Tag: grateful dead

Discover the Grateful Dead-inspired Rose and Bolt line from Hiouchi Jewels

With inspiration from the Grateful Dead, Hiouchi Jewels, in partnership with Warner Music Artist Services, has debuted the officially licensed, hand-made Rose and Bolt jewelry collection, giving life to Sarah Lewis’ dedication to her craft.

A native New Yorker from Schenectady, Lewis attended Furthur Festival at SPAC in 1997, which led her to catch Ratdog, Phil Lesh and Friends, and later on, Dead and Company, among the rest of the side projects. When Gathering of the Vibes was held in Mariaville, NY, you could find Sarah among the 1000’s of attendees.

The Grateful Dead is so much more than music, it’s home. It’s always been a part of my life. My friends and the music have gotten me through some really tough time.
Sarah Lewis, Hiouchi Jewels

In the summer of 2015, Lewis moved from Philly to California, making a stop in Chicago for the three night of Fare Thee Well at Soldier Field. Now based in Evergreen, Colorado, Lewis is the heart & soul of Hiouchi Jewels. She’s been making jewelry all her life, and earned her BFA in Metals & Jewelry at the Savannah College of Art & Design.

Sarah’s career began designing for boho-chic brand Free People, before she launched her own brand, in 2009. Today, the collection is designed and curated by Sarah in her Colorado studio, and handcrafted by her, and by fair trade artisan partners.

The Rose & Bolt collection features handmade rings, necklaces, bracelets and earrings, all featuring roses and the classic 13-point lightning bolt. Elegant, delicate styles come in sterling silver, rose gold, and 16k yellow gold. Bolder, statement styles feature turquoise stones and quartz crystals.

Although Rose & Bolt carries similarities to Sarah’s classic Hiouchi Jewels Collection, many aspects are new. This marks her first time using rose gold, appropriate for the rose motifs in the collection. Sarah has typically made jewelry for women, and is excited to debut her first unisex/gender neutral collection.

The Grateful Dead’s music has been an important part of my life and an inspiration for all of my creative work, so this collaboration is a dream project for me. I’ve carried my modern bohemian aesthetic from Hiouchi Jewels into this collection, adding the iconic Grateful Dead Roses & Bolts to each piece. The Grateful Dead is so much more than music- it’s a lifestyle, a community, a vibrant, unique culture. It’s truly an honor to have my jewelry join the rich lineage of licensed Grateful Dead artwork and merchandise.
Sarah Lewis, designer

Hiouchi (pronounced Hi-You-Chi) is the name of a wilderness area in Northern California, where Sarah lived and created for 3 years. She re-named her business to Hiouchi in 2018, to honor the time that she spent in this special place in nature, and to carry the magic of the Redwoods with her.

Both an artisan maker, and fashion jewelry lifestyle brand, Lewis sells her wares at HiouchiJewels.com, and through over 400 boutiques & companies internationally.

It took years of persistent outreach to bring a Grateful Dead jewelry line together. Lewis’ drive and perseverence, and especially her passion, drove her to bring this to fruition. “You gotta send a bunch of emails sometimes and magic can happen.” This puts Sarah in good company – she is one of only two officially licensed Grateful Dead jewelry makers.

For Rose and Bolt, Lewis uses rose gold. The reason for this she explained was that rose gold is trendy and new, and the same process in working with yellow gold. Rose gold is an alloy that has a little more copper. Thus, Rose and Bolt is made with rose and gold.

Rose & Bolt Jewelry is sure to attract fans of all ages. Each piece comes in beautiful, collectors boxes and microsuede drawstring pouches. Classic styles can go from day to night, office to dance floor, from formal events to Zoom parties. Rose & Bolt jewelry will prove to be coveted pieces in any Deadhead’s collection.

Watch a video of Sarah showing a few pieces from the collection, the packaging and free gifts that come with each order, as well as a tour of her studio in Evergreen, Colorado. She is currently running a promotion of 20% off at Hiouchi Jewels with code ‘spring.’

Check out more photos on Instagram @HiouchiJewels and @RoseAndBolt.

April 16, 2021
Lark Hall Opens Doors for Live Music on April 17 and 24
The doors are open at Lark Hall, and live music is lined up for the next two Saturdays. Performances from Albany’s Victory Soul Orchestra and Syracuse’s C.K. and the Rising Tide will welcome socially distanced crowds.

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.

Photo gallery by Zak Radick
April 14, 2021
Grateful Dead Play Their Last Show In Binghamton: April 12, 1983

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

E: It’s All Over Now Baby Blue

April 12, 2021
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
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
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
Flashback: Jerry Garcia Band Creates Lake Effect Sound at SUNY Oswego – February 17, 1980

What is it about Upstate New York Winter’s that make great music artists bring their multi-colored California concepts here to heat things up? Forty-one years ago today, Jerry Garcia Band came to be an act for the Lake Ontario sound at Laker Hall on SUNY Oswego campus February 17, 1980.

A then 37-year old Garcia had his second touring band outside the Grateful Dead since collaborating with Howard Wales on hooteroll?. His four piece ensemble consisted of John Kahn on Bass, David Ozzie Ahlers on Keyboards, and Johnny De Fonseca on drums. The band set up atop the cold brick Route 104 venue on the hill, overlooking Lake Ontario, for three hours of music played to around 2,000 people.

They certainly let Jerry’s influences play out in the performance with covers of Allen Toussaint, Marvin Gaye, Chuck Berry, Elvis Presley, Bob Dylan, Jimmy Cliff, J.J Cale, The Beatles, and his own material with the Grateful Dead. Like a typical New York Winter, Syracuse Deadhead Vinny Randazzo remembers the drive to the Oswego show as “covered in snow and sound.”
The group immediately stretches out for fifteen minutes to start the show on Toussaint’s “I’ll Take A Melody” to let you know “I understand why the old fisherman, sails along, someday he’ll be gone.” Perhaps it was a quick nod to the windy docks of the Great Lake that sat next to all. There’s some devil out there that’s for sure, which launched them into “Friend of the Devil,” a friend Jerry normally plays with. Just three days after Valentine’s Day and three songs into the performance, love for the faithful is shown on “How Sweet It Is (To Be Loved by You).” The band then casts a line out to the crowd at shore, for a muddy version of “Catfish John.”

Jerry Garcia, Laker Hall, SUNY Oswego

The Grateful Dead anthem “Deal” comes up next, with Jerry reminding you of tours past: “ If I told you all that went down, it would burn off both of your ears!” There is a 4th Street in Oswego, and Jerry covers the waterside corner during his take on Dylan’s “Positively 4th St” singing, ” You see me on the street, you always act surprised, you say “How are you?,” “Good Luck” But you don’t mean it.”

They close the set with a rockabilly tribute to Elvis for “That’s Alright Mama.” Yea, that first set was more than alright for all in attendance… “any way you do.”

Lake Ontario Winter Melody: “The Sky was Grey with a Spec of Blue, Peek through a Hole in the Clouds, The Sun was Screaming “Hey You!”

After the set break, Elvis had not left the building. The quartet kicked off with the King’s version of “Money Honey,” that got everyone in GA hound-dogging back on the floor. During the set break the crowd certainly felt like they had been “Sitting Here in Limbo,” which is what the band dropped next. David Ozzie Ahlers brings you to Jimmy Cliff’s islands with a two part keyboard solo. Jerry reflects on an American working day for the the next track “Later in the evening when the sun is sinking low, all day I’ve Been waiting for the Whistle to Blow” on “Let It Rock.” Garcia lights up his delta licks on this Chuck Berry classic.

Up next is one of the greatest live improvisational segue ways in rock and roll history. On the famous tape you might recognize the “After Midnight —> Eleanor Rigby Jam—>After Midnight” jam that was only played in the beginning of that decade. This is one of Senor Garcia’s sweetest unplanned moments to be captured.

1980 Eleanor Rigby Jam in to After Midnight at Oswego

Jerry takes another stab at Dylan’s seasonal lyrics “Now the wintertime is coming, the windows are filled with frost, I went to tell everybody but I could not get across, well, I wanna be your lover baby, I don’t want to be your Boss” for “It Takes A Lot to Laugh, It Takes a Train to Cry” Jerry’s Tiger guitar Quartet immediately melt the ice with the last song for “The Harder They Come.” “The Harder they Fall, One and All” to bring back the island vibe beats to close out the evening.

Jerry Garcia Band 1980 winter tour rolled through New York State from Oswego to The Palace Theater in Albany, The Landmark Theater in Syracuse, The Calderone Theater in Hempstead and SUNY Stonybrook. They came back to Laker Hall under new personnel one last time on December 11, 1983 with Melvin Seals. Jerry Garcia kept a solo band outside of The Grateful Dead for the next 15 years with Melvin Seals How Sweet It Is: Melvin Seals at The Westcott Theater who carries the JGB touring torch to this day.

In a 1981 interview someone asked Jerry Garcia “What are the virtues playing with your own band compared to the Grateful Dead?” Garcia responded “Its a real resonate consonance experience, its like harmonious, every bodies musical taste is similar to my own, ya know?, and our concept of what music should be, were an accord, so my band is playing the kind of music that I think of the way music is constructed , in terms of the roles and the instruments, The Grateful Dead is interesting because everyone has a different concept of what music is about, which creates a lot of friction and tension to it”

Jerry Garcia Band, February 17 1980, Laker Hall, Oswego, NY

Set 1: I’ll Take A Melody, Friend Of The Devil, How Sweet It Is (To Be Loved By You) Catfish John, Deal, Positively 4th Street That’s All Right, Mama

Set 2: Money Honey, Sitting Here In Limbo, Let It Rock, After Midnight > Eleanor Rigby Jam > After Midnight, It Takes A Lot To Laugh, It Takes A Train To Cry, The Harder They Come

Listen to the Whole Show from 1980

February 17, 2021
Billy Strings channels Grateful Dead ESP shows with Deja Vu Experiment

In 1971, the Grateful Dead performed at The Capitol Theatre in Port Chester over six nights – February 18, 19, 20, 21, 23, and 24. Billy Strings will present The Deja Vu Experience on FANS and The Relix Channel on those same nights, 50 years later, with a six-night livestream.

With a nod to those historic shows, Billy Strings will perform on these same dates as the Grateful Dead did, adding an aire of deja vu to the run of streams, in hopes of tapping into the musicianship and fearlessness that the Dead did 50 years ago.

Much like the Dead, Billy Strings has the potential to unlock the improvisational boundaries of music and psychedelia in a familiar yet unique way.

During the 1971 shows, the Grateful Dead conducted ESP Experiments, prompting Deadheads in the audience to focus on imagery shown by the band and telepathically send the imagery to a test subject.

The Deja Vu Experiment is aiming to similarly tap into a sense of clairvoyance and togetherness by asking the streaming audience to use their minds to collectively “see” and send imagery to special guest receivers.

Concerts in the age of streaming beg fans to transport their mind; to feel connected to a live performance when we cannot physically be together. This experiment is not scientifically backed, rather, a hypothesis that the collective mind has the power to tap into extrasensory perception and manifest connection.

Tickets to February 19, 20, 21, and 23 are on sale now. February 18 + 24 are FREE on The Relix Channel, exclusively on Twitch. A portion of proceeds will benefit The Rex Foundation and Backline.

January 13, 2021
Watch Grateful Dead Perform “It’s All Over Now” from Orchard Park 1990

The latest release in the Grateful Dead video series ‘All The Years Live’ features a performance from Orchard Park, home of the Buffalo Bills. From their July 16, 1990 show, the Dead share a rollicking first set cover of Bobby Womack’s “It’s All Over Now.”

Grateful Dead historian David Lemieux speaks on the performance:

When It’s All Over Now first appeared in Grateful Dead sets in 1976, it was the perfect addition to the Bob-sung part of first sets. It was quite a bit different than any other Bob song: not an original, not a blues song, not a cowboy song. When The Last Time arrived in 1990, it was the same feeling, another Bob rocker, although The Last Time bounced around the setlist quite a bit, whereas It’s All Over Now was a first set song.

The video is directed by Len Dell’Amico and co-produced by Len Dell’Amico and GDP. Click here to read a detailed take on the Grateful Dead opening for Bob Dylan in Orchard Park on July 4, 1986 and here for The Who and The Clash at Rich Stadium in 1982.

Grateful Dead July 16, 1990 – Orchard Park, NY

Set 1: Hell in a Bucket, Mississippi Half-Step, Blow Away, Mama Tried, Mexicali Blues, Loose Lucy, It’s All Over Now, High Time, Let it Grow, Don’t Ease Me In

Set 2: Sugar Magnolia, Scarlet Begonias, Man Smart/Woman Smarter
Ship of Fools, Truckin’, drums -> The Wheel, Gimme Some Lovin’
Wharf Rat, Around and Around, Sunshine Daydream

Encore: Brokedown Palace

January 8, 2021