I saw these guys open up for Levon Helm at a Ramble in Woodstock and was blown away. I immediately bought their album Rise and Bloom after their set. I consider it a very good album that is well produced however it does not do the band justice as a live act. Key tracks are a cover of his grandfather's (legendary 91 year-old folk/protest singer Pete Seeger) classics, "Bring Em Home," a song about the safety of our soldiers abroad and freedom of speech, the opening original "Sail Away Ladies" and a soulful cover of Jim Garland's "I Don't Want Your Millions Mister." With "El Plano de La Paz" Tao throws new listeners a curveball with a wonderfully arranged latin song with bluegrass undertones. With this song Seeger draws back to his roots as he spent a few years growing up in Nicaragua.
Overall I would say if anyone is interested in any type of alternative music they should at least give this album a shot. They are self described as "Folk meets Rock-n-Roll with a with a 'rootsy and psychedelic' twist. Breaking the barriers of traditional folk to bring a unique and distinctive sound to the table." I would have to say that is a perfect description of their sound. Other members of the band include Laura Cortese on fiddle and vocals, Jefferson Hammer who plays a great pedal steel, Robin McMillan on the drum kit and Jake Silver on bass. Trust me, check these guys out. If they ever come to town you should definetly go see them because their live shows are full of energy. You can listen for free at http://www.myspace.com/taorodriguezseeger. Give them a shot.
Tuesday, June 1, 2010
Wednesday, May 26, 2010
Black Keys: The New Beastie Boys?
Their video's are hilarious and the music is great. Here's the official video for "Tighten Up" off their new album Brothers. It's badass...
Frank is back...
Frank is back...
Tuesday, May 25, 2010
moe. Once Again Raises Money and Awareness for Charity In NYC
Written by Jim Cunningham
02/15/2010
moe.
Roseland Ballroom
New York, New York
January 22, 2010
On Saturday, January 22, moe. held a benefit concert in NYC at the Roseland Ballroom to raise money for WHY (World Hunger Year), a foundation aimed at helping the less fortunate. Stations were set up all over the venue to help raise money for this cause and it was later announced that some funds will be going directly to relief for Haiti. This is not the first time moe. has performed in order to raise money for charity; in February 2005 they held a concert at Roseland with Trey Anastasio and others billed as the Tsunami Relief Benefit. That being said, on to the show...
moe. came out rocking with a smokin' "Timmy Tucker." Lead singer Rob Derhak's bass slapping was off the charts as Al Schnier took the first guitar solo. Schnier slowly built up a Jerry Garcia-esque solo before handing over the reigns to Chuck Garvey, whose fingers moved so fast they were almost a blur.
Known as a very "chilled" and "laid back" group, moe. exuded energy at the Roseland. Garvey seemed like a man possessed as he jumped on top of a large amp holding a long note while lifting his axe above his head and pointing the neck out to the audience. The crowd responded by screaming at the top of their lungs and the band moved into "Bearsong" before bringing up Marco Benevento (keys) and Danny Barnes (banjo).
Together with Marco and Danny, moe. began "Captain America" and promptly asked Jeff Austin for help on "Caveman" and "Nebraska." The three special guests added a whole new dimension to moe.'s sound, with the bluegrass vibe coming from Barnes and Austin and a heavy gospel tone from Benevento. Then the last announced guest - and probably the biggest name - walked on stage and sat behind the empty second drum kit.
Although he is hard to pick out of a crowd, once the name Butch Trucks is mentioned (or any Trucks, for that matter) one automatically thinks Allman Brothers. After the crowd favourite "Happy Hour Hero," Rob ripped into the thunderous intro of "Whipping Post." Chuck and Al came in after Rob, and then Marco played the classic organ riff to a tee. Jeff Austin put down his mandolin to take the lead on the mic and sang with a growl. This was the first time moe. had tackled this very difficult and long (16+ minutes) jam and they nailed it. The lights were off the charts, especially when Garvey held those classic eight notes before the song was turned back over to Austin to bring it all back home and close the first set.
Opening the second set with the instrumental "In Memory of Elizabeth Reed" gave the crowd a chance to get back on the floor and gear up for more music. After a 17 minute version of "Waiting for the Punchline," moe. played some of their guests' music. "The Real Morning Party" is a Benevento original from 2008's Invisible Baby, an instrumental song that showed just how talented the organist really is and introduced a lot of moe. fans to his music.
Jeff Austin once again took the lead as the group played YMSB's "East Nashville Easter," a song that can best be described as "bluekickgrass rock," and with moe., Barnes and Benevento on board, the tune turned into a whole new beast.
moe. closed the set with two of their own, the first being "Blue Jeans Pizza" with just Marco joining them. The second was "Mexico," a song sung by Al with great solos all around. Trucks came back on stage to end the set with this song and the extra percussion gave it that little extra something that made it a great closer.
For the encore moe brought back everyone to help with the classic Band song,"The Weight." The song started with Rob taking the first verse, Austin taking the second and Chuck taking the third. Everything went off without a hitch until it was time for Barns to sing. He repeated the earlier "crazy Chester followed me..." line twice in a row and the band had to take a step back to regroup but kept the beat going as Jeff Austin took another mandolin solo ala Levon Helm.
The whole idea of trying to raise money for an organization like WHY is commendable on its own. Taking the time to set up a benefit concert is no easy feat but these guys pulled it off once again. With a little help from their friends, moe. put on a terrific show and helped raise funds for a charitable organization.
More about WHY: World Hunger Year describes itself as "a leading advocate for innovative, community-based solutions to hunger and poverty." The organization states "Why Hunger challenges society to confront these problems by advancing models that create self-reliance, economic justice, and equal access to nutritious and affordable food." Donations can be made at their Web site (www.whyhunger.org).
02/15/2010
moe.
Roseland Ballroom
New York, New York
January 22, 2010
On Saturday, January 22, moe. held a benefit concert in NYC at the Roseland Ballroom to raise money for WHY (World Hunger Year), a foundation aimed at helping the less fortunate. Stations were set up all over the venue to help raise money for this cause and it was later announced that some funds will be going directly to relief for Haiti. This is not the first time moe. has performed in order to raise money for charity; in February 2005 they held a concert at Roseland with Trey Anastasio and others billed as the Tsunami Relief Benefit. That being said, on to the show...
moe. came out rocking with a smokin' "Timmy Tucker." Lead singer Rob Derhak's bass slapping was off the charts as Al Schnier took the first guitar solo. Schnier slowly built up a Jerry Garcia-esque solo before handing over the reigns to Chuck Garvey, whose fingers moved so fast they were almost a blur.
Known as a very "chilled" and "laid back" group, moe. exuded energy at the Roseland. Garvey seemed like a man possessed as he jumped on top of a large amp holding a long note while lifting his axe above his head and pointing the neck out to the audience. The crowd responded by screaming at the top of their lungs and the band moved into "Bearsong" before bringing up Marco Benevento (keys) and Danny Barnes (banjo).
Together with Marco and Danny, moe. began "Captain America" and promptly asked Jeff Austin for help on "Caveman" and "Nebraska." The three special guests added a whole new dimension to moe.'s sound, with the bluegrass vibe coming from Barnes and Austin and a heavy gospel tone from Benevento. Then the last announced guest - and probably the biggest name - walked on stage and sat behind the empty second drum kit.
Although he is hard to pick out of a crowd, once the name Butch Trucks is mentioned (or any Trucks, for that matter) one automatically thinks Allman Brothers. After the crowd favourite "Happy Hour Hero," Rob ripped into the thunderous intro of "Whipping Post." Chuck and Al came in after Rob, and then Marco played the classic organ riff to a tee. Jeff Austin put down his mandolin to take the lead on the mic and sang with a growl. This was the first time moe. had tackled this very difficult and long (16+ minutes) jam and they nailed it. The lights were off the charts, especially when Garvey held those classic eight notes before the song was turned back over to Austin to bring it all back home and close the first set.
Opening the second set with the instrumental "In Memory of Elizabeth Reed" gave the crowd a chance to get back on the floor and gear up for more music. After a 17 minute version of "Waiting for the Punchline," moe. played some of their guests' music. "The Real Morning Party" is a Benevento original from 2008's Invisible Baby, an instrumental song that showed just how talented the organist really is and introduced a lot of moe. fans to his music.
Jeff Austin once again took the lead as the group played YMSB's "East Nashville Easter," a song that can best be described as "bluekickgrass rock," and with moe., Barnes and Benevento on board, the tune turned into a whole new beast.
moe. closed the set with two of their own, the first being "Blue Jeans Pizza" with just Marco joining them. The second was "Mexico," a song sung by Al with great solos all around. Trucks came back on stage to end the set with this song and the extra percussion gave it that little extra something that made it a great closer.
For the encore moe brought back everyone to help with the classic Band song,"The Weight." The song started with Rob taking the first verse, Austin taking the second and Chuck taking the third. Everything went off without a hitch until it was time for Barns to sing. He repeated the earlier "crazy Chester followed me..." line twice in a row and the band had to take a step back to regroup but kept the beat going as Jeff Austin took another mandolin solo ala Levon Helm.
The whole idea of trying to raise money for an organization like WHY is commendable on its own. Taking the time to set up a benefit concert is no easy feat but these guys pulled it off once again. With a little help from their friends, moe. put on a terrific show and helped raise funds for a charitable organization.
More about WHY: World Hunger Year describes itself as "a leading advocate for innovative, community-based solutions to hunger and poverty." The organization states "Why Hunger challenges society to confront these problems by advancing models that create self-reliance, economic justice, and equal access to nutritious and affordable food." Donations can be made at their Web site (www.whyhunger.org).
Levon Helm Band takes Summerstage
Written by Jim Cunningham
09/18/2009
Levon Helm Band
Central Park Summerstage
New York, New York
September 2, 2009
When people go to see their favorite bands live, they usually go for more than the music. Watching said band(s) in person lets the typical concert-goer connect with their idols. It allows one to look past the fancy staged music videos and into the musician's soul. It provides a small glimpse into the musician's thoughts, emotions, and even into some of their personality. The way they move, groove, walk, talk even dress can all enhance their performance on stage.
When it comes to watching Levon Helm and his band perform, you walk away with a feeling like you just watched one of your best friends play in your basement. Although his voice was sidelined due to sprained vocal chords, his smile said plenty. No one smiles more than this man when he is performing. Even at Helm's advanced age, he can still pound the skins with the best of them. When he isn’t smiling he’s usually kicking it into gear with one of his classic fills or letting the rest of his extremely talented band know when the next change is.
On tour now supporting his new critically acclaimed album Electric Dirt, Levon revisited classics such as “Tennessee Jed.” The chorus was sung by the entire band (as well as the crowd) which includes his daughter Amy Helm (who like her father plays the mandolin, sings, and every once in a while played the drums,) Teresa Williams (guitar/vocals), her husband Larry Campbell (vocals/anything with strings….literally) and Brian Mitchell (piano/organ/accordian/vocals) rounded out the rest of the singers.
Dropping in Band classics like “The Shape I’m In” and “It Makes No Difference,” the crowd was taken to that next level. Smiling away, Levon rolled through the set without missing a beat.
The definite highlight of his performance was the closer “The Weight.” For this song Helm invited Black Crowes members Chris and Rich Robinson and Steve Gorman, who kept the beat strong. As everyone traded verses the crowd roared in appreciation.
Once the song was over hands were shaken and hugs given as the musicians said goodbye to their audience. Before Levon left the stage he was spotlighted and stood tall - waving, blowing kisses, and even bowing down to the crowd in order to show his appreciation to the only thing he can possibly love as much as playing music - his fans.
09/18/2009
Levon Helm Band
Central Park Summerstage
New York, New York
September 2, 2009
When people go to see their favorite bands live, they usually go for more than the music. Watching said band(s) in person lets the typical concert-goer connect with their idols. It allows one to look past the fancy staged music videos and into the musician's soul. It provides a small glimpse into the musician's thoughts, emotions, and even into some of their personality. The way they move, groove, walk, talk even dress can all enhance their performance on stage.
When it comes to watching Levon Helm and his band perform, you walk away with a feeling like you just watched one of your best friends play in your basement. Although his voice was sidelined due to sprained vocal chords, his smile said plenty. No one smiles more than this man when he is performing. Even at Helm's advanced age, he can still pound the skins with the best of them. When he isn’t smiling he’s usually kicking it into gear with one of his classic fills or letting the rest of his extremely talented band know when the next change is.
On tour now supporting his new critically acclaimed album Electric Dirt, Levon revisited classics such as “Tennessee Jed.” The chorus was sung by the entire band (as well as the crowd) which includes his daughter Amy Helm (who like her father plays the mandolin, sings, and every once in a while played the drums,) Teresa Williams (guitar/vocals), her husband Larry Campbell (vocals/anything with strings….literally) and Brian Mitchell (piano/organ/accordian/vocals) rounded out the rest of the singers.
Dropping in Band classics like “The Shape I’m In” and “It Makes No Difference,” the crowd was taken to that next level. Smiling away, Levon rolled through the set without missing a beat.
The definite highlight of his performance was the closer “The Weight.” For this song Helm invited Black Crowes members Chris and Rich Robinson and Steve Gorman, who kept the beat strong. As everyone traded verses the crowd roared in appreciation.
Once the song was over hands were shaken and hugs given as the musicians said goodbye to their audience. Before Levon left the stage he was spotlighted and stood tall - waving, blowing kisses, and even bowing down to the crowd in order to show his appreciation to the only thing he can possibly love as much as playing music - his fans.
The Dead: In and Out of The Garden They Go
Written by Jim Cunningham
05/13/2009
The Dead
Madison Square Garden
New York, New York
April 24, 2009
Madison Square Garden is billed as “the most famous arena in the world,” and The Dead have played there 52 times before April 24, a record for any other band until broken by Elton John in 2001. This show was kind of a coming home party, as they have not performed at MSG since 1994.
The stage was set for a great comeback for devoted fans, many of whom have not seen the band together since 1995 when Jerry died.
For those of you living under a rock, the current incarnation of The Dead consists of original members Bob Weir (guitar/vocals), Phil Lesh (bass/vocals), Bill Kreutzmann (drums), and Mickey Hart (drums). Filling out the rest of the band was Warren Haynes (lead guitar/vocals - Allman Brothers Band/Gov't Mule) and Jeff Chimenti (keys - Ratdog).
Set up on stage was a huge steal your face-like apparatus. Made to shoot out light into the crowd, it looked like a mammoth tribute to the good old days with Jerry on stage. Other lights included red and blue poker chips, as well as random other swirling colors. These all had plenty of potential but for some reason they seemed under used which was the only disappointment of the night.
The first set contained mostly late 60s and early 70s classics which was great to hear. That night The Garden was filled mostly by Deadheads, a small yet very pleasant surprise since it can tend to fill up with people who have no interest in the band performing.
Starting out with a terrific “Cosmic Charlie,” the band cruised though “China Cat Sunflower” directly into the first song sung by Warren Haynes, “Shakedown Street.” Warren sang on the next song as well, “Ship of Fools.”
Haynes really let everyone know what kind of show it was going to be when his normally rough and brittle voice took a back seat to his softer, smoother voice with just the right amount of soul tossed in which makes him so unique. Although he doesn’t sound like Jerry vocally or musically, when it comes to guitar styles he is still a perfect fit for the most famous touring band in history.
When “He’s Gone” came flowing through, the steal your face lights were moving all around the crowd, brightly shining for the lyrics “Steal your face right off your head.” By this point it seemed as though everyone around the band (there were seats completely sold out even behind the band) knew every word.
The first Bobby original came next in “Cassidy,” a soft song that picks up in tempo as it goes on. Closing out the first set was an 18 min. version of “Sugaree” which left nearly everyone speechless by the time it was over. Warren got the crowd amped up when he sang “Shake it up now, Sugaree; I’ll meet you at MSG,” backed up by a phenomenal guitar solo by the guitarist and an amazingly intense piano solo from Chiamenti.
No one knew what to expect to start the second set - the first half was just that good. Only the Rhythm Devils (aka Kreutzmann and Hart) came out and both sat down behind their respective drum sets. Watching these guys do what they do at their age is absolutely mesmerizing. With a drum set that nearly surrounded him, Bill began to pound away at the skins until he got a nice smooth groove going. Mickey jumped right in time and they became one as their hands and arms were moving faster than anyone imagined.
What was interesting about this edition of “Drums/Space” was that there seemed to be a little more technology involved. The Dead are masters when it comes to reaching new plateaus musically for themselves and their fans, and Mickey certainly reached a new level at MSG. To his left was a very large, metal object which he would strike and slide his hand up and down on to make different noises. Just before the rest of the band came on to finish out “Space” he went over to that same metal object and began hitting it over and over again, but no noise came out - it turns out he was recording it right there; when he returned to his regular drum set the arena was filled with drum beats, a little electronic, almost techno-ish keys from Jeff and the recording of that big hunk-a-metal. It really was something else.
Once the rest of the band came back on they jammed for a few minutes before blowing everyone away with two back to back tracks off 1968’s Anthem of the Sun; an amazing “Other One” and a 9 minute version of “Born Cross-eyed.” Both were terrific but when the first two plucks of “St. Steven” was heard the crowd flew into a frenzy of dancing. It didn’t matter how old or young you were, you were really groovin’ during this song and if you weren’t you should have gotten your pulse checked.
After “The Eleven” came the classic “Uncle John’s Band.” There was one lyrical mistake during this song but by no means did it take anything away from it. It was actually kind of ironic as the song contains the verse “Wo-oh, what I want to know, how does this song go?” A nice jam followed and when the song came to an end the crowd erupted with cheers.
Sporting a new black bass with a top that curls up nearly to his shoulder, Phil played one of his own songs, “Unbroken Chain.” It was evident how proud of this song he is because his voice sounds much better than on other songs and he plays it quite often when he tours by himself.
"Unbroken Chain" ended on a very soft note which set up for the most rocking song of the night, a cover of The Stone’s “Gimme Shelter.” A song Warren sometimes tackles with Mule, this rockin’ cover was off the charts. Never has anyone put so much effort, stamina, guts and glory into a song as Haynes did - eyes closed as he belted out the chorus and hair flowing as he shook his head all around, people went nuts as he strummed harder than anything you have ever seen before. The rest of The Dead even looked pleasantly surprised, all obviously enjoying the moment.
The show closed with the Bobby original “One More Saturday Night.” With its funky twists and turns, the song brought everyone out of their original seats down on through the aisles and into sections they had no business being in. This fell right into the end of the set perfectly because it was Saturday at The Garden and it was Bobby singing Bobby, which made the whole thing sound that much more authentic. It was a simply stunning way to end a show - high energy and real enthusiasm. After a quick shaking of hands the band walked off the stage as the lights stayed out.
After a minute or two a few hundred lit lighters became visible all across MSG and the mood was set for a great farewell encore. The Dead came back out on stage again, did a little tuning, then went into “Brokedown Palace,” a soft ballad which calmed down the crowd and made you want to hug the world. Everyone was in true form and sounded great.
After they ended the song all the members gathered on the stage and faced the crowd, arms around each other. A few waves, points and claps came right before they took their final bow. No one knows whether this will be the last time this incarnation of The Dead takes to the road, but until then, listen to the river sing sweet songs to rock your soul.
05/13/2009
The Dead
Madison Square Garden
New York, New York
April 24, 2009
Madison Square Garden is billed as “the most famous arena in the world,” and The Dead have played there 52 times before April 24, a record for any other band until broken by Elton John in 2001. This show was kind of a coming home party, as they have not performed at MSG since 1994.
The stage was set for a great comeback for devoted fans, many of whom have not seen the band together since 1995 when Jerry died.
For those of you living under a rock, the current incarnation of The Dead consists of original members Bob Weir (guitar/vocals), Phil Lesh (bass/vocals), Bill Kreutzmann (drums), and Mickey Hart (drums). Filling out the rest of the band was Warren Haynes (lead guitar/vocals - Allman Brothers Band/Gov't Mule) and Jeff Chimenti (keys - Ratdog).
Set up on stage was a huge steal your face-like apparatus. Made to shoot out light into the crowd, it looked like a mammoth tribute to the good old days with Jerry on stage. Other lights included red and blue poker chips, as well as random other swirling colors. These all had plenty of potential but for some reason they seemed under used which was the only disappointment of the night.
The first set contained mostly late 60s and early 70s classics which was great to hear. That night The Garden was filled mostly by Deadheads, a small yet very pleasant surprise since it can tend to fill up with people who have no interest in the band performing.
Starting out with a terrific “Cosmic Charlie,” the band cruised though “China Cat Sunflower” directly into the first song sung by Warren Haynes, “Shakedown Street.” Warren sang on the next song as well, “Ship of Fools.”
Haynes really let everyone know what kind of show it was going to be when his normally rough and brittle voice took a back seat to his softer, smoother voice with just the right amount of soul tossed in which makes him so unique. Although he doesn’t sound like Jerry vocally or musically, when it comes to guitar styles he is still a perfect fit for the most famous touring band in history.
When “He’s Gone” came flowing through, the steal your face lights were moving all around the crowd, brightly shining for the lyrics “Steal your face right off your head.” By this point it seemed as though everyone around the band (there were seats completely sold out even behind the band) knew every word.
The first Bobby original came next in “Cassidy,” a soft song that picks up in tempo as it goes on. Closing out the first set was an 18 min. version of “Sugaree” which left nearly everyone speechless by the time it was over. Warren got the crowd amped up when he sang “Shake it up now, Sugaree; I’ll meet you at MSG,” backed up by a phenomenal guitar solo by the guitarist and an amazingly intense piano solo from Chiamenti.
No one knew what to expect to start the second set - the first half was just that good. Only the Rhythm Devils (aka Kreutzmann and Hart) came out and both sat down behind their respective drum sets. Watching these guys do what they do at their age is absolutely mesmerizing. With a drum set that nearly surrounded him, Bill began to pound away at the skins until he got a nice smooth groove going. Mickey jumped right in time and they became one as their hands and arms were moving faster than anyone imagined.
What was interesting about this edition of “Drums/Space” was that there seemed to be a little more technology involved. The Dead are masters when it comes to reaching new plateaus musically for themselves and their fans, and Mickey certainly reached a new level at MSG. To his left was a very large, metal object which he would strike and slide his hand up and down on to make different noises. Just before the rest of the band came on to finish out “Space” he went over to that same metal object and began hitting it over and over again, but no noise came out - it turns out he was recording it right there; when he returned to his regular drum set the arena was filled with drum beats, a little electronic, almost techno-ish keys from Jeff and the recording of that big hunk-a-metal. It really was something else.
Once the rest of the band came back on they jammed for a few minutes before blowing everyone away with two back to back tracks off 1968’s Anthem of the Sun; an amazing “Other One” and a 9 minute version of “Born Cross-eyed.” Both were terrific but when the first two plucks of “St. Steven” was heard the crowd flew into a frenzy of dancing. It didn’t matter how old or young you were, you were really groovin’ during this song and if you weren’t you should have gotten your pulse checked.
After “The Eleven” came the classic “Uncle John’s Band.” There was one lyrical mistake during this song but by no means did it take anything away from it. It was actually kind of ironic as the song contains the verse “Wo-oh, what I want to know, how does this song go?” A nice jam followed and when the song came to an end the crowd erupted with cheers.
Sporting a new black bass with a top that curls up nearly to his shoulder, Phil played one of his own songs, “Unbroken Chain.” It was evident how proud of this song he is because his voice sounds much better than on other songs and he plays it quite often when he tours by himself.
"Unbroken Chain" ended on a very soft note which set up for the most rocking song of the night, a cover of The Stone’s “Gimme Shelter.” A song Warren sometimes tackles with Mule, this rockin’ cover was off the charts. Never has anyone put so much effort, stamina, guts and glory into a song as Haynes did - eyes closed as he belted out the chorus and hair flowing as he shook his head all around, people went nuts as he strummed harder than anything you have ever seen before. The rest of The Dead even looked pleasantly surprised, all obviously enjoying the moment.
The show closed with the Bobby original “One More Saturday Night.” With its funky twists and turns, the song brought everyone out of their original seats down on through the aisles and into sections they had no business being in. This fell right into the end of the set perfectly because it was Saturday at The Garden and it was Bobby singing Bobby, which made the whole thing sound that much more authentic. It was a simply stunning way to end a show - high energy and real enthusiasm. After a quick shaking of hands the band walked off the stage as the lights stayed out.
After a minute or two a few hundred lit lighters became visible all across MSG and the mood was set for a great farewell encore. The Dead came back out on stage again, did a little tuning, then went into “Brokedown Palace,” a soft ballad which calmed down the crowd and made you want to hug the world. Everyone was in true form and sounded great.
After they ended the song all the members gathered on the stage and faced the crowd, arms around each other. A few waves, points and claps came right before they took their final bow. No one knows whether this will be the last time this incarnation of The Dead takes to the road, but until then, listen to the river sing sweet songs to rock your soul.
moe. provides own fireworks for fourth of July weekend
Written by Jim Cunningham / photos by Katherine Cunningham and Jim Cunningham
07/16/2009
moe.
Stone Pony Summerstage
Asbury Park, New Jersey
July 3-4, 2009
To celebrate the 233rd anniversary of our nation, moe. once again dropped by the Stone Pony in New Jersey for a weekend of shows.
For two nights (July 3-4) moe. rocked the Summerstage in Asbury Park, treating their hard-core fans and newcomers to a barrage of guitar solo’s combined with amazing percussions and smooth bass-lines from one of the most recognizable voices on the jam band scene for the past decade plus, Rob Derhak. Located in a parking lot in the back of the small bar/music hall, the stage was set up perfectly with a nice view of the beach (which contained fireworks on Saturday). Two nights of beautiful weather provided two amazing sunsets opposite the water.
On Friday, the five musicians came out on stage as the crowd chanted, “We want moe.! We want moe.!” Right away they kicked off the show with two stellar songs, “Hellos” and “Tailspin.” Both of these were a perfect fit for the openers because they really got the crowd groovin’ and movin’ and really set the tone for a good first set. With the dueling guitars of Chuck Garvey and Al Schnier, the flow and energy was radiating into the crowd.
They ended the first set with “Blue Jeans Pizza > Happy Hour Hero > Time Again > 32 Things,” a great stream of songs which featured different styles of music all rolled up into one. Percussionist Jim Loughlin even broke out the washboard during the upbeat “Time Again.”
Though the first set was solid, what came next was really something else. It seemed as though the band gained energy as the night went on; almost as if they fed off the crowd. moe. picked up right where they left off with the set opener, “Queen of Everything.” Drummer Vinnie Amico kept the band going without missing a beat, an amazing feat considering how much music the band had played that night.
The first part of “Brent Black” teamed up with “George” contained one of the most amazing jams one could wish to hear. Combining for 30 minutes of pure guitar power, these two songs were clearly the highlight of the show. It almost seemed as Garvey and Schnier were angry the way they kept trying to one up each other with amazing solos.
To close out the show they finished up the rest of “Brent Black” and left the stage for a few moments before coming to perform their encore song, “Not Coming Down.” Once again they killed it and ended the night so intensely that no one wanted to go home after the song had finished.
The good news was that they didn’t have to go home right away - inside the club was a small stage where Loughlin’s other band Lynch played a post-moe. set to make sure everyone went home happy and ready to rest and prepare for Saturday’s show.
The first set of Saturday’s show contained nine different songs with no breaks. They started off with “Spine of a Dog” and the first half of the song “Buster,” and the quintet continued to impress their fans with their tightness and attention to detail. Following “Second Cousins” Schnier sang the classic Dead tune, “The Other One.” Along with machine-like percussions and superior guitar playing, Derhak pounded the bass during the chorus as he, Chuck and the entire audience helped sing.
After “Big World” and “Ricky Martin,” moe. started to play the first part of a rather funky instrumental song, “McBain.” It featured a great solo by Jim on his vibraphone, an instrument best described as a very large xylophone that provides soft notes perfect for the instrumental tune. Once the jam started to slow down the band kicked it back into gear with “Lazarus” and finally ended with the last part of “Buster.”
During the set-break the sun finally went down and the cloudless sky lit up with a terrific fireworks display. Lasting about a half hour, it really got the crowd amped up for the rest of the show. Once the festivities came to an end, the boys returned once again to a crowd chanting their name. They came to the stage amid roaring applause and opened up with “Captain America,” a great choice considering it was America’s birthday.
Draped in a red, white and blue feather boa and wearing starry sunglasses which he joked were “…definitely Elton John’s glasses,” Rob sang lead on “Sticks and Stones,” the title track of their newest album. A very tight track lacking a long extended jam, it seems as though this song was intended for their newer fans although it wouldn’t be surprising at all to one day hear them tear it up for 10 minutes of extended jamming.
Later in the set they finished what they started earlier and played the last part of “McBain,” which led into a phenomenal combination of rock and jazz fusion called “Time Ed.” At about halfway through Loughlin again showed us his “vibe” chops and kept the music flowing softly until about 16 minutes into the song when Chuck and Al picked it back up and rocked against each other musically to end the set with “Zed Nought Zee.” A huge ovation followed and when they came back on stage for the encore Schnier let the crowd know how he felt by saying “I think you’re all crazy…but you’re awesome too.” Everyone loved it and couldn’t wait to hear one more song before the Fourth of July weekend with moe. came to an end.
Before the song started, as the band was fiddling around with their instruments, Derhak leaned over the stage right above the crowd and let the lucky few pluck the strings to his bass creating strange sounds that only 15 hands and a couple of tongues could make. Al jumped over to his keyboards and was creating weird noises as Chuck jumped in by placing his guitar next to an amp to get some pretty cool feedback, while Loughlin and Amico banged away randomly on the skins all in unison. Somehow with amazing timing and grace the entire band broke into “Seat of My Pants,” and within the first few seconds of the familiar notes the crowd began to sing and jump together full of elation.
Although moe. had finished no one was sad to see them go, because they left it all on the stage. They played two nights of amazing music, hovering at around three hours a show - not to mention the fireworks display separating Saturday's sets. The positive atmosphere lasted all weekend and everyone went home happy. Another Fourth was in the books for moe. and one can only hope that they catch them again next year for a wonderful celebration of the American dream.
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