
Night One – May 27, 2011
The first night of this memorable run also served as the 2011 summer tour opener. The only other show Phish had played this year to date was their 1/1/11 gig at Madison Square Garden to cap off the New Year’s run. Some rain leading up to this evening wreaked havoc on the fertile and lush grounds of Bethel Woods. But that certainly wasn’t going to deter anyone.
The rain had left some parts of the lower lawn in a treacherous state, to say the least. So boots, tarps and blankets were en vogue. But rather than play it safe and ease into the show, Phish instead opened night one of Bethel Woods with a raging “Tweezer” that caught everyone off guard, in a good way. Summer tour and the band’s third year since returning from a self-imposed breakup were now officially underway.
Considered tame by today’s standards, the show opening “Tweezer” doesn’t stray too far and elicits a mild jam. But the joy of it opening the show, and the tour, was never in doubt. Instead of stretching it out, they immediately transition into “My Friend, My Friend” and night one is off and running.
The rest of the first set is comprised of multiple covers that paint a clear picture of what influences Phish musically. First is their take on Ween’s “Roses Are Free,” a song forever immortalized in Todd Phillips’ Bittersweet Motel documentary. Next, keyboardist Page McConnell shines on his solo on Son Seals’ “Funky Bitch.” The first set also features a take on James Gang’s “Walk Away” that’s properly fueled by Trey Anastasio on guitar and it finishes with a splendid cover of Jimi Hendrix’s “Bold As Love.”
Aside from an earlier “Wolfman’s Brother,” some of the more exploratory work from the band in the first set came during “Stash.” A jam that starts from near ambience quickly picks up speed while never quite shaking the framework of the song. It provided a nostalgic glimpse of a song that used to be a first set powerhouse for a band still very much rounding into form.
With one set under their belt, Phish opens up the second with another rager, “Carini.” Those who called that and “Tweezer” both as set openers should be commended. Again, compared to modern day versions, this “Carini” doesn’t veer too far off the path, but rather sets the table nicely for the crescendo-building “Get Back On The Train” that succeeds it.
The second set also contains a “Waves” that has its moments but doesn’t come close to the majesty and weirdness offered up in the one from yesterday’s soundcheck. And, of course, more choice cover selections. This included the always popular “Boogie On Reggae Woman” (Stevie Wonder), with Mike Gordon and his signature bass line/effect leading the way. The set picks up in a major way, and possibly peaks, with a deep dive of the Talking Heads’ “Crosseyed and Painless.”
Once drummer Jon Fishman finishes leading the group through a funkified version of this cover, the rest of the set plays out in somewhat traditional fashion. “The Squirming Coil,” replete with an enchanting, set-ending piano solo from McConnell closes out the set before “Julius” and its infectious “don’t take another step” mantra closes the book on the first night of Bethel.
Phish – Bethel Woods Center For The Arts – Bethel, NY 5/27/11
Set 1: Tweezer > My Friend, My Friend, Poor Heart, Roses Are Free > Funky Bitch, Wolfman’s Brother -> Walk Away, Stash, Bouncing Around The Room, Kill Devil Falls, Bold As Love
Set 2: Carini >Back On The Train > Boogie On Reggae Woman > Waves > Prince Caspian > Crosseyed and Painless > Wading In The Velvet Sea > Possum, The Squirming Coil
Encore: Julius
Wolfman’s contained a Streets of Cairo tease from Trey. Before Stash, Trey teased The Fish (Schindleria Praematurus) by Yes.
Listen to the complete show on YouTube, or track-by-track at PhishTracks.
The second night of the Bethel Woods run began as so many Phish shows do, with people scurrying everywhere to secure their spots as notes from the opening song rain down. In this instance, the selection is “Theme From The Bottom” while plenty of viable spots on the lawn are still being secured.
Traditional first set stalwart “NICU” then follows, with McConnell wasting no time getting down to business on the Hammond organ. A super funked out take of another Talking Heads cover, “Cities,” then gives those on the lawn and everywhere else more than enough reason to get down and dance. The “outro” jam lasts well longer than it should and serves as a legitimate highlight of the weekend.
The rest of the night two’s first set is best encapsulated by a couple of song pairings. “Halley’s Comet” picks up on the experimental vibe and takes it the distance, fomenting a certifiable Type II jam momentarily. But before it can explore any further, the opening chords of “Runaway Jim” enter the fray, serving as the back end of a powerful two-song sequence whose jam gets the full on ‘Plinko’ treatment. The first set then later wraps up with another Phish staple, “Bathtub Gin” that gets a taste of “Manteca” and a distinct “Golden Age”-type jam midway through before rounding back into form.
Like most Phish shows, much of the heavy lifting takes place in the second set tonight. An explosive “Down With Disease” starts things off nicely, with Jon Fishman providing one intricate drum fill after another in a jam that comes to an early vigorous peak. Instead of returning to finish “Disease,” the jam meanders for a while until Anastasio signals for a wonderfully patient “Free” to begin.
As the second set progresses, Phish continues to show their mastery of juxtaposition. A zany “Makisupa Policeman” immediately goes off the rails, with mentions of spliff smoking and imaginary trips to Mike and Page’s respective “houses” that eventually sends the Bethel Woods crowd into an uproar, along with a healthy clav-driven, mini-funk jam. But instead of going to Fish’s “house” and carrying on with the silliness, the band turns on a dime and crafts an emotional “Harry Hood.”
The set later concludes with another Phish classic, “David Bowie.” And another longtime cover favorite, The Beatles’ “A Day In The Life” puts the finishing touches on night two in Bethel. With two nights now in the books, only the Sunday show remained. And, as the saying goes, those are not to be missed.
Phish – Bethel Woods Center For The Arts – Bethel, NY 5/28/11
Set 1: Theme From The Bottom, NICU, Cities, Halley’s Comet > Runaway Jim, Gumbo > Quinn The Eskimo > Limb by Limb, Horn, Bathtub Gin -> Manteca > Bathtub Gin
Set 2: Down With Disease > Free > Backwards Down The Number Line > Makisupa Policeman > Harry Hood > Cavern > David Bowie
Encore: A Day In The Life
Gin included a mash-up jam of Golden Age and Manteca and later closed with a Manteca quote from Trey. Disease was unfinished. BDTNL featured a DEG tease from Mike. Makisupa included lyrics referencing several band members’ houses (and Trey’s favorite show, House).
As to be expected, Phish closes out the Memorial Day Weekend in fine fashion. The “AC/DC Bag” opener “gets the show on the road” in a major way and Phish coasts from there. “Ocelot,” still a fairly new tune at the time, gets a surprisingly monstrous jam attached to it. The “Ya Mar” and “Timber” that follow serve as a nostalgic throwback of sorts, giving the set a temporary old school vibe.
“Suzy Greenberg” makes a first set appearance and then instantly morphs into a rowdy “46 Days.” And the quality cover selections continue as well, with Lynyrd Skynyrd’s “Ballad of Curtis Loew” getting the call tonight. Just like old times (again) the opening set then concludes with a “Run Like An Antelope” that does just that.
For their last Bethel set, Phish decides to maintain the traditional feel and opens it with a vintage “Mike’s Song” > “Simple” -> “Weekapaug Groove” trifecta. “Simple” yields an especially spacey, ambient-type jam before the rhythmic law firm of Fishman & Gordon kickstart the “Groove.” Afterwards, the band takes some time to reintroduce a certain dance some may have forgotten.
The second set later comes to a close with another powerhouse trio. “Also Sprach Zarathustra,” aka “2001,” offers one last definitive dose of funk for the weekend before giving way to the newly established jam vehicle that is “Light.” And “Slave to the Traffic Light,” with its customary soaring jam that evolves from near silence is the final emotional stamp.
By the end of the weekend, so much great music had transpired that it was hard to take inventory of everything. That’s why it came as a shock to many when, after “Loving Cup,” the distinct riff of “Tweezer Reprise” rang out, bringing the entire weekend full circle. It’s more than an ideal choice to close out the final chapter of music for the weekend, with the hopes that it won’t be the last one Phish writes here.
Phish – Bethel Woods Center For The Arts – Bethel, NY 5/29/11
Set 1: AC/DC Bag > Sample In A Jar, Rift, Ocelot, Ya Mar, Timber (Jerry) > The Oh Kee Pa Ceremony > Suzy Greenberg > 46 Days > Twenty Years Later, The Ballad of Curtis Loew, Run Like An Antelope
Set 2: Mike’s Song > Simple ->Weekapaug Groove, Meatstick > Fluffhead > Joy, Also Sprach Zarathustra > Light > Slave to the Traffic Light
Encore: Loving Cup > Tweezer Reprise
Ya Mar included Express Yourself (Charles Wright & the Watts 103rd Street Rhythm Band) teases from Mike. Antelope contained a Curtis Loew tease from Trey and Manteca teases from Trey and Page. Page teased Magilla in Simple.
Trey Anastasio will return to the Beacon Theatre on June 22nd and 23rd for two solo acoustic performances, this time with a full capacity audience. The shows will mark the first time the Beacon has had a crowd since March 2020.
After 8 weeks of Beacon Jams in Fall 2020, which found Anastasio performing with TAB and assorted guests, including the Rescue Squad Strings, he returns this June for two nights solo. All guests over the age of 16 will need to be fully vaccinated for this event and provide proof upon entry.
Tickets for the shows will go on sale Thursday, May 27 at Noon ET, here. Note – there is no pre-sale for these shows.
Update – these shows are now both sold out. James Dolan, Executive Chairman and CEO of MSG Entertainment said the following in a statement:
Trey was the only artist to play live at The Beacon during the pandemic, so we’re honored that he’ll be the first artist back on our stage playing for a packed house. There’s no question people are eager to start gathering to once again experience events they love — and are more than willing to get vaccinated to do so. We’re focused on opening up all our venues to not just usher in the return of live entertainment, but of New York.
James Dolan
For anyone looking to request to purchase a taper ticket for the shows at the Beacon Theatre, please email tapertickets@gmail.com by 9pm ET on Wednesday, May 26th. Access to taper tickets is extremely limited and not guaranteed.
The Beacon Theatre venue vaccination policy and stipulations are as follows:
Guests will need to be fully vaccinated for Two Evenings with Trey Anastasio at the Beacon Theatre, meaning the event must be at least 14 days after your second dose of the Pfizer-BioNtech or Moderna COVID-19 vaccine or at least 14 days after your single dose of Johnson & Johnson’s Janssen COVID-19 vaccine. The only exception is for children under the age of 16, who may provide proof of a negative antigen COVID-19 test, negative PCR COVID-19 test or full vaccination and are accompanied by a vaccinated adult. For more information, please visit beacontheatre.com/faqs.
On May 26, 2019, The String Cheese Incident played the second night of their Memorial Day Weekend run at the legendary Capitol Theatre in Port Chester, New York. 2019 marked the band’s 25th anniversary. SCI is Michael Kang, Michael Travis, Bill Nershi, Kyle Hollingsworth, Jason Hann and Keith Moseley.
They opened the show with their 2018 single “Vertigo”. Kyle then kicked off a 16 minute version of “Black And White”. That was transitioned very nicely into “Can’t Wait Another Day”. They then kicked off the first of many cover songs with Peter Rowan’s “Midnight Moonlight”, followed by “Valley of the Jig” and “Siren’s”. Both songs were on their 2003 album “Untying The Knot”. The first set ended with “Restless Wind” from the 1998 album “Round the Wheel”. That really highlighted Nershi tearing it up on acoustic guitar.
The second set began with “Just One Story” that got the crowd immediately charged back up after a quick break. Next up was “Rosie” and the title track to the 2014 album “Song In My Hand”, which both songs also appeared on. Then came the second cover of the night, The Jerry Garcia’s Band’s “Tore Up Over You”. Some of The Grateful Dead’s most legendary shows happened at The Capitol Theatre in the early seventies. That was long before most of the people in the audience, including myself were even born. Then there was a lengthy version of “45th of November” from the 2005 album “One Step Closer”.
Another highlight of the night was the band’s’ cover of The Talking Heads “Burning Down the House”. They also performed “Wheel Hoss” which was written by one of the founders of bluegrass music, Bill Monroe in 1955. The set then ended with a cover of The Weather Report’s classic “Birdland” before they circled back to the sets first song, “Just One Story.” The 4 hour plus show ended with a one song encore of “Barstool.”
String Cheese Incident – The Capitol Theatre – May 26, 2019
Set 1: Vertigo, Black and White > Canât Wait Another Day > Midnight Moonlight, Valley Of The Jig, Sirens > Restless Wind Set 2: Just One Story > Rosie, Song In My Head, Tore Up Over You, 45th of November > Burning Down The House > Birdland > Wheel Hoss > Birdland > Just One Story Encore: Barstool
Yasgur Road in Bethel will open its first festival of the 2021 season with Yasgur’s May Meltdown over Memorial Day Weekend. With more than 30 bands on the lineup, including headliners The New Motif and PEAK, the festival takes place at Max Yasgur’s former 103-acre homestead in Bethel, NY.
Yasgur Road hosts multiple shows each year, including their annual Woodstock Reunion. The venue keeps vending affordable but encourages bringing your own supplies for the weekend (no glass, please). Bathrooms, showers, campfires, and camping near the stage are just some of the amenities of the festival grounds, as well as onsite parking close by. Free craft vending is allowed with purchase of a weekend pass. Dog passes are also available.
Truly the home of the spirit of Woodstock, the most famous music festival in history, Yasgur Road is less than 3 miles from Bethel Woods Center for the Arts. Max Yasgur’s former homestead is now dedicated to the music festival industry, offering quality entertainment and camping in a natural wooded setting.
The New Motif, an ever-evolving eclectic jam funk band originally formed on Cape Cod, MA perform music infused with deep psychedelic grooves and dynamic improvisation. Joining them as headliners are PEAK, a Brooklyn-based group full of psychedelic Indie fun with a mix of poetic, melodic songwriting, moody electrofunk, riffed-out blues-rock, and exploratory danceable improvisations.
For more information regarding May Meltdown, or any of Yasgur Road’s festivals and events, visit Yasgurroadreunion.com or their Facebook page. Order tickets here and stay up to date with the Facebook event.
Yasgur’s May Meltdown 2021 Lineup
The New Motif, Peak, Spunday Mourning, Dee Maple Band, Mysterytrain, Hanna’s Field, Lunch Trucks, Gypsy Funk Squad, Moon Matrix of the Lizard People, Jerry Duty, Mutt Farm, The Hobo Style, Jason Gisser Band, PoW WoW, Robert Tellefsen, Alec Philips, Crispy Crunch, Buffy & the Boys, and many more!
For the May installment of Phish’s Dinner and a Movie archival stream series, they’ll go all the way back to Summer 1993 for a performance from Great Woods in Mansfield, MA. The non-profit Groovesafe is beneficiary of the night’s fundraising efforts, through the Waterwheel Foundation.
The July 24, 1993 show was an early popular tape to trade in the 90s, and the second performance for Phish at the venue, where they have to date performed 17 times to date. Featuring stand out versions of “Stash,” “Mike’s Song” and “Weekapaug Groove,” as well as the return of “The Mango Song” after a 150 show gap, the seamless segue from “2001” -> “Split Open and Melt” makes this well worth listening to on Phishtracks.com.
Groovesafe is an initiative to stop unwanted touching and sexual assault at concerts. The mission of this nonprofit is to create a no tolerance environment with an emphasis on building a consent culture. GrooveSafe focuses on educating bands, venues, and fans on tactics that aim to make the live music experience safer. Groovesafe’s longterm goals include educating people on how to respond to assault, how to take action as an active bystander, and tips on staying safe.
Watch an interview with Groovesafe founder Ashley Driscoll here.
Summer 1993 Doniac Schvice
Dave Seigal, executive chef of the Michelin-acclaimed Cull & Pistol Oyster Bar as well as its sister seafood emporium, the Lobster Place Seafood Market, are both located in the heart of NYC’s Chelsea Market. Dave has been a Phish fan since the early ‘90s and has graciously provided recipes for this month’s dinner: Steamed Mussels with Green Coconut Curry and a Thai Salad. Recipes can be found here.
Dinner And A Movie returns this Tuesday with Phish’s July 24, 1993 show from Great Woods Center for the Performing Arts in Mansfield, MA Join us on the couch at 8:30PM ET at https://t.co/5qSvZFl2Dvpic.twitter.com/qwtGBnj83N
Tune in before the show at 6:30pm on the Relix Twitch channel for The Dude of Life Band, who will perform a free livestream on the The Relix Channel, live from Relix Studio.
Dinner and a Movie airs on Tuesday, May 25 at 8:30 pm ET/5:30 pm PT via webcast.livephish.com.
Phish – July 24, 1993 – Great Woods Center for the Performing Arts, Mansfield, MA
Set 1: Llama, Horn, Nellie Kane > Divided Sky, Guelah Papyrus, Rift, Stash, The Mango Song > Bouncing Around the Room, The Squirming Coil
Set 2: Also Sprach Zarathustra > Split Open and Melt, Fluffhead > Maze, Glide > Sparkle > Mike’s Song > Yerushalayim Shel Zahav > Weekapaug Groove, Purple Rain > Hold Your Head Up, Daniel Saw the Stone > Good Times Bad Times
Encore: Golgi Apparatus, Free Bird
This show saw the first Mango Song since May 17, 1992 (150 shows). Fish teased Bouncing Around the Room before Mango. Maze contained Also Sprach Zarathustra teases from Trey. Page teased Under the Boardwalk in Mike’s Song.
Joe Russo’s Almost Dead (JRAD) have an ambitious summer ahead of them, with weekend runs spread out across the country, including one night at Artpark in Lewiston.
JRAD bassist Dave Dreiwitz will miss three shows this summer, including the Cleveland, Artpark and Boston shows. Replacing Dreiwitz temporarily is Jon Shaw of Portland for, Oregon’s Dirty Revival.
They Grateful Dead tribute/supergrou start their summer with a pair of sold-out three-night runs at Connecticut’s Westville Music Bowl and make a headlining appearance at Peach Festival in July.
As we continue to navigate these uncharted waters, here are all of our dates so far for 2021. Thank you for your patience. Looking forward to seeing you all soon!
Band statement
For tickets and more info visit JoeRussosAlmostDead.com, and for a detailed look at each show’s ticket availability, peruse the graphic below.
Arizona jam band Spafford will make their way through New York on their Fall Tour, with a stop on October 28 at Buffalo Iron Works. After COVID-19 derailed live music in 2020, Spafford presents a renewed appreciation for life and live music, with a fall like never before.
After a deadly pandemic revived our collective gratitude for music and togetherness, Spafford is incredibly grateful for the patience and constant support of their dedicated listeners and couldn’t be more ready to bring new energy to each and every performance.
We’ve been very busy this last year and have taken the time to redefine ourselves, our music, and our message. We are excited to share the future of Spafford with you and can’t wait to see your beautiful faces at a show.
Spafford guitarist Brian Moss
The group’s 22-show Fall 2021 tour begins on October 1 at Teragram Ballroom in Los Angeles, before moving throughout the Midwest, Southeast and up the East Coast. The tour features three shows around North Carolina, a two-night run in Milwaukee, WI, culminating in Chicago, IL on November 6th at Park West.
Spafford has solidified themselves among the most creative and hard-traveled bands on the contemporary jam scene. Pairing complex compositions with extended improvisations, the rousing energy of the Southwest-based quartet — Brian Moss (guitar, vocals), Jordan Fairless (bass, vocals), Andrew “Red” Johnson (keys, vocals), and Nick Tkachyk (drums, vocals) — is matched by their outstanding talent, versatility of playing styles, and extensive catalogue of original music and innovative covers. Each Spafford show is a sensory expedition of extended jams — an interplay of lights, tones, cascading melodies, and balance that carries a ceaselessly-dancing crowd through the night.
General on sale for all Spafford Fall Tour dates, including Buffalo, starts Friday, May 21st at 10:00 am local time. Artist presale tickets via Seated will be available beginning on Wednesday, May 19 at 10:00 am local time through Thursday, May 20 at 10:00 pm local time, using code “ALLIN.” To purchase tickets or for more information on specific dates, head to spafford.net/Tour.
SPAFFORD FALL 2021 TOUR DATES
Oct. 1 – Los Angeles, CA – Teragram Ballroom Oct. 2 – Solana Beach, CA – Belly Up Tavern Oct. 7 – Lawrence, KS – The Bottleneck Oct. 8 – Minneapolis, MN – Fine Line Oct. 9 – Madison, WI – Majestic Theatre Oct. 13 – Cleveland Heights, OH – Grog Shop Oct. 14 – Indianapolis, IN – The Vogue Oct. 15 – Detroit, MI – The Magic Stick Oct. 16 – Louisville, KY – Headliners Music Hall Oct. 20 – Charleston, SC – The Pour House Oct. 21 – Charlotte, NC – Neighborhood Theatre Oct. 22 – Raleigh, NC – Lincoln Theatre Oct. 23 – Asheville, NC – The Orange Peel Oct. 26 – Charlottesville, VA – Jefferson Theater Oct. 27 – Harrisburg, PA – Harrisburg Midtown Arts Center Oct. 28 – Buffalo, NY – Buffalo Iron Works Oct. 29 – Columbus, OH – The King of Clubs Oct. 30 – Grand Rapids, MI – The Stache at The Intersection Nov. 3 – Des Moines, IA – Wooly’s Nov. 4 & 5 – Milwaukee, WI – Miramar Theatre Nov. 6 – Chicago, IL – Park West
From their hometown of Philadelphia, the Disco Biscuits will live stream a special show on Tuesday, May 18, 2021, from The Fillmore Auditorium in Philadelphia. The show will be limited to 42 lucky guests through the Disco Biscuits Facebook page. For those who can’t attend, streaming will be available via CouchTour.TV.
The Disco Biscuits will be returning to Philadelphia for a stream from The Fillmore, an iconic venue that has hosted more sold out Disco Biscuits shows than any other artist. The band will take the stage Tuesday, May 18 in the city of Brotherly Love, with an exclusive set streaming on Couchtour.tv starting at 7pm ET/4pm PT. This single-day virtual tour stop will be followed by a series of sold out shows at the legendary Red Rocks Amphitheatre over May 28-30, 2021.
Couchtour.tv has been the virtual host for The Disco Biscuits’ tour as the streaming platform offers each of The Disco Biscuits shows from the 2021 tour for purchase through their website for single day tickets and weekend passes. Fans can log in on Couchtour.tv to watch the shows live in hi-definition audio and video in addition to having access to watch the shows on-demand.
The Disco Biscuits are deep in their 2021 tour that features an array of drive-in concerts and group pod events, in addition to livestreams via Sessions Live and Couchtour.tv. The band wrapped up two shows in Sussex County, New Jersey this past weekend, May 14-15.
The Disco Biscuits – May 14, 2021 – Sussex County Live, Augusta, N.J. Set 1: Mulberry’s Dream-> Jigsaw Earth (inverted)-> Mulberry’s Dream, Jam-> The Great Abyss-> 4th of July Set 2: Air Song-> Hero-> And the Ladies Were the Rest of the Night-> Cyclone-> Orch Theme-> Rapture-> And the Ladies Were the Rest of the Night Encore: The Great Abyss (middle)-> Clocks
The Disco Biscuits – May 15, 2021 – Sussex County Live, Augusta, N.J. Set 1: Helicopters-> I-Man-> Bombs-> Voices Insane-> I-Man-> Helicopters Set 2: Reactor-> Anthem-> Lunar Pursuit-> Bernstein and Chasnoff (inverted)-> Little Shimmy in a Conga Line (ending only), Triumph-> Reactor, Run Like Hell-> Rock Candy (ending only) Encore: Confrontation
When terms like the Grateful Dead and Barton Hall come up in conversation, there’s a good chance the show being discussed is the band’s venerable May 9, 1977 performance. But there were two other shows played at this field house on the campus of Cornell University in Ithaca, NY. The final one occurred 40 years ago today. Pound for pound, it can certainly hold its own with the legendary ’77 show. And it’s certainly one of finer shows from 1981. So much so that the band recently included it on their massive 30 Trips Around The Sun box set that was released in 2015, 80 CDs worth of previously archived Dead shows celebrating the band’s lifespan. One listen shows why this was an easy choice for inclusion.
This year, the Dead take off from the starting blocks with “Feel Like A Stranger,” and Brent Mydland making his presence felt early with his electronic keyboards that are turned up way high in the mix. As the opener progresses, Jerry Garcia and the effects his guitar bring to the table rise to the top, giving it an injection of funk. For a song that had only been debuted weeks earlier at the Capitol Theater in Passaic, NJ, the groove is easy and seamless already, serving as the perfect opening salvo for this powerhouse show. Almost surprisingly, they decide to ease up immediately afterwards with a slowed down and soulful take of “Friend Of The Devil.” Mydland’s keyboard tone takes a turn for the heavens, lacing the Dead classic with an ethereal tone throughout. His efforts are rewarded with a spot for a solo and he produces a phenomenal one before handing the reigns back to Garcia.
The “Me And My Uncle” that follows finally gives Bob Weir a chance to take center stage and he navigates through the longtime Dead staple effortlessly. Mydland, still turned up plenty high in the mix, and Garcia go back and forth supplying the instrumental harmony for a band that sounds completely locked in. As was now Grateful Dead custom, once “Uncle” wraps up the drumbeat doesn’t stop and carries right over into a smoking “Big River,” highlighted by a jaw dropping run on the fretboard from Garcia. For gigs going as far back as 1978 and until 1982, these two songs would be joined at the hip just like this.
One of the real high points of the first set is the “Althea” that follows. It’s Garcia at his peak, delivering both soulful lyrics and another poignant guitar solo. Bassist Phil Lesh adds some nice extra layering on a somewhat slower but certainly potent version.
Weir then takes over again for “C.C. Rider.” But the Dead’s take on this blues standard is really fueled by another Garcia solo and the wailing rhythms emanating from Mydland’s Hammond organ. The two go back and forth once again, building the onstage chemistry that would be a mainstay of the ’80s.
The first extend inter-song break gives the Barton Hall crowd a chance to catch their breath and then it’s back to business with “Brown Eyed Women.” Garcia’s mid-song solo seems to go on a little longer than usual, only serving to ramp up the emotions even more. The band then shifts gears from old school to new with “Passenger,” with Mydland filling in the vocal part vacated by Donna Jean Godchaux. His raspy overtones don’t quite carry the same effect and, sadly, this song would be shelved for good at the end of the year. Though certainly not due to lack of effort.
A slow shuffle beat then signifies the start of “High Time,” and it never lets up. Garcia and company nail the harmonized vocals and delightfully toy around with this crowd favorite. The Dead then shift gears in the blink of an eye, with Weir quickly strumming and Garcia moving in rapid fire up and down the fretboard as they launch into “Let It Grow.” This one means business from the get-go as the rest band follows in pursuit, led in earnest by Lesh on bass. There’s a four-minute span before the song’s breakdown that’s a pure whirlwind, with each band member almost chasing one another, creating a rich texture of sound. It’s another one of the true first set highlights. A quick run through “Don’t Ease Me In” then caps off another stellar first set of Dead at Barton Hall.
The second set starts off with a “Shakedown Street” that seems to live up to its title early with some shaky lyrics from Garcia. As it progresses though, the kinks get ironed out and the funk increases, albeit at a somewhat slower pace. Weir’s rhythm guitar and Mydland’s keyboard fills mesh perfectly, and before long, a bluesy three-part vocal harmony is in full gear. But the real action takes place once this breaks down, with Garcia and Mydland soon engaging in a call and response-type jam. In keeping with tradition, “Shakedown” is immediately answered with “Bertha,” just like the Dead opened last year’s second set at Barton Hall.
https://www.youtube.com/watch?v=1IDpVffVSY4
Afterwards it’s another vintage Dead 1-2 tandem with “Lost Sailor” once again spearheaded by Weir. It proves as a more than worthy respite until the familiar chimes of “Saint Of Circumstance” kicks in. Weir navigates seamlessly between the two, with emotions respectively aligned with the respective moods of each. Almost abruptly, “Saint” comes to a halt and another immersive jam begins to develop. This one manages to work itself into a full fledged “Spanish Jam,” with influences from Miles Davis and his Sketches Of Spain album in full bloom.
As the “Spanish” element of the jam recedes, “Drums” begin to kick in and takes its usual assignment in the latter portion of the second set. The last Dead show at Barton Hall show has a lot to offer still , and the drumming tandem of Kreutzmann and Hart plays a major part. A particularly rowdy last movement of percussion soon finds its way into the familiar overtones of the beginning of “Truckin’.” As to be expected, the State that’s got the “ways and means” gets an appropriate response in Ithaca,
The ensuing jam soon sparks another one of the show’s highlights, as it devolves into a bluesy, funky ” Nobody’s Fault But Mine” jam that would make Led Zeppelin proud. Although no lyrics are sung, the sentiment is made clear and creates one of the better, off-the-cuff moments that make this last show at Barton Hall a special one.
https://www.youtube.com/watch?v=PrGmm6fEsXc
“Stella Blue” then emerges from this, winding things down and allowing one last chance to get sentimental. Garcia delivers the lyrics, and another staggering guitar solo, with raw emotion and just a bit of flare. The music slows a near crawl at one point, with the Cornell crowd so rapt and quiet one can hear a pin drop. Before long, the energy skyrockets back, with “Blue” turning into more of a rocker, a true testament to the Dead’s versatility.
This gives “Going Down The Road Feeling Bad” an opportunity to make an appearance and the Dead run with it. Afterwards, Bob Weir gets the last laugh, closing out the second set by leading the band through a peppy and near raucous “One More Saturday Night.” Barton Hall rings out in a roar of applause at its completion, leaving no doubt about their feelings on this one. The Dead then grace the crowd with a bit of an atypical encore selection. Instead of a cover or a quick song, it’s an “Uncle John’s Band” that produces one last patient and inspired jam – more than a fitting choice for the final song they would ever play at Barton Hall.
Grateful Dead Barton Hall – Ithaca, NY 5/16/81
Set 1: Feel Like A Stranger-> Friend Of The Devil-> Me & My Uncle-> Big River, Althea-> CC Rider, Brown Eyed Women, Passenger, High Time-> Let It Grow-> Don’t Ease Me In
Set 2: Shakedown Street-> Bertha-> Lost Sailor-> Saint Of Circumstance-> Spanish Jam-> Drums-> Truckin’-> Nobody’s Fault But Mine-> Stella Blue-> Goin’ Down The Road Feelin’ Bad-> One More Saturday Night
