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...
Wednesday, May 26, 2010
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.
Shades of Jorma
Written by Jim Cunningham
04/08/2009
Jorma Kaukonen & Barry Mitterhoff
The Watercolor Café
Larchmont, New York
March 20, 2009
On Saturday, March 20th, guitar legend Jorma Kaukonen stopped by a little town called Larchmont, located in lower Westchester County just 20 miles out of NYC. The venue was a small restaurant, the Watercolor Café, and there were no tickets issued for this show; your name was put on a list and you were seated at one of the few tables inside. This small eatery can fit maybe 100 people, and that’s really stretching it. Though not known as being a regular stop on most artists’ tour this was Jorma’s second time playing there and last new years Richie Havens delighted the crowd with classic 60’s era folk music to usher in 2008. Kaukonen played two shows with a great mix of Hot Tuna as well as solo material. Playing with him on mandolin was his good friend Barry Mitterhoff, a very talented musician who turned that mandolin into a powerhouse instrument, no easy feat.
During the early show, Jorma played hits such as “Candy Man,” “Hesitation Blues,” “99 Year Blues” and “I Know You Rider,” all crowd favorites from his early days with Hot Tuna. Off of his new album, River Of Time, he played “Operator,” a classic Grateful Dead tune from American Beauty. A nice 15 song set really warmed Jorma up for the late night show which probably started around 10:45 p.m.
The late show set featured more of his solo material, especially tracks from his new record, a great combination of songs that really doesn’t have a bad track on it; the crowd really responded well to the new stuff. When Jorma broke into a song named “More Than My Old Guitar” he couldn’t stop smiling while singing with Barry. It is a great tune with a little bit of humor in it as the chorus goes “I love my guitar, like Jesus loves the poor, but I love you even more.”
One of the best things about the show was that Kaukonen and Mitterhoff would talk to each other and the audience in between songs, and as the night moved along and Jorma’s beer began to empty, he rolled up his sleeves, revealing his tattoos, and told a short story about the next song he was going to sing named “Izze’s Lullaby,” a song for his young daughter. He told the crowd he hoped she was asleep by now and you could tell by his voice that he really missed her and thought about her all the time while on the road. He ended the show with another new song called “Full Go Round” and received a standing ovation that made this small little café in Larchmont sound like a concert hall.
When the show was over, Jorma bolted for his tour bus and headed to Pittsburgh for his next show. Although he didn’t play as many classic songs as everyone would have liked, his new material was outstanding, and the small crowd in the intimate venue responded in kind.
04/08/2009
Jorma Kaukonen & Barry Mitterhoff
The Watercolor Café
Larchmont, New York
March 20, 2009
On Saturday, March 20th, guitar legend Jorma Kaukonen stopped by a little town called Larchmont, located in lower Westchester County just 20 miles out of NYC. The venue was a small restaurant, the Watercolor Café, and there were no tickets issued for this show; your name was put on a list and you were seated at one of the few tables inside. This small eatery can fit maybe 100 people, and that’s really stretching it. Though not known as being a regular stop on most artists’ tour this was Jorma’s second time playing there and last new years Richie Havens delighted the crowd with classic 60’s era folk music to usher in 2008. Kaukonen played two shows with a great mix of Hot Tuna as well as solo material. Playing with him on mandolin was his good friend Barry Mitterhoff, a very talented musician who turned that mandolin into a powerhouse instrument, no easy feat.
During the early show, Jorma played hits such as “Candy Man,” “Hesitation Blues,” “99 Year Blues” and “I Know You Rider,” all crowd favorites from his early days with Hot Tuna. Off of his new album, River Of Time, he played “Operator,” a classic Grateful Dead tune from American Beauty. A nice 15 song set really warmed Jorma up for the late night show which probably started around 10:45 p.m.
The late show set featured more of his solo material, especially tracks from his new record, a great combination of songs that really doesn’t have a bad track on it; the crowd really responded well to the new stuff. When Jorma broke into a song named “More Than My Old Guitar” he couldn’t stop smiling while singing with Barry. It is a great tune with a little bit of humor in it as the chorus goes “I love my guitar, like Jesus loves the poor, but I love you even more.”
One of the best things about the show was that Kaukonen and Mitterhoff would talk to each other and the audience in between songs, and as the night moved along and Jorma’s beer began to empty, he rolled up his sleeves, revealing his tattoos, and told a short story about the next song he was going to sing named “Izze’s Lullaby,” a song for his young daughter. He told the crowd he hoped she was asleep by now and you could tell by his voice that he really missed her and thought about her all the time while on the road. He ended the show with another new song called “Full Go Round” and received a standing ovation that made this small little café in Larchmont sound like a concert hall.
When the show was over, Jorma bolted for his tour bus and headed to Pittsburgh for his next show. Although he didn’t play as many classic songs as everyone would have liked, his new material was outstanding, and the small crowd in the intimate venue responded in kind.
The Black Crowes Ramble Up To Woodstock
Written by Jim Cunningham
03/05/2009
The Black Crowes
Levon Helm Studios
Woodstock, New York
February 28, 2009
To close out February, Levon Helm lent his home studio to the Black Crowes, who did a number of shows there, performing only new material. What resulted was an intimate, amazing night of music that a fortunate few experienced.
Way up north, in a small town named Woodstock, NY, lives rock n’ roll legend Helm. Best known for being the drummer and vocalist for The Band, every once in a while he invites people over to his house (for a nominal fee) to watch him and other talented musicians jam in his private studio. For those of you who have not made this trip, it is quite an experience and will promise to be one of the best shows of your life. Since the studio only fits about one hundred people there is no bad seat as you can clearly see the happy expressions on everyone’s face as they play.
The Black Crowes were invited to take over for a few days, and no recording was allowed because these sessions are to be released sometime in the near future as their new album. After this announcement was made over a loud speaker, the Crowes all came out from a side door and took their positions onstage. Even though the room was small you could feel the positive energy bouncing off the walls as they began fiddling with their instruments.
Chris Robinson (singer/songwriter) let the crowd know how everything was going to go down. He warned that some songs would be played twice in a row, depending on what their producer Paul Stacey, seated on a high rise behind the band with the family members and friends thought of the take. It was a nice surprise to see Larry Campbell (Phil Lesh and Friends, Levon Helm Band) play with the Crowes on the first few songs, mostly on fiddle and pedal steel.
The first few songs, named “Garden Gate” and “The Last Place That Love Lived,” were very different than what most Crowes fans were used to hearing; they featured more of a country twang that incorporated Larry’s fiddle and and mandolin, courtesy of guitarist Luther Dickinson. On the next two tracks, named “Appaloosa” and “So Many Times” (originally written by former Byrds and Flying Burrito Brother’s member Chris Hillman), the pace picked up as Larry sat down to play the pedal steel. It was at this point the crowd really started to get into the show.
Chris picked up an electric guitar for the next song, titled “Little Lizzie Mae,” probably the most rockin’ of all the new songs with tremendous energy. This song was well-received by the crowd, not only because of the quality but because it was very unique to have something that fast played by a band standing on the same floor as the rest of the congregation.
The last true gem of their originals came next, called “A Train Still Makes A Lonely Sound.” It was the only song on which Chris played his harmonica, and he did it well. “Good Morning Captain” had some great slide guitar action from Luther. “Lady Of Avenue A” followed and though not stellar, it still sounded perfect for the album.
“The Shady Grove” and “Make Glad” were the only two original songs they had played more than once during this run so far, and they closed the set with a song called “I Ain’t Hidin’.” This was not your typical Crowes song either, with country and bluegrass undertones like some of the earlier offerings. This song actually seemed more modern, almost like a song they didn’t take too seriously.
After the Crowes announced they would be taking a short break, everyone in the studio was biting their nails with excitement wondering what they would play. Once they started warming up, Chris announced that all of the pressure would now be on his brother Rich, as it was his turn to sing lead. Chris told everyone “We’re gonna play one of our favorite Velvet Underground songs for yall…” and then they went into “Oh! Sweet Nothing,” a slow and lucid track off one of the band's most famous albums, Loaded. Rich and Sven (bassist) absolutely nailed this song vocally, and there was a beautiful solo battle between Luther and Rich towards the end. A huge standing ovation was given to the band as they gave high-fives and hugs to people in the front row.
After it was all said and done everyone got back into their cars, some with California license plates, some with New Jersey and others with South Carolina, each headed off to either local motels or local interstates. What started out as a great opportunity for fans to get to watch their favorite band up close and personal turned out to be a wonderful experience for all, including the band members. By the end of the show, their faces said it all…they truly believe that this album is going to be something special; and from the looks of it, everyone in attendance agreed.
03/05/2009
The Black Crowes
Levon Helm Studios
Woodstock, New York
February 28, 2009
To close out February, Levon Helm lent his home studio to the Black Crowes, who did a number of shows there, performing only new material. What resulted was an intimate, amazing night of music that a fortunate few experienced.
Way up north, in a small town named Woodstock, NY, lives rock n’ roll legend Helm. Best known for being the drummer and vocalist for The Band, every once in a while he invites people over to his house (for a nominal fee) to watch him and other talented musicians jam in his private studio. For those of you who have not made this trip, it is quite an experience and will promise to be one of the best shows of your life. Since the studio only fits about one hundred people there is no bad seat as you can clearly see the happy expressions on everyone’s face as they play.
The Black Crowes were invited to take over for a few days, and no recording was allowed because these sessions are to be released sometime in the near future as their new album. After this announcement was made over a loud speaker, the Crowes all came out from a side door and took their positions onstage. Even though the room was small you could feel the positive energy bouncing off the walls as they began fiddling with their instruments.
Chris Robinson (singer/songwriter) let the crowd know how everything was going to go down. He warned that some songs would be played twice in a row, depending on what their producer Paul Stacey, seated on a high rise behind the band with the family members and friends thought of the take. It was a nice surprise to see Larry Campbell (Phil Lesh and Friends, Levon Helm Band) play with the Crowes on the first few songs, mostly on fiddle and pedal steel.
The first few songs, named “Garden Gate” and “The Last Place That Love Lived,” were very different than what most Crowes fans were used to hearing; they featured more of a country twang that incorporated Larry’s fiddle and and mandolin, courtesy of guitarist Luther Dickinson. On the next two tracks, named “Appaloosa” and “So Many Times” (originally written by former Byrds and Flying Burrito Brother’s member Chris Hillman), the pace picked up as Larry sat down to play the pedal steel. It was at this point the crowd really started to get into the show.
Chris picked up an electric guitar for the next song, titled “Little Lizzie Mae,” probably the most rockin’ of all the new songs with tremendous energy. This song was well-received by the crowd, not only because of the quality but because it was very unique to have something that fast played by a band standing on the same floor as the rest of the congregation.
The last true gem of their originals came next, called “A Train Still Makes A Lonely Sound.” It was the only song on which Chris played his harmonica, and he did it well. “Good Morning Captain” had some great slide guitar action from Luther. “Lady Of Avenue A” followed and though not stellar, it still sounded perfect for the album.
“The Shady Grove” and “Make Glad” were the only two original songs they had played more than once during this run so far, and they closed the set with a song called “I Ain’t Hidin’.” This was not your typical Crowes song either, with country and bluegrass undertones like some of the earlier offerings. This song actually seemed more modern, almost like a song they didn’t take too seriously.
After the Crowes announced they would be taking a short break, everyone in the studio was biting their nails with excitement wondering what they would play. Once they started warming up, Chris announced that all of the pressure would now be on his brother Rich, as it was his turn to sing lead. Chris told everyone “We’re gonna play one of our favorite Velvet Underground songs for yall…” and then they went into “Oh! Sweet Nothing,” a slow and lucid track off one of the band's most famous albums, Loaded. Rich and Sven (bassist) absolutely nailed this song vocally, and there was a beautiful solo battle between Luther and Rich towards the end. A huge standing ovation was given to the band as they gave high-fives and hugs to people in the front row.
After it was all said and done everyone got back into their cars, some with California license plates, some with New Jersey and others with South Carolina, each headed off to either local motels or local interstates. What started out as a great opportunity for fans to get to watch their favorite band up close and personal turned out to be a wonderful experience for all, including the band members. By the end of the show, their faces said it all…they truly believe that this album is going to be something special; and from the looks of it, everyone in attendance agreed.
Ratdog in the City
Written by Jim Cunningham
04/12/2008
Ratdog
Beacon Theatre
New York, New York
April 4, 2008
Ratdog started their April 4 show in New York City like any other - by warming up their fingers with a slow, smooth jam. As the jam took shape, the band went into the Dead classic, “Playin’ In The Band.” They were off and running, and followed it up with a nice unexpected version of The Beatles’ “Tomorrow Never Knows,” off of Revolver.
Up next was another crowd pleaser, “Tennessee Jed.” Everyone in the audience knew all the words and the crowd became even more excited during the chorus, when the lights were turned up nice and bright. Without flowing into the next song, they brought “Jed” to a close and received a huge round of applause. After the crowd ran out of a bit of steam, Bobby and the boys helped cool them off with a soft version of “Sitting In Limbo,” played by the Dead as well as The Jerry Garcia Band on the regular.
The Dog slowed it down even more for a late-era Dead classic, “West LA Fadeaway,” played as the crowd sang all the lyrics before Bob could. Again the band decided to stop in between songs and once again they got a huge ovation from the crowd. They closed the first set was a cover from Noah Lewis, “Big Railroad Blues.”
They started the second set with a classic version of "KC Moan." Simple and to the point, Bobby nailed it. When the band kicked off “Eyes of The World.” all it took was about three seconds before the whole crowd went nuts. All the aisles were filled, balloons hung over everyone’s head, and tons of smoke filled the air.
What happened next took the crowd completely by surprise as Bob welcomed Chris Burger and Zacariah Mose of the hip-hop group Band Of Brotherz. While Ratdog jammed, these two guys came out to rap over it, and the crowd really responded well to it. At one point, Burger went up to Mark Karan (who has just returned to the band after a hiatus due to throat cancer) and started fluffing his hair with an afro pick. It brought out a huge smile from both performers.
To wrap up the second set, Ratdog played another Beatles song, “Dear Prudence.” While Bobby switches guitars the band kept playing, eventually making their way to the all too familiar opening notes to “China Cat Sunflower.” 99% of the time when the Dead played this song, it flowed right into the traditional “I Know You Rider,” and this turned out no different. The highlight of the song was at the end when for two versus it was sung a cappella. Once again the lights were turned up bright making the crowd part of the show as they all sang along. The song came to an end and the band got a huge ovation before walking off the stage.
A few minutes passed as the audience stood cheering, begging for Ratdog to come and play another tune. They went straight into the opening of “Casey Jones,” and even the ushers got into it. It was a great version with an extended jam at the end with a repeating chorus that everyone sang along to.
Once the show was finally over, Bobby ended it the way he always does, by bringing out everyone that played in the show as well as crew for one final bow. Hugs were exchanged and hands were shook and new friends were made as we all shuffled out of that beautiful Beacon Theater.
04/12/2008
Ratdog
Beacon Theatre
New York, New York
April 4, 2008
Ratdog started their April 4 show in New York City like any other - by warming up their fingers with a slow, smooth jam. As the jam took shape, the band went into the Dead classic, “Playin’ In The Band.” They were off and running, and followed it up with a nice unexpected version of The Beatles’ “Tomorrow Never Knows,” off of Revolver.
Up next was another crowd pleaser, “Tennessee Jed.” Everyone in the audience knew all the words and the crowd became even more excited during the chorus, when the lights were turned up nice and bright. Without flowing into the next song, they brought “Jed” to a close and received a huge round of applause. After the crowd ran out of a bit of steam, Bobby and the boys helped cool them off with a soft version of “Sitting In Limbo,” played by the Dead as well as The Jerry Garcia Band on the regular.
The Dog slowed it down even more for a late-era Dead classic, “West LA Fadeaway,” played as the crowd sang all the lyrics before Bob could. Again the band decided to stop in between songs and once again they got a huge ovation from the crowd. They closed the first set was a cover from Noah Lewis, “Big Railroad Blues.”
They started the second set with a classic version of "KC Moan." Simple and to the point, Bobby nailed it. When the band kicked off “Eyes of The World.” all it took was about three seconds before the whole crowd went nuts. All the aisles were filled, balloons hung over everyone’s head, and tons of smoke filled the air.
What happened next took the crowd completely by surprise as Bob welcomed Chris Burger and Zacariah Mose of the hip-hop group Band Of Brotherz. While Ratdog jammed, these two guys came out to rap over it, and the crowd really responded well to it. At one point, Burger went up to Mark Karan (who has just returned to the band after a hiatus due to throat cancer) and started fluffing his hair with an afro pick. It brought out a huge smile from both performers.
To wrap up the second set, Ratdog played another Beatles song, “Dear Prudence.” While Bobby switches guitars the band kept playing, eventually making their way to the all too familiar opening notes to “China Cat Sunflower.” 99% of the time when the Dead played this song, it flowed right into the traditional “I Know You Rider,” and this turned out no different. The highlight of the song was at the end when for two versus it was sung a cappella. Once again the lights were turned up bright making the crowd part of the show as they all sang along. The song came to an end and the band got a huge ovation before walking off the stage.
A few minutes passed as the audience stood cheering, begging for Ratdog to come and play another tune. They went straight into the opening of “Casey Jones,” and even the ushers got into it. It was a great version with an extended jam at the end with a repeating chorus that everyone sang along to.
Once the show was finally over, Bobby ended it the way he always does, by bringing out everyone that played in the show as well as crew for one final bow. Hugs were exchanged and hands were shook and new friends were made as we all shuffled out of that beautiful Beacon Theater.
DSO and friends perform for Bill Graham Foundation
Written by Jim Cunningham
06/09/2008
Moonalice, John Popper and Chan Kinchla, Spin Doctors, Dark Star Orchestra
Irving Plaza (Fillmore East)
New York, New York
May 27, 2008
On Tuesday, May 27, 2008 a concert was held at the Fillmore East (Irving Plaza) in honor of the greatest concert promoter of all time, Bill Graham. The entire night was a fundraiser for the Bill Graham Memorial Foundation, a charity created to give underprivileged persons grants in the arts. The lineup consisted of Moonalice, John Popper and Chan Kinchla, Spin Doctors, and the headliners, Dark Star Orchestra.
The first act to come on was Moonalice, an all-star band that's flying under the radar. Most people have never heard of this band and it’s a shame. They have a great rock and roll sound yet jam out thanks to the help of G.E. Smith (former guitarist and band leader of the Saturday Night Live house band), Barry Sless, and Pete Sears. G.E. did some singing while Barry moved between playing an amazing pedal steel as well as a mean 6 string guitar. The highlight of this set was their closer, “Stella Blue.” It was very soft and melodic and put together nicely.
Up next to perform were John Popper and Chan Kinchla. Since only the two of them were announced, no one was really sure who was going to play with them. As it turns out, the answer was no one. They performed a wonderful acoustic set with Popper singing and wailing on the harmonica with enough energy to excite the entire floor. They drove through a short but sweet set that included classics such as “Hook” and “But Anyway,” which featured a great harp solo. It was very interesting to hear Blues Traveler’s material performed acoustically but the audience loved it so they obviously made the right decision.
The Spin Doctors have been around since the late 80’s and were always considered a fun band to see live. This night was no different. The amount of passion these guys played with was no surprise. Lead singer Chris Barron was full of energy, at moments kicking his leg up in the air so high he cleared the microphone stand.
Their two big hits, “Two Princes” and “Little Miss Can’t Be Wrong” really got the crowd excited, but they got their best response from the crowd with their cover of the Grateful Dead classic, “Ripple.” It appeared as though this was the first time the band had ever performed it live, as Barron kept looking down at a sheet of lyrics next to his set list to make sure he didn’t mess up. They got a a huge ovation after they had finished their set at around 11:15 pm. As good as the Spin Doctors were, 90% of the crowd came for one reason and one reason only, Dark Star Orchestra.
For those not familiar with DSO, they are a Grateful Dead cover band and are considered the best of the best. They are famous for picking out a classic Dead show and playing it in it’s entirety, song for song, even going so far as to purposely miss notes just like the Dead had at that particular show. The band also includes original set lists (still all Dead songs) every once in a while to mix things up.
DSO came on stage and proceeded to play one of their original set lists. Dead favorites such as “Mr. Charlie” and “I Need a Miracle” got the crowd’s juices flowing early. They also played a great version of Wilson Pickett’s “Midnight Hour,” a song the Dead covered frequently.
A real treat was “Lazy River Road,” a song you can’t find on any studio album, one of those rare gems that was only played live, and it a deeply soulful ballad with a chorus that the entire crowd can sing to. True to form, DSO played the first few verses to “Dark Star,” the song from which the band got their name.
The tightest part of their set was without a doubt “Terrapin Station.” Lead guitarist and singer John Kadlecik is well known for sounding hauntingly like Jerry Garcia and here he did not disappoint. A tremendous jam followed that never let up, keeping the Fillmore rockin’ for over 15 min. Rob Eaton, who plays rhythm guitar and sings all of Bob Weir’s songs kicked into "Sugar Magnolia" quite literally, as he is well known not only for sounding like Bobby when he sings but for having the same mannerisms while playing the guitar. He really takes each song to that extra level, always looking like he’s having a great time onstage.
Overall the concert was a success. Each band sounded great and recruited some new fans as a direct result. Money from the tickets as well as a silent auction for a signed Grateful Dead poster was raised for the Bill Graham Memorial Foundation and his two sons were on hand to thank the audience before and after the show. It was a great night for music and charity and we can all hope that this was the first of many annual Bill Graham Memorial concerts.
06/09/2008
Moonalice, John Popper and Chan Kinchla, Spin Doctors, Dark Star Orchestra
Irving Plaza (Fillmore East)
New York, New York
May 27, 2008
On Tuesday, May 27, 2008 a concert was held at the Fillmore East (Irving Plaza) in honor of the greatest concert promoter of all time, Bill Graham. The entire night was a fundraiser for the Bill Graham Memorial Foundation, a charity created to give underprivileged persons grants in the arts. The lineup consisted of Moonalice, John Popper and Chan Kinchla, Spin Doctors, and the headliners, Dark Star Orchestra.
The first act to come on was Moonalice, an all-star band that's flying under the radar. Most people have never heard of this band and it’s a shame. They have a great rock and roll sound yet jam out thanks to the help of G.E. Smith (former guitarist and band leader of the Saturday Night Live house band), Barry Sless, and Pete Sears. G.E. did some singing while Barry moved between playing an amazing pedal steel as well as a mean 6 string guitar. The highlight of this set was their closer, “Stella Blue.” It was very soft and melodic and put together nicely.
Up next to perform were John Popper and Chan Kinchla. Since only the two of them were announced, no one was really sure who was going to play with them. As it turns out, the answer was no one. They performed a wonderful acoustic set with Popper singing and wailing on the harmonica with enough energy to excite the entire floor. They drove through a short but sweet set that included classics such as “Hook” and “But Anyway,” which featured a great harp solo. It was very interesting to hear Blues Traveler’s material performed acoustically but the audience loved it so they obviously made the right decision.
The Spin Doctors have been around since the late 80’s and were always considered a fun band to see live. This night was no different. The amount of passion these guys played with was no surprise. Lead singer Chris Barron was full of energy, at moments kicking his leg up in the air so high he cleared the microphone stand.
Their two big hits, “Two Princes” and “Little Miss Can’t Be Wrong” really got the crowd excited, but they got their best response from the crowd with their cover of the Grateful Dead classic, “Ripple.” It appeared as though this was the first time the band had ever performed it live, as Barron kept looking down at a sheet of lyrics next to his set list to make sure he didn’t mess up. They got a a huge ovation after they had finished their set at around 11:15 pm. As good as the Spin Doctors were, 90% of the crowd came for one reason and one reason only, Dark Star Orchestra.
For those not familiar with DSO, they are a Grateful Dead cover band and are considered the best of the best. They are famous for picking out a classic Dead show and playing it in it’s entirety, song for song, even going so far as to purposely miss notes just like the Dead had at that particular show. The band also includes original set lists (still all Dead songs) every once in a while to mix things up.
DSO came on stage and proceeded to play one of their original set lists. Dead favorites such as “Mr. Charlie” and “I Need a Miracle” got the crowd’s juices flowing early. They also played a great version of Wilson Pickett’s “Midnight Hour,” a song the Dead covered frequently.
A real treat was “Lazy River Road,” a song you can’t find on any studio album, one of those rare gems that was only played live, and it a deeply soulful ballad with a chorus that the entire crowd can sing to. True to form, DSO played the first few verses to “Dark Star,” the song from which the band got their name.
The tightest part of their set was without a doubt “Terrapin Station.” Lead guitarist and singer John Kadlecik is well known for sounding hauntingly like Jerry Garcia and here he did not disappoint. A tremendous jam followed that never let up, keeping the Fillmore rockin’ for over 15 min. Rob Eaton, who plays rhythm guitar and sings all of Bob Weir’s songs kicked into "Sugar Magnolia" quite literally, as he is well known not only for sounding like Bobby when he sings but for having the same mannerisms while playing the guitar. He really takes each song to that extra level, always looking like he’s having a great time onstage.
Overall the concert was a success. Each band sounded great and recruited some new fans as a direct result. Money from the tickets as well as a silent auction for a signed Grateful Dead poster was raised for the Bill Graham Memorial Foundation and his two sons were on hand to thank the audience before and after the show. It was a great night for music and charity and we can all hope that this was the first of many annual Bill Graham Memorial concerts.
Subscribe to:
Posts (Atom)
Posts
