Showing posts with label rock. Show all posts
Showing posts with label rock. Show all posts

Phil Lesh and Friends 1999-08-22

Thursday, April 21, 2011

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Phil Lesh and Friends
1999-08-22
County Bowl
Santa Barbara, CA
(Download or Stream)

My first experience with Phil Lesh and friends was in the summer after I graduated from high school. My old friend Critical Chris and I decided to go Gathering of the Vibes in upstate New York. I was already big into Gov't Mule and the Grateful Dead, and Mule was featured one of the nights of the festival followed by Phil Lesh and Friends. We had a devilishly smart plan to fund our entire trip by selling grilled cheese sandwiches once we got inside the festival. Who could possibly turn down a delicious and competitively priced grilled cheese sandwich? Apparently a lot of people, because we sold very few of them.

I found this Phil Lesh and Friends show by accident. I was searching for something with an entirely different vibe, but was drawn in by Soulshine on the track list. Warren wrote the song for the Allman Brothers, and he took it with him when he left for Gov't Mule. If you asked me in high school what my favorite song was, I would have told you hands down Soulshine. Older and wiser now, I am no longer bold enough to answer that question with anything less than a top 25 list. This potent blend of memories combined, and I downloaded the show and made myself a grilled cheese sandwich.

Youth, large, lusty, loving--youth full of grace, force, fascination, 
Do you know that Old Age may come after you with equal grace, 
force, fascination? 

Day full-blown and splendid-day of the immense sun, action, 
ambition, laughter, 
The Night follows close with millions of suns, and sleep and 
restoring darkness. -Walt Whitman
The set is rambling and perfectly fit in with my day off today.  There is a lazy organ intro to Soulshine, and drawn out My Favorite Things. The show ends entirely within the vein of the Grateful Dead with a upbeat and loose version of Iko, Iko.  Sound quality is good.  Sorry about the lack of pictures in this post. I had difficulty finding royalty free images....

The Radiators 2011-02-11

Friday, February 25, 2011

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The Radiators 2011-02-11
The Bluebird Theatre
Denver, CO
(Download)

This is the second time I posted a Radiators show on this blog.  They are one of my favorite bands to explore on archive.org. They have over 500 shows available for streaming and downloading and always seemed to be doing something interesting. I was pretty sad to read the following on their website a few weeks ago:
FOLD UP THE BIG TOP After 33 years..over 4500 live shows..and a dozen albums..legendary New Orleans rockers The Radiators are finally calling it quits. The band has officially decided to break up in mid-June following their final tour which will include one last New Year's Eve run, a MOMs Ball and also headlining their final appearance at The New Orleans Jazz & Heritage Festival. The band will honor all dates already on their schedule and are planning to add as many shows as possible before ending their storied 33 year career. The guys want to whole-heartedly thank their long time fans for making this ride as amazing as it has been. They truly feel that their fans are the best and most dedicated in the world and have kept their traveling circus alive. Individual band members will announce their plans in the near future.
I can only guess why the band decided to call it quits. It is not easy keeping a group of musicians moving forward on the same musical path, and it is remarkable the band has toured, recorded, and performed for so long. In the meantime, they are still putting out great music. I can never seem to get over the interplay between the bass, drums and keyboard. Not to discount the guitar playing, it's just as a bass player I enjoy listening to a great rhythm section at work.

This show is only encoded in FLAC. See my previous on how to listen to this format.  The sound quality of this recording is excellent.

Grateful Dead 1970-08-19

Wednesday, February 02, 2011

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The Grateful Dead 1970-08-19
Fillmore West
San Francisco, CA

I am a deadhead. Jerry Garcia may have died before I was old enough to see them, but the spirit of the band always resonated with me. I am a long time subscriber to the weekly Grateful Dead podcast, the Deadpod. My roots with the band go back as far as middle school.  I remember trading Grateful Dead cassettes with my friends.  Finding a new one at a yard sale made you a hero. Maybe I ran with an odd crew, but we passed Dead tapes around in the same way our peers passed around adult magazines. They were a glimpse into another world, one meant to be surreptitiously enjoyed.

The Dead have their own section on archive.org.  Many of the shows are either stream only (in the case of soundboard recordings) or are listed, but are no longer available (put out on a commercially available release). It is a reminder that for all their taper friendly policies, the Grateful Dead are still a multi-million dollar business. This show is available for download (only mp3!) or streaming directly from the site.

This show is divided into two sets; the first acoustic and the second electric. For me, the acoustic set stole the show.  A version of "The Monkey and the Engineer" recently appeared on the David Rawlings solo CD, and I have never heard someone else cover it.  The song "Dark Hollow" is a bluegrass standard. It's inclusion foretells much of what Jerry would go on to do with his solo projects. Fans of Old Crow Medicine Show will recognize "Cocaine." This traditional tune appeared on OCMS' self tittled album as "Tell it to Me."  The electric set contains the staples of this period of the Dead. I especially liked the version of "I Know You Rider" and "Not Fade Away."

The audio quality on this recording is poor. It is an audience recording done with an old Sony TC-124. There are tape squeals and the frequency response is compressed.  To be honest, I am totally fine with that. Sounds like a good Dead tape should.

The Decemberists 2008-01-22

Tuesday, September 09, 2008

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The Decemberists
January 22, 2008
The Crystal Ballroom
Portland, OR
(Download)


With all honesty, I don't remember exactly how I first learned about the Decemberists. Two weeks ago, I found the name on a scrap of paper stuffed in the center console of my truck. Could have heard about them on NPR. Or maybe it was from a friend. Judging by the coffee stains decorating the paper, it was some time ago. Luckily, the band is taper friendly and allow their shows on archive.org.

The Crane Wife 1 And 2/The Crane Wife 3
Billy Liar
The Legionnaire's Lament
The Engine Driver
Eli, The Barrow Boy
The Gymnast, High Above The Ground
Odalisque
O Valencia
Leslie Ann Levine
The Chimbley Sweep
The Perfect Crime 2
The Tain
California One/Youth And Beauty Brigade
I Was Meant For The Stage
Out off all the Decemberists shows on archive.org, it was difficult for one unfamiliar with the band to choose. After a few false starts, this 2008 show stood out for its diversity of material (old and new), excellent sound quality, and high energy. Listen to the "The Crane Wife Pt 1, 2 & 3" and "The Legionnaire's Lament." You will find out very quickly if the Decemberists are for you. These tracks are the best of indie rock: rich musical texture and infectious melodies. Run time is 2:05:02. Sound quality is A.

Poor Man's Whiskey 2007-05-18

Wednesday, August 20, 2008

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Poor Man's Whiskey 2007-05-18 The Mystic Theater Petaluma, CA (Stream and Download)

There are certainly many occasions for dissecting, discussing, and microanalyzing a live show. Occasionally, there is a time where you simply cannot speak for a show better than it can speak for itself. For the first time in my history writing for TheJiveFather, I have found myself deciding to use the latter strategy.

It comes down to this: I could tell you all about Poor Man's Whiskey, but since I've only just become aware of them myself, I'm sure they'll do a better job. I could tell you about my love of Pink Floyd and the Dark Side of the Moon album in particular, but if you're here you're probably either aware or on the same page at least. I could tell you about how awesome it is to hear a bluegrass take on said album, but I simply don't possess the mastery of language to do it justice.

Just listen to it.

Until a band decides to cover my favorite Floyd album, Animals, and do it really well, this will stand as my favorite Pink Floyd cover.

You know the album, but formalities beckon:

1) Speak To Me
2) Breathe
3) On The Run
4) Time
5) Breathe - reprise
6) Great Gig in the Sky
7) Whiskey(Money)
8) Us and Them
9) Any Colour You Like
10) Brain Damage
11) Eclipse


Sound is a B, it's good but the crowd noise is a little too prominent. Taped/Transferred by Eric Walton, thanks for allowing the lunatic to be in all of our heads. Photo credit to the band's website. Thanks to the curators at archive.org for making this a Curator's Choice show, I'd have never found it otherwise.

Michael Franti and Spearhead 2007-05-26

Wednesday, July 30, 2008

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Michael Franti and Spearhead 2007-05-26 Cuthbert Ampitheatre Eugene, OR (Download)

We don't overtly do politics on this site. There's no shortage of material, but it's not what the JiveFather is about. Political commentary has been expressed through music for a very long time, however, so it's bound to make its way here from time to time.

At no time in history was politically oriented music, or "protest music", more prevalent or popular than the 60's. Music was used to express explicitly both a dissatisfaction with war, violence, social injustice, and inequality, as well as a desire and a call to action to work for peace, love, and a harmonious existence. There was also music expressing contrary opinions, particularly about Vietnam, ranging from moving tributes to glorification.

Over the last several years, an increasing number of musicians have been providing a soundtrack to the various movements and causes of our time. Today's post is about one such musician.

Michael Franti and his band, Spearhead, have been making fantastic politically charged music for over a decade now. His work covers war, government corruption, racial and religious intolerance, and numerous other topics, though personally I find most important his primary request of humankind, which is that we all remember to "stay human". He's played huge venues around the world, but he's also played to countless people in the streets, including in Baghdad.



Today we are in a war against war - Music is our power.
-Michael Franti


This particular show is a really good overview of his work with Spearhead, and there's some great storytelling in between tracks as well. Some highlights for me were a very interesting version of "Rock the Nation", a charged take on "Hello Bonjour", and a finale of "Everyone Deserves Music". The full set follows:

Time To Go Home, We Don't Stop, Sometimes, Hey Now Now, People In The Middle > Sweet Little Lies, East/West, Stay Human, Have A Little Faith, Rock The Nation, Nobody Right/Nobody Wrong, High Low, What I Got, Everything's Changed, Hello Bonjour, Light Up Ya Lighter, Yell Fire, I Know I'm Not Alone, One Step Closer, EDM, Everybodyonnamove, band intros


Sound quality is a B+, levels are off at times but it's very solid overall. Taped and transferred by Dean Grabski, we appreciate it! Photo credit.

*Michael Franti recently released a film called "I Know I'm Not Alone" about his experiences in Iraq. I highly recommend it, it's to my knowledge the only documentary in existence focusing on a musician speaking to, and playing music for, the regular people in that country. It's amazing, but don't take my word for it- Check out the trailer (below) and the acclaim from the critics.


Benevento Russo Duo 2004-05-20

Friday, July 11, 2008

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Benevento Russo Duo 2004-05-20 The Boom Boom Room San Francisco, CA (download)

Doing a Benevento Russo Duo post takes us on another "What F&%$ing Genre is This?" adventure. I've always thought of them as the lovechild of a sticky summer tryst featuring jazz, trance, and rock, played on a keyboard and drums and computers...but that sounds pretty gross. Not quite as out there as Jacob Fred Jazz Odyssey (try as I might, I can never wrap my head around the musical mess that is JFJO), but not quite structured enough to be defined in any traditional way. What is it that they do? Luckily, the band was nice enough to help me out by putting this gem in their bio:

"They were an indie-rock band that jammed. They were a jazz-combo that rocked."


I couldn't put it better myself.



They're also known for doing some sweet Zeppelin and Radiohead adaptations, which you'll get to hear in this set as well. In fact, the entire 2nd set is all Zeppelin tracks. I'm not a big fan of posting cover bands, but I think when you hear this you will see why I decided to refer to these as adaptations. If you're a fan of The Bad Plus, expect something similar, and if these are elevator music covers as I have heard from a critic, I'll ride that elevator any day of the week.

I chose this set because it's very true to the Duo as I found them 5 or 6 years ago. Don't get me wrong, I really like their newer stuff too, but this is a great starting point for a new Duo fan and a nice trip down memory lane for longtime fans. The first set is a great cross section of old Duo tracks, and the Zeppelin set is quite good, and also just a lot of fun to listen to. Benevento and Russo have a really noteworthy ability to build up a track, so many start of slow and minimal, layers are slowly added, and suddenly several minutes in you will find yourself rocking out, frenzied and really experiencing a musical climax with them. The Duo at their best has an ability to build anticipation and provide payoff that so few groups can manage. Pardon me if I am offending any of our more chaste readers, but it's a musical orgasm, frankly. Get an extra pair of undies ready for listening to this show.

See for yourself in this very small sampling at the end of a performance of "Big Whopper":



The full set was:

Set 1: Vortex, Abduction Pose, Darts, Myxamatosis, Sunny's Song, Mephisto, ?, Marzipan

Set 2: The Song Remains The Same, The Ocean, What Is And What Should Never Be, Immigrant Song, Ramble On, Moby Dick, Heartbreaker, Four Sticks, Bring It On Home,

Encore 1: Fool In The Rain
Encore 2: Black Dog *


Sound Quality is an A-. Thanks to Jeff Patton and Brad Leblanc for taping and transferring!

The Radiators 1999-06-18

Wednesday, June 11, 2008

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The Radiators
The Call - Providence, RI
June 18, 1999
(download)


The Radiators have much to choose from on archive.org. There are shows stretching back as far as 1979, and ones from just the other day (a show I wished I'd gone to). They are a great band, who's work will make frequent appearances on this blog as time goes by. The Radiators carry with them the sound and feel of their home down in New Orleans. In rhythm: the bass guitar chugs along like a tuba, the drum set sounds like individual instruments, the piano frills along in that Professor Longhair style.

To get what I am talking about, listen to "Come on in my Kitchen." I have heard dozens of bands cover this song in several different styles. It's a common Robert Johnson blues standard that even has its own wikipedia page. The Radiators just slide into the song with a little piano riff. They are in no rush to get things started. The tightest the song gets is during the unison lick on the turnaround, but besides that the song celebrates laid back funk. A rare thing in most of the covers of this song.

With all that said, this Radiators show is a bit different. This acoustic performance from 1999 offers up the funkiness of the Radiators mixed with intensity of an acoustic performance. It is not the only time the band has done this-and I did pick this show a bit randomly-but I wanted to continue on my acoustic music kick. I settled on this particular show, because of the cover of "Soul of a Man" they ended their second set with.

Set l-
You Aint Goin' Nowhere, Back To Loveland, Don't It Make You Wanna Go Home -> Highway 61 -> Honky Tonkin', Girl With The Golden Eyes, Black Dog, Diamond Joe -> Salty Jane, If I Were A Carpenter, My Sweet Nightbird, Soul Of a Man

Set 2-
Come On In My Kitchen, He's Misstra Know-It-All, Rosie, King Of The Road, My Home Is On The Border, Nadine, I Don't Worry About A Thing, Viva Las Vegas, You're Gonna Need Somebody On Your Bond, Parchman Farm

Encore-
Life Ain't Nothing But A Party, For What It's Worth
The run time of this show is 2 hours and 35 minutes. Thanks to whoever uploaded this one. And no, I have no idea what Heatgen is.

Society! 2008-05-24

Wednesday, June 04, 2008

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Society! 2008-05-24 Winston's Ocean Beach, CA (Download)

***I'm going to keep this post very short as the first heat wave of the year and it's reaching the "Witching Hour" in my apartment, when it will be too hot to be inside until after the sun sets. Worcester is definitely living up to its reputation as the Death Valley of New England today!


As I may have mentioned before, I love afrobeat. Good music should take you somewhere, and where better to be taken than to a vivid mental image of chilling in a seedy corrugated steel walled Lagos bar, chasing away the day's heat with a cold one? For today's post, I decided to follow Dave's brave lead from a few posts back and pick a show from a band that I've never heard before. After a few false starts, I found a winner.

I'd love to tell you all sorts of things about Society!, but damned if I can find much of anything other than that they play a lot in the San Diego area. Their website is unbelievably sparse as far as providing any bio on the band, but I can also tell you now that they put on an extremely good live show. The mix of straight afrobeat and rock works well and really stands to highlight the differences between the two sounds as well. Listen to the first track and you'll notice that in typical afrobeat fashion, the guitar sets the tempo. This leaves the percussionist(s) free to tear it up. This in in definite contrast with the orck oriented tracks, where the guitar runs the show creatively.

Here's the setlist in its entirety:

01 - Into the Frenetic
02 - Shock Shock Shock
03 - Halo on a Mountain Lion
04 - Go to War with Fire
05 - Rise from Black Waters
06 - Off the Streets
07 - Guinea Fowl
08 - Seas of Red
09 - Ready, Sedition



Sound quality is B+, it's a bit dirty but still quite enjoyable. Tyler Huff taped this show, thank you! Photo credit goes to the band.

Reid Genauer 2008-4-24

Thursday, May 29, 2008

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Reid Genauer
Higher Ground
April 24, 2008
(download)


Whether around a roaring bonfire with friends or outside lounging on a beach blanket at a summer concert, there is a deep connection between the lazy weather of summer and acoustic music. It is why I have written about so many acoustic bands lately. I really want summer to be here. The chosen show for this week is a solo performance from April, 2008 at Higher Ground in Burlington, VT. This is also going to be a pretty short write up, because I want to get outside and enjoy some of this beautiful weather.








Reid Genauer normally plays with Assembly of Dust, but did a string of solo dates at the beginning of the year. Tracks I especially enjoyed from this show are “Love Junkie.” “Corpus Christi," as well as “Cool Water.” Genauer does an excellent job using the rhythm of his guitar to drive and push his singing. Listen to the way he does it during “Crackling.”

"It's the birth of the eventual ending
of a life that took me half of my days
I shall find a commandeering advantage
When I look to go the rest of the way."
Mandolinist Jamie Masefield joins Genauer on a number of tracks, including a great cover of Sam Bush’s “Same Old River.” In my last post, I wrote about Blueground Undergrass’ cover of “Helpless.” I was searching the archive for others that covered the song, and ran across this show. Sometimes you just cannot get enough of a particular tune.

Genauer’s main asset is definitely his voice. While technically an accomplished guitarist, I found his guitar tone a bit too thin for my taste. An acoustic guitar should sound equal parts of the resonance of its strings and body. This is especially apparent when Masefield steps into the mix. While the sun is still out, I’m going to go load this show onto my iPod and take a good long sit out on the front stoop. Enjoy!

Run time is 1:32 and sound quality is A. Thanks to Jonah S. for posting this show. I stole the photo from AssemblyofDust.com and it was taken by Greg Kessier.

moe. 2007-12-31

Wednesday, May 21, 2008

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moe. 2007-12-31 Radio City Music Hall New York, NY (Download)

New Year's is one of my very favorite holidays, right up there with those that allow me to use a tenuous connection to my ethnic heritage as an excuse to drink heavily during the daytime (St. Patty's, I'm looking at you). I always welcome the opportunity to look back, smile about the good times and make constructive observations about the not-so-good ones, and then wipe the slate and try to do better. That's what New Year's is all about. Well, that and some heavy imbibing and rabble-rousing of course...

The New Year's show: It's a very unique experience when a band works a set around a climactic moment in time which itself is unrelated to music. Musicians (and drugs, for that matter) are typically at their peak quality, and when the event is done properly it can be a musical journey different than any other. Having your year end reflection accompanied by a bitchin' live soundtrack amongst good friends is an experience I can't recommend enough, if you haven't done it already.

So if you're feeling anything like me and New Year's just isn't coming fast enough for you, let's have an impromptu year end experience right now with moe. Screw the calender, tell your mother I said it's OK.

moe. is a band that has always kept my attention by constantly crossing the figurative line between rock & roll and whatever "jam" is. I was a late adopter when it comes to the jam and festival experience, and moe. was one of the bands that definitely helped me dip my toe in. I was introduced to moe. long before Government Mule, Widespread Panic, and many other touring regulars who have been around longer. The first time I heard "Plane Crash" and "Timmy Tucker", I was blown away. Other than Pink Floyd, I had never heard something so explorative that still managed to have a distinctly rock & roll feel to it. Unfortunately, neither of these made the cut for this show, but it's still a classic.

I'm going to pretty much let this one speak for itself, after trying and failing to pull favorites out of such a solid trio of sets. Here's the setlist in full:

1: Recreational Chemistry > Blue Jeans Pizza > Recreational Chemistry
2: Not Coming Down > Wormwood > Wind it Up, So Long > Rebubula
3: Lazarus > New Years Countdown [banter], Raise a Glass, Brent Black > Lazarus > Brent Black, Letter Home, Spine of a Dog > Plane Crash
E: New Year's Day > George


Sound quality is an A-, occasionally the levels are just a bit off, but it sounds great even using the live stream. Thank you to Alex Prestin for taping and transferring. Photo credit goes to Joseph Vala.

G. Love and Special Sauce 2008-01-23

Saturday, April 26, 2008

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G. Love and Special Sauce 1-23-2008 Town Ballroom Buffalo, NY (Download)




Praise god, for it was written in numbers;
Soon you'll know of the great joy we feel today to be able to speak freely and talk eye to eye with a small group of Americans;
We feel that the time has come for your nation to awaken to its true spiritual import,
and we wish to do everything in our power to help you to that realization...

It's amazing to me how strongly our mind can decide to tie sensory input together. I'm sure you've all had this experience many times, for better or worse. While the vast majority of information sent to your brain to prioritize is basically thrown in the bulk mail bin, there's always those occasional things that your brain strongly indexes together. These memories lay dormant indefinitely, hiding in the depths of the brain until being brought back by a smell, a taste, or a melody.

So I fire up a show today, and suddenly...BAM! It's the late summer of 2000. I'm visiting any number of friends at whatever college they're attending here in the Northeast, and we're partying. We're in that same worn down, sparsely accessorized apartment that serves as the headquarters for every soiree at this stage of life. You know the one: The floors are sticky and crooked, you can find the low point of a room by watching where the beer pong ball ends its meandering. Ragged drug and drinking related posters are high art. The sickly sweet aroma of bad beer and good weed hangs thick in the air, and you avoid the couch because you can't even guess what made a stain like that.

Those were the days indeed; when a given evening could result in a brawl, a lay, an overdose, a trip to lockup, a deep sleep on an uncomfortable surface, or any combination thereof...And for me, there's no music that brings this specific experience back quite like G. Love and Special Sauce. My experience is not unique, for anyone reading this who is in their 20's or 30's and experienced their formative years in the region, G. Love and the band are an animation of all of those hazy nights spent on the precipice of trouble and pleasure.

Perhaps their ability to create a soundtrack for this stage of life is what has carried them so far musically. They've never experienced huge success, but GLaSS has been making good, relatable music for 16 years and counting. I don't think anyone will accuse them of being virtuosos or of taking music to a higher level, but that's OK. Sometimes we just want to kick back, crack a brew, light a spliff, and try to talk that beautiful girl out of her boyfriend and into your apartment.

What's interesting about the music that GLaSS makes is that it's often just sort of thrown into this party category, as if it doesn't deserve respect in it's own right. Look at my article so far, in fact, because that's pretty much exactly what I've done. The fact is that these guys deserve respect not only based on their staying power but also how they're able to make us feel via their music. Can you think of another laid back, relatable style of music which is meant to speak to the good an bad times in the average life?

I've got a hand in the back of the class. Yes, you...What's that? The blues? Yes, you're absolutely correct. The blues style is very much evident in the music of GLaSS. Don't let the modernized sound and the rapping lyricism fool you into thinking otherwise. This sound is all about putting to music a myriad of experiences, good and bad, that any of us could be going through at any given time, and the ability to do that well is what separates G. Love from just another party band. For who amongst us hasn't had made a booty call, hustled for the attention of a fine lady/guy, or thirsted mightily for a cold beverage? Cast the first stone then, you prude...

Recoil Magazine: Do you think there's a message in music that's been lost due to the value our culture puts into money?

G Love: Yes and no. I think the most important thing of music is to make people dance and make people feel emotional. Giving people those chills in their spine when they're driving home from work in their car, I think that's the function of music and probably always has been. Music continues to do that whether you like it or not. I don't think this, but you might think Justin Timberlake is a terrible artist just because he's pop. But shit, he's got a great voice and he makes people dance. I know people really get off on his shit, and that's the point of music. Whether you like Justin Timberlake or Bob Dylan, at the end of the day it's music coming into your brain and going into the neural receptors that process the music in your brain. It's all releasing the same chemicals in your body. And that's what music has always done since people started originally making music. I think you can say a certain kind of music has been more successful than others because of the marketplace, but I don't necessarily think that's a crime. Like you said, there's niches, and if G. Love was as big as Justin Timberlake or if Bob Dylan was as big as Puff Daddy, then you'd probably be talking shit about Bob Dylan and G. Love.

I've seen G. Love and Special Sauce too many times to recall them all. I chose this show because, like everything I try to showcase here, it holds an appeal to both the novice and the experienced fan. This is the band at their finest, rocking the Town Ballroom in Buffalo, NY.

Almost all of the classics are included, although I almost nixed this show due to the omission of one of my favorites, "Don't Drop It". I've talked way too much already, so let me just say that this is almost everything I'd want to throw at the uninitiated, and it's also a perfect show for a seasoned veteran of the band. Highlights are a great "Honor and Harmony", "Kick Drum", "Peace, Love and Happiness", the Tribe Called Quest cover "Can I Kick It", and the extended "Gin and Juice/Cold Beverage" encore. The version of "Garbage Man" in this show is also not to be missed! The whole set is deep and solid, in full it was:

Back of the Bus, Dreamin', Honor and Harmony, Holla!, Give It To You, Garbage Man, Booty Call >Why Don't We Do It in the Road?, Kick Drum, Hot Cookin', No Turning Back, Stepping Stones, G Love blues, Baby Got Sauce, Blues Music > Walk on the Wild Side * > Can I Kick It?, , E: Rainbow, ?, Sunshine, Beautiful, Rodeo Clowns, Peace, Love and Happiness, Cold Beverage >Gin & Juice >Cold Beverage

Sound quality is an A-, some slight dullness but otherwise a great representation of both band and crowd. Taped and transferred by S.Nochajski, so toda raba to you! Photo credit to Smashing Mag, interview credit goes to Recoil Magazine. If you haven't vicariously lived my early 20's enough just yet, check out my Deep Banana Blackout and State Radio posts, and be on the lookout for an upcoming post on Dispatch...!

Umphrey's McGee 2006-11-17

Thursday, April 17, 2008

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Umphrey's McGee 2006-11-17 The Tabernacle Atlanta, GA (Download)

A few years back when I first moved to Worcester and Dave and I were roommates, he was nice enough to give me a year's subscription to Relix for my birthday (thanks Dave!). I remember getting my first month's issue (December '04) which had a cover story about a band I'd heard of only in passing. The magazine had decided to make the audacious claim that this band could be the next Phish. Surely, I thought, this was a ploy to boost sales by inciting Phish fanatics worldwide to buy all copies in order to burn them. A magazine catering to the jam band crowd couldn't possibly have the balls to talk about replacing the irreplaceable, especially when the figurative body wasn't even warm yet...Right?!?

Well, that band was Umphrey's McGee. While I will not start Live Band War I by giving full creedence to this claim, I will say that they've developed a touring regimen, technical ability, and friendliness to the concept of freely distributable live music that at least makes this a debate worth having. As I write this, the band is booked as virtually solid through August as they have been for most of the past six years, and in addition to the more traditional taper mediums they've also reached out to the iPod and iTunes savvy with a podcast that features full shows divided into 1 hour segments. It's one I never allow myself to miss and I can't recommend it enough if you like the band. The band has a ton to offer technically, these are all guys who can play virtually anywhere in the musical spectrum. The repertoire of music that they can cover is also exhaustive, in this performance alone there are teases or full covers of Blue Oyster Cult, Depeche Mode, Marilyn Manson, and Kiss. They've also covered Radiohead, the Rolling Stones, Lionel Richie, Steely Dan, Snoop Dogg, and many more. Pretty impressive stuff.

Speaking of jam bands and musical diversity...Umphrey's really does manage to reach beyond the boundaries of that title. Or, perhaps what they do is offer more evidence that there really are no boundaries in this "genre" which is where, rightly or wrongly, bands that aren't easily classified and play great extended live sets wind up getting put. Neither Dave nor I have ever tagged a show "jam", and I personally do not intend to. I don't have any huge beef with the term, but I don't ever know what to expect when I see it and therefore I don't think it has much of a place in how I classify music.

patchcord.com's Derek Martin: The term “jamband” often gets thrown around when you guys are talked about, while other people point to more prog rock influences. Do you think either of these terms clearly defines you or is it more of a mesh of the two?

Ryan Stasik of Umphrey's Mcgee: I think it’s definitely a mix of the two. We just went on tour with the band OHM, and they’re definitely a progressive rock band; they are definitely fusion and they’ve got the chops and odd meter and no vocals. We also had Kick The Cat, our drummer’s old band, and that’s definitely fusion. I don’t think we tend to sound like that for the people who label us “prog rock,” although we definitely vibe on that a little bit, and “jamband” is so vague and so big. We’re really proud to be part of the scene and everything that’s going on with the festivals and the music and we’re kind of trying to find our own niche that’s between those. It’s like saying you’re a rock ‘n roll band, that’s a huge range, you go from AC/DC to Guns N’ Roses: both rock and roll, but very differently. I think we’re a little bit of everything.


This show offers new listeners a taste of the epic that is a UM live show, and will not disappoint the already converted. It's also helpful that The Tabernacle is where many a great show is played and recorded. Something about the venue lends itself very well to the artists and performances that get talked around for years to come. Some personal favorites in this set are "In the Kitchen", "Ringo", "Words", and their encore of Kiss cover "God Gave Rock n' Roll to You". It's a longer and thoroughly satisfying show, in full it was:

Set One: Got Your Milk Right Here, Push the Pig, Walletsworth>Nothing Too Fancy>Thin Air^, In the Kitchen@, The Bottom Half

Set Two: Power to Love, Ringo>"Jimmy Stewart", Words>, Nothing too Fancy#, Morning Song, Mulche's Odyssey*

Encore: 2nd Self, Dirty Love>God Gave Rock & Roll To You**

Notes: Outformation opened
^ with Sam Holt (Outformation) on guitar, @ with Brendan and Jake on acoustics, # with Don't Fear the Reaper tease, * with Pesonal Jesus (Depeche Mode) and Beautiful People (Marilyn Manson) verse, ** first time played, Kiss; the band left the stage one by one, leaving only Joel


Sound quality is an A-, it's about as good as it gets when it's not from the soundboard. Taping and transfer credit goes to Dennis Taylor, danke schön Dennis! Photo credit to Ben Garmisa Photography.

Grace Potter and the Nocturnals 2008-1-17

Wednesday, March 12, 2008

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Grace Potter and the Nocturnals 2008-1-17 WorkPlay Theater Birmingham, AL (download)

I love "old souls". Possessing the qualities of an old soul, in my estimation, has very little to do with the religious connotations that are sometimes applied. I think it's really a matter of exhibiting a wisdom and maturity beyond your years. I mention this only because I've been sitting here for a half an hour and more than half of a strong cocktail trying to put into words why Grace Potter appeals to me so much musically, and I think her old soul is exactly what it is.

Bear with me here...

Grace brings to music a voice and songwriting ability that will have you constantly questioning her age (she's 24). It's kind of what I'd imagine Janis Joplin would sound like were she alive today, and I mean that in all of the best ways possible. In no way to I want to demean her band because they are rock solid, but Grace is truly a force even when it's just her and a tambourine, as evidenced in the first few minutes of this video:



I first saw Grace and the Nocturnals at the Bonnaroo Festival in 2006. The quality of their performance was such an pleasant surprise that what started as a quick wander past "This Tent" (those who have Bonnaroo'ed will know exactly what this is, for the uninitiated the 5 main performance areas are Which Stage, What Stage, This Tent, That Tent, and The Other Tent) turned into sticking around for the rest of the set. I'll be the first to admit that she's a looker and that didn't hurt in capturing my attention initially, but a pretty face doesn't pull my focus from good music for long. I stuck around because this band sounded good, really good, and her pipes and lyrics could've kept me there all day if she'd just kept singing.


(I took this shot of the day's offerings right before she went on. I used these pictures throughout the day to remember who was on each stage so I could plan my wanderings...)

This show is definitely a keeper amongst the GP&N live performances. Everything is just "on": The band is great, Grace is...well, Grace, and the stories and banter throughout are very entertaining. Some favorites for me are "Stop the Bus", the extended "Nothing But the Water", and her version of an old-timey favorite of mine shines in "Angel Band". Her cover of Steve Miller Band's "Jet Airliner" is also pretty damn good. Here's the full setlist:

Ain't No Time, Treat Me Right, Stop The Bus, Here's To The Meantime, Belladonna, Joey, Falling or Flying, Pain, Ah Mary, Mastermind, Apologies, Sinking Man >Delta, If I Was From Paris, Nothing But the Water >Drums >Nothing But The Water >Crowd, Angel Band >Big White Gate, Jet Airliner


Sound Quality is an A, I can clearly hear the acoustic quirks of a venue I've never even been to. Taping credits go to Jeff Hatcher, muchas gracias Jeff! Photo credits go to the band's website and to yours truly. Grace Potter and the Nocturnals have a recent release, This is Somewhere, which I recommend wholeheartedly.

State Radio 2006-4-10

Sunday, January 13, 2008

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State Radio Fox Theater Boulder, CO 2006-4-10 (download)

As the presidential campaign has hit high gear, it's gotten me thinking a lot more about the situation we're in here in the US, and what qualities we will need from our next leader to fix them. Dave and I are both very politically aware and active, but this isn't the forum for a diatribe on politics. You're here for some free and legal music, and that's exactly what we aim to deliver. These sorts of politically important times do tend to steer me to certain bands, and atop that list for the past few years has been State Radio.

State Radio was formed by former Dispatch member Chad Stokes Urmston in the wake of the breakup of Dispatch, one of my favorite bands to follow through their live shows around New England, first in college gyms and small clubs and later at larger venues such as the Garden and the (then) FleetBoston Pavilion.

Urmston took State Radio in a decidedly more politically active direction, actively speaking out against the war and the current administration along with other themes.

MM: How has doing your own thing with State Radio been?
CU: It’s been fun. Great people. Great musicians. Politically, we feel no holds barred on what we say. In Dispatch, the other two guys don’t necessarily feel the same way that I do about different issues. What was important to me about this band is that we wanted to be on the forefront and be very politically conscious. We want awareness and involvement and activism and education. Because it is an interesting but terrible time in our country. I wanted to be a part of a band where we can express those views.

MM: Do you think that rock and roll can create actual positive change in the world?
CU: Yes, I do. Even with some of those big tours, people are there for the music and to have a good time. There is always a fraction of the audience who take it to heart. We may not see that in consensus numbers but there are always a few people, a fraction of the total audience who really take it to heart. We’ve noticed it and it keeps us going.
One of their better sets I have heard comes to us from Boulder, CO. State Radio brought their message and sound out to the mountains, and they didn't hold back. Before a wild crowd at the Fox, they ran through a classic State Radio setlist, including favorites such as "Democracy in Kind" and my personal favorite, a frank commentary on the old mental asylum called "State Inspector". Here's the whole set, free and legal:
Intro, Right Me Up, Mr. Larkin, CIA, Democracy in Kind, Gunship Politico, Held Up, Man in the Hall, Camilo, State Inspector, The Harder They Come*, First One Shot -> Just Like Larry, Time Served, The Diner Song, Encore break, Black Cab Motorcade, Rushian
Sound quality is a B+. Thank you Ethan Alper for taping this show. Photo Credit.

The Gourds 2004-09-03

Friday, January 11, 2008

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The Gourds

Time for a little taste of Austin. The Gourds first entered my life back in the early days of file sharing. This burning bluegrass version of Snoop Dogg's "Gin and Juice" was traveling around the internet, wrongly attributed as a Phish cover. This prompted an open letter of denial from Phish properly attributing the cover.

Awakened to this band out of Austin, I watched them release an intriguing collection of CD's featuring their mix of tex-mex cajun country rock. They were even featured on PBS' Austin City Limits. Although I've never been to Austin, this is the type of eclectic sound I'd expect to hear walking down the street. Kind of ironic then, that the one and only Gourds show on archive.org was recorded in Rhode Island.
"We came up here to promote our music...promote music...we're almost out of music...and to drink beer...and we promote tooth decay" -Ants on the Mellon 4:23
Three themes dominate this Gourds show: drinking, carrying on, and to a certain extent loving. Therefore the choice quote of this post. It seems that most of the shows I've chosen for this blog could be described by some as having a loose feel, but this one is different than the others. There is some significant banter and time between most songs, but it adds to the allure. Crafting a relationship with the audience is an important part of a live performance, and this is one way to do it. Choice cuts are "LGO," the "Maria" and "Illegal Oyster." The whole show played out like this:
Intro, LGO, Bottle and a Dime, Maria, Jesus Christ with Signs Following, Shamrock Bound, Whiskey and Blood, Take Me Back to Tulsa, Hell Hounds, Omaha, Ants on the Mellon, Illegal Oyster, Cracklins, You Boys Need a Spanking, Cranky Mullato, All the Labor, Grievin' and Smokin'

Kevin Russell, Jimmy Smith, Claude Bernard, Keith Langford, Max Johnston
Sound quality is B+. Runtime is 1:07:15 and is available in a variety of formats. Show recorded by Jerry C.

Grateful Dead 1985-03-29

Friday, December 21, 2007

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The Grateful Dead
The Grateful Dead is the granddaddy of taper friendly bands, and Archive.org is the internet repository for Dead shows. There are over 2,000 live Dead shows to explore. They come in two flavors downloadable shows (like this one) and stream only. The downloadable shows tend to be audience recordings, while the streaming shows are sound board recordings that the band has or might release on CD.

The 1980's are a period that I haven't explored with the Grateful Dead, so I wanted to choose a mid-decade to share for this post. The sonic mixture of this show is rich and tasty (if that can be used to describe sound). As a bass player I tend to focus first on that area of the spectrum, and for this show Phil Lesh was on fire. His bass tone during this period retained his earlier upper end definition, while adding a smooth mid-range growl.
"So we are pretty convinced we don't want to play huge stadiums unless we can play them well." -Jerry Garcia
The first part of the set is stronger than the second. I love the fact they opened up with "Cold Rain & Snow." This is a staple of Garcia's acoustic work, and it was enjoyable to hear the whole band playing it. "Johnny B. Goode" is notable for its fast tempo, but isn't my favorite Dead version. Overall a very satisfying show. The set played out like this:
Set I
Cold Rain & Snow
Down In The Bottom > I Ain't Superstitious
Friend Of The Devil
Supplication Jam >
My Brother Esau
Tennessee Jed
Minglewood Blues
Donít Ease Me In

Set II
Terrapin Station >
Women Are Smarter >
Goiní Down The Road Feeliní Bad > Jam >
Baby What You Want Me to Do? > Jam >
Drumz >
Space >
Wharf Rat >
Throwiní Stones >
Johnny B. Goode
E: Brokedown Palace

This show was recorded by the Oade brothers. Thank you, sound quality is A.

Derek Trucks 2005-02-27

Wednesday, November 28, 2007

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Derek Trucks 2005-02-27
Red River Saloon - Colorado Springs, Colorado
(Download)


The Derek Trucks Band is an ideal candidate for the inaugural post of thejivefather. Not only is DTB one of the strongest touring acts found today, but they follow in the tradition of allowing free and open distribution of recordings of their live performance. It seems more and more bands are trying to lock down the distribution of live shows. These efforts range from online stores that sell digital copies, to restriction to bit torrent, or to outright prohibition. I personally have a great deal of respect for bands that allow their music on archive.org. It's easy and accessible.

Question: How is the setlist decided for each show? Do you keep track of what was played the last time playing the city?
Answer (Yonrico): Actually, we get a list of all the songs that we played during that tour and the last 3 times we were in that city. Then we also think about what we played the night before and what we are reaching for. For instance, in San Francisco we wrote all 4 sets at one time but we only repeated 2 songs in 4 sets. -DTB.com

2005 was a special time to be a fan of the Derek Trucks Band. They were riding a groove and pumping out incredible performances. In a field of amazing shows, this one stands out. I saw them in November at the Avalon in Boston, but that show lacked some of the energy from this one earlier in the year. Give a careful listen to interaction between the Trucks and Smallie (bass) on "For My Brother." The bass moves through the song like a funky freight train. Trucks rhythm playing while Mattison sings is interesting to listen by itself, but somehow does so without being distracting. Other stand outs from the night include "Hey Driver! What City?" and "Soul Serenade." The set played out like this:
01) Preachin' Blues
02) Down, Don't Bother Me
03) Chevrolet
04) Hey Driver! What City?
05) Lonely Avenger
06) Soul Serenade
07) Crow Jane
08) I'll Find My Way
09) My Favorite Things
10) I Wish I Knew
11) For My Brother
12) Joyful Noise
(Encore)
13) Rasta Man Chant
14) Freddie's Dead

This DTB show comes to us by way of Chuck Miller. Sound quality is an A with a run time of 1:41:52 The show is encoded in FLAC , for information on how to handle this codec visit etree.org. Photo Credit.