Category: Flashback

Flashback: Monsters of Rock Tour Arrives in Orchard Park – June 19, 1988

The 1980s were the heydey of hair metal and hard rock, and as the genre found its audience, the Monsters of Rock concert tour was formed, bringing together the best international lineup of metal acts the world has ever seen. And for one day in June of 1988, five bands would put on a show for the ages in Western New York.

Originating in England in 1980, the first Monsters of Rock lineup and one-day festival was promoted by Paul Loasby and Maurice Jones, and included British and international bands for 35,000 fans at Donington Park race track in Leicestershire in the Midlands region of England. Originally conceived as a one-off event, the idea evolved into a touring festival in 1981 for 15 years in a row, only taking a break in 1989 and 1993. Loasby recalled the formation of that first year in England to The Guardian:

We hoped we would get 50,000 [people]. We wanted to break even at 30,000. However, because it was done the way it was we were not in control of some of the aspects – such as the cost of the police. But also, the “fuck factor” as you’d call it, is the miscellaneous. It rained and it rained and it rained [beforehand], so suddenly your trackway [temporary road] costs and your straw costs rise. We ended up with just under 36,000. A quick piece of maths showed that we’d lost money, but it wasn’t horrible.
Paul Loasby on the first Monsters of Rock show

Arriving at Rich Stadium in Orchard Park on June 19, the 1988 Monsters of Rock Tour featured Van Halen, Scorpions, Dokken, Metallica and Kingdom Come, marking the only time the epic international metal concert tour made its way through the Empire State.

Headlining the show was Van Halen, who were hot on the heels of promoting their album OU812, and used the Monsters of Rock Tour to form the first section of their OU812 tour. Thus, the name of the festival this year was Van Halen’s Monsters of Rock.

Monsters of Rock van halen — Van Halen Summer ’88 Concert Shirt

The 23-city tour criss-crossed America over May, June and July of 1988, gaining the moniker “the most extravagent rock show ever” with the five bands performing over nine hours of music to more than 2 million fans who were expected across the North American tour.

“It’s like the NBA playoffs everynight, except we dont use balls, we use guitars,” said bassist Michael Anthony in talking to The Today Show. Sammy Hagar added “NBA playoffs, title fight, every night. there’s so much music its probably really tough on the people the next day,” mimicking the headache they might have the next day, then adding in “a week later, that was the greatest thing I ever did.”

Being a large scale event with multiple acts, there was a long gap between many dates while the band’s gear was transported and set up. A total of 50 tractor trailers carrying 75 tons of sound equiptment traveled between each venue, adding to tour dates that were spaced out as seen below.

May 27-29	East Troy, WI	Alpine Valley Music Theatre
June 4	Miami	Orange Bowl
June 5	Tampa	Tampa Stadium
June 10	Washington D.C.	RFK Stadium
June 11	Philadelphia	JFK Stadium
June 12	Boston	Sullivan Stadium
June 15	Pittsburgh	Three Rivers Stadium
June 17-18	Detroit	Pontaic Silverdome
June 19	Buffalo	Rich Stadium
June 22-23	Akron	Rubber Bowl
June 25	Portland	Oxford Plains Speedway
June 26-27	East Rutherford	Giants Stadium
July 2	Houston	Rice Stadium
July 3	Dallas	Cotton Bowl
July 6	Indianapolis	Hoosier Dome
July 9	Memphis	Memorial Stadium
July 10	Kansas City	Arrowhead Stadium
July 13	Minneapolis	Metrodome
July 16	San Francisco	Candlestick Park
July 20	Spokane	Joe Albi Stadium
July 23-24	Los Angeles	Los Angeles Memorial Coliseum
July 27	Seattle	Kingdome
July 30	Denver	Mile High Stadium

Monsters of Rock 1988 was the third time then up-and-coming heavy metal band Metallica would tour on the lineup, and the second year in a row. The 1988 shows gave early hype for their eventual classic album …And Justice For All, leading to “Harvester of Sorrow” making appearances in the setlist throughout the tour. This also marked the first tour since bass player Cliff Burton passed away in September 1986. Listen to Audio of their Buffalo set here.

Dokken was another notable band to join the show, although an attendee notes there were tensions between lead singer Don Dokken and guitarist George Lynch, leading to a short and uninspired set. Veteran German rock band Scorpions were a major European rock artist at the time, and their fans felt the love throughout the show.

Over time, the Monsters of Rock tour would decline, due in part to two fans dying during a Guns N’ Roses set later in 1988, with crowds that pushed 100,000 and muddy/wet conditions being contributing factors. This led to the festival being cancelled for 1989, with a two day festival, Moscow Music Peace Festival held in Russia, featuring Bon Jovi, Ozzy Osbourne, Mötley Crüe and Scorpions. When Monsters of Rock returns in 1990, the crowd size was limited to 75.000.

Kingdom Come setlist: Get It On, What Love Can Be

Metallica setlist: The Ecstasy of Gold, Creeping Death, For Whom the Bell Tolls, Welcome Home (Sanitarium), Harvester of Sorrow, Whiplash, Fade to Black, Seek & Destroy, Master of Puppets, Last Caress, Am I Evil?, Battery

Dokken setlist: Without Warning, Tooth and Nail, Just Got Lucky, Burning Like a Flame, Into the Fire, Heaven Sent, It’s Not Love, Guitar Solo, Mr. Scary, Dream Warriors, Alone Again, Turn on the Action

Scorpions setlist: Blackout, Big City Nights, Rhythm of Love, Bad Boys Running Wild, Make It Real, Coast to Coast, Still Loving You, Don’t Stop at the Top, Can’t Live Without You, Coming Home, The Zoo, No One Like You, Rock You Like a Hurricane, Dynamite

Van Halen setlist: A.F.U. (Naturally Wired), Summer Nights, There’s Only One Way to Rock, Panama, Bass Solo, Runnin’ With the Devil, Why Can’t This Be Love, Mine All Mine, Drum Solo, You Really Got Me, Sucker in a 3 Piece, When It’s Love, Eagles Fly, I Can’t Drive 55, Best of Both Worlds, Guitar Solo, Black and Blue, Ain’t Talkin’ ’bout Love, Superstition, Rock and Roll

June 19, 2022

Eddies Hall of Fame Celebrates Capital Region’s Music Scene at UPH

The rich music history of the Capital Region was celebrated on Tuesday, June 7 with the Eddies Hall of Fame Induction Ceremony. Held at Universal Preservation Hall in Saratoga Springs. The eight honorees included folk, ambient, rock, and acoustic artists, as well as a promoter, writer/musicians, and an independent radio station founder.

Paul Rapp, a musician and entertainment rights lawyer, as well as a 2020 Eddies Hall of Fame inductee knew them all and gave opening remarks noting such. Rapp, drummer for renowned Albany act Blotto, weighed in on each musician, offering heartfelt thoughts and a few laughs as he discussed his connection and the impact each of the eight left on the Capital Region scene.

Paul Rapp – photo by Erin Reid Coker

Honorees included Joel Ross, a 7-time Grammy Award winner who engineered songs for Broadway musicals and TV shows, and worked with Ray Charles and Tony Bennett among many others.

Joel Ross – photo by Joe Putrock

Brooks Brown, founder of WEQX, an independent radio station, was referred to by Rapp as having “saved the Albany Music scene” by creating a radio station that played local bands that couldn’t be heard elsewhere. Rapp noted that Brown took great joy in telling corporations looking to buy his station to “go fuck themselves.”

Jason Keller and Mimi Brown – photo by Erin Reid Coker

Super 400 from Troy has had an impact felt as far away as Spain, which led to Spanish band Red Apple sharing via prerecorded video how they were looking for bands that were real and similar to them. In discovering Super 400, they found a band on the same wavelength, as well as future friends. Red Apple then performed “Green Grass End” in tribute to Super 400.

Super 400 – photo by Erin Reid Coker

Greg Bell, the promoter who made Albany a jam band mecca and must hit tour stop, has run Guthrie/Bell Productions since the early 1990s. His presence in the Capital District will be profiled in the upcoming documentary from Mirth Films, Grapplin’ Greg. Rapp noted that no one has done more to support local bands than Bell, adding, “Music promoters are like adding kindling to a fire. The good ones make it burn bright.”

Greg Bell – photo by Erin Reid Coker

Rich Ortiz, the “fishin’ musician,” comes from a family rich in music history and plays more than 300 gigs a year and has been featured on the cover of numerous fishing magazines.. If night fishing were a thing, we may not have this legend from the Lake George region. Saratoga Springs guitarist from 80’s band The Morons, Steve Candlen, later performed Ortiz’ “I Love You Everyone.”

Rich Ortiz – photo by Erin Reid Coker

Michael Eck is many things – a painter, arts writer, Caffe Lena board member, and Ramblin Jug Stompers spoke with great emotion in receiving the Eddies Hall of Fame honor. Candlen later performed an Eck original “You’re a Mountain,” with the fitting lyrics “you’re a mountain, you’re a legend, you’re a king.”

Michael Eck – photo by Erin Reid Coker

Sara Ayers, with an eclectic career that includes folk, punk, bubblegum, rock, electronica and especially ambient music, was a crowd favorite as she was honored for her contributions to the scene.

Sara Ayers – photo by Erin Reid Coker

Greg Haymes, a man who did so much for local bands, venues and aspiring writers and photographers, was the final honoree of the night. The late “Sarge” Blotto has a varied career in multiple genres and styles, and in founding local music website Nippertown, he had a connection to nearly the entire room of musicians, journalists and fans. Rapp pointed to one of the many quirks of Haymes, was his mentions in reviews of a musician’s shoes, considering those with good shoes to have ‘made it’, and with that, Rapp pulled out a ruby slipper. The unofficial Jug Stompers theme song, “Jug Band Music,” by the Memphis Jug Band, and performed by Tom Lindsay to honor Haymes.

A young Greg Haymes. Photo by Amy Modesti

While Haymes passed away in 2019, he was fÃªted by his fellow inductees in a slideshow retrospective. Ayers accepted on behalf of her late husband, noting that he lived an artistic life as a musician, a writer and a website publisher, and it was a life he was proud of. His not too serious approach to preparing himself for a performance on stage (whether with a customized washboard, or a typewriter for a percussion instrument), his experience as a musician made him want to share the passion of local musicians in the Capital District through his writing. In doing so, Haymes gave many writers and photographers a chance to, a tradition we continue at NYS Music.

Photos by Erin Reid Coker

June 9, 2022
Phish Make Their Radio City Music Hall Debut : May 21, 2000

Today we celebrate the anniversary of the first Phish show ever held at New York City’s esteemed Radio City Music Hall. Fresh off the heels of a New Year’s Millennium celebration in the Everglades that made headlines worldwide, Phish was ready to take on the year 2000 with a Spring Tour of Japan on the books. But first, they would play a few gigs in New York City to dust off the cobwebs and help support their album Farmhouse which was released just days earlier. On this the first of a two-night run here, Phish would wind up playing about half of the new album’s songs while mixing in other classics in a show that certainly lived up to the anticipation surrounding it.

Phish seems to soak in the applause for a bit from a raucous Radio City Music Hall before starting the show with thunderous “First Tube” that seemed to move the ground itself. Mike Gordon’s constant, unwavering bass line dominates this one pulled from Farmhouse that continues to be a mainstay at shows to this day. A familiar first set face in “Wolfman’s Brother” gets played next, adding a veritable dose of funk to the revered music hall, with sound coming through in pristine fashion thanks to Radio City’s amazing acoustics.

An early show “Squirming Coil” then makes an appearance. The “Little Jimmy’s off to camp” line seems to get a noticeable roar of approval from the crowd, perhaps in respect to last summer’s legendary (and sweltering) Camp Oswego festival in Upstate New York. After a fairly brief Page McConnell closing piano solo, the opening to “Possum” emerge which reenergizes Radio City and then some with the floor once again seeming to have a discernable bounce to it, especially on the upper levels of the building. After a brief pause, the funk returns once more, this time courtesy of a bubbly “Moma Dance.”

Once “Moma” comes to a rolling stop, the opening chords to “Limb By Limb” ring out, a fellow Story Of The Ghost selection. “Limb” elicits one of the finer jams of the first set, one that slowly increases in fervor and intensity, with McConnell and Trey Anastasio on guitar musically sparring back and forth, before it closes with Jon Fishman alone on drums. “Character Zero” then wraps a bow around the much anticipated first Phish set at Radio City, a spirited and well-played one with fairly standard selection of songs for 2000.

The second set stays very much in that same vein, beginning with a “Gotta Jibboo” that produces the next standout moment of the evening. The band is instantly locked in on a blissful jam that takes off right away, aided by Anastasio’s signature digital delay loop running underneath it the entire time. This momentum carries squarely into the “Down With Disease” that comes next. The band rips through the composed section and jumps immediately into an aggressive high-octane jam that starts strong and never really lets up, with Fishman pushing both the tempo and the limits in a masterclass of drumming. Eventually, Trey reintroduces the digital delay loop with Page adding in some harrowing organ fills as the band takes their time crafting this one. It all adds up to a 20-minute “Disease” that’s the highlight of the show and one of the better ones ever played to date.

In a true case of juxtaposition, Phish lets the crowd catch their breath a little and trots out the introspective “Dirt,” yet another Farmhouse selection. This would actually begin a three-song run from the new album (and four of five including “Jibboo”) in the second set as “Twist” follows and brings with it a mellow, groove-infused jam that turns into near ambience.

This lays the foundation for “Piper” and its customary (at the time) slow build introduction. “Piper” goes from slow to lightening quick in a hurry, with Anastasio shredding out the main chords in rapid fashion with Fishman, once again, doing some otherworldly business on the drums. Instead of stretching “Piper” out further, it comes to a rather abrupt stop and Phish pivots to “Harry Hood,” much to the delight of the Radio City crowd.

Phish doesn’t mess around with “Hood” and delivers a splendidly euphoric version of one their signature songs, a slow build of emotion before cresting perfectly. A second set full of music and memorable jams could have easily ended right there with few complaints. But from the ashes of “Hood,” McConnell emerges alone on piano and begins “Wading In The Velvet Sea” to add another emotion-provoking song to the list. Afterwards, both he and Trey expressed their appreciation for being able to play at Radio Music Hall, where they had both been able to see the great Stevie Wonder perform, with Trey making some especially poignant and heartfelt remarks about the current state of Phish and the scene it has created.

With that said and done, the resurrected “Guyute” then closes out the second set in grand fashion. The “I hope this happens once again line” at its completion gets another extra round of applause from the crowd. For an encore, Phish trots out one last Farmhouse selection with the acoustic “The Inlaw Josie Wales” before “Loving Cup,” the lone cover song of the night, sends the Radio City crowd home glowing, eagerly anticipating what’s to follow in round two tomorrow.

Take a listen to the whole show below or song by song at PhishTracks.

Phish Radio City Music Hall – New York, NY 5/21/00

Set 1: First Tube, Wolfman’s Brother, The Squirming Coil, Possum, The Moma Dance > Limb By Limb > Character Zero

Set 2: Gotta Jibboo, Down With Disease > Dirt, Twist > Piper, Harry Hood > Wading In The Velvet Sea, Guyute

E: The Inlaw Josie Wales, Loving Cup

May 21, 2022
The Grateful Dead Begin Third Tour Of Duty At Nassau: May 14, 1980

By 1980, the Grateful Dead certainly didn’t feel like a stranger at Nassau Coliseum. The band had played ten shows at this arena already, five in 1973 and another five the previous year in 1979. However, 1980 would only see a single three-show run at Nassau. With the Brent Mydland era now fully initiated and underway, we take a look back at this opening night of the run on its anniversary, aided by a sterling soundboard recording.

The 1980 Nassau run kicks off with an “Alabama Getaway” that does nothing to wane the excitement present in the building. Some lively Brent Mydland harmonies and a few short but spirited guitar solos from Jerry Garcia highlight the opener that never really stops and instead instantly veers into a “Promised Land.” Bob Weir mans the vocals on the Chuck Berry cover and, by now, Mydland’s Hammond organ is fully turned up in the mix in a big way, adding a palpable layer of soul.

After that spirited 1-2 punch to open the show, the Dead then slow things down in a big way with a “Candyman” that hits all the right notes, with the band taking a delightfully patient approach to this live show staple.

Things then liven back up as the band takes a musical trip south of the border, so to speak, with an interesting “Mexicali Blues” and “El Paso” pairing. Bassist Phil Lesh throws down some stellar fills on “El Paso” before the Dead bring things back to the States with a “Tennessee Jed” that gets a roaring endorsement of approval from the Long Island crowd. “Jed” is played to perfection and after some brief deliberation, they jump right into “Let It Grow,” the second part of the esteemed “Weather Report Suite” that made its live debut at Nassau Coliseum nearly seven years ago. This elicits a brief but mesmerizing jam that sees Garica and Mydland fully in synch with one another.

They then take command of the next two songs, as Garcia lays down the opening guitar licks to “Althea” that, like much of the opening set, is played with a comfortably deliberate pace with each note serving a purpose. Lesh shines again on bass here, backing up another typical stirring Garcia guitar solo. Mydland then puts his signature raspy vocals on full display on the “Easy To Love You” that follows alongside some delightful play on the electric piano. The set then comes to a rousing finish thanks to “The Music Never Stopped” and a closing breakneck jam that sees the whole band immersed and engaged on this crowd favorite.

The second set begins with a rather funked out “Feel Like A Stranger,” a new weapon in the Dead’s live arsenal that just made its debut a few months ago at the Capitol Theater in Passaic, NJ. Weir handles the vocals with ease and the song is aided by some droning synthesizer work on Mydland’s end that peppers the song throughout. Instead of its traditional ending, they jam out the ending of “Stranger,” and rightfully so, until Garcia initiates the introduction to “Sugaree.” Garcia and Mydland, on organ now, lock in together once more on a rousing version with a jam that slowly builds in intensity.

This first show of the Nassau run then features another pairing of Dead songs, this time it’s “Lost Sailor” and “Saint Of Circumstance,” with the latter making it another song that made its live debut in New York State. The first “Saint” was played in Glens Falls in August of 1979. To slow things down once more, the Garcia-led ballad “Comes A Time ” then emerges, replete with one more emotion-laden guitar solo.

The harrowing outro jam to “Time” slowly but surely begins to increase in tempo, with Garcia fluttering all around the fretboard, until Phil Lesh rings out the signature bass line that begins “The Other One” and the Dead are off and running once more. A madcap, psychedelic journey ensues between the two main verses on this classic tune that harkens back to the days of San Francisco and “Cowboy” Neal Cassady. Once the second verse is completed, the band almost stops playing instantly and defers to Bill Kreutzmann and Mickey Hart for the “Drums” portion of the evening.

From the ashes of “Space” emerges the always reflective “Black Peter,” with Mydland once again lending a delicate touch thanks to the Hammond. The Dead then close the doors on the second set at Nassau with a couple of traditional rock and roll covers. Weir helms the vocals once more, starting with “Around And Around” and ending with “Johnny B. Goode,” rounding out a trifecta of Berry covers for the night. “Don’t Ease Me In” then served as a fitting encore for this show, with the Dead having laid the ground work for another memorable run of shows at Nassau Coliseum.

Listen to this show below or at Live Music Archive here.

View this show and more Grateful Dead shows from across the years in New York State with our interactive map below

Grateful Dead Nassau Veterans Memorial Coliseum – Uniondale, NY 5/14/80

Set 1: Alabama Getaway > Promised Land, Candyman, Mexicali Blues > El Paso, Tennessee Jed, Let It Grow > Althea, Easy To Love You > The Music Never Stopped

Set 2: Feel Like A Stranger > Sugaree > Lost Sailor > Saint Of Circumstance > Comes A Time > The Other One > Drums > Black Peter > Around And Around > Johnny B. Goode

E: Don’t Ease Me In

May 14, 2022
Grateful Dead Continue To Build Knickerbocker Arena Legacy: March 28, 1993

Knickerbocker Arena will always be one of those venues with a special place in Grateful Dead lore. The band played the downtown Albany arena thirteen times in their career which included three three-night runs at “The Knick.” Today, we look back at the middle show of the last three-night run there in 1993. It may not reach the heights of the band’s initial heralded run here in 1990 which helped provide material for their Dozin’ At The Knick album, but it sees the Dead at a time when they’re clearly comfortable in their own skin with this last incarnation of the band. The show provides a solid blend of Grateful Dead fan favorites, a pair of Dylan covers, and some newer original songs that were only played a smattering of times in this late era for the band.

The show begins with a tune that was starting to entrench its spot as a show opener in this last phase of live Dead, “Mississippi Half-Step Uptown Toodleoo.” Jerry Garcia sounds engaged right from the get-go and drops an immaculate guitar fill early on in the proceedings. The band takes their time dragging out the composed portion of the opener before Garcia lays down another heavenly solo. After a courtesy nod of gratitude from the Knick crowd, the opening licks to “Walkin’ Blues” ring out loud and true and fellow guitarist Bob Weir takes control for the next number. He leads the way through a cover of the American blues classic before they resort back to one of their sentimental originals in “So Many Roads,” replete with another feathery Garcia solo that serves as the bridge before a somewhat “Knockin’ On Heaven’s Door”-esque ending.

The Dead make the following cover selection more than clear with a joyous romp through Bob Dylan’s “When I Paint My Masterpiece” that has both guitarists wailing on vocals by song’s end. Things then slow down again somewhat with the “High Times” that comes next. This Grateful Dead classic serves up a classic blend of bluesy Garcia solos that merely matches vocals of the same tenor. This sets the stage for yet another late-era Dead regular that never seemed to take off, “Eternity,” co-crafted by Weir and his fellow Ratdog bandmate Rob Wasserman.

A slow transition into “Deal” then follows, with bassist Phil Lesh pushing the tempo early and often before a jam that reaches near hysterical proportions closes out the first set earnestly. The second one begins with the familiar tones of “Scarlet Begonias” as the Knick crowd gets brought back to life with this vintage Dead number. This triggers a brief but blissful jam, with Garcia’s tricked out guitar creating the effects of a veritable flute solo, that serves as the springboard into a raging “Fire On The Mountain.”

After a somewhat abrupt ending to “Fire,” the drum-fueled intro to “Samson and Delilah” emerges. Some vintage bass bombs from Lesh are peppered throughout on a frenzied take on this live show staple. Another old standby in “Ship Of Fools” then follows, graced with a typical breathtaking solo from Garcia, before the Dead break out “Wave To The Wind,” a song co-written by Lesh and longtime band lyricist Robert Hunter that was played only a handful of times in 1992 and ’93.

A post-song segue into “Truckin’” gets a little murky but the band soon finds their footing and treats the Knickerbocker Arena crowd to another classic Dead sing-along number. It sees some strong piano fills thrown in from Vince Welnick that help fuel a brief but explosive jam that sets the table for the traditional “Drums” > “Space” portion of the evening.

From the psychedelic mist emerges another song synonymous with ’90s-era Dead, “Long Way To Go Home” with an energized Welnick taking charge and leading the way on vocals. The tone then shifts from new school to old school in a hurry as the band dusts off “Attics Of My Life.” It ends a 41-show gap from its last performance, which just happened to be here at The Knick last June. The set then comes to a rousing finish with a “Turn On Your Lovelight” that sees Bob Weir doling out the signature bluesy vocals and Garcia once more digging into his bag of tricks and emitting joyous trumpet-sounding guitar fills on the closer. The second and final Dylan cover of the night then serves as the encore as the show ends with a beautifully somber take of “Knockin’ On Heaven’s Door.” The Grateful Dead would return to Knickerbocker Arena the next day to close out this run and, two years later, they would play their final shows at this heralded venue.

Check out video of the entire show here and below thanks to YouTube.

View This And More Grateful Dead Shows From Across The Years In New York State With Our Interactive Map Below

Grateful Dead Knickerbocker Arena – Albany, NY 3/28/93

Set 1: Mississippi Half-Step Uptown Toodeloo, Walkin’ Blues, So Many Roads, When I Paint My Masterpiece, High Time, Eternity, Deal

Set 2: Scarlet Begonias > Fire On The Mountain, Samson And Delilah, Ship Of Fools, Wave To The Wind > Truckin’ > Drums > Space > Way To Go Home, Attics Of My Life > Turn On Your Lovelight

E: Knockin’ On Heaven’s Door

March 28, 2022
The Grateful Dead Introduce Themselves To Utica: March 21, 1973

Today marks the anniversary of the maiden voyage for the Grateful Dead to Utica. Certainly no strangers to New York City and the Hudson Valley by 1973, the Dead would soon begin to make their mark all over the Empire State. The band was still very much in the emotional wake of the recent death of founding member Ron “Pigpen” McKernan who was laid to rest just weeks earlier. The first shows afterwards were three nights at the Nassau Coliseum and now this new iteration of the Dead headed upstate for two more in Oneida County. This first night of music is an impressive showing from start to finish, filled with fan favorites and a whole bunch of new material debuted earlier this year. It’s all gas and very little breaks as the set list will attest, just the latest dose of good music at the Aud with Santana having played here last month and Procol Harum scheduled for a gig next month.

The recording for this show doesn’t start until the tail end of the show-opening “Bertha,” picking up in the middle of a Jerry Garcia-led jam before its closing verse. The audio quality itself is more than passable though and the Dead launch into a first set staple in “Me And My Uncle” next. The opening set also features a “Wave That Flag,” a song that would only be played a handful of times on this spring tour in 1973 before later being formally resurrected as “U.S. Blues” next year. It’s the same melody and general song structure, just with some slightly different lyrics along side some ultra jazzy piano fills from Keith Godchaux.

After some customary post-song tuning, things take a turn for the mellow as Bob Weir takes the helm for the delicate “Looks Like Rain.” It’s a wonderful display of group musicianship as the playing ebbs and flows along with the emotional progression of the song, peaking in a short but explosive jam that the Utica crowd loudly acknowledges. The “Tennessee Jed” that follows gets stretched out even further, with a catchy jam that comes to a slow crescendo, before the Dead reign it back in with a “Box Of Rain” that sees Donna Jean Godchaux backing up bassist Phil Lesh on vocals on the American Beauty classic. Donna then assumes lead vocal duty for a cover of the Loretta Lynn tune, “You Ain’t Woman Enough,” another song only played a handful of times in 1973.

The opening set of music then reenters the “boy’s club,” so to speak, with the next two song selections, one old and one new. A spirited but quick run through of another first set stalwart in “Jack Straw” precedes a still-fledgling “Row Jimmy” that was debuted just last month, but all the same, sees the band tugging at the collective musical heart strings once more. Afterwards, presumably in response to crowd requests for “Saint Stephen,” Phil Lesh loudly affirms they “don’t do that one anymore” with Weir adding, “Because we liked it too much.” It wouldn’t be played live again for more than another three years.

Instead, the Dead run through the old, reliable “Beat It On Down The Line” before treating Utica to another live show newcomer. This time it’s a mesmerizing “Here Comes Sunshine” that sees guitarists Garcia and Weir complementing each other wonderfully on a song that certainly shows the potential to be a fixture for the years to come but, oddly, would be shelved for almost twenty years instead.

An already marathon-like first set then continues with, fittingly, a crisp take of “The Race Is On” with Weir impressing on rhythm guitar before Garcia takes the baton and leads the way through an incredibly emotive “Loser.” After Weir then follows suit with a Western-themed song of his own in “El Paso,” The Dead finally bring the landing gear down on their first ever set at the Memorial Auditorium in Utica with an absolutely flawless run through of “China Cat Sunflower” along with a vintage “blink and you miss it” segue into “I Know You Rider.” Then, for good measure, they tack on a “Playing In The Band” after this that the “core four” of Garcia, Weir, Lesh and drummer Bill Kreutzmann just run circles around. The jam instantly goes dark and deep, taking its sweet time before coming back up for air. It’s one of the show’s true highlights and caps off a lengthy first set that lasts well more than 90 minutes.

There’s no signs of this show slowing down anytime soon as the Dead reemerge for the second set with a feisty “Greatest Story Ever Told” that’s accentuated by Donna Jean’s passionate vocals. The band then introduces another newcomer to the scene, one of the earliest played versions of “They Love Each Other,” in its original faster, shuffle-like tempo that’s laid down smoothly by Kreutzmann. Afterwards, Weir and Garcia go tit-for-tat once more as they trade lead vocal duties on “Mexicali Blues” and “Brown Eyed Women,” respectively, before teaming up on a cover of “Big River” as the band keeps churning out songs.

The tide then turns back to the introspective with the delicate “Brokedown Palace” that follows along with a triumphant take of “Me and Bobby McGee” with some spirited backup vocals from Garcia. After another long tuning break, the Dead come out of the huddle with a fakeout of sorts as they play the airy instrumental “Weather Report Suite Prelude” but then instantly shift gears and drop into one of their signature psychedelic soundscapes, “Dark Star,” which more than ably takes cares of the “Space” portion for this Grateful Dead show.

Emerging from the “Dark Star” haze are the opening chords for another song soon to be a second set fixture for years to come, “Eyes Of The World,” which also made its live debut just last month. The Dead go deep once more here, with another fifteen-plus minute jam highlighted by some pure guitar wizardry from both Garcia and Lesh.

Things slow down one last time with the “Wharf Rat” that follows, a song that happened to make its debut at a legendary show at New York’s Capitol Theatre in Port Chester two years ago. The strides the song has made during this time are evident as a noticeably blues-driven collective jam gets attached to the back end of this one before coming to a standstill. To close out this impressive display of their ever-growing musical catalog, the Dead dole out a few more longtime favorites to the Utica crowd starting with an emphatic “Sugar Magnolia” that Bob and Donna Jean drive home. A set-closing “Casey Jones” then serves as the de facto encore this evening, wrapping up an extensive three-plus hours of music and setting the stage for a repeat performance here the following night.

View this and more Grateful Dead shows from across the years in New York State with our interactive map below

Grateful Dead Utica Memorial Auditorium – Utica, NY 3/21/73

Set 1: Bertha, Me & My Uncle, Wave That Flag, Looks Like Rain, Tennessee Jed, Box Of Rain, You Ain’t Woman Enough, Jack Straw, Row Jimmy, Beat It On Down The Line, Here Comes Sunshine, The Race is On, Loser, El Paso, China Cat Sunflower-> I Know You Rider, Playin’ In The Band

Set 2: Greatest Story Ever Told, They Love Each Other, Mexicali Blues, Brown Eyed Women, Big River, Brokedown Palace, Me And Bobby McGee, Weather Report Suite Prelude-> Dark Star-> Eyes Of The World-> Wharf Rat-> Sugar Magnolia, Casey Jones

March 21, 2022
On This Day in 1976, David Bowie Arrested in Rochester

There once was a time when marijuana was illegal in New York State, and on March 21, 1976, David Bowie and three associates found themselves arrested for possession in Rochester. How he ended up taking the most iconic mugshot of all time unveils a deeper layer to the story.

David Bowie’s iconic mugshot

On March 20, 1976, David Bowie was in Western New York performing amid his 65 show international Isolar Tour, in support of Station to Station, having performed just once previously in Rochester on June 17, 1974. On this evening, as he was two years prior, Bowie was at the Rochester Veterans War Memorial, and began the evening as he did at each stop this tour – without introduction and showing the 1928 surrealist film Un Chien Andalou by Luis Buñuel and Salvador Dalí, which includes a famous section of a razor blade cutting into a woman’s eyeball. Bowie appeared on stage immediately as the film finished, while the audience was still disoriented.

9,200 fans came out for this Saturday night performance, and although Bowie reportedly had the flu during the concert, he sang without issue. As Bowie closed the show with “Jean Genie,” he said to the audience, “Thank you very much, we’ll see you in about five months from now, thank you.” Seeming to imply a return to Rochester that fall, tonight would be Bowie’s last time ever performing in Rochester.

David Bowie – Rochester War Memorial Auditorium – March 20, 1976

Setlist: Station To Station, Suffragette City, Fame, Word On A Wing, Stay, Waiting For The Man, Queen Bitch, Life On Mars, Five Years, Panic In Detroit, Changes, TVC, Diamond Dogs
Encore: Rebel Rebel, The Jean Genie

Bandmates performing with Bowie this tour included music director Carlos Alomar (rhythm guitar, backing vocals), Stacy Heydon (lead guitar, backing vocals), George Murray (bass guitar, backing vocals), Dennis Davis (drums, percussion), and Tony Kaye (keyboards). The band became collectively known as Raw Moon.

The next week, the penultimate North American tour performance took place at Nassau Veterans Memorial Coliseum, which was recorded by RCA Records with portions broadcast by The King Biscuit Radio Network, later released as Live Nassau Coliseum ’76. It is from this show that Bowie and his entourage would drive back to Rochester for their eventual arraignment on the 25th.

The Arrest of David Bowie

So how did Ziggy Stardust end up getting arrested in Rochester after the show? As detailed by the Rochester Democrat and Chronicle in 1976, and again in 2017 with a first hand account of the arrest, it seems Bowie was set up following the after-party, acting on a tip.

That first hand account comes from Chi Wah Soo, who at the time was a twenty-year-old Rochester local that had moved to Rochester from Hong Kong with her parents when she was eleven. Soo used lyrics from her favorite music to learn English, and attended the concert, catching Bowie’s eye from the front row. Bowie passed a note to her through a third party, saying “Meet me at my party. David”. Obliging him, Soo remarked that he had a “halo around his head” when he arrived at the party, saying “Hello, love” to her.

After the party, Bowie, his bodyguard Dwaine Vaughs, Iggy Pop and Soo went to American Rochester Hotel, at 70 State Street (now a Holiday Inn), and met two girls (undercover cops) at the hotel bar, who were looking to score cocaine. After receiving a seemingly unrelated prank call, and with police listening next door, the party was over for the night as the four were arrested for possession.

At 2:25 am on March 21, three police detectives and a state police officer searched Bowie’s three-room suite, where they found 182 grams of marijuana – a little more than six ounces. It does seem that Bowie mugged for the camera before being taken to jail, with the photo below showing Bowie posing for a photo opp., with Iggy Pop to his right and the arresting officers on either side.

Via David Bowie News

All four were booked at Monroe County Jail on fifth-degree criminal possession, which at the time was punishable by up to 15 years in prison. The four were all released around 7 a.m. on $2,000 bond each, with Bowie covering the cost for everyone.

Upon being brought to jail, Bowie used his real name, David Jones, and an address of 89 Oakley St., London, England. The others he was arrested with were identified as James Osterberg, Jr., 28 (Iggy Pop) of Ypsilanti, Michigan, and Dwaine Vaughs, 22, of Brooklyn, who was Bowie’s karate instructor and bodyguard. Soo was also arrested, and while the three men moved onto the next show in Springfield, MA, it would be a few days before all four were back in court to face the charges.

The Return for Arraignment

On March 25, the first day Bowie had a break from tour to return to Rochester, the Thin White Duke was greeted by a large crowd that included a teen fan who got his autograph as he stepped off an escalator, and “a half-dozen suspected prostitutes,” according to the John Stewart from Democrat and Chronicle.

Bowie wore a gray three-piece leisure suit and pale brown shirt, holding a matching hat, and was represented by Rochester lawyer Anthony F. Leonardo. He was arraigned within 10 minutes, pleading “Not guilty, sir.”

Reportedly at the arraignment, Soo gave Bowie her traditional Chinese wedding blanket, and Soo believes that in the music video for Bowie’s 1983 hit “China Girl,” her blanket appears in the music video. The pair would not speak again after this day.

Bowie and his entourage used stairwells and elevators to avoid the crowds, using a side exit to arrive at Leonardo’s office on the Times Square building’s seventh floor. Although he had remained silent throughout the morning, Bowie granted a five-minute interview to newspaper reporters in Leonardo’s office, although his lawyer would not allow any questions directly concerning the arrest, saying it was the first criminal charge he’d ever faced.

While complimenting the city police, Bowie noted the protection they provided him when he arrived back in Rochester. “They were very courteous and very gentle. They’ve been just super,” said Bowie. His fans efforts were also noted, saying he felt “honored” by fans’ support and insisting that the arrest would not sour him on future concerts in the city. Bowie answered most questions in the brief interview with short answers, shaking hands with reporters as they entered and left Leonardo’s office.

Over the next month, all four were allowed to remain free, and Bowie, being in Europe on tour at the time, was excused from appearing at the next hearing. Perhaps having a sense of humor about the case, Judge Alphonse Cassetti set the preliminary hearing for all parties on April 20, 1976. The charges, however, were effectively dismissed in May when a grand jury declined to indict Bowie or the other three.

Another Look at the Mugshot

The mugshot photo was uncovered in 2007, when auction house employee Gary Hess was clearing out the estate of a retired police officer. Hess gave the print to his brother Todd to sell on eBay, and wanting to garner some publicity for the sale, Todd leaked the photo to The Smoking Gun, which quickly published the photos and helped the image go viral.

Mugshot Painting by Mary Gibney

The photo ended up selling on eBay in 2007 for over $2,700 to an “uber fan” in the Midwest, who notified the singer of the special purchase; Bowie was reportedly “pleased” at the news.

As you might notice, the mugshot displays March 25 for the date, and while this is not a typo or error, the circumstances are certainly unique given that David Bowie was arrested in the early morning hours of March 21, yet the date displayed is four days later. The reason for this was that Bowie’s lawyer successfully argued to delay arraignment until March 25, given that Bowie was mid-tour – with four stops left in North America – and the penalties for being forced to appear in court on March 21 would be stiff, given that he was due to perform at Springfield Civic Center in Massachusetts that night.

Bowie took the opportunity for a ‘staged’ mugshot photo to look as dapper as possible, posing for one of the most iconic mugshots in rock n roll history. The mugshot has even spawned a documentary, Bowie Goes to Jail, as well as merchandise.

March 21, 2022
The Dead Unleash A Flurry Of Combo Punches To Close Out Two-Night Stint At MSG: March 10, 1981

With two tours of duty at MSG already in the books for The Grateful Dead, today marks the anniversary of the completion of their third one. It’s a quick two-night stint at The World’s Most Famous Arena after their first two previous runs here in 1979. Fueled by an electric first show from the night before, the Dead follow this up with a show chock full of classic original song pairings and a newly unleashed cover selection that serves as a memorable encore.

The Dead come out of the chutes red hot on this second night at MSG. So much so that a speaker absolutely blows up shortly after the beginning of the “Mississippi Half-Step Uptown Toodleoo” that starts the show. Despite sending shockwaves through an already raucous crowd, it doesn’t seem to faze the band much and they go on to deliver a splendid take on this familiar opener that stretches out nicely thanks to some vintage Garcia guitar play before rounding back into form.

Once finished, Garcia wastes no time at all in leading the charge into “Franklin’s Tower” which features more early improvisation and another notable jam, this one decidedly more funkified, that completes an impressive show-opening pairing. This is succeeded by a rapid run through of “Me And My Uncle” with Bob Weir merely trying to keep up on vocals before another first set and rather floral Grateful Dead classic slows things back down to a crawl, “It Must Have Been The Roses.” Some additional audio issues mar the early parts of the “Little Red Rooster” that comes next, but that doesn’t stop the band from laying down a short pair of blues-infused jams that sees keyboardist Brent Mydland now turned up a little higher in the mix.

He continues to shine on a flawless take of “Don’t Ease Me In” before the Dead unleash another formidable 1-2 punch at MSG. The first part consists of a rapid fire version of “Lazy Lightning” that yields a frenetic exploratory jam that continues to probe and accelerate until, in near effortless fashion, it passes the baton to its traditional running mate, a euphoric “Supplication” that crosses the finish line triumphantly. A late first set “Brown-Eyed Women” is a treat, one that’s notably aided by another few mesmerizing runs from Garcia up and down the fret board. Weir then takes the helm once more for the ever-poignant “Looks Like Rain” that the Garden crowd helps urge along before “Deal” puts the finishing touches on a strong opening set of music.

The Dead show no signs of letting up as the second set begins with another potent combination from their live show catalog. It starts off with an ebullient “Scarlet Begonias” that quickly sheds its skin and develops a deep, exploratory groove that doesn’t fully emerge until Phil Lesh rings out the iconic opening bass line to “Fire On The Mountain.” It’s another masterclass of collective patience as the band takes their time between each verse, stretching the “Fire” out to maximum capacity which culminates in a flurry of notes from Garcia. Things finally slow down a tad with the “Lost Sailor” that follows only to be revved back up again by the customary “Saint Of Circumstance” that’s attached to the back end in another vintage coupling of Dead classics. This caps off a mesmerizing 40-plus minutes of music to begin set two.

The jam at the tail end of “Saint” gets decidedly percussive as it dwindles down, setting the stage for Bill Kreutzmann and Mickey Hart for the traditional “Drums” sequence that gets a nice round of applause from the Garden crowd once completed. The “Space” portion of the evening is taken care of by a near-ambient and blissed out mini-jam with heavy noodling from Garcia that paves the way for “The Wheel” that follows. Aside from the intro, it’s a pretty nondescript “Wheel.” Instead of exploring further, the Dead shift gears once more and drop into the ever-harrowing “China Doll” instead.

To liven things back up one last time, the Dead utilize a late show “Truckin’” that MSG eagerly laps up, with a clearly audible response to the “New York’s got the ways and means” lyric. It begets a short, bluesy jam that resembles the play from “Rooster” at one point but, ultimately, doesn’t really go anywhere. Instead, “Sugar Magnolia” pops up to close out the set in a much more fitting manner, replete with its “Sunshine Daydream” ending sequence that elicits yet another roar of approval from the Garden crowd.

For a show that’s primarily made up of Grateful Dead original tunes and traditional pairings, the band finally delves into their bag of covers for the encore. This time, it’s a newer addition to the flock in The Rolling Stones’ (I Can’t Get No) Satisfaction, a cover song the band first debuted late last year, with Bob Weir playing the role of Mick Jagger this evening.

Not content to end here, the Dead then enter into “Brokedown Palace” to end the show, giving Garcia one last platform to unleash a spellbinding guitar solo and the band a final chance to harmonize. They would then ship up to the Boston Garden, continuing their early spring tour, before a return trip to New York and Utica’s Memorial Coliseum just days later.

The entire show is available on Live Music Archive as well as on YouTube below.

View This Show And More Grateful Dead Shows From Across The Years In New York State With Our Interactive Map Below

Grateful Dead Madison Square Garden – New York, NY 3/10/81

Set 1: Mississippi Half-Step Uptown Toodleoo > Franklin’s Tower > Me And My Uncle, It Must Have Been The Roses > Little Red Rooster, Don’t Ease Me In, Lazy Lightnin’ > Supplication, Brown Eyed Women > Looks Like Rain > Deal

Set 2: Scarlet Begonias > Fire On The Mountain > Lost Sailor > Saint Of Circumstance > Drums > The Wheel > China Doll > Truckin’ > Sugar Magnolia

E: (I Can’t Get No) Satisfaction > Brokedown Palace

March 10, 2022
25 Years Later: Phish perform “Character Zero” on the Late Show with David Letterman

On Wednesday, March 5, 1997, Phish was the musical guest at The Ed Sullivan Theater on Broadway, performing “Character Zero” on the Late Show with David Letterman.

The band had just returned from a tour of Europe a few days prior, with Trey Anastasio and Jon Fishman both sporting a post-international tour/vacation beard.

Following the performance, Letterman came over to shake the band’s hands, saying “Nice to see you again” to which Anastasio replied, “Hope you got the ice cream,” referring to the new Ben and Jerry’s ice cream flavor, Phish Food, just released nationwide a month prior. A concert at the Flynn Theater in Burlington, VT on March 18, 1997, would officially release the flavor, including an appearance by Ben Cohen and Jerry Greenfield just before the show began.

Guests on the show this evening included Chevy Chase and Mary McCormack from the ABC show Murder One.

https://www.youtube.com/watch?v=F7frkMAW6-g

One of the arena rock songs in the Phish repertoire, “Character Zero” typically is found as a set closer in recent years, putting an exclamation point on a show and extracting jubilation from fans in the song’s refrain.

The band’s appearance on Letterman was their third overall, starting on December 30, 1994 with “Chalkdust Torture,” “Julius” on July 13, 1995, “Birds of a Feather” on October 27, 1998, “Heavy Things” on May 15, 2000, a multi-song performance on the Ed Sullivan Theater marquee on June 21, 2004, and “The Line” on June 25, 2014.

I was taught a month ago
To bide my time and take it slow
But then I learned just yesterday
To rush and never waste the day
Well I’m convinced the whole day long
That all I learn is always wrong
And things are true that I forget
But no one taught that to me yet
I ought to see the man Mulcahey
I was taught a month ago
To bide my time and take it slow
But then I learned just yesterday
To rush and never waste the day
Now I’m convinced the whole day long
That all I learn is always wrong
And things are true that I forget
But no one taught that to me yet
I ought to see the man Mulcahey
“Character Zero” lyrics

March 5, 2022
The Grateful Dead Bid The Cap Good Night: February 24, 1971

The Capitol Theater in Port Chester has provided a stage and an audience for many a band throughout its heralded history, though perhaps none with a legacy quite like that of The Grateful Dead. When they weren’t busy selling out Bill Graham’s Fillmore East, The Cap became the other de facto home away from home for the Grateful Dead on the East Coast. But as the saying goes, all good things must come to an end and today marks the anniversary of the band’s 19th and final show at this historic venue. It comes at a time when the Dead had to reinvent themselves a bit, with the abrupt self-imposed departure of drummer Mickey Hart that transpired after the opening night of this six-show residency. The shows that followed serve as the beginning of a new chapter in the band’s voluminous history, one that sees them still trying to carve out the identity of multiple brand new songs that would go on to become mainstays at a Grateful Dead show.

The Dead start this final show at The Cap with a “Casey Jones” that starts off in rather mellow fashion but fittingly picks up steam as it develops and is roaring down the tracks by song’s end, with Bob Weir growling out the accompanying vocals. He then jumps into the lead vocal position for the Country Western-themed cautionary classic “Me And My Uncle.” Jerry Garcia delivers a bevvy of slick electric guitar fills and Bill Kreutzmann, once again the sole drummer, doesn’t miss a beat while belting out the rhythm. After some now-customary extended post-song tuning, Kreutzmann initiates the opening drum pattern for “Cumberland Blues.” The harmonized vocals are a little delayed in joining in at first but Garcia makes up for this with another effortless run up and down the fretboard and the rest of the song goes off without a hitch.

Afterwards, Pigpen gets his first taste of the spotlight, leading the band through a quick take of “Next Time You See Me,” replete with its typical blues-infused harmonica solo that’s matched by one from Garcia on guitar. Garcia then reclaims the mic for the fledgling Dead tune “Bird Song,” a song played every night of this last run at The Cap except for the opening one. Between verses, Garcia finesses a patiently melodic solo with Kreutzmann nailing the signature syncopated drum beat for a song that would go on to become a live Dead staple.

The Dead then trot out a fairly new cover selection in their live repertoire, “Me And Bobby McGee,” a song popularized by the great Janis Joplin on her iconic Pearl album that was released just last month shortly after her death in October of 1970. Weir belts out the lead vocals with aplomb with Garcia adding a tender touch to the harmonies. “Bobby” is then followed by “Bertha,” one of the few songs to make an appearance at every night of this run as the Dead continue to hone another soon-to-be classic.

Pigpen, now warmed up sufficiently, adds his signature bluesy drawl to the mix with a spirited take of “Hard To Handle” that provides the first real opportunity for some brief opening set jamming, of which Garcia and company take full advantage. The music slowly reaches a psychedelic crescendo before Pigpen reels it back in. This is followed up by “Loser,” another new Dead song that made its live debut at this final run at The Cap. Garcia sounds emotionally invested in the lyrics for yet another another song that involves a high stakes cards game, along with “Uncle,” before laying down a brief solo that fits the mood perfectly.

The Dead gear up for the stretch run of the first set with several minutes of more extended tuning before launching into “Playing In The Band,” another song still very much in its nascent phase after being debuted on the first night of the run. Like that one, it still doesn’t yield anything in terms of exploration or an extended jam. This would be left to the first set closing sequence that begins with another Kreutzmann-fueled drum pattern before Pigpen jumps in on vocals for a cover of “Good Lovin’.” With the first verse complete, the lead then shifts back to Bill The Drummer for an extended one-man drum solo. It’s an impressive display of rhythmic wizardry that changes tones and speeds with ease, before Garcia slyly re-enters the mix, soon followed by the rest of the band. It’s a precursor for the even more psychedelic “Drums” > “Space” sequences that would be a signature of live Dead shows in the years to come. Literally built from the ground up, the jam slowly begins to take on a more solid state and morphs back into the ending of “Good Lovin’.” It caps off a first set that, overall, has a very mellow vibe to it, perhaps as a result of coming at the end of an epic six-show residency or just due to the comfort level that the Dead had established by now at The Cap, with the answer likely lying somewhere in between.

The second set immediately seems to shift gears, beginning with a funked out, wah-heavy “Sugar Magnolia that has plenty of groove to it. Although this lively mood doesn’t last long, instead it sets the stage for the return of Pigpen and his “harp” for an extremely mellow and drawn out cover of Slim Harpo’s “I’m A King Bee.”

The Dead then begin to liven things back up again, starting with “Greatest Story Ever Told,” yet another song that can cite this run at The Cap as its birthplace in the live setting. Instead of stopping there, they segue right into a cover of “Johnny B. Goode” afterwards. Another new addition to the band’s catalog follows in “Deal,” only the second one ever performed live and much slower than the format it would go on to develop. Bob Weir then livens things back up again with vocals that border on screaming for the better part of “New Minglewood Blues.”

The rest of the band then ably backs up Weir on the “Truckin’” that follows this which also elicits one of the better jams of the evening, with Phil Lesh helping navigate the complex rhythms beneath some powerful guitar licks supplied by Garcia.

Just as they had the opening night of the run, The Dead then throw in a late second set sequence of “Not Fade Away” > “Goin’ Down The Road Feeling Bad” > “Not Fade Away.” The “meat” of this particular sandwich is stretched out nicely and serves as a true testament to the band’s ability to shift between the serene and the psychedelic with utter ease. With one last bullet in the chamber, the band then places Pigpen center stage once more for an absolutely classic take of “Turn On Your Love Light” that ebbs and flows with a classic Pig “rap” thrown in the middle for good measure.

It’s a more than fitting end to this legendary six-show run at The Cap. The Dead would go on to play throughout New York State for the rest of their career, performing at other theaters and eventually arenas, but never again would they grace the stage in Port Chester.

The entire show is available to listen to below and also at Live Music Archive

Grateful Dead Capitol Theater – Port Chester, NY 2/24/71

Set 1: Casey Jones, Me And My Uncle, Cumberland Blues, Next Time You See Me, Bird Song, Me And Bobby McGee, Bertha, Hard To Handle, Loser. Playing In The Band, Good Lovin’ > Drums > Good Lovin’

Set 2: Sugar Magnolia, I’m A King Bee, Greatest Story Ever Told > Johnny B. Goode, Deal, New Minglewood Blues, Truckin’, Not Fade Away > Goin’ Down The Road Feeling Bad > Not Fade Away > Turn On Your Love Light

View this and more Grateful Dead shows from across the years in New York State with our interactive map below!

February 24, 2022