Tag: Bob Weir

Watch The Grateful Dead Haunt Radio City for Three Sets: October 31, 1980

In September and October 1980, the Grateful Dead did a brief concert tour of shows with three sets each, one acoustic set followed by two electric sets. The acoustic sets were the first ones the band had performed since the early ’70s aside from a few rare one-offs. The final shows of this legendary Dead tour, which yielded both an audio and video release, took place at New York City’s Radio Music Hall with the last one taking place on none other than Halloween. NYS Music, along with a strong lending hand from YouTube, now presents a look back at this holiday gig at one of America’s premier musical venues.

Bob Weir greets a raucous Radio City Music Hall to start things off and also says hello to all the “folks who are filtering in to the various theaters around the country.” This show was both simulcasted across the country, apparently, and released to the public the following year on video as Dead Ahead. Things get off to a rocky start with Phil Lesh’s amp producing some decidedly spooky feedback. So he is whisked away and the rest of the band opens with a bass-less instrumental in “Heaven Help The Fool.”

With Phil and his bass still on the sidelines, Jerry Garcia leads the ensemble through another rare instrumental. This time it’s “Sage and Spirit,” a song that appears on 1975’s Blues For Allah and was only ever played live twice, with this being the last one.

The Dead keep the rare acoustic hits coming at Radio City with the cover of “Little Sadie” that appears next, with Jerry Garcia on lead vocals. It’s a song that hadn’t appeared live since a show at San Francisco’s Family Dog in 1970 – a dark tale of murder befit for a Halloween show.

Weir then shifts the theme from “tragedy” to “tragedy narrowly averted” with “Monkey and the Engineer,” which finally sees Phil Lesh and his bass return to the fold.

“Boy we’re really having fun now,” notes Weir afterwards. Up next, the Dead grace Radio City with “It Must Have Been The Roses.” A staple of Jerry Garcia solo shows in the ’70s, it would go on to be played for the rest of the Dead’s touring career. Garcia seems to visibly enjoy this one coming to life in the Dead setting.

Up next are two Grateful Dead live staples, starting with a percussion-heavy and crisp “Cassidy.” WIth one small drum kit, Mickey Hart moves over to the congas, after previously utilizing the maracas on “Roses.” This “Cassidy,” which even elicits a bit of a jam, serves as an MTV’s Unplugged-type version of a Dead classic well before the program ever existed.

This is followed up by “Bird Song,” by far the longest and most experimental of all the first set songs. Garcia leads the way once more with a blistering guitar run and the rest of the band now firing on all cylinders.

A very enjoyable opening acoustic set of Grateful Dead music then comes to a close with “Ripple,” much to the delight of the Radio City crowd, with special attention paid to the “let there be songs to fill the air” lyric.

With the acoustic setup gone and the traditional dual drum kits returned, the Dead then go on to play another two sets of electric music at Radio City Music Hall in their typical concert format. The second begins with a vibrant “Jack Straw” that sees Bob Weir bouncing up and down in earnest at one point.

This is followed by a fairly standard run through of “Cold Rain and Snow” that gets a very warm reception from the New York city crowd at first.

Bob Weir then takes lead once more and navigates the band through “Me And My Uncle.” With the drum beat never fully stopping, the Dead then slide seamlessly right into “Mexicali Blues,” completing a popular pairing of songs.

The “first set” vibe of this second set carries right along with “Ramble On Rose.” As expected, Radio City greets the “Just like New York City” line with a massive roar of approval. Garcia graces this version with a pedal steel-esque guitar solo that’s rife with emotion.

As is their custom, Bob Weir on slide guitar then tags in for lead on the next song, a cover of the blues song “Little Red Rooster.” Garcia is playing slide as well and drops another notable solo and Brent Mydland even gets into the action a little as well with some standout organ play.

Afterwards, the Dead rip through a pristine take of “Brown Eyed Women,” with Garcia back on lead vocals and Weir and Mydland ably tending to the harmonies.

From “Women” the music then shifts almost immediately into the ever poignant “Looks Like Rain.”

The Dead then close out the second set of Halloween at Radio City with a rousing “Deal” that’s carried by the strength of two more powerful Garcia guitar solos.

To start the third and final set at Radio City, the Dead kick things off with a short but sweet “Don’t Ease Me In.”

Next, it’s time for another signature pairing of songs, with the Bob Weir-helmed “Lost Sailor” that flows seamlessly right into “Saint Of Circumstance.”

With the third set energy peaking, Garcia initiates the familiar opening chords of “Franklin’s Tower” and the band is off and running once more. Playing his legendary “Tiger” guitar, Garcia obliterates another run up and down its fret board, spearheading a brief jam that reaches a quick peak before mellowing out and devolving into the “Drums” only portion of the evening.

Unfortunately, there doesn’t seem to be video of the “Drums” > “Space” sequence for this evening, but emerging from the psychedelic mist are the opening notes to “Fire On The Mountain.” While not necessarily jammed out, it’s a clean and pure take of a Dead classic, with Phil Lesh coming in loud and clear now, his bass issues a thing of the past.

The band takes a nice, relaxed approach to the introduction of the “Not Fade Away” that follows. The Grateful Dead deliver their own bluesy take of this Buddy Holly cover, with Radio City singing along in earnest.

Instead of keeping up the pace and stretching it out, however, the tempo slows to a crawl. This sets the stage for Garcia to take lead once more for “Stella Blue” and to unleash one last gorgeous guitar solo.

As the last notes of “Stella” drop, the Dead immediately steer back into the show’s closing sequence with a blistering cover of “Goin’ Down The Road Feeling Bad.”

Instead of ending the set right then and there, the Dead throw in one last cover for the Radio City faithful. This time it’s The Young Rascals’ “Good Lovin’,” sung by a spirited Bob Weir in the only way he knows how. He even throws in some Pigpen-esque vocal riffing at the end for good measure as the crowd eats every bit of it up.

Weir then wishes both the audience at Radio City and everyone else around the country “good night” and the Grateful Dead encore with “Uncle John’s Band,” closing out quite a memorable three-set show in the heart of the city.

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

Grateful Dead – Radio City Music Hall – New York, NY 10/31/80

Set 1: Heaven Help The Fool, Sage And Spirit, Little Sadie, Monkey And The Engineer, It Must Have Been The Roses, Cassidy, Bird Song > Ripple

Set 2: Jack Straw , Cold Rain And Snow, Me And My Uncle > Mexicali Blues, Ramble On Rose > Little Red Rooster, Brown Eyed Women > Looks Like Rain > Deal

Set 3: Don’t Ease Me In > Lost Sailor > Saint Of Circumstance > Franklin’s Tower > Drums > Space > Fire On The Mountain > Not Fade Away > Stella Blue > Goin’ Down The Road Feeling Bad > Good Lovin’

E: Uncle John’s Band

October 31, 2022
The Dead Unveil New Material In Rochester: September 27, 1976

While the year 1977 typically, and justifiably, gets a lot of the attention in Grateful Dead lore, the previous year has its fair share of gems too. With the Godchaux tandem now firmly entrenched and the return of Mickey Hart, the band was approaching the peak of its collective power in 1976. A slew of new live material that was unleashed the year before and earlier this summer was proof of this. Today marks the anniversary of the fourth ever appearance in Rochester for the Grateful Dead, last playing here in 1973. A rowdy Upstate New York crowd greeted the Dead for this performance at the War Memorial (now known as Blue Cross Arena) – one that’s filled with a distinct blend of classic songs and some fresher material still relatively new in the live setting.

Tonight’s performance gets a true “rock n’ roll” opener thanks to a lively cover of Chuck Berry’s “Promised Land” that has the Rochester crowd clapping along in time. A couple of impressive guitar licks early on from Jerry Garcia show he’s adequately warmed up and Bob Weir executes the vocals to perfection. Instead of pushing the pace even further, after some brief technical delay the Dead move over to the slow lane for “They Love Each Other.” They still manage to find their way into a nice early groove though, aided by another Garcia solo and some delicate piano work from Keith Godchaux.

After some more extensive post-song tuning, the band then does a slow build towards the intro of what turns out to be an emphatic “El Paso” with Weir once again manning the vocals. This gives way to another first set staple in “Deal” that gets some harmonious assistance from Donna Jean Godchaux on the chorus. She also adds some delightful harmonies to the emotional “Looks Like Rain” that follows and features another organic, slow build of communal energy.

The Dead keep in a similar mode for the slow, near plodding, tempo of “Row Jimmy” that comes next and elicits a few more emotionally-charged guitar solos from Garcia as well as supplemental dulcet tones from Donna Jean on vocals. Once completed, Weir implores the crowd to take place in “America’s Favorite Game: Take A Step Back” to prevent those in the front few rows on the floor of the War Memorial from getting further squished. This seems to call for another cover song and the choice is made for “It’s All Over Now,” a song popularized by The Rolling Stones more than a decade ago.

The first set staples then roll on, this time with “Loser,” another Garcia-dominated number. The soulful, introspective lyrics are matched by a guitar solo that has the Rochester crowd in mass, loud approval. Once completed, the Dead then introduce Rochester to the most recent of their traditional song pairings. This time, it’s the relatively new “Lazy Lightning” and “Supplication.” With both songs making their live debut just months earlier in 1976 at shows in Portland OR, this was undoubtedly the first time this sequence was able to experienced for some East Coast Dead Heads. “Supplication” hasn’t even been given lyrics yet and is played as a sturdy instrumental that the Rochester crowd eats up.

The opening set comes to an end with an interesting pairing of songs. First, it’s a rather unusual late set placement for “Brown Eyed Women” that has some early vocal flubs from Garcia on the intro but then wastes no time rounding into form with the crowd once again lending on-time audible support through applause. “The Music Never Stopped,” another newer song that just came into its own this year which features more vocal interplay between Weir and Donna Jean, then closes the book on the first set.

The second one opens with another relatively fresh tune, this time it’s the Garcia and Robert Hunter composition “Might As Well,” another song that made its live debut just months earlier. It’s supported by another bouncy guitar solo and gets a welcomed reception from the crowd. Afterwards, the recognizable drum beat that begins “Samson and Delilah” ensues and the Dead are off and running with another newer song that’s still finding its footing in a live setting. Weir nails the Biblical lyrics and Garcia provides more than enough support with some fiery guitar licks with bassist Phil Lesh competently holding down the bottom end.

After another band “huddle,” a drawn out intro to “Help On The Way” ensues with the band almost seemingly throwing in a “Music Never Stopped” tease for good measure before fully diving into “Help.” It feels like a slightly quicker version that’s played a little faster than it’s traditional styling yet, nevertheless, still flows seamlessly right into its traditional running mate in “Slipknot!” with no issues. This latter half of the pairing quickly devolves into a free-flowing, improvisational jam with Garcia and Lesh once again leading the way. This yields some of the more intensive and psychedelic jamming of the evening, a perfect springboard into the “Drums” section which soon follows.

After essentially putting the cart (“Space”) before the horse (“Drums”), the Dead jump right back into a high-octane, free wheeling jam that winds its way perfectly into the beginning of a thunderous “The Other One” that shows the band at their improvisational best.

After reaching a climax, the Dead slow things down considerably with “Wharf Rat” which gets another warm reception from the Rochester crowd. Garcia leads the band through this ballad-esque number with typical aplomb and his signature vocal stylings. In a bit of a twist, once completed they actually go back and play a definitive “Slipknot!” reprise for a few minutes, returning to the main theme and a smooth segue into “Franklin’s Tower” that, along with “Help On The Way,” completes a holy trinity of Grateful Dead songs. The band, and Garcia in particular, take their time with this crowd favorite and it results in 17-plus minutes of euphoric musical composition that the War Memorial crowd eagerly soaks up.

The Dead then bookend tonight’s show in Rochester with another Chuck Berry cover, this time “Around and Around,” sung by Weir in his typical increasingly rambunctious fashion. A “U.S. Blues” that doesn’t seem to have made the recording then wraps up tonight’s Rochester show. The band would continue their Upstate New York travels and play a gig the following night at a different War Memorial, this one in Syracuse.

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

Grateful Dead Community War Memorial Auditorium – Rochester, NY 9/27/76

Set 1: Promised Land, They Love Each Other, El Paso, Deal, Looks Like Rain, Row Jimmy, It’s All Over Now, Loser, Lazy Lightning-> Supplication, Brown Eyed Women, The Music Never Stopped

Set 2: Might As Well, Samson & Delilah, Help On The Way-> Slipknot!-> Drums-> The Other One-> Wharf Rat-> Slipknot!-> Franklin’s Tower-> Around & Around

E: U.S. Blues

September 27, 2022
A New Era Of Dead Emerges At MSG: September 19, 1990

The Grateful Dead wound up playing more than 50 shows at MSG by the time their touring career ended, but the September 1990 run had a unique feel all its own. With keyboardist Brent Mydland’s recent death just months earlier, the Dead once again found themselves in an era of transition. Vince Welnick was brought on as his replacement, but was still very much finding his footing and shaking off stage fright at this point in his tenure with the band. To combat this, they recruited the willing and able talents of Bruce Hornsby to help them along in this new era of Grateful Dead music. His first shows were during this September run at MSG in 1990, offering fans an extraordinary new addition to the music as well as giving a glimpse of what might have been.

The show begins in a relaxed manner as the band eases into a “Jack Straw” opener with Hornsby lending early vocal support on some of Garcia’s lines. There’s no issue with the music though, as an enthusiastic early jam develops from this, much to the delight of a roaring MSG crowd. After noodling around with the opening notes, the Dead then burst into “Bertha.” A blistering guitar solo from Garcia, along with some musical interplay with Hornsby – a staple of this run, lead the way on this one. With the crowd now fully engaged, Bob Weir takes over and leads the way through a particularly bouncy “Me And My Uncle.”

As soon as the last note of “Uncle” finishes, the Dead keep it going and use a similar drum beat to jump right into “Big River” which gives Hornsby his first chance to solo on piano. With the show off to a blistering start, things mellow out a bit with the Garcia-led “It Must Have Been The Roses” that follows, one of the few Dead songs that feature both Robert Hunter penned lyrics and music. The first cover selection of the night comes next, with Weir playing the role of Bob Dylan for “Stuck Inside Of Mobile (With The Memphis Blues Again),” a song the band added to its repertoire a few years earlier. Welnick adds some nice touches on the keyboards on this rousing tune that delivers a slow build in emotion.

To wrap up this opening set at MSG, the Dead decide to unleash the vaunted “Help On The Way” > “Slipknot!” >”Franklin’s Tower” combination that sees the band at their collective best with a discernable new feel to it thanks to the two new keys players. But by the end of “Franklin’s,” a delighted MSG crowd could make the case that some things never truly change.

The second set begins with another longtime Dead classic, “Playin’ In The Band.” The band wastes no time in crafting an explosive, early improvisational jam that quickly goes deep, fueled by some frenetic fret board work from Garcia. Instead of progressing even further, the jam instead comes to a crawl and the opening chords to “Ship Of Fools” emerges. This quick side journey is another prime example of an older song getting a new “shine” to it thanks to the new piano and vocal harmonies supplied by Hornsby. Once completed, the Dead then go right back into “Playin’,” seemingly picking up right where they left off before they quickly shift gears once more and collectively merge into another fan favorite with “Uncle John’s Band.”

After a powerful, but fairly concise jam, the band brings back UJB to completion and, right after the outtro jam, immediately leap into a surprise “Let It Grow,” the first time it’s been found in the second set in years. This elicits one of the finer jams of the evening, a steady, driving collective effort that never really strays too far from the song’s original structure. Afterwards, however, structure goes by the wayside thanks to a seemingly off the cuff jam with Hornsby prominently involved on piano along with noodling from Garcia and Weir. It turns out to be one of the better jams of the night, one that naturally builds in intensity and gives an enticing glimpse of what the Dead could have become had Bruce stayed on permanently.

This essentially becomes the fuel for an extended “Drums” > “Space” sequence that sees the Dead fill MSG with a plethora of sounds and emotions that range from the ambient to the psychedelic. Hornsby even sticks around for some of the early “Drums” madness, giving that a different feel as well. After this lengthy group improv runs its course, the show rounds back into form with the familiar opening drum beat of “Going Down The Road Feelin’ Bad,” finally providing a dance number with some tempo.

After an exuberant version that gives all parties a chance to shine, said tempo drops back down for “Stella Blue,” sung with its usual emotion and feel from Garcia. One more juxtaposition in mood then takes place as Weir proceeds to lead the band through a cover of Chuck Berry’s “Around & Around” that features a bluesy jam which continues to build in energy before peaking, closing out the set in style. For an encore, one more Dylan cover makes an appearance with “Quinn The Eskimo.” The Dead would go on to wrap up their six-night run at MSG the following evening.

View this 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

Set 1: Jack Straw, Bertha, Me & My Uncle-> Big River, It Must Have Been The Roses, Memphis Blues, Help On The Way-> Slipknot!-> Franklin’s Tower

Set 2: Playin’ In The Band-> Ship of Fools-> Playin’ In The Band-> Uncle John’s Band-> Let It Grow-> Jam-> Drums-> Jam-> Goin’ Down The Road Feelin’ Bad-> Stella Blue-> Around & Around,

E: The Mighty Quinn

September 19, 2022
Grateful Dead Close Out Second Nassau Coliseum Run: September 8, 1973

It’s no secret that Nassau Coliseum was a favorite venue of The Grateful Dead, as their 42 shows that took place there would suggest. The first shows the band would play here took place in 1973 and today marks the anniversary of the final one of those which completed a two-night run. This one and the night before it are renowned in Dead lore for being the first shows at which Jerry Garcia played his new customized guitar dubbed “Wolf.” And this Grateful Dead show, in particular, was deemed worthy enough by archivist David Lemieux to be released as Dave’s Picks Volume 38 in April of 2021. It’s not hard to see why as the entire show is a true mix of relaxed and effortless musical interplay with moments of pure improvisational psychedelia as only the Dead can deliver.

The Dead kick off night two at Nassau with a spirited “Bertha,” with bassist Phil Lesh coming in loud and clear on the early mix. After navigating through the popular opener with ease, guitarist Bob Weir takes over lead vocals for a run through of “Me And My Uncle” that gets a roar of approval from the Nassau faithful. Things then slow down and groove a lot more thanks to the “Sugaree” that follows, one of the first set highlights despite some feedback issues. Jerry Garcia’s pristine vocals help fuel a version that peaks nicely by the end.

Thankfully, by “Tennessee Jed” the sound issues seem to be resolved and the band returns in kind with one of the first extended jams of the night, this one of the slow build variety. Taking advantage of the clearer sound space, the Dead follow this up with a powerful version of “Looks Like Rain,” another vintage Weir-led tune. The “Row Jimmy” that appears later in the set follows in the footsteps of “Jed” with more beautifully patient and ascending interplay, with notable additions from Keith and Donna Jean Godchaux on keys and vocals, respectively.

An already full and complete opening set then gets graced with a complete “Weather Report Suite” with the newly unleashed “Let It Grow” on the back end, a classic Grateful Dead song that first debuted at Nassau Coliseum the night before. After yet another emotional peak, the set could have easily ended here as well but instead the band rips through a flawless “Eyes Of The World” that starts fast and doesn’t let up.

A second set that’s also chock full o’ music begins with a “Greatest Story Ever Told” with some fiery guitar fills provided by Garcia with Donna Jean, like the rest of the band, sounding fully engaged. “Ramble On Rose” then follows, with the “Just like New York City” lyric and another incendiary Garcia guitar solo both getting noticeable roars of approval from the Long Island crowd. The early stages of the second set also feature a rarity in the live debut of “Sing Your Blues Away” with Keith Godchaux taking a surprising turn on lead vocals. The aforementioned Dave’s Picks Volume 38 was the first live Dead album to contain this song, which is no surprise since it was played only six times September of 1973 and then never again. Although it would be featured on the band’s Wake Of The Flood album released later this year.

Things return to a very familiar place right afterwards with “China Cat Sunflower” and the customary seamless intro to “I Know You Rider” that comes along with it. An oddly placed mid-second set “El Paso” comes next and goes off without a hitch, setting the table for another one of the emotional peaks of the evening. With the Dead still somewhat in the early stages of the post-Pigpen era, an emotional and stretched out “He’s Gone” takes place at Nassau this evening, with some delicate interplay between guitars and keys.

“Truckin’” revs the energy in the building back up with Garcia continuing to lead the way on another breakneck exploratory jam. The band then rides this wave all the way to set’s end with their heralded covers of “Not Fade Away” and “Going Down The Road Feelin’ Bad” that leave the Nassau Dead Heads wanting more. The encore selections seem to match the general sentiment of this run-closing show: a poignant, expressive “Stella Blue” followed by a rollicking, high energy “One More Saturday Night.” Afterwards, the Dead would continue on about their tour of Northeast cities in September of 1973.

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

Grateful Dead – Nassau Veterans Memorial Coliseum – Uniondale, NY 9/8/73

Set 1: Bertha, Me and My Uncle, Sugaree, Beat It On Down The Line, Tennessee Jed, Looks Like Rain, Brown Eyed Women, Jack Straw, Row Jimmy, Weather Report Suite Prelude-> Weather Report Suite Part 1-> Let It Grow, Eyes Of The World-> China Doll

Set 2: Greatest Story Ever Told, Ramble On Rose, Big River, Let Me Sing Your Blues Away, China Cat Sunflower-> I Know You Rider, El Paso, He’s Gone-> Truckin’-> Not Fade Away-> Goin’ Down The Road Feelin’ Bad-> Not Fade Away,

E: Stella Blue-> One More Saturday Night

September 8, 2022
Musicians, Just Say No to Wearing Shorts on Stage!

Teenage boys pick up guitars, drums and the like in hopes of achieving one attribute.

F*ckability.

Wailing with your voice or an instrument in the sleek attire of the bad boy can make any nerd desirable. There’s three-quarters of a century of evidence in the history of rock-n-roll to prove it – spanning from Jagger to Justin Timberlake to Jack Antonoff.

The many shorts of Bob Weir

But now that summer has arrived, some musicians are compromising their sexy status and marketability by caving into the high temps and humidity and committing the ultimate performer music fashion faux pas…

They are wearing shorts on stage!

The shorts-on-stage trend dates back to the middle “Me-Decade.” From my not so scientific observations, I believe it all started with Jimmy “Margaritaville” Buffett and his hard-partying Parrothead fans.

Buffett is the ultimate anti-airs rock star. On the surface, he is the wonderfully unassuming everyman schlub wholly dedicated to sharing good times, the guy most likely to buy underage kids brews at a 7/11. His fans come to his shows to cut loose – to drink, smoke, sing, spaz dance, puke and pass out in a joyful heap. As a survey of his many businesses and $500 million in net worth demonstrates, he’s also probably one of the most financially savvy of all popular musicians.

With those dollars, he can basically wear whatever the hell he wants, just like Bill Gates.

A congregation of Buffett and his Parrotheads is not a night at the opera, so the tuxedo is out. For Buffett’s crowd, it’s the cargo shorts that are the below-the-belt uniform. Why? Mainly for their capacity to contain all your party essentials in their many securable pockets – the saltshaker, lime, sunblock, hacky-sack, rolling papers, roach clip, Visine, bail money, etc. etc. And for Buffet and his Coral Reefer band, it’s the same uber casual uniform – cargo utility and comfort topped with a splashy Hawaiian shirt, one worn without the slightest hint of hipster irony.

The pictures here are just the tip of this wide stylistic depravity, the plague that breaks out on festival and concert stages whenever the warm weather arrives.

The Grateful Dead’s Bob Weir, Eric Clapton, Eddie Vedder and even Metallica’s he-man bassist James Trujillo are just a few of rock’s cargo short wearers. Donning these baggy atrocities (or Weir’s ‘Bobby Shorts’) makes all hints of cool and sexy go out the window, in the image of the musician and the music that emanates from him when he is so lamely attired. How can you play the blues in Docker cut-offs Mr. Clapton? P-Funk’s late great guitarist Gary Shider, who was known as “Diaper Man” for the giant one he wore on stage, cut a far sexier image than Clapton in his cargos emoting “Have You Ever Loved A Woman?”

You won’t be lovin’ any woman any time soon in those shorts, Slowhand.

The cargo dilemma is most prevalent in the jam band circuit with the likes of Dave Matthews, with mega-selling stars whose improv laden performances are largely free of any showbiz theatrically, especially the sparkly wardrobes prescribed by professional stylists.

But more appalling are the multitude of classic rockers of the past who chose to perform in jeans shorts.

The cut-off jean shorts for men trend emerged in the early-70s and was mercifully snuffed out by the middle of the next decade. But in that time, everyone from Def Leppard and The Eagles to Lemmy and Willie Nelson had been captured in performance photos in their Levi’s short shorts, ones that live forever on the Internet. And unlike their cargo brethren whose formlessness made the sexy vanish, a pair of tight jeans shorts on a rocker left way too little to the imagination. They were a neon Times Square billboard for a rocker’s trouser snake and his delusions of his sexual prowess, an overt visual assault of all five senses from a far less P.C. time.

The 80s also gave us two more offending shorts to contend with – the Richard Simmons-styled slit-leg running/aerobics short and the ghastly Spandex.

Sting and his peroxide-locked band, The Police, frolicked in the former in the video for their hit, “Every Little Thing She Does Is Magic.” And as for the Spandex, it was a favorite performance attire of Bon Jovi, Iron Maiden’s Bruce Dickinsin and a whole host of other metal mavens.

This story would not be complete without a visit to the short-short sins of The Godfather of Soul, James Brown.

One of the most famous images of Brown was caught when he was performing wearing hot pants at a 1974 concert in Zaire, one that took place before the Ali-Foreman fight. Combined with his cop-like fu Manchu moustache and his Conquistador boots, this artifact completely sums up the over-the-top, anything goes fashions of the mid-70s. All is forgiven when you consider the greatness and longevity of Brown’s 1971 hit, “Hot Pants” and the even more outlandish 11+ minute jam, “For Goodness Sakes, Take a Look at Those Cakes!”

But when it comes to wearing shorts on stage, there is but one rocker who gets a pass: AC/DC’s eternally young Angus Young.

Now 67 years old and still rocking his Aussie schoolboy outfit with shorts, Young first started wearing the attire in April 1974. The shocked and delighted reaction of the audience was one reason he kept wearing it. The other was that it helped him move fast on stage to avoid the bottles being thrown at the band in the pre-Platinum-selling days.

Musicians, the hideously wretched Nancy Reagan told us all to just say no to drugs. I’m telling you to just say no to shorts on stage this summer, even as global warming is pushing the temps into the triple digits.

Just. Say. No.

July 13, 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
Bob Weir and Wolf Bros Mark 50 Years of ‘Ace’ at Radio City

Another Saturday night brought Bob Weir back to Radio City Music Hall along with the Wolf Bros and special guests to celebrate the 50th anniversary of the release of his first solo studio album, Ace.

Special guests for the show included Brittany Spencer who complimented Weir’s vocals with soulful harmonies. And Tyler Childers whose guitar and vocals added an extra touch of Americana. Longtime Weir collaborator Ron Carter stepped on bass for ”Dark Star.”

The core of Weir’s Wolf Bros band consisted of Don Was (bass), Jay Lane (drums), Jeff Chimenti (keys), and Barry Sless (pedal steel guitar). The Wolf Pack of Alex Kelly, Mads Tolling, Adam Theis, Brian Switzer, Sheldon Brown on strings and horns brought some rather fun improv breaks throughout both sets.

Weir’s Ace celebration continued Sunday evening at Radio City Music Hall. This time with another added guest, Dead & Company bandmate John Mayer.

Bob Weir and Wolf Bros Radio City Music Hall – New York, NY 4/2/22

Set 1: When I Paint My Masterpiece, Me and My Uncle, Loser, Ace: Greatest Story Ever Told (w/ Tyler Childers), Black-Throated Wind, Walk in the Sunshine (w/ Brittney Spencer), -> Playing in the Band -> Looks Like Rain (w/ Brittney Spencer), Mexicali Blues, One More Saturday Night, Cassidy

Set 2: You Win Again (w/Tyler Childers), Weather Report Suite -> Shakedown Street (w/ Brittney Spencer), Dark Star (w/ Ron Carter), Eyes of the World -> What’s Going On -> Eyes of the World, Days Between -> Playing in the Band

Encore: Ripple

April 7, 2022
Drummer Jay Lane, a Man of Many Talents, Adds to His Resume

San Francisco Bay Area drummer/musician Jay Lane gets antsy when he’s not on the road with one of the many bands of which he is a part. So it was not difficult to deduce that Lane, 57, had a tough time adapting to pandemic life, when the world shut down, venues closed their doors and bands put touring aside as we tried to get COVID-19 under control.

Jay Lane performing with Wolf Bros., Count Basie Theatre, Red Bank, NJ 3/16/19

And just like so many other musicians trying to adapt to a temporary but new way of life, Lane had to figure out how to keep himself from going insane while essentially being in lockdown. Enter the Blue Bear School of Music, the Bay Area’s “preeminent school rock, blues, jazz, folk and pop music,” as described on its website. Lane, who is a member of Primus, Bob Weir and Wolf Brothers and countless other Grateful Dead associated acts, decided to put his expertise to use by providing online drumming lessons.

“I haven’t been involved in too much outreach or giving lessons in a long time,” Lane said in a recent telephone interview with NYS Music. “I’ve been doing this now for a few months and I love it. I actually used to take lessons as a child at Blue Bear. I felt I wanted to give back to kids and people of all ages.”

Currently, Lane said he is only giving online live video lessons, but said he has no idea what the future holds once COVID is in the rearview. Blue Bear, a nonprofit organization, was founded in 1971 by rock band Wolfgang & Strauss, two brothers who set up shop in San Francisco seeking to build lives. Currently, Blue Bear has about 850 enrollees each quarter, as it aims to help musicians of all skill levels find their calling.

Prior to his time at Blue Bear, Lane said he had never played in an ensemble before, and that experience gave him the desire to learn as many styles of drumming as he could. How else would he so easily transition to the hard psychedelic rock that Primus plays, to the experimental and free flowing sound that the Grateful Dead made famous?

“There’s nothing like the experience (of playing in an ensemble,” Lane said. “That’s what I did as a kid, oon Port Mason, the smell of the rehearsal room was palpable, especially with the other kids.”

Lane was ecstatic when discussing how the country has opened up recently, allowing for live music and other gatherings. Lane, who lives in a condo in the Bay Area, said he loved spending extended time with his family, but added that he was raised on the road, and at times he became very restless without the daily grind of getting ready to play a different show each night.

On March 30, Bob Weir and Wolf Bros bring their cowboy folk/americana act to the Landmark Theatre in Syracuse for an evening of new songs, and their unique take on the Grateful Dead’s repertoire. They follow up the Central New York show with a pair at Radio City Music Hall over April 2-3. These shows will feature several unannounced special guests, including The Wolfpack, which consists of a dedicated strings section.

Weir, who played rhythm guitar with the Dead for 50 years, formed Wolf Bros a few years back and added Lane rather quickly. Lane and Weir have extensive history together including stints together in RatDog and Furthur, just to name a few, and Lane said he looks up to Weir on many levels.

“Bob, he really likes to paint with a long brush,” Lane said with a chuckle. “He does so many things that are not considered the norm, like turning all the stage monitors down at his shows so that he can hear what the audience hears and adapt to it. He’s such a dear, sweet friend to me and he is incredibly generous. His big thing is to gain experience by playing with anyone he can. He’s toying with the idea of performing a concerto, or playing with a symphony, to understand that dynamic. The guy has done everything you can do in rock music, yet he’s still pushing forward toward new and exciting ideas and collaborations.”

Bob Weir and Jay Lane performing with Wolf Bros., Count Basie Theatre, Red Bank, NJ 3/16/19

Lane couldn’t speak more highly about Weir’s impact on him.

“He constantly challenged me to get better and change up my concepts,” Lane added.

As for returning to the road, Lane said he cannot wait to be doing what he does best, providing the backbeat for several bands.

“COVID felt like a real prison cell,” he said. “After a while I think I began learning to be OK with it, like everyone else, but it’s been hard to make music through all this. Now I just need to find my relevance, my purpose again.”

Lane said he has gotten much better providing lessons online, which was a struggle at first because he still prefers older technology in many ways.

If you’re interested in seeing Lane perform with Wolf Bros in Syracuse, tickets are still available.

Bob Weir & Wolf Bros Spring Tour
Mar. 9 – Ryman Auditorium – Nashville, Tenn.
Mar. 10 – Orpheum Theatre – Memphis, Tenn.
Mar. 14 – Orpheum Theatre – Wichita, Kan.
Mar. 15 – Arvest Bank Theatre at The Midland – Kansas City, Mo.
Mar. 17 – Riverside Theater – Milwaukee, Wis.
Mar. 18 – Chicago Theatre – Chicago, Ill.
Mar.19 – Brown County Music Center – Nashville, Ind.
Mar. 21– Palace Theatre – Columbus, Ohio
Mar. 24 – Thomas Wolfe Auditorium– Asheville, N.C.
Mar. 25 – Tivoli Theatre – Chattanooga, Tenn.
Mar. 26 – Durham Performing Arts Center – Durham, N.C.
Mar. 29 – Roxian Theatre – Pittsburgh, Pa.
Mar. 30 – Landmark Theatre – Syracuse, N.Y.
April 2-3 – Radio City Music Hall – NYC

March 24, 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
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