For Phish’s next installment of their monthly Dinner And A Movie archival stream series, they’ll head back to Fall 2010 for a performance at Verizon Wireless Arena in Manchester, NH. The October 26 performance featured, among other highlights, an “After Midnight” opener and the debut of “Night Nurse,” a reggae tune by Gregory Isaacs, who died the night before.
The dinner part of the evening consists of Gnudi (light ricotta dumplings) on a Pomodoro Sauce with Pizzicati “Pinched” Cookies for dessert. Recipes can be found here.
As always, each installment of Dinner And A Movie benefits a new charity. This month’s beneficiary is the Conservation Law Foundation, who for over 50 years has taken on powerful opponents who pollute the air and water and squander resources. CLF’s advocates use law, economics and science to create innovative strategies that conserve natural resources, protect public health and safeguard our local communities. For more information visit clf.org. All donations made via The WaterWheel Foundation will benefit CLF. Donate at any time at phish.com/waterwheel.
Fall 2010 poster by Brian McGregor, via PhanArt.net
This Dinner and a Movie trip back to Fall 2010 starts on Tuesday, April 27 at 8:30pm ET. Tune in at webcast.livephish.com.
Soundcheck: Nothing, Let Me Lie, Friday, Walls of the Cave
Set 1: After Midnight, The Sloth, Alumni Blues > Letter to Jimmy Page > Alumni Blues[1], Mellow Mood, Access Me, Llama, All of These Dreams, The Curtain With > Scent of a Mule, A Song I Heard the Ocean Sing, It’s Ice > Walls of the Cave
Set 2: Possum > Light > Mike’s Song > Simple > Makisupa Policeman[2] -> Night Nurse[3] -> Makisupa Policeman > The Wedge, Ghost -> The Mango Song > Weekapaug Groove[4] -> Llama Reprise
Encore: Show of Life
[1] “From Goddard College” added to lyrics. [2] “Woke up this morning with a policeman at my door all I could do was shrug, and go back in my bedroom and smoke another nug” lyrics. [3] Phish debut. [4] Unfinished.
Phish also released on Friday the latest in the Live Phish series, heading back to Summer 1995 and the band’s first appearance at Deer Creek Amphitheatre in Noblesville, IN. The official video featuring Deer Creek 1995 aired in June as an installment of Dinner And A Movie. Download the show here.
Lake George’s Charles R. Wood Park will serve as the location for The Memorial Day Meltdown, a multi-day pod style concert series set to take place from May 27-30. The holiday weekend run of concerts will feature Pink Talking Fish, Badfish, Dogs In a Pile and others. Produced by the great minds behind Adirondack Independence Music Festival, the announcement follows yesterday’s news of Lake George Music Festival’s return in August.
Pink Talking Fish
The weekend of music kicks off on Thursday, May 27 with a special celebration featuring two sets from Dogs in a Pile. Pink Talking Fish is set to headline Friday May 28, receiving support from Dogs in a Pile. Music continues into Saturday, May 29 with Badfish, a Tribute to Sublime, with an opener yet to be announced. Performances on Sunday, May 31 will be announced at a later date. The pod style concert will allow each pod to have up to 5 people in an 8×10 foot space.
Upon entering Charles R. Wood Park, all attendees must show proof of vaccination or a negative COVID-19 antigen test and will have their temperature checked. With New York State’s new 33% percent capacity rule, the festival space is allowed to have up to 700 concert goers. The safety of the fans will be the most important focus for staff and crew Memorial Day weekend with social distancing guidelines put in place to ensure a complete experience.
Charles R. Wood Park, via Lake George Chamber of Commerce
For those who have never been to Charles R. Wood Park, the commons sit on the south end of Lake George, right in the heart of the Adirondacks. The site is also home to numerous events including the Adirondack Independence Music Festival. The ground has featured national touring acts since its incarnation including Charlie Daniels Band, Blue Oyster Cult, The Spin Doctors, Pigeons Playing Ping Pong and many more.
There will be a follow-up announcement about additional weekends of music that will be taking place at the Charles R. Wood Park over the summer. Tickets for Memorial Day Meltdown are on sale now. To purchase tickets and for more information, click here.
On Saturday April 20, 1991, when 4/20 was not the national holiday it has since morphed into, Phish performed at the University of Rochester, at Douglass Dining Hall. Presented by the UR Student Union, tickets were $6 for students and $10 for the public.
Show poster, via Amy Baerenklau
Phishâs third ever show on 4/20, the unique venue was named for abolitionist Frederick Douglass, and went through a complete makeover in 2015. UR alumnus Justin Miller described the show as “stale Froot Loops in the morning, then fresh Phish that night,” an apt take on an era when Phish was certainly nascent and making their footprint on college campuses, and would move on to playing sheds with Santana a year later.
The all ages show hosted a reported two hundred people, who would be treated to Jesus Jones right there the following year on 4/20.
photo by J. Adam Fenster
The first set provides standard early 90s Phish fare, ending with the lost acapella song, “Setting Sail,” formally debuted at this show, borne from a “You Enjoy Myself” vocal jam.
Trey welcomed Jon Fishman‘s parents and sister to the show prior to the start of Set 2, noting their recent show at Ithaca State Theater on February 14, 1991, where Dr. Fishman’s car was given away to a fan with fun pre-“Sloth” banter. The wide-ranging second set is chock full of songs, with a short and heavy “Tweezer” moving seamlessly into “The Oh Kee Pah Ceremony.”
With graduation a few weeks away, Phish feted the seniors in the crowd with an encore of “Alumni Blues,” including “Letter to Jimmy Page” sandwiched inside, closing out one of their final dining hall performances.
Phish – 4/20/91 – Douglass Dining Hall, University of Rochester
Set 1: Runaway Jim, Reba, Llama, Fluffhead > My Sweet One, The Landlady, Esther > Chalk Dust Torture, Bouncing Around the Room, You Enjoy Myself -> Setting Sail[1]
Set 2: The Sloth, Ya Mar, Split Open and Melt, The Squirming Coil > Paul and Silas, Cavern > The Man Who Stepped Into Yesterday > Avenu Malkenu > The Man Who Stepped Into Yesterday > Tweezer > The Oh Kee Pa Ceremony > Suzy Greenberg, Sweet Adeline
Encore: Horn > Alumni Blues > Letter to Jimmy Page > Alumni Blues
[1] Debut.
Trey teased Have Yourself a Merry Little Christmas in Reba. Fish led the band in the debut of Setting Sail, which arose out of the vocal jam of YEM. Tweezer contained In-A-Gadda-Da-Vida teases from Page.
On March 26th, Long Island funk trio Baked Shrimp released their second studio album, Conscious. Known to many as Long Island’s best kept secret, Baked Shrimp has been expanding their audience and have had sit-ins from Brandon “Taz” Niederauer and Ryan Dempsey of Twiddle.
Cover art by Scott Reill
The band, who were among the finalists on NYS Music’s March Madness bracket, intended to release Conscious in time for their 2020 summer tour, but had to be postponed due to the COVID-19 pandemic.
Within this time gap, Lon “Conscious” Gellman—a close friend and loyal fan of Baked Shrimp—passed away. To honor Lon’s memory, the band named their album after his nickname.
Conscious has been in production since February of 2020, and was recorded in Patchogue, NY with help from Nick and Mike Rufolo of The Brothers Nylon who assisted in recording, mixing, and performing on all 10 tracks. The album’s final mix was done by Anthony Cimino at Mojo Music Studio in Franconia, New Hampshire.
Throughout Conscious, layers of horns, strings, keyboards, and synthesizers create musical textures that come together to create the defining ‘Baked Shrimp sound.’
The first track of the album, “NO2-4U,” is a fitting start, beginning with a classical acoustic guitar introduction that captures the listener and builds into a lively jam full of funky horn lines that drive the energy of the song.
Across the album, one thing you will always notice is the proficiency of each musician. The rhythm is always locked, the bass is grooving and locked in with the drums kick.
Each of the many instrumental, jam sections found in songs throughout the album fit the moment well and create bridges that effectively link to later sections. These moments help keep the energy of the track, but also allows the band to breath a little bit and show their chops.
Baked Shrimp performing in April 2021
“Rosa” is a good example of the dynamic instrumentals mentioned in the last paragraph. The track begins with a mellow but upbeat instrumental section that is carried by the spacey sound of the guitar and keyboard.
This instrumental section returns later in the track, except this time with more layers of keyboard and synthesizer parts that lift the energy, which is carried through the rest of the song until its end.
“Down the Drain” is riff heavy and has a very progressive-rock influenced sound. It definitely has a harder sound than most of the tracks on the album, but it shows the versatility of Baked Shrimp’s sound.
Now we can only look forwards to the days when more venues reopen and tours start rolling again, so Baked Shrimp can showcase the work they put into Conscious to a larger audience.
While opportunities for gigs are sparse now, Baked Shrimp was lucky enough to play at Lambrou’s Hall in Island Park, NY on April 3rd. In this show, the band was able to play through all of Conscious, as well as debut three other original songs. Baked Shrimp will soon be releasing full video and audio of the event.
There are big things in store for fans of Baked Shrimp. The band is eager to show their hard work to audiences around New York state and the country.
ShwizZ has spent recent months exploring new musical territory, releasing the nine minute music video for “Clock Tower.” A dark and brooding piece that captures feelings of reflection, the song is inspired by a simple chord progression on guitar and transformed into a winding musical journey.
This tune started off as a simple little riff this past fall for guitarist Ryan Liatsis, and developed from there.
I was noodling on in my bedroom for a couple weeks. It was around the time Eddie Van Halen had died, so I was experimenting with tapping harmonics on the guitar, but not the shredding kind of way he did of course. I wanted to hear the notes ring like little chimes. So after I had flushed it out, I presented the riff to the group at a practice and naturally the creative juices started flowing. The song started to take shape with this brooding and cinematic texture, so we went for it. It was amazing to really develop something more melodic and emotional then a lot of our other material. Many know we like to shred and ain’t afraid to show it!
Ryan Liatsis, ShwizZ
At first the song was called “Harmonix,” until someone mentioned they visualized a clock tower while listening to the track and the band agreed. The wild adventure of riffs and rock included the use of fretless instruments for some extra mood.
The song took shape with the addition of Scott Hogan’s melodic bass lines, and Will Burgaleta’s tasteful and elegant piano playing, and Andy Boxer adding his unique flavor of drums to tie it all together, notes Liatsis. Initial tracking was done in January 2021 at Call Hollow Studios in Pomona, NY. After overdubs, the band produced, recorded and mixed it all over a couple sessions, then sent if for mastering at Csharp Studio’s overseas in Romania.
Making the video for the song followed, with the band realizing quickly they had to record a video for a nine minute long prog rock instrumental song.
It didn’t seem realistic, but we put together somewhat of a plan and found an amazing venue called Gymnopedie in Brooklyn. It was quite a place, nestled in the basement of a gigantic church in Bushwick. The place was gnarly though as you can see from some of the rooms we filmed in. Our good friend Dan Rappaport lead the video production with the help of Natasha DiMarco.
While we were there, we made use of a little tiny stairwell full of clocks. Someone had blurted out “Clock Tower” as a song name, that’s right we had yet to properly name the song! Until then we were just calling it “Harmonix”, which was way to obviously about the intro guitar part and that’s it. So after some contemplating we agreed to call it “Clock Tower” and it sure did paint that picture.
A dark, ominous, mysterious old clock tower in the mist, curiously observing and wondering what’s inside, what’s been inside, what has the place seen throughout history. Our long time friend Paul Holland’s actually brought this imagery to life by taking an incredible picture of an old clock tower in Nyack, NY. After some light touching up by him and Dan Rappaport we had our Clock Tower cover art.
Ryan Liatsis, ShwizZ
Released by Color Red in Denver, “Clock Tower” marks the first time the four members of ShwizZ wrote a piece from the ground up. Liatsis reflects on the ‘you never know what you’re gonna get’ aspect of songwriting.
Sometimes you set out to paint with a vision in mind, knowing exactly what will be on the canvas when you’re done. Other times you just splatter a bunch of paint on the wall and see what happens, then make sense of it afterwards. And many times it is somewhere in the gray area betwixt those extremes. It is of the utmost importance to remind yourself there’s no right or wrong way to the process.
37 years ago today, The Grateful Dead played their one and only show in Niagara Falls, NY. The band was certainly familiar with the state by this time in their touring career, but had never managed to play this section of Western New York before. In traditional fashion, the Dead started the year off with some shows in California and out west before heading east for spring tour. After a show in Rochester the night before, this would be the fourth show of the East Coast run, following two at Hampton Coliseum.
The Dead do a little extended tuning to rev up the Niagara Falls crowd even further to start and then its off to the races with “Jack Straw.” This one comes out of the gates clean, with Bob Weir leading the way on vocals. It’s later highlighted by a sparkling run on guitar by Jerry Garcia that takes this opener to another level. Garcia then uses “Dire Wolf” as another chance to drop down a pristine solo before the opening licks of “New Minglewood Blues” emerge next. This time, its keyboardist’s Brent Mydland’s time to show off thanks to a rousing organ solo delivered midway through. The traditional first set number builds up in intensity a little before coming to a close thanks to some more Garcia runs that follow and Weir using a pedal steel-like effect on guitar in the brief jam that ensues.
“Row Jimmy” then slows things down a tad, with Garcia noticeably stumbling early over some of the lyrics. It’s a fairly tame version that still seems like it’s trying to figure itself out. Afterwards, Weir “shadowboxes the Apocalypse” a little in the short-lived “My Brother Esau.” The first set excitement seems to return with “Ramble On Rose” that features a wicked feedback sound at the outset. Garcia has no issue with the lyrics this time and is complemented perfectly by Mydland with a harpsichord-like sound on keys throughout. This classic Dead number gets a loud roar of approval from the Niagara Falls crowd when all is said and done. The fairly short opening set then ends with “Looks Like Rain” > “Deal” with each allotting some time for a few more powerful Garcia-driven guitar solos.
A very raspy Bob Weir and some fun audio effects begin the second set with everyone’s favorite crowd management game, “Take A Step Back.” With this out of the way, the set then takes off with a sped-up and high octane “Help On The Way” that feels like its shot out of a cannon. Although it may be quick, it begets a powerfully cohesive and psychedelic jam that patiently explores and develops for a while. So much so, in fact, that it seems to completely bypass the beginning and go right to the end of “Slipknot!” After a quick run through the main riff, the Dead quickly shift gears once again and use “Franklin’s Tower” to complete the traditional pairing that starts this second set with a bang.
After giving the crowd a chance to catch their breath, the Dead are off and running again with “Man Smart, Women Smarter.” This seems to pick up right where the “Frankin’s” jam left off, with another rapid-fire, cohesive effort that sees Garcia leading the way once again. The drummer tag-team of Bill Kreutzmann and Mickey Hart provide the needed rhythmic support on an infectiously bouncy take on this number.
The drum-heavy outro jam then suddenly yields to Garcia and the opening chords of “Eyes Of The World” begin to be heard, cementing an already impressive second set. Despite some ethereal tones from Mydland on keys, this “Eyes” starts fast and only gets faster as Garcia annihilates one guitar run after another, seemingly getting more powerful as the song progresses.
In a complete contrast, the band seems to be extra patient and exploratory in the “Space” portion of the evening that follows “Drums.” The Dead take their sweet time noodling around, with Garcia running up and down scales in a variety of tones and effects. As a discernable drum beat emerges from the madness, so too does “Black Peter.” Some noticeable “spacey” effects appear to seep into this one, giving this “Peter” a real jazzy, psychedelic vibe that meshes perfectly with the blues emanating from Garcia.
To close out tonight’s show at the Niagara Falls Convention Center, the Grateful Dead would mix in a few newer numbers, starting with the Weird-led “Throwing Stones.” A couple of dazzling keyboard fills from Mydland on piano highlight this one which was only premiered a few years prior. At its conclusion, Garcia immediately starts the introductory chords to Buddy Holly’s “Not Fade Away,” a second set Grateful Dead staple. As is tradition by now, some say beginning with the show in Binghamton last year, this keeps this crowd singing and clapping along throughout the encore break. “Touch Of Grey,” another newer song, played rather quickly and unfortunately a little sloppily, then closes out the Dead’s only show in Niagara Falls.
Grateful Dead Niagara Falls Convention Center – Niagara Falls, NY 4/17/84
Set 1: Jack Straw, Dire Wolf, New Minglewood Blues, Row Jimmy, My Brother Esau, Ramble On Rose, Looks Like Rain-> Deal
Set 2: Help On The Way-> Slipknot!-> Franklin’s Tower-> Women Are Smarter-> Eyes Of The World-> Drums-> ->Space->Black Peter-> Throwing Stones-> Not Fade Away
Chances are high that you haven’t had your usual dose of funk over the last year. The global pandemic has slowed the release schedule of many bands and while we have gotten some great releases over the last few months, it’s nothing compared to past years. That all changes today with Garage A Trois’ newest offering, Calm Down Cologne.
This sensational release from the band’s original lineup of prolific drummer Stanton Moore, master guitarist Charlie Hunter and multi-instrumentalist Skerik marks 22 years since their debut album, MysteryFunk. The band still delivers the same energy and excitement that they first showed over two decades ago.
The new album was recorded in 2019, across the street from Nectar’s Lounge in Seattle where the band was playing a 3-night, sold out run in Skerik’s hometown. Most of this offering is an improvisational documentation of what the trio was able to elicit together in that studio session, save for one pre-composed track. The resulting five songs are a testament to the prowess and musical moxie that each member possesses and is able to showcase as a group.
“No Zone” is the perfect choice to start the album and illustrates how sync’d up the members of GAT are. Guitar and Organ blend seamlessly as Moore’s drumming drives the trio through nine minutes of head-bobbing, in-your-face funk. The aptly named “The Epic” is a spooky and funky carnival ride, as if a funhouse had its own effects-pedal laden jam session with it’s driving funk and electro-cacophony.
The title track is the only non-improvised song on the album, but it’s one that you’ll find yourself listening to on repeat. Skerik’s ability to play horns and organ blend magically with Hunter’s bass as Moore provides hints of New Orleans throughout the short, but sweet ditty.
“In-A-Pro-Pro” is the longest track on the album and is a jam that’ll get you to stand up and dance. This song is nothing short of incredible as each instrument bubbles to the surface to play their perfect part. “In-A-Pro-Pro” is like a good seltzer… effervescent with the perfect amount of flavor. Hunter has the chops and energy of at least two guitar masters as he lays out a flurry of sounds from the guitar and bass that comprise his Hybrid Big6. The album closes with the laid-back fuzzy funk of “Numinous,” a track that is reminiscent of walking off into the sunset. The drums, bass and keys paint a canvas that allows the horns and guitar to really pop in and shine.
It might only be April, but this release will certainly be in the running for Best Album of 2021. Stream on various platforms here, and purchase the LP from Royal Potato Family or on GAT’s Bandcamp, where you can also purchase the digital album as well.
Key Tracks: Calm Down Cologne, The Epic, In-A-Pro-Pro
Hometown horn funk favorite, Victory Soul Orchestra, features the dirty sounds of New Orleans’ driving brass, with influences including Galactic and The Dap Kings. You can find them fronted by Albany’s own JB aka Dirty Moses and singer Dali Soto. Their efforts combined help create a funk/rap show that brings the house down. In January 2019, they released their first album, Astrobeat, which is available on vinyl and all streaming platforms.
C.K. and the Rising Tide’s brand of music features poetic, nostalgic lyrics supported by music that is rockin’ and emotionally evocative. Curtis K. Flach (“C.K.”) appreciates how a film’s soundtrack enhances and cements the emotions portrayed on-screen. C.K. has a similar agenda for his tunes: “I write music as a soundtrack to daily life – a way to express things you might not be able to say otherwise…or may not want to say.”
Tickets are available via Eventbrite for Victory Soul Orchestra on April 17 and C.K. and the Rising Tide, with special guest Julia Alsarraf on April 24. Expect more live music announcements from Lark Hall in the coming weeks.
On Saturday, April 10, Lark Hall welcomed The Wheel and a crowd of 70 or so Deadheads who barely found time to take a break from dancing. It seemed like everyone was letting loose the pent up dance moves honed over the past year. With two sets packed with Grateful Dead classics, including a fiery “Help on the Way” > “Slipknot” > “Franklin’s Tower,” the crowd was elated and showed the band their love all throughout.
Live music website JamBase has announced Cluster Flies, a cover album of the legendary Phish album Farmhouse, set for release on Friday, April 30th.
Performing artists on the album include William Tyler on the intro track “The Inlaw Josie Wales,” Club d’Elf on “Sand,” Ryley Walker on the monster 20 minute outro track “First Tube,”and many other talented artists.
I tasked the team to come up with an idea that we could rally around in place of live music and to raise lost revenues for JamBase. Rather than a standard fundraiser, the Cluster Flies project was conceived, and we soon reached out to an incredible group of musicians who graciously jumped at the opportunity to support JamBase.
David Onigman, CEO
Each song on Cluster Flies will premiere through a daily rollout on JamBase and a corresponding episode of The JamBase Podcast that will also feature interviews with each of the participating artists. A select number of Cluster Flies songs will debut on SiriusXM’s Phish Radio on episodes of Crowd Control and Headbands.
The limited-edition 3LP album was mastered by engineer Joe Lambert and features custom artwork created by longtime Phish collaborator Jim Pollock. The Cluster Flies Pollock poster will be available to bundle with the triple gatefold, 180-gram vinyl edition. A standalone triple gatefold, 180-gram vinyl edition without the poster can also be purchased. A high-res digital version can be downloaded as well.
Today marks the anniversary of the final show The Grateful Dead ever played in Binghamton, NY. The final three of these all took place at Broome County Arena, with the first show being at Harpur College in 1970. Shows at the Arena then followed in 1977 and 1979. After a short run of shows on the West Coast to open 1983, the Dead traveled east for their spring tour. With keyboardist Brent Mydland now comfortably established in the band’s dynamic for a few years now, this show offers a glimpse of vintage of early ’80s Dead and a taste of all their varied sounds and styles to date.
The show starts off in a somewhat disjointed fashion with Jerry Garcia mumbling a good portion of the lyrics to “Alabama Getaway.” Harmonizing vocals and the customary wailing Hammond B3 organ fills from Brent Mydland help to mitigate the early shortcomings. After a fairly tame Garcia solo, the band quickly shifts into “Greatest Story Ever Told.” Bob Weir leads the vocals on this quick one that features a much improved Garcia solo at the end. Jerry continues his first set ascent with the “Bird Song” that follows, nimbly maneuvering through the lyrics and delivering some ethereal guitar work. Mydland on electric keys now and Weir on rhythm guitar create a wonderful canvas of sound upon which Garcia paints effortlessly.
“New Minglewood Blues” is next on the docket with Weir once again taking lead and Garcia and Mydland each exchanging boisterous solos on this one as each song so far seems to get progressively more cohesive. This carries on right into a must-hear “Peggy-O” that features a truly heavenly tone from Mydland on keys that accompanies Garcia on vocals.
The emotions remain high and flow nicely into the “Cassidy” that comes next, with Mydland continuing to dazzle with an array of different tones emanating from his keyboard rig. This yields another short but ferocious Grateful Dead jam that the Binghamton fans applaud appropriately on this recording.
“Loser” brings the first set heat back down to a simmer before another few Garcia solos rile up Broome County Arena once more. Things continue to pick up with the cover of The Rolling Stones’ “It’s All Over Now” that follows and features more spectacular work from Mydland on the Hammond. Afterwards, the Dead throw it back a little with “Dupree’s Diamond Blues,” a recently revived classic that dates back to the late ’60s. A rousing “Let It Grow,” heavily fueled by the percussive tandem of Bill Kreutzmann and Mickey Hart, then ends the first set that seems to celebrate almost ever era of the band’s musical catalog to date.
The Grateful Dead‘s final set in Binghamton starts off in traditional fashion with a “Help On The Way” that unfortunately sees Jerry revert back to some fumbled lyrics. Its traditional tag-team partner “Slipknot!” gives Garcia a chance for redemption as he delivers a mesmerizing guitar solo atop another full bed of sound with constant accentuating flares thrown about by Mydland and Weir. A jazz-like jam evolves from this for a bit in a “Slipknot!” that gets stretched out nicely before rounding back into form. The abrupt segue into “Franklin’s Tower” then rounds out the second set’s triumphant opening trifecta. Garcia has no issues with the vocals here and throws in a few exuberant, rapid-fire guitar runs for good measure that surely enthralls the Broome County crowd.
A second set “breather” of sorts then ensues with another traditional Dead sequence. Bob Weir takes lead on “Lost Sailor,” a song the Dead would only continue to play for a few more years after this. Another abrupt segue then serves as the lead-in to “Saint Of Circumstance,” completing the longtime song pairing that had been a regular part of the band’s live repertoire since 1979. This paves the way nicely for “Terrapin Station” as the Grateful Dead delight Binghamton with yet another classic.
The song’s drum-heavy ending, as it had and would continue to do many times going forward, serves as a natural entrance ramp to the evening’s “Drums” > “Space” sequence. To little surprise, after the band reemerges on stage, so too does “The Other One.” At several points moments earlier, drummers Kreutzmann and Hart seemed to be fashioning a similar-sounding drumbeat to the iconic one that begins this song.
In vintage Dead fashion, the intensity of “The Other One” is juxtaposed nicely by the fairly mellow, in comparison, “Wharf Rat” that follows. This gives Garcia one last chance to deliver a couple of choice solos with a nice, jazzy backdrop of sound provided by the rest of the group. As “Rat” dwindles out, the opening chords of “Not Fade Away” start up as the Dead begin to close their final Binghamton gig. At its conclusion, the crowd shows its appreciation and continues singing “Not Fade Away’ all the way through the encore break, something that would become commonplace for this song throughout the rest of the band’s career.
As a result, the encore begins with the Dead reciprocating and playing an NFA-reprise in response back to the crowd. Fittingly, the show then ends with a cover of Bob Dylan’s “It’s All Over Now, Baby Blue.” With a setlist featuring two songs with the words “It’s All Over Now” in it, it’s almost as if the Dead knew this is the las time they would ever grace the Parlor City.
Grateful Dead – Broome County Arena – Binghamton, NY 4/12/83
Set 1: Alabama Getaway-> Greatest Story Ever Told, Bird Song, New Minglewood Blues, Peggy-O, Cassidy, Loser, It’s All Over Now, Dupree’s Diamond Blues, Let It Grow
Set 2: Help On The Way-> Slipknot!-> Franklin’s Tower-> Lost Sailor-> Saint Of Circumstance-> Terrapin Station-> Drums-> The Other One-> Wharf Rat-> Not Fade Away
