Category: Jam/Progressive

Grateful Dead Intro-Doze Themselves To The Knick: March 24, 1990

31 years ago today, the Grateful Dead were finally able to play a show in the city of Albany thanks to the brand new Knickerbocker Arena, aka The Knick. Somehow, they had gone all this time without ever paying a trip to New York’s capital. But now with a shiny new venue opened just months earlier that easily fits thousands, Albany became a logical destination for the Dead. This would mark the first of thirteen shows the band would play at this venue. But Spring of 1990 is a particularly special time of Dead, one of their most acclaimed and widely popular tours of all time. So it’s only fitting that these first Albany shows are captured in the band’s 1996 official live release Dozin’ At The Knick. Much of the album’s material is rightfully culled from this special, first ever Albany Dead show.

Local promoter Greg Bell of Guthrie/Bell Productions played a small but critical role in those March 1990 shows.

A friend of mine worked for Mayor Whalen and I was the only Deadhead she knew, so they asked me to come in snd speak to the Mayor’s people, the Police, Fire Department and several other various Albany officials.

I gave them advice on how to deal with the Deadheads. They listened to everything that I suggested and it was one of the most relaxed and cool scenes I had ever seen at an East Coast show.
Greg Bell, Guthrie/Bell Productions

This would be the first night of a three-night run in Albany and the Dead were quickly and comfortably settled in at the Knick. This sentiment comes across in the quasi-casual start to the “Let The Good Times Roll” that opens the show this evening. By the end though, the band is fully engaged, as is the rest of the building. Riding this early wave, the band then quickly jumps into the crowd favorite “Help On The Way.” Jerry Garcia digs into his guitar’s bag of tricks and comes up with some interesting effects on “Slipknot!” And despite some shaky early lyrics, there’s no issue with the dismount on “Franklin’s Tower” and the Knick crowd eagerly shows their love for this quintessential sequence of Grateful Dead.

Bob Weir then takes center stage and coolly leads the band through “Walkin’ Blues” which is featured on the album. But somehow, to the disbelief of Deadheads worldwide, the “Loser” that follows somehow did not make the final cut. A goosebump-inducing roar of approval from the Knick greets this one and the performance certainly lives up to it. Garcia’s singing is steady on this one and his poignant solos along with Brent Mydland’s blasting organ fills help fuel this instant classic.

The first set also features “Desolation Row,” one of the many Bob Dylan songs the band would cover and make their own. More delicate guitar licks from Garcia and intricate bass play from a “turned up” Phil Lesh dominate this one. The Dead’s first ever set at the Knick then closes up with a lively take on “Tennessee Jed,” with the crowd in full sing-along mode, and Bob Weir’s typically rowdy “One More Saturday Night.”

With their first set at the Knick now in the books, the Grateful Dead then proceed to rip through a second set that, justly, makes up a significant portion of the album. It fills up the entire second and some of the third of the three-disc release. “Playin’ In The Band” is the set opener choice and sets the tone nicely. Phil Lesh and his vibrant bass play continue to shine early on this one before the jam begins to stretch and digress. Mydland and his electric keys also add a spiritual element to this jam that gets heavy in a hurry. However, instead of truly going off the deep end, the jam calmly and steadily veers into the opening chords of “Uncle John’s Band.”

March 24, 1990 Knickerbocker Arena

This band rips through the composed section with ease, stretching it out nicely between verses with ease. This proficiency carries right over to another quick and rapid-fire type jam, one that seems to almost be a continuation of PITB. But instead of stretching it out again, Garcia quietly begins strumming the open to “Terrapin Station,” much to the crowd’s delight. This caps the set’s powerhouse opening trifecta of Dead classics.

The whole band is locked in on the song and it’s customary outro jam never gets stale on this one, with each member adding a little “spice” of their own to keep it interesting – Mydland especially. But as the jam loses its “Terrapin” structure, an old friend emerges. A slow-building familiar four chord jam begins to develop, none other than the “Mind Left Body Jam.” Dead scholars maintain this is the first one in more than five years, if not longer. It’s believed by some to be related to the Paul Kanter song “Your Mind Has Left Your Body” and also shares the same chord progression as “You’re All I Need To Get By,” among other songs. To the Knick’s delight, the Dead dust off this simple, pyschedelic instrumental that’s labeled on the album as “Mud Love Buddy Jam” in a nod to a former taper’s description of it.

After lengthy “Drums” and “Space” sequences led by drummers Bill Kreutzmann and Mickey Hart, “The Wheel” emerges in boisterous fashion. But this one is kept pretty short and simple. At its conclusion, another familiar Dylan cover immediately takes shape, this time it’s “All Along The Watchtower.” Garcia produces a bed of wailing guitar sounds that dominate this cover that’s been a part of the Dead’s live repertoire since 1987.

After the band is done toying around with the “Watchtower” jam, things slow down one last time for a typically poignant Garcia-sung “Stella Blue.” Brent Mydland leads the backup harmonizing vocals while Garcia delivers a pair of hauntingly beautiful guitar solos in a staggering, soulful juxtaposition to the raucous “Watchtower” from just minutes earlier.

The opening shuffle-beat of “Not Fade Away” then emerges, giving the Dead one last chance to jam. They rip through the Buddy Holly cover with no abandon, gladly declaring their love “will not fade away.” This then devolves into Weir singing by himself while the rest of the band phonetically sings the beat before it then turns into the full Knickerbocker Arena crown singing the chorus back to the band well after they’ve left the stage- a truly special Grateful Dead moment that Dozin’ captures beautifully.

Grateful Dead Knickerbocker Arena – Albany, NY 3/24/90

Set 1: Let The Good Times Roll, Help On The Way-> Slipknot!-> Franklin’s Tower, Walkin’ Blues, Loser, Desolation Row, Tennessee Jed, One More Saturday Night

Set 2: Playin’ In The Band-> Uncle John’s Band-> Terrapin Station-> Mind Left Body Jam-> Drums-> Space-> The Wheel-> All Along The Watchtower-> Stella Blue-> Not Fade Away

E: We Bid You Good Night

March 24, 2021
Goose Announce “Shenanigans Nite Club” Album, Summer Tour Dates

Goose has announced the release of their eagerly awaited new album, Shenanigans Nite Club, slated for a Friday, June 4 release. They’ll embark on a summer tour, of which the first dates are already sold out. Tickets go on sale Wednesday, March 24 at Noon via pre-sale, with code ‘SHENANIGANS,’ with general on-sale following on Friday, March 26 at 10AM local time.

The Norwalk, CT-based band’s second studio LP and first full-length collection in more than five years, Shenanigans Nite Club, which follows the recent release of their cover of Vampire Weekend’s “2021 (January 5th, to be exact).” The track was personally commissioned by Vampire Weekend’s Ezra Koenig – a longtime Goose fan – with the only directive to make it twenty minutes and twenty-one seconds long.

Shenanigans Nite Club is led by a the mesmerizing new single, “Spirit of the Dark Horse,” which is generally recognized as the first Goose song ever written. The boldly ambitious track – which originated after a “twelve-minute meditation” between co-founders Rick Mitarotonda (vocals, guitar) and Trevor Weekz (bass) – has long been a setlist rarity, featured in only a handful of live performances during the band’s early years.

The album serves as an ode to oft-forgotten vestiges of Goose’s musical journey, both personal and collective. Shenanigans Nite Club marks the apex of the rich history between friends of differing ages and experiences from the same small town in Connecticut, drawn together through a deep love of music and storytelling. Songs like the tectonic “Labyrinth” and the ruminative deep-dive, “SOS,” fluidly traverse genres with head-spinning hooks, technical fireworks, and the kind of rare chemistry only possible among truly close collaborators.

While we’ve been touring, the record has been happening in the background. It’s been quite the process. At times, it was difficult. The record is a companion to those growing pains.
Our dream is to inspire people to step off the beaten path. There are a lot of voices that tell you to play it safe. I think the coolest thing in the world is when someone breaks free and goes for whatever weird shit they dream of doing.
Rick Mitarotonda, Goose

Pre-order Shenanigans Nite Club and get tickets to goosetheband.com/tour.

Goose Summer Tour 2021

May 3-4 – Frederick, MD – Showtime At The Drive-In – SOLD OUT
May 6 – North Charleston, SC – Riverfront Park – SOLD OUT
May 8-9 – Pelham, TN – The Caverns Above Ground Amphitheater – SOLD OUT
June 11 – Swanzey, NH – Northlands
June 12-13 – New Haven, CT – Westville Music Bowl
June 15-16 – Perry, NY – Silver Lake Drive In
June 18-19 – Thornville, OH – Legend Valley
July 2-3 – Eau Claire, WI – The Pines Music Park

March 24, 2021
The Grateful Dead End Their First Nassau Run: March 19, 1973

48 years ago today, The Grateful Dead wrapped up their first ever run at Nassau Coliseum. The venerable Long Island venue was almost completely new at the time, having only opened in February of 1972. In fact, the Dead were only the second band to ever play a concert in the building, surpassed only by their brethren in Chicago the year before. Today would wrap up the final show of their first three-day run here, planting the seeds for another 39 Grateful Dead shows at Nassau for years to come. This introduction ends in remarkable fashion with a show that’s got a little bit of everything: a first set that simply overpowers the second, unique costume wear from the band, and a powerful goodbye to a dear friend.

This show was a double bill of sorts with the Dead’s old friends New Riders of the Purple Sage performing an opening set to get thing started. So the Long Island crowd had already been given a taste of some West Coast psychedelic country and rock styling. Now it was the Dead’s turn. After a quick intro from promoter extraordinaire Bill Graham, they’re off and running with a feverish cover of Chuck Berry’s “Promised Land.”

Things then slow down and take an immediate emotional left turn courtesy of the “He’s Gone” that follows. This would be the song’s first live performance since the passing of the legendary Pigpen, a founding member of the Grateful Dead, just eleven days earlier. Jerry Garcia’s usually delicate vocals here are surpassed only by a supremely poignant guitar solo that simply oozes emotion. The declaration of “nothing left to do but smile, smile, smile” seems to hit a little harder on this one. And Donna Jean and the crowd both lend some audible support as well in a stirring version that’s more than a fitting tribute to the late Pigpen.

Ron “Pigpen” McKernan Sept 8, 1945 – March 8 , 1973

With the musical eulogy out of the way, the rest of the first set proceeds in a more familiar fashion. Bob Weir leads a quick jaunt through “Mexicali Blues.” And Garcia follows in fine fashion in a flawless, uptempo “They Love Each Other.” But the band doesn’t seem ready to say goodbye quite yet. This time Weir takes the helm on vocals and delivers a beautiful and inspired “Looks Like Rain” that’s comes off as one more nod to the somber circumstances of a friend’s recent death.

Deadheads will get a kick out of the first set’s “Wave That Flag,” a precursor to “U.S. Blues” that was played only 14 times and features vastly different lyrics. There’s also a decent bust-out as well. For the first time in almost three years and more than 270 show, “The Race Is On” is dusted off by the Grateful Dead and presented to the Nassau crowd.

No one would complain if tonight’s opening stanza ended with the flawless “China Cat Sunflower” > “I Know You Rider” that later followed. But, no, this set goes to “11.” Perhaps fueled by some of the emotions from earlier, the band just keeps motoring on. One more Berry cover in “Around & Around” makes an appearance. And “Tennessee Jed” keeps the faithful in the new Long Island barn collectively swaying.

Until finally, the first set is capped in grandiose fashion with a mad dash of a “Playin’ In The Band.” All the energy and emotions from earlier seem to get collected here and let loose in a near 16-minute gem that serves as a fitting cap to an exhilarating first set that stretches out past an hour and 40 minutes. The footage of it that follows is reported to be some of the only video of live 1973 Grateful Dead music. Members of the band can be seen in their “Nudie Suits,” bedazzled and sequined suits that were worn a handful of times at shows in late ’72 and early ’73. This psychedelic Country-Western garb is named after the designer Nudie Cohn and were popularized by the Flying Burrito Brothers at the time. This is supposedly the last show at which they were ever worn.

A whirlwind opening set like that would be nearly impossible to top. The second set has nice intentions, but the opening stretch is played somewhat close to the belt. The relatively new-at-the-time “Loose Lucy” kicks things off, with a more pronounced Keith Godchaux on piano coming through in the mix. “Lucy” made its concert debut only earlier last month. Then there’s a a string of “first set”-sounding songs like “Me And My Uncle” and “Big River” that follow. Bill Kreutzmann’s work behind the drum kit really shines on the Johnny Cash cover. And “Mississippi Half-Step” continues this trend of well played live Dead staples that just lack some of the improvisation normally found at this part of the program.

“Jack Straw” picks up the energy considerably in the second set and seems to fuel the band towards the finish line. “Truckin’” follows, paying tribute to New York, a state that’s “got the ways and means.” This yields the first significant jam of the second set, a bluesy little excursion spearheaded by Garcia. It even includes a distinct “Nobody’s Fault But Mine” instrumental nod as the jam begins to progress.

Jerry and Bob in their Nudie Suits, February 1973

A short and sweet “Drums” section then transitions seamlessly into “The Other One,” with Phil Lesh’s thunderous bass notes triggering the opening sequence. Along with Garcia-supplied guitar licks, the two lead an impressively patient and vibrant musical introduction before the first words of the song are even sung.

This and the near 17-minute “Eyes Of The World” that follows really serve as the foundation for this second set. This version of “Eyes” is fairly incredible in that it’s another new-at-the-time, this being only the tenth one ever played. The Dead move effortlessly through the composed section, sounding like they’ve been playing this song for years, before settling into another patient and intricate exploratory jam.

The “Johnny B. Goode” set closer completes the Berry Trifecta for this evening before a “Casey Jones” encore sends the Nassau faithful merrily on their way. Afterwards, the train would be getting on the tracks on heading upstate for two shows at the Utica Memorial Auditorium. It’s a well played set that has a few standout moments but, overall, just doesn’t compare to the emotional powerhouse the opening stanza delivered.

Listen to this great show track by track below, or all at once here.

Grateful Dead – Nassau Veterans Memorial Coliseum Uniondale, NY 3/19/73

Set 1: Promised Land, He’s Gone, Mexicali Blues, They Love Each Other, Looks Like Rain, Wave That Flag, Box Of Rain, The Race is On, Row Jimmy, El Paso, China Cat Sunflower-> I Know You Rider, Around & Around, Tennessee Jed, Playin’ In The Band

Set 2: Loose Lucy, Me & My Uncle, Brown Eyed Women, Big River, Mississippi Half Step, Stella Blue, Jack Straw, Truckin’-> The Other One-> Eyes Of The World-> China Doll, Johnny B. Goode

E: Casey Jones

March 19, 2021
Trey Anastasio shares Uplifting Single, “Forward People”

Forward People. It can mean a direction, or it can describe a group of people. With room for interpretation built into the title, Trey Anastasio shared his latest pandemic production, “Forward People,” on March 18. The release coincides with his first pandemic release on March 18, 2020, “Lost in the Pack.”

With a full Ghosts of the Forest vibe, Anastasio utilizes the Rescue Squad Strings, as well as a horn section, creating a full sound that is reminiscent of GOTF’s “Drift While You’re Sleeping.” For more than 14 minutes, horns and strings accent Anastasio’s uplifting and emotional surprise release.

The opening lyrics to the ballad have a positive, uplifting vibe, something that has been Anastasio’s trademark in the past decade – “Light,” “More,” “Everything’s Right,” “The Greater Good,” “A Wave of Hope” – among others.

We are one,
you are not alone,
all things are connected,
and we are reaping what we’ve sown.
But even out there on your own,
We cannot be divided,
You are not alone,
You’re never really alone.
“Forward People” lyrics – Trey Anastasio

The song continues to touch on themes of self-reliance, hope and perseverance, Anastasio sings “Sway in the light… an invisible hand is conducting the melody. We think that we are composing, but the music is pointing beyond me now,” a broader universal theme that has been seen in his pandemic recordings.

One of the most restless musicians during the pandemic, Anastasio had recently spoken with WCAX, hinting at Phish’s plans for this year, and if something was in the works. Trey slyly said “I’ve got a secret.” It’s safe to say Anastasio has more than one secret, with a composition like this up his sleeve and the potential for a return to the stage, with audiences, possible as soon as the fall.

“Move forward people, we’re all one people.”

https://www.youtube.com/watch?v=xlOFsLgPaAA

March 19, 2021
Twiddle Deliver Pair of Hometown Shows, Announce Two May Concerts

After a pair of hometown shows this past weekend, Twiddle has announced a pair of socially distant outdoor pod shows in New England in May. On Friday, May 14th, the band will visit Northlands in Swanzey, NH and on Saturday, May 15th they’ll perform at Westville Music Bowl in New Haven, CT. Attendees at both shows will be seated in pre-selected, socially distant pods.

Twiddle visited Northlands (formerly Drive-In Live) in Swanzey last fall while the venue was set up as a Drive-In theatre. The owners have transformed the scenic, mountainside location into a thriving, pod-style concert field. Northlands also expanded the operation, promising food trucks, beer and wine, improved sound and lights, and much more.

Twiddle will also be one of the first few bands to perform at Westville Music Bowl, formerly home of the Pilot Pen Tennis Tournament. Both shows will adhere to all state and local guidelines regarding masks and social distancing.

Ticket sales begin on Friday, March 19th at 10 AM ET – purchase tickets here.

photo by Dave Decresente

This past weekend, Vermont jam quartet Twiddle returned to the stage for the first time in 2021 for a pair of special hometown live stream shows from The Double E in Essex, VT.

Hosted in partnership with Fiddlehead Brewing, the virtual events featured carefully curated setlists, highlighting individual chapters of the band’s sixteen-year history. Performing a few short miles from Castleton, the rustic college town where the band started, the shows were a masterful depiction of the evolution of the signature sound Twiddle continues to refine.

photo by Dave Decresente

The band kicked off night one (3/11/21) with a first set comprised of fan-favorite tracks from their 2017 release Plump Chapter One. After weaving together the first four songs of set one with a series of seamless segues, viewers were treated to an acoustic rendition of catalog rarity, “Dusk ’til Dawn,” led by drummer Brook Jordan on acoustic guitar and lead vocals. The opening set was highlighted by the debut of “Lost in the Rain,” a reggae mashup of originals “Lost in the Cold” and “When it Rains it Poors.”

Set two featured fresh takes on deep cuts from Twiddle’s early days, with all of the music coming from the band’s 2007 release, Natural Evolution of Consciousness. The nonstop six-song marathon provided a glimpse at Twiddle’s precise, genre-bending composition, contrasted by their unbridled, exploratory improvisation. The 75+ minute set was performed without a break.

Night two incorporated similar thematic elements to the previous show, with set one focusing on songs from Plump Chapter Two. For the second consecutive set, Twiddle performed without a pause, sandwiching multiple songs between distinct parts of “Orlando’s,” most notably an extended “Nicodemus Portulay,” complete with a “Find Frankenfoote” transmission.

Night two, set two contained some of Twiddle’s most recognizable tunes, focusing on music written for the 2011 release, Somewhere on the Mountain. The improv-heavy set included subtle odes to influential musical counterparts, including Papadosio and Phish teases in “Daydream Farmer” and “Frend’s Theme.” Twiddle closed the hometown run of shows with an extended take on Tears For Fears’ 1982 hit, “Mad World.”

photo by Dave Decresente

Setlist – March 11, 2021

Set One: Syncopated Healing> Every Soul> River Drift> Every Soul, Dusk Til Dawn$, Distance Makes The Heart^, Lost In The Rain&, Zazu’s Flight

Set Two: Frankenfoote > Grandpa Fox > Tiberius> Brown Chicken Brown Cow> Tiberius> Subconscious Prelude

Encore: Caterpillar % > Frankenfoote

$ Brook on Acoustic Guitar
^ Mihali on Acoustic Guitar
& Mashup of Lost in The Cold and a reggae version of When It Rains It Poors
% With A Go Go by John Scofield teases

Setlist – March 12, 2021

Set One: Enter > Orlando’s > Dinner Fork > Nicodemus Portulay $ > The Fantastic Tale of Ricky Snickle > Slippin’ In the Kitchen > Orlando’s

Set Two: Daydream Farmer ^> Frends Theme & > Apples # > Doinkinbonk> Apples, Earth Mama

Encore: Mad World+

$ With a “find Frankenfoote” Transmission
^ With Find Your Cloud by Papadosio Teases
& With Divided Sky Teases
# With Ghostbusters Theme tease
+ Tears for Fears

March 16, 2021
Madison VanDenburg kicks off Music in Motion Season 2 this Friday

On Friday, March 12, Madison VanDenburg will kick off NYS Music in Motion Season 2, when she sits down with our host, rocker Frank Palangi.

Sponsored by Helping Friendly Salve, the series brings together seasoned musicians who hail from the Empire State or have made New York their home, alongside Palangi, a Warren County native.

Guests for Season 2 of NYS Music in Motion include American Idol’s Madison VanDenburg, Scott Hannay, The Voice’s Moriah Formica, Donny Frauenhofer, Sirsy and Lowell Wurster.

Tune in starting on Friday, March 12 and every other Friday for each installment of Music in Motion on the NYS Music YouTube, IGTV and Facebook page. New for Season 2, you can catch all episodes on the JamCast Network.

Palangi will have a sit down conversation with each artist, with a first season lineup that includes the following musicians from across New York. A homegrown indie rock recording artist, singer, songwriter, and guitarist, Palangi fuels his positive ambition naturally by serving up a feeding frenzy of edge heavy guitars, with a side of deep, gritty vocals. With a no-quit mentality, Palangi draws on influences from 80s & 90s rock, including post-grunge and heavy metal.

NYS Music in Motion Season 2 Schedule

March 12 – Madison VanDenburg
March 26 – Scott Hannay
April 9 – Moriah Formica
April 23 – Donny Frauenhofer
May 7 – Sirsy
May 21 – Lowell Wurster

March 10, 2021
Grateful Dead Return to the Garden: March 9, 1981

Few buildings have as storied a relationship with the Grateful Dead that Madison Square Garden does. The World’s Most Famous Arena quickly became the band’s “home” arena on the East Coast beginning with their first run here in January of 1979. Their welcomed stay would last until their final shows played there in 1994. Today, we celebrate the anniversary of the Grateful Dead’s third run at the Garden and only their sixth show ever here. This would be the first of only two Dead shows here this year. But its musical impact, thanks to an incredibly well preserved AUD recording, will last forever.

The opening tones of “Feel Like A Stranger” ring throughout the Garden to kickstart things this evening. The electricity immediately comes through the pristine recording on this one as the bands “get’s on with the show.” Guitarist Bob Weir’s voice is in fine form for the opener and throughout the rest of this show. Some typical brief, scat-like improv singing from him gives way to a short but tight little opening number. “Althea” then follows, with fellow guitarist Jerry Garcia getting his turn to serenade the New York faithful. A fierce early guitar lick sets just the right tone early as Garcia nimbly moves from singing to soloing and then back.

This is followed by a super-bluesy “C.C. Rider” that’s fueled by some great interplay between Garcia, Weir and Mydland on keys. A raucous Garden crowd makes their feelings well known afterwards. An extended tuning break might disrupt the rhythm for any other concert, but it’s not long before the arena is back in full sway and singing along with Garcia to “Ramble On Rose.” As expected, the “Just like New York City” line is met with resounding approval. Weir seems to begin “El Paso” by himself at first, but the band soon catches up and nails the rest of this first set staple. This one sees more impressively delicate guitar fills thrown in by Garcia who sounds clean and inspired from the onset this evening.

A return to the blues then follows, this one of the “Deep Elem” variety. After being taken off the shelf late last year in October, the vocal sections still sound a little unsure on the Dead’s take of this blues standard but the continual passionate guitar stylings from Garcia more than makes up for it. There’s nothing unsure about Weir’s vocal delivery on “Beat It On Down The Line” as the band rips through another first set staple.

Jerry’s vocals seem to run out of steam somewhat in the “Bird Song” that comes next. But the initial lackluster vocal section quickly gives way to some dazzling improv in the jam that follows with Garcia’s guitar leading the way. This seems to infuse some life into the band and the song’s dismount is much cleaner. Weir then re-assumes command and “New Minglewood Blues” closes out a rollicking opening stanza. Whether it was planned or not, the two guitarists wind up going tit-for-tat and alternate lead vocal duties between each song in the opening set.

But like any Dead show, the real “meat and potatoes” of the show are generally found in the second set. Tonight’s show at the Garden would be no different. After some clearly audible teases while tuning, the band takes their sweet time before launching into a majestic set-opening “China Cat Sunflower.” Garcia’s meandering guitar solos play perfectly atop a bed of fresh bass rhythms supplied by Phil Lesh. The slowly building jam eventually makes its seamless transition into “I Know You Rider” where both Weir and Garcia throw a little extra mustard on their respective parts. The second “China Cat” > “Rider” sequence ever played at MSG is certainly one to behold.

Out of the ashes of this blistering start comes “Samson and Delilah” with drummers Bill Kreutzmann and Mickey Hart wasting no time at all before launching into the percussive into. The accompanying jam is played at a near-frenetic pace that seems to have carried right over from the start of the set. Things finally cool down for a bit with “Ship Of Fools” that Garcia ably leads the group through with no issues. Even a slower number like this one seems to have the Grateful Dead Garden crowd enraptured.

Things perk back up in a big way in the second set with the two heavy hitters that follow. “Estimated Prophet” sees a fired up Weir complemented beautifully by Mydland and the signature tone of his electric keys on this number. A typically patient and slow-building jam then ensues with Jerry soon beginning to take the helm musically. When this reaches its conclusion, he switches tones and starts the opening chords to “Uncle John’s Band.” The Garden is again enthralled by these proceedings, with many clapping along in time.

Towards the end of the second’s set traditional “Drums” > “Space” section, some familiar chording can be heard. And before long, Lesh’s bellowing bass roars once again, signaling the high-intensity start of “The Other One.” The rest of the band follows Weir’s lead on vocals with this passionate take on a classic Dead number.

After this powerful, but fairly short “Other One,” begins to peter out, Garcia slows things down once more and the beginning of “Stella Blue” ensues. A large crowd that was in full rock mode, clapping along wildly just more than an hour ago, is now in near total silence listening to Jerry’s deliberate and soulful vocals – a testament to the emotional power of a Grateful Dead Garden show.

It sounds like Jerry wants to revisit and possibly finish “Uncle John’s Band” at the end of “Blue,” but they instead shift towards a “Good Lovin’” closer, the second set’s only cover song. The Garden crowd, once more, shows their love and appreciation afterwards before a “U.S. Blues” finishes things out, a proper call after so much blues-inspired songs and playing this evening. The Dead would go on to play one more show at MSG the following night. And thanks to the impeccable recording by Barry Glassberg below, we’ll be able to enjoy this one forever.

Grateful Dead – Madison Square Garden – New York City, NY 3/9/81

Set 1: Feel Like A Stranger, Althea-> CC Rider, Ramble On Rose-> El Paso, Deep Elem Blues, Beat It On Down The Line, Bird Song, Minglewood Blues

Set 2: China Cat Sunflower-> I Know You Rider-> Samson & Delilah, Ship of Fools, Estimated Prophet-> Uncle John’s Band-> Drums-> The Other One-> Stella Blue-> Good Lovin’,

Encore: U.S. Blues

March 9, 2021
Hearing Aide: No Showers On Vacation ‘Aquaband’

No Showers On Vacation sounds about right. Now, wouldn’t that make you stink? Well, yeah of course. It is fitting then that this Burlington group’s funk is so strong it can kill a hippo. And jokes aside, this Phish-inspired group really does know how to bring their A-game while keeping things fun and exploratory.

Processed with VSCO with l6 preset

This second pandemic release, AQUABAND, is true to the group’s sound and intentions. The album is terrifically produced and the compositions are very well organized considering this is a group that releases material at a good rate. Sam Lyons (drums), Emmett Lurssen (guitar), Alden Nichols (keyboards), and Pat Maley (sax) form a very good jam group. It is worth noting that this is only their second release, after debut EP Bath Time: Miami. Spoiler alert: this album is well worth your time.

The first track, “Chestnut” features a rambling but consistent piano riff that leaves room for a ton of various solos. The eccentric beat forms itself into a Santana type jam, while a dirty guitar solo paves the way back to the piano riff. There is nothing missing here, aside from more sax (and even then, you better hold onto your hats cause this album just started). Throughout the beginning, the listener sees the piano taking center stage.

The keys introduce a lot of the themes of the song and bring in the rest of the band. The bass divides the chord structure, navigating its way around the low end with a steady groove. The guitar sits back when it should and finds its way into the spotlight only when called upon. In a band of this style, it is often the case that one instrument will win a power struggle for being the most heard- that is not the case at all with No Showers On Vacation. Here we have a group that meshes really well and leaves space for every aspect of their music to shine.

One that will get listeners up and active is “Sinkko.” Really, the only thing listeners might want more here is…literally more! The song hooks you in and then sets you free. It is easy to listen to this one a few times to soak in the vibes and the bouncy rhythm. “Amtrakk” features a beautifully organized instrumental that harkens back to a lot of 70’s jams. This is something you likely do not hear a lot of, coming from a band writing music today. The song has a progression that feels like you are actually traveling on a train (minus sitting next to someone who did not shower on their vacation). The charging, locomotive piano and beat drop off to a grand, empowering progression that can be likened to driving out of a tunnel onto a mountainside road.

The beauty of what the band puts together here compared to the dirty funk in something like “Chonk” gives this album a whole of re-listening value. Highly recommend, and keep an eye out for when No Showers On Vacation are able to get back out to their live element! Find them on Instagram to keep up to date.

Key Tracks: Chonk, Amtrakk, Gold

March 7, 2021
Consider the Source Release Radiohead Cover

NYC-based trio Consider the Source released the video for their in-studio performance covering “Exit Music (For A Film)” by Radiohead.

Consider the Source “Exit Music (For A Film) performance

Consider the Source is an instrumental band that formed in 2004. Over time the band members changed but the current members are the guitarist Gabriel Marin, the bassist John Ferrera and drummer Jeff Mann. Over the course of their career, they’ve released several studio albums. Their music style ranges as they receive inspiration from various bands and have studied genres from all over the world.

The band covered Radiohead for the first time years ago. They took on the challenge of performing instrumental arrangements of their songs on sets of shows and festivals, and even a tour with Papadosio. Consider The Source first did a studio performance of Radiohead’s “Paranoid Android” and received a positive reaction. With the mixture of the feedback and feeling like the song matched their sound, the trio decided to go further into covering the notorious rock band.

On March 2 they released their video covering the song “Exit Music (For a Film)” that was originally made for the 1996 rendition of Romeo and Juliet and also appeared on the album OK Computer. They all used their instrumental skills to resemble the compositions within the single. Marin was on the double-neck guitar to imitate the vocals, Ferrera played the bass and the organ and Mann was on the drums and acoustic guitar.

This isn’t the only project the trio has in store for this week. Consider the Source announced that they’re having a free live-streamed concert on March 6. They are performing music from their own catalog on Saturday from the Ardmore Music Hall and giving away a Nate Mclennen poster. The performance consists of two sets and airs at 8 p.m. from Ardmore Music Hall’s website.

March 3, 2021
Watch Quiltro perform “Antilla” at Burlington’s Autochrome

Burlington’s Quiltro has shared the new live video for “Antilla,” filmed at Autochrome, a community studio space in the south end of Burlington. The old industrial building is where some of the world’s first “autochrome” color photographs were produced in the early 1900s.

The band recently released their debut album, an emotional journey that will set you at ease, wake you up, drive you into a groove and leave you looking to replay the debut immediately after. Peaks and valleys are found throughout the nine-track album, fitting perfectly into the ups and downs of the real world.

Quiltro brings together a range of sounds, influences, and emotions through band members Mark Taylor (guitar, keyboard), Mike McKinley (bass) and JD Hoffmann (drums), creating a psychedelic wall of sound that brings to mind Neal Casal’s Circles Around the Sun. Quiltro is quite simply excellent modern psych rock.

While Autochrome was gobbled up by someone looking to lease the entire building, after many years of calling the space home, Quiltro got the boot over the summer. In normal times, they would have had a huge blowout and celebration — live music, collaborative art, and more, but due to COVID-19, they played with no audience and recorded the video.

Eric Segalstad (Sabi Sound, who engineered and co-produced the album) did the recording, Tony Berry (Psychedelic Soup) did the liquid light show, and Matt Bushlow produced the video. Watch “Antilla” below and visit Quiltro on Bandcamp.

February 26, 2021

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