Returning for his third single of the year, singer-songwriter Mihali has partnered up with fellow musician Andy Frasco and producer Spencer Thomson to offer listeners a peek into the traveling musician’s “Circus Life” in the midst of their respective tours.
Former frontman of rock band Twiddle and a rising reggae star in his own right, Mihali Savoulidis is no new face to the music industry. His solo career formally began in 2020 with the release of “Breathe and Let Go”, with several singles following throughout during the Covid-19 pandemic. This year marks an exciting series of singles following the 2022 release of his last album, Effection, the most recent being his collaboration with fellow musician and songwriter Andy Frasco, “Circus Life”.
Both seasoned in the touring artist lifestyle and currently on the road for their respective acts, “Circus Life” is the product of Mihali and Frasco’s reflections upon the ups and downs of life, specifically as it pertains to musicians whose day to day lives become a cycle of performance and travel- possibly for months at a time.
With a slightly more acoustic americana sound than some of Mihali’s recent works, “Circus Life” meshes a rolling beat with calming piano chords and lyrics that come from the heart to express both the unspoken struggles of touring life and the beauty of it- the sacrifice that must be made to bring love to the fans, the friends, and the family he holds dear.
“Mihali and I were talking about living on the road one day after a gig, depleted but happy, and he said “Yeah, it’s like we’re in the circus.” We both looked at each other and didn’t say a word, but knew that exact feeling. Two months later, he sent me a demo called “Circus Life,”and I asked if I could add a bridge…I love when songs come out like that.”
– Andy Frasco
Both Mihali and Frasco are currently touring with a handful of dates in New York between the two acts.
Mihali will be at Wonderland Forest in Lafayette on September 21 and The Capitol Theatre in Port Chester on October 25- tickets are available here.
Frasco and the rest of his band, Andy Frasco & The U.N., will be performing at this year’s River Jam in Buffalo on October 13. Tickets are available here.
To learn more about Mihali’s work, ongoing tour, and story, visit his website here.
The radio landscape is diverse, with channels offering various genres from local news to contemporary, to cultural programming. Each station offers a unique input to each region’s musical landscape from Western New York to the New York Metropolitan area, keeping listeners informed and connected.
Hereâs a look at the radio stations that stand out across New York State.
New York Radio Stations graphic by Emilty Depietro
Western New York (WNY)
Home to rich musical history and various music venues, the radio stations cater to diverse musical genres. WBTA 1490 AM in Batavia and WDNY 1400 AM in Dansville provides local news and adult contemporary while WBNY 91.3 FM in Buffalo offers students at the State University of New York a student-led based station. WECK 1230 AM offers oldies, a mixture of pop, rock and roll, doo-wop, and surf music.
Known for intimate venues, Central New York offers a variety of stations from alternative rock to local news. WDLA-FM 92.1 FM in Walton offers a mix of country for country music fans. In Oswego, WRVO 89.9 FM is a go-to station for college students at State University of New York. WHWK 98.1 M in Binghamton is another country station for enjoyers. Those looking for an oldies program in Homer can tune into WXHC 101.5 FM.
With an active music scene and popularity of folk music, these Capital Region radio stations offer a large catalog of music. WPYX 106.5 FM in Albany is a great station for country folks while WGXC 90.7 FM in Acra offers community radio. In Amsterdam, WCSS 1490 AM offers classic hits which includes Top 40 on the charts from the 1960s and 2000s. WEXT 97.7 FM provides adult album alternatives for those who are looking for a blend of all genres. If you are looking for alternative music, WEQX 102.7 FM has your back. The Manchester, VT-based station offers a mix of new and classic alternative tracks.
The North Countryâs radio stations feature a mixture of genres from classic rock to contemporary hits. WNCQ-FM 102.9 FM in Canton offers country while WRCD 101.5 FM offers classic rock for listeners. In Watertown, locals can tune into WCIZ-FM 93.3 FM to enjoy classic hits or WFRY-FM 97.5 for country music.
The Hudson Valley offers a rich history of folk, jazz, and reggae music. With a background of diverse sounds, the radio stations reflect this accordingly. WGXC 90.7 FM in Acra is a community radio station providing local news to Top 40 music while in Woodstock, locals can tune into WDST 100.1 FM for adult album alternatives.
The hustling and bustling streets of the city is packed with old, new, and top charting hits. In Babylon, locals can listen to WBAB 102.3 FM for classic rock. Another popular choice is WKTU 103.5 FM in Lake Success, featuring Top 40 music of pop and rhythmic contemporary.
As the Grateful Dead found themselves in between tours in the early summer of 1982, side projects were apparently the name of the game in order to stay musically limber. And a new music venue in South Fallsburg, NY was more than happy to have them. Jerry Garcia Band kicked off a string of shows in the Northeast at Music Mountain on a co-bill with Bob Weir’s Bobby and the Midnites. This new venue in Sullivan County at a revamped hotel lodge that never quite made it actually played host to the first permissible concerts in the area since Woodstock in its very brief existence.
One of the last of the few shows ever played here was this heralded Jerry Garcia Band show on this day in 1982 that’s loaded with classic cover song selections and a few JGB “originals.” This particular iteration of the band features some of Garcia’s closest and longtime collaborators playing together and it certainly comes through in the sound. Bill Kreutzmann, his Grateful Dead cohort, is on drums with John Kahn manning the bass guitar. Longtime JGB member Melvin Seals is joined on keys by Jimmy Warren. And Julie Stafford and Liz Stires provide the backup vocals.
Jerry Garcia Band ticket stub – June 16, 1982
The show begins with a vintage take on Smokey Robinson’s “How Sweet It Is,” a staple in the Jerry Garcia Band songbook. A sizzling early guitar solo sets the stage for responses from Melvin Seals and Warren on keys with everyone in the band getting a chance to shine right from the start. The harmonized vocals add a layer of authenticity to this cover. Bill Kreutzmann then starts up the next number on the bass drum by himself as the rest of the band patiently merges into the beginning of “Catfish John,” a much lesser known cover song that JGB has also made one of its own. Garcia takes the wah pedal/effect out for a spin much to the delight of the Music Mountain crowd with the rhythm section maintaining a steady pocket of groove throughout. After some fun interplay with Seals, Garcia then fires in one last funky guitar solo on this well cooked “Catfish.”
Music Mountain – South Fallsburg, NY
In the three-spot is another Jerry Garcia Band regular, “That’s What Love Will Make You Do.” Originally credited to Little Milton in 1971, the song was played numerous times by Legion Of Mary, an all-too-brief previous side project of Garcia’s from the 70s that also featured Kahn, Martin Fierro on saxophone and flute along with Merl Saunders on keys. Their familiarity with this number comes through in spades as Garcia and Saunders take turns ripping through their respective solos on another groove-heavy funk vehicle that has Music Mountain in full swing.
Things finally cool off a bit with “Valerie,” a Robert Hunter-penned song that would go on to appear on Garcia’s Run For The Roses which would be officially released later this year. It’s got elements of “Loser” woven throughout and all the feel of an early 70s Dead song dressed up in a JGB jacket that fits perfectly in this spot. And, of course, it wouldn’t be a Grateful Dead-related show without a nod to Chuck Berry and the band takes care of this in the form of a ripping cover of “Let It Rock” that sees Garcia unleashing another bevvy of scintillating guitar runs. This funnels right into a set-closing “Deal” that’s as tight as any GD version with the harmonized backup vocals from Stires and Stafford adding some additional flavor to it.
A spirited Music Mountain crowd welcomes the Jerry Garcia Band back for a second set that starts with another cover, this time it’s “(I’m A) Road Runner,” a song first recorded by Junior Walker and the All-Stars in 1965. This would become another JGB live show staple throughout the years. Seals and Garcia get into some heavy interplay on this one as the the band stretches this “pop” hit into a fun, relaxed jam. “Love In The Afternoon” then follows, another Robert Hunter-penned song that first appeared on Garcia’s Cats Under The Stars album from 1978, his first LP using the band name Jerry Garcia Band and his first LP on the Arista label.
The real meat and potatoes of the second set, and perhaps the show itself, is the “Don’t Let Go” that comes next. It’s a near 20-minute joy ride of deep funk and some of the more exploratory jamming of the evening. The rhythm section of Kahn and Kreutzmann is hard at work once again and develop a deep groove that Garcia plays off of effortlessly. With Seals adding additional layers of sound atop it all, it makes for a lively jam that’s rife with musical cohesion and craftsmanship. Almost suddenly, the rest of the band then eases up that allows for a brief Kreuztmann drum solo that then turns into a bass duel with Kahn before Garcia slowly reenters the mix. It’s a loose, acid jazzy type jam that’s one of the show’s true highlights.
Although there would be no traditional encore tonight, the rest of the set almost feels like one, starting with a super slow take of The Band’s “The Night They Drove Ol’ Dixie Down.” With the tempo dialed down to an absolute crawl, this gives one of the last Garcia guitar solos of the night some added poignance and emotion. The beautiful backup vocals from Stires and Stafford certainly doesn’t hurt either. The show then comes to a close with “Run For the Roses,” the title track of the soon to be released album and another classic Garcia-Hunter collaboration. And with that, Jerry Garcia band puts the finishing stamp on one of the last shows to ever take place at the ill fated Music Mountain.
An apparently rain-soaked show from Bobby and the Midnites that went well into the night then followed – check out the audio here.
https://www.youtube.com/watch?v=uE27loWjRq0
Jerry Garcia Band – Music Mountain, South Fallsburg, NY – June 16, 1982
Set 1: How Sweet It Is (To Be Loved By You), Catfish John, That’s What Love Will Make You Do, Valerie, Let It Rock > Deal
Set 2: (I’m A) Road Runner, Love In The Afternoon, Don’t Let Go, The Night They Drove Ol’ Dixie Down, Run For the Roses
ALP has officially released Grateful: The Music Plays The Band, a new 17-track album that features classic Grateful Dead songs covered by many of their friends. It contains selections played by familiar names like Oteil Burbridge and Dark Star Orchestra but also ALO, Doom Flamingo, and more.
Proceeds from this LP will benefit The Grateful Guitars Foundation, a nonprofit charity that obtains world-class musical instruments for people who seek to carry on the tradition of jam band music into the 21st century and beyond.
Grateful features longtime and newcomer bands influenced by the music of the Grateful Dead, committed to expanding the group’s sound in various musical directions – from live grooves to Afrobeat to sultry synth-driven pop. But there’s also touches of vintage Grateful Dead as well, with a track from David Nelson Band, a former New Rider of the Purple Sage and longtime cohort. See below for a full track listing.
Founded by Andy Logan in 2019, the Grateful Guitars Foundation not only serves to put guitars in the hands of musicians in the community but also supports music instruction in schools to seed the next generation of talented players. To capture the tones of specific eras of Grateful Dead concerts, Logan worked with luthiers across the country to build a library of models of every guitar played by Jerry Garcia and Bob Weir from 1965-1995.
Logan then loaned these instruments out to bands doing recreation shows, most notably to Phil Lesh & Friends at Terrapin Crossroads in 2015 and 2016. Logan himself also owns two historic pieces of Grateful Dead memorabilia – “Alligator,” a Fender Stratocaster Garcia played by Jerry Garcia 1971 to 1973 (so-named because of a sticker on it), and the Martin D-28 with which he recorded “Ripple.”
“These instruments should be played, not mounted on a wall,” says Logan. “I wanted to share them with the fans and players who have loved the Grateful Dead, so that the jam scene is enlivened by their unique tones and historical significance.”
Grateful: The Music Plays The Band can be found on all streaming platforms here and to learn more about The Grateful Guitars Foundation visit gratefulguitars.org.
Grateful: The Music Plays the Band tracklist:
1. “Jack Straw” – Dark Star Orchestra
2. “Friend of the Devil” – David Nelson Band
3. “Peggy-O” – Alex Jordan & Friends
4. “Candyman” – Katie Skene & Andrea Whitt
5. “They Love Each Other” – ALO
6. “One More Saturday Night” – BERTHA: Grateful Drag
7. “Loser” – Michael James Wheeler
8. “Touch of Grey” – Doom Flamingo
9. “So Many Roads” – John Kadlecik
10. “Music Never Stopped” – Cubensis
11. “China Cat Sunflower > I Know You Rider” – La Horsa Bianca
Finnish indie folk artists Tuomo & Markus have joined forces with legendary guitarist Marc Ribot on a new song titled “Waiting Room.” It marks the first offering from the duo’s upcoming album, comprised solely of cinematic instrumental pieces recorded and mixed in immersive Dolby Atmos. The newly released track, which can be heard below, also features Nordic jazz trumpet virtuoso Verneri Pohjola.
Essentially a 1970s jazz-funk track with some Afrobeat grooves also heavily in the mix, “Waiting Room” finds the Finnish musicians taking a left turn and exploring the urban jazz scenes of Lower East Side NYC. Tuomo & Markus ditch their typical vocal harmonies while Marc Ribot provides the spoken word-like vocals along with his signature guitar play. As a result, the song has strong a coffee house Jazz Night vibe to it.
“’Waiting Room’ was originally just a studio jam number, built around a bluesy, slightly Tuareg-sounding guitar riff,” Tuomo & Markus recall. “It wasn’t really until Marc entered the studio that we found a sense of purpose for the track. His amazing intensity and willingness to jump into the deep end turned it from a jam to a gem.”
Keyboard player Tuomo Prättälä’s sound is inspired by the sounds of a vintage Vox Continental organ (similar to the one used by Ethiopian music pioneer Mulatu Astatke) while Verneri Pohjola adds unorthodox live effect treatments to “Waiting Room” on trumpet. The two drummers – Juho Viljanen and Jaska Lukkarinen – lay down a steady West African groove, together with bass player Jeremias Ijäs and rhythm guitarists Markus Nordenstreng and Miikka ‘McGyver’ Paatelainen. It all combines to give the song a spirited underlying groove with heavy international flavoring that drives the tune along.
Tuomo & Markus’ most recent album, Game Changing, was released to critical acclaim in January 2023 and focused heavily on apocalyptic lyrics, psychedelia, indie folk jangles and multi-layered Laurel Canyon harmonies. Its predecessor, Dead Circles (2018) was more of an Americana affair, as the duo held court in a recording studio in Tucson AZ, backed by their friends from Calexico and Wilco. They’ve also been compared to The Grateful Dead by noted music writer David Fricke for their ability to shift from one musical genre to the next without blinking an eye, while sounding totally unique.
1971 was an incredibly busy touring year for the Grateful Dead and on this day in April they found themselves in Cortland, NY for the first and only time. The band toured the East Coast extensively all throughout this month, playing a slew of auditoriums, music halls and college campuses as they continued to build their brand.
With plenty of gigs scheduled in New York City, this show at SUNY-Cortland’s Lusk Field House would be their only one in Central New York and the entire region was clearly on board. Tickets could be purchased in Ithaca, Binghamton and even the Syracuse University bookstore. Those that went were treated to a good one as the Dead would continue to hone their new originals, play an extremely rare cover song and take another one around the block and back.
The Dead jump off the starting block with a guitar-driven and passionate “Cold Rain and Snow.” The triumvirate of Jerry Garcia, Bob Weir and Phil Lesh are turned up high in the mix and don’t disappoint. After “Snow” comes to end with a flurry of heavy vamping from all involved, and a quick PSA from Garcia harkening someone to come up to the side of the stage, “Me and My Uncle” starts up and gets played in pristine fashion with Weir leading the charge on vocals. The “Bertha” that follows gets the same treatment and shows the band clearly getting nice and familiar with this newer song that only debuted a few months ago.
Another song fairly new to the live Dead catalog at the time was their cover of “Me and Bobby McGee.” This too gets played with a noticeable comfort and ease with Garcia adding some extra tasteful guitar licks between early verses and Bill Kreutzmann serving as a one-man wrecking crew on drums. A clearly relaxed and engaged Grateful Dead then attempt to honor the Cortland audience’s request to get some spotlights turned off. Lesh comments that this “isn’t the spacecraft assembly building or anything” with Garcia sarcastically intimating that it just might be.
Pigpen then gets his lone spotlight of the first set and leads the band through a no-frills “Next Time You See Me.” At this point, the band reengages their war with the lighting crew who get caught trying to turn some lights back up. Things get so (comically) animated that Pigpen even gets involved! That’s right, rare Pigpen banter. And this one is a gem.
Like nothing ever happened, the Dead then close out the first set in Cortland with their now traditional one-two pairing of “China Cat Sunflower” and “I Know You Rider.” The “Rider” starts off at a slightly slower pace but the crystal clear segue is right there and Garcia delivers a hellacious guitar solo before the set ends with a fairly standard run through of “Casey Jones.”
The second set begins with some heavy wah-wah effects on guitar as “Sugar Magnolia” begins with Weir leading the way on vocals. The psychedelic guitar interplay makes for a brief rousing jam before Weir reels it back in. The next selection is a true Grateful Dead rarity with Garcia taking over on vocals for a cover of Smokey Robinson’s “I Second That Emotion.” It was played by the Dead only seven times ever, with all of them in April of 1971. Although it would later reappear on Jerry Garcia Band setlists in the future. His stirring guitar solo on this one adds just the right amount of soul and shows why.
The Dead then delve back into their song book of originals and roll through “Truckin’” with the “Up to Buffalo” lyric getting a noticeable hand from the Cortland crowd. This sets the table for the true exploratory jam of the night with a short but joyous romp that features some cohesive interplay between Garcia and Lesh on bass serving as the musical engine.
The second one comes with the “Hard to Handle” that follows, with Pigpen once again on the mic, delivering one of his signature cover songs. He flies through the verses with ease and typical swagger and then immediately launches into a semi-coherent, bluesy scat-rap hybrid over a bed of steady groove supplied by the band. It’s essentially the Dead backing up Pigpen as he improvises before he exits stage right and the band takes their turn with a veritable funk jam that slowly gets more and more aggressive before coming to a peak.
The Dead then continue to trot out more of their newer originals that debuted earlier this year at Capitol Theatre in Port Chester. “Loser” features a pair of Garcia guitar solos rich in emotion with the second one played in a perfect tone. “Playing In The Band” follows and while it’s clear the band has the compositional part of this song down pat by now, there’s yet to be any sort of supplemental jam added to it.
One of the final musical statements from the Dead on this night in Cortland is a massive cover of The Rascals” “Good Lovin’” with Pigpen once again belting out the vocals. Once the lyrics come to an end, almost immediately a one-man “Drums” section begins with Kreutzmann using every inch of the drum kit for several minutes. Instead of moving on to something else, the band jumps right back into the “Good Lovin’” jam and Pigpen reemerges for another stream of conscious-like, bluesy rap with this one exploring various employment opportunities and the “nookie business.” This eventually fades out and the band takes over once more with a brief jam before reshaping it back into the conclusion of the song, serving as one of the true highlights of the show.
A tame, in comparison, “Uncle John’s Band” then closes out the one and only Grateful Dead show in Cortland, NY. The band would get a few days off after this show and then continue their assault on the Northeast with shows in Providence, RI and Bangor, ME scheduled after that before a legendary run of shows at New York City’s Fillmore East the following week.
Vist archive.org for a track by track listing of the show.
View this and more Grateful Dead shows from across the years in New York State with our interactive map below
Grateful Dead – Lusk Field House, Cortland, NY – April 18, 1971
Set 1: Cold Rain and Snow, Me and My Uncle, Bertha, Me and Bobby McGee, Next Time You See Me, China Ca Sunflower > I Know You Rider, Casey Jones
Set 2: Sugar Magnolia, I Second That Emotion, Truckin’, Hard to Handle, Loser, Playing In The Band, Around and Around, Good Lovin’, Uncle John’s Band
Calling all Swifties! Plunge into a 17-year journey with Taylor Swift and the launch of Channel 13 (Taylor’s Version), SiriusXM is putting on the red carpet for the pop queen, available from April 7 to May 6.
Fans can enjoy Taylor’s complete discography on this special channel, offering more than just her hit songs. Channel 13 will be the place to go for everything Swift, from her upcoming album The Tortured Poets Society to her greatest hits.
Fans of Taylor Swift will have the chance to share their heartfelt stories and connections with Taylor. Together, they’ll create the ultimate Swiftie community on Channel 13.
“The versatility of Taylor’s music and the phenomenal impact she’s had in her career across so many musical genres will be on full display on Channel 13 (Taylor’s Version). We’re all experiencing a legend at work and are so thrilled to work with Taylor to present a one-of-a-kind channel that connects her fans with her extraordinary body of work.”
President and Chief Content Officer of SiriusXM Scott Greenstein
The icing on the cake? Taylor Swift’s most recent album will make its exclusive debut on the channel on April 19 and be played nonstop all weekend long. For more information, click here.
Channel 13 (Taylor’s Version) is your golden ticket to the Taylor Swift experience, whether you’re driving or using the SiriusXM app to jam out. Click here to sign up and experience all that SiriusXM has to offer.
Each Sunday evening from 7-9 p.m. youâll find EQXposure on WEQX, featuring two hours of local music from up-and-coming artists. Tune into WEQX.com this Sunday night to hear new music from Shane Guerrette and Joe Mansman & The Midnight Revival Band.
WEQX has long been the preeminent independent station in the Capital Region of New York, broadcasting from Southern VT to an ever-expanding listening audience. NYS Music brings you a preview of artists to discover each week, just a taste of the talent waiting to be discovered by fans like you.
We continue our look back at one of the more influential and memorable series of shows The Grateful Dead have ever played in the State of New York. On this day in 1990, the Dead continued their first ever run of shows at The Knick in Albany, formally known as Knickerbocker Arena. The three-night run sees the band in peak form and contains so many musical highlights that it was rightly crafted into a three-disc 1996 live release entitled Dozin’ At The Knick. After a brilliant first night, the band shows no letup in this second night that features a prime portion of the second set that’s all featured on the album.
The show begins with a succinct but crisp “Greatest Story Ever Told,” with Jerry Garcia’s signature guitar tone present early and often. The vocal harmonies of Bob Weir and Brent Mydland are on point as the band seems fully engaged from the get-go. “Touch of Grey” then follows in the two-spot, the Dead’s “hit” from their 1987 In The Dark release that introduced the band to so many. Garcia nails all of the vocals and phrasing, in addition to the signature ripping guitar solo, and Mydland joining in on harmonies seems to take this “Grey” to another level. It’s a surprise this wasn’t include for Dozin’ At The Knick selection.
Weir then leads the band through a bluesy cover of “Wang Dang Doodle” before Mydland does the same on one of his signature tunes, “Never Trust A Woman.” Brent’s soulful vocals combined with increasingly powerful runs on the organ make this one of the finer versions ever played, sadly also one of the last as well. The Dead then cue up a classic love song for the Knick, one familiar to Jerry Garcia Band setlists, “Jack-a-Roe.” The tune about doing anything in the name of love, which can be traced back as far as the early 1800s, features story tale-like lyrics and a couple of ripping runs by Garcia on guitar on the band’s modern day take on it.
They follow this up with another cover, this time a wonderful take of the Bob Dylan-penned “When I Paint My Masterpiece.” Weir handles the bluesy vocals with aplomb, which rise in intensity from start to finish, wrapping up a fun three-song section of the first set. This grouping of songs is prominently featured on the first disc of Dozin’ At The Knick and it’s no surprise why.
The band then shifts back into “jam” mode and unleash a 13-minute “Bird Song” that’s one of the highlights of the show. It features a jam that takes off immediately and, fittingly, bounces and flutters around in a way only the Dead can manipulate. Garcia goes through a multitude of guitar filters and the resumption of the composed section seems to come out of nowhere. Seizing this momentum, the first set then ends with a triumphant “Let It Grow” that’s highlighted by some nimble bass lines from Phil Lesh and more explosive runs from Garcia up and down the fretboard. It caps off a first set at the Knick bookended with two Dead originals played to perfection with a fun mix of cover songs thrown in between.
To begin the second set, “Eyes of the World” quietly starts up in a much slower, groovier tempo than most of its predecessors. It’s a pristine version with some nice interplay between Garcia and Lesh throughout and with the instrumental sections between verses executed to perfection as the band seems fully engaged right away after the set break.
As the “Eyes” jam dwindles down to drums-only, so starts the beginning of “Samson of Delilah” in a clean segue. Mydland shines on keys in a jam that starts off strong and never lets up as the Dead treat the Knick crowd to another one of their takes of a traditional arrangement, this one with Biblical roots. From this, the opening chords of “Crazy Fingers” emerge and Garcia reassumes the helm. It’s a slow. deliberate take on this Dead classic and Garcia drops another guitar solo in an accompanying fashion.
As the tempo finally begins to pick up at the end, the Dead execute another fairly seamless segue into another live staple, “Truckin’.” Weir leads the band on vocals on a brief, but jubilant take of this classic number that doesn’t stretch out too far. Instead, a blues-heavy riff soon develops and the Dead immediately launch into a cover of Howlin’ Wolf’s “Spoonful.” This one gets capped off will a full-on, short but sweet “Mind Left Body” outro jam, with Garcia playing through a trumpet-like filter. This was likely a nod to the full-fledged MLB jam that took place just the night before.
This sets the stage for the traditional mid-second set “Drums” -> “Space” section and drummers Mickey Hart and Bill Kreutzmann proceed to go through every percussive tool at their disposal. The “Space” section is highlighted by Garcia and Mydland both noodling maniacally on their respective instruments before Garcia unleashes a trombone-like guitar effect to change the mood and Mydland slowly starts up another one of his signature tunes, “I Will Take You Home,” in a very silky transition.
Once “Home” finishes up, the mood shifts from sentimental to joyous once more as the Dead treat the Knick to their ripping cover of “Goin’ Down The Feeling Bad.” This yields a brief but jubilant jam with Garcia singing the verses energetically, but as it quickly descends in pace, he quickly slides into the opening licks of the always contemplative “Black Peter” and the Dead deliver a poignant version.
To close out the set, they then launch into a cover of Chuck Berry’s “Around and Around” a song they’ve mastered and made their own by now. Weir belts out the vocals that rise in intensity with each passing verse and the Dead give the Knick crowd one last dose of pure rock and roll as only they can. The entire sequence from “Space” to “Around and Around” is seamless and near flawless and prominently featured for all to enjoy on Disc 3 of Dozin’ at the Knick.
To close out night two of the run, the band shows their love for American-based rock once more with a second Dylan cover, this time it’s “Quinn the Eskimo.” This shuts the door on night two at the Knick, with one left to play.
Check out Archive.org for a great recording of the entire show.
Grateful Dead Knickerbocker Arena – Albany, NY 3/25/90
Set 1: Greatest Strory Ever Told > Touch of Grey, Wang Dang Doodle, Never Trust A Woman, Jack-a-Roe, When I Paint My Masterpiece, Let It Grow
Set 2: Eyes of the World > Samson and Delilah, Crazy Fingers > Truckin’ > Spoonful > Drums > Space > I Will Take You Home > Goin; Down The Road Feeling Bad > Black Peter > Around and Around
E: The Might Quinn (Quinn the Eskimo)
View this and more Grateful Dead shows from across the years in New York State with our interactive map below
Each Sunday evening from 7-9 p.m. you’ll find EQXposure on WEQX, featuring two hours of local music from up-and-coming artists. Tune into WEQX.com this Sunday night to hear new music from W.Y. Huang, Sara Devoe, and Luminous Crush.
WEQX has long been the preeminent independent station in the Capital Region of New York, broadcasting from Southern VT to an ever-expanding listening audience. NYS Music brings you a preview of artists to discover each week, just a taste of the talent waiting to be discovered by fans like you.
Singaporean singer-songwriter W. Y. Huang has released the new song “Life Just Lately.” The New York-based musician captivates audiences with his groovy instrumentals and irresistible vocals.
Sara Devoe is a singer/songwriter from Albany. She takes most of her inspiration from artists like Phoebe Bridgers, Haley Heynderickx, Field Medic, and Grimes. Her catchy song “am i pretty in the light?” will be played on EQXposure on Sunday.
