Business stuff: This month we're celebrating Bobby Weir's solo projects in honor of Ratdog's debut release, Evening Moods. Next month, with the gift giving season around the corner, we'll be looking at some of the officially released live recordings that have come out in the last year- just a few hints on some music to share with friends and family. Then, starting in December there will be a new regular section of the Tape Cases page featuring a different official live release each month. So dig through that old CD collection and contribute a review or two. As always I welcome any contributions and feedback of any sort, so keep in touch.

[site editor's note: be sure to check out Jeff Waful's interview with Bob Weir in this month's issue]

Music:

"The thing I most dig about Ratdog, other than musically, is that it does something similar to what I'm trying to do, which is to bring this community together. The more time we spend together, the tighter we are." Those words belong to Ken Hays, owner of Terrapin Tapes and head honcho of Terrapin Productions, and they ring especially true now that Bob Weir, hot off his coast to coast tour with The Other Ones, just released his first studio album with Ratdog and is set to embark on an extended fall tour. Right from the start Bob, more so than any other member of the Grateful Dead, strove to keep the music alive and growing after the Captain left the ship. The very day that Garcia died, Ratdog, still in its earliest incarnation with Bob, Rob, Jay Lane and Matt Kelly essentially playing the same setlists as Scaring the Children (Bob and Rob's acoustic duo), put on a powerfully heartfelt show in New Hampshire. Before the show Bob said, "So our departed friend, if he proved anything to us, he proved that. that good music can make sad times better. We've got. we've got our work cut out for us this evening, so we'll just get started."

Since those early days Ratdog has slowly traversed a varied landscape moving from an essentially lounge persona, through a straight forward rock 'n roll sound, past tight jazzy grooves to finally arrive at its present form, a comfortable, productive and exciting band that defies definition. The members of Ratdog have taken a little something from each lineup and tossed it in the salad to help create a stylish band that has its roots firmly planted in the psychedelic Americana of the Grateful Dead, jazz sensibilities and hard rockin' good times. Almost an art rock band, Ratdog has taken many Dead songs to places they have never been before, forging true musical odysseys out of standard first set tunes like Birdsong and Cassidy, while continuing to develop and refine songs like Corrina and Easy Answers, songs that never reached their full potential with the Dead. The band has also produced some truly fantastic new songs- the best work Bob has done since Black Throated Wind and Estimated Prophet. Ratdog has really hit a spectacular stride so be sure to check out Even Moods and a show or two on the fall tour.

RD3 @ the Wetlands, NYC 2/11/99, SBD 1

Set I

A: Jack Straw, Walkin' > TMTTR, Queen Jane, City Girls > Fever, El Paso
B: Desolation Row, Loose Lucy Set II: Bury Me Standing Jam > KC Moan, FOTD, Wang Dang Doodle*, Rooster*

Set II

A: This Time Forever > Shades of Grey > Easy to Slip > Bass > Drumz > Other One*
B: Cassidy* E: Knockin'*
* w/ Warren Haynes

A surprise special guest was booked to help celebrate the 10th anniversary of NYC's own home of the jam, The Wetland's Preserve. What a treat it was to find that the guest was none other than Bob Weir along with Rob Wasserman and Jay Lane- a stripped down version of Ratdog known as RD3. Over the course of three nights the trio personified the excitement of the room, playfully working through many Dead classics, much of Ratdog's repertoire and even a couple of new tunes, all with the help of friends like Warren Haynes, Mike Falzarano and yes, Hanson.

While Hanson's appearance seems the most noteworthy point, it's really nothing special. They play well and don't sound bad at all. They are simply the back-up band for a half dozen tunes. What is really important is that these shows mark a turning point for Ratdog. There is a looseness and energy to the performances- a real joy- that is infectious and that shows a new level of comfort at the center of the band. That confidence between the core members (Bob , Rob and Jay are the only ones that have been in Ratdog since the beginning) quickly transferred to the whole band, allowing them to all help develop the truly exceptional songs that appear on Evening Moods, as well as produce some truly inspired concerts throughout 99 and 2000.

The first set of the first night opens with a nice loose Jack Straw, Jay sharing vocal duties and doing a great job. Bobby's guitar resonates well, and the space of the trio allows Rob to fall back into the lead bass role that he commanded for so many years. Being a true bass innovator, "a veritable Jonas Salk of the upright bass," Bob once said, he excels at maintaining the low end while taking on the fluctuating responsibilities of a lead instrument. Walkin' is nice and tight with pointed stops, and segues into a smooth Take Me to the River.

Queen Jane is the first of many Dylan tunes, and although there is a bit of stumbling on one verse, it is well played and energetic. City Girls > Fever dips back into some classic Bob and Rob work, and it just feels right. Somewhere in this part of the set the music sinks into the right groove where each piece fits perfectly with the others, allowing the trio to move confidently through the songs. At El Paso they push beyond the regular boundaries, with bass lines that match perfectly with Bob's expressive singing. He dips down so quietly at the end that you can see the audience leaning forward, totally captivated. But as good as the El Paso is, the Desolation Row blows it away. This is easily the greatest Desolation performed by anyone, ever. Bob nails the vocals, singing with conviction while he plays furiously. Three verses in, Rob and Jay mesh like gears and a whole new level of groove is achieved. Bobby actually shouts "Alright!" as he charges headlong through the rest of the song. I can't possibly express how truly awesome it is.

Set II begins with Warren taking the stage for a down and dirty Wang Dang Doodle. His aggressive axe resonates perfectly with Rob's grinding bass as the pair race off along the same road. Bob reigns in the solo with a hot rhythm lick; everyone slips into the hole to create a smokin' improvised section. Warren sticks around for a finely rendered Rooster, he and Bob playing off each other, just having a good time.

Warren takes a break while RD3 moves through one of my favorite Ratdog jams, This Time Forever > Shades of Gray. The ballad is finely carved with more exceptional vocals and slips into the harsh passion of Shades with practiced precision. I just can't get enough of this pairing, with its balanced contrast and heavy handed refrains. It's something that is really missing from modern Ratdog setlists.

Shades segues into a nice Easy to Slip. While it doesn't have the echoing effect of the version the Bob and Rob live album, it is well done nonetheless. Once again the musicians weave around each other, creating a rich wooden sound. Bob forces the song to resurface from the jam, only to hand the reigns over to Rob for a solo that teases St. Stephen and runs through full NFA and Lovelight sections. Jay emerges for an extended, steady drum solo that morphs into a loose, psychedelic Other One as Bob and Warren join in. When Rob makes his voice heard, he does so as a lead, toying with the guitarists. The result is a really sweet, somewhat haunting jam that launches in a tight stream of swirling sounds over which Bob delivers the first verse, Jay adding "in a circle." It doesn't miss a step, cruising under the lyrics and heading off into the darkness, melting into a strange quietness before bursting into flame and burning down the second verse.

Closing the second set is an eclectic Cassidy. Throughout the first verse Warren plays some nice slide and as the jam takes off he moves to a sweet and spacey sound. Bob is a bit more focused in his playing, but all minds reach one idea before the drop. Jay holds the following section together, while the guitarists talk back and forth with chords and squeals. As I said, it's eclectic, but that represents Ratdog in a nutshell.

Ratdog @ HOB, Orlando, FL, 5/30/00

Disc 1: Walkin'@, Twilight Time@, Desolation Row@, Bury Me Standing > Schoolgirl, Sailor > Saint > Loose Lucy > Welcome to the World
Disc 2: Estimated > Other One > Bass > China > Rider
E: Good Lovin'
@ Acoustic

(Desolation Row through Good Lovin' w/ Giovanni Hildago)

First off, I want to give a huge Thanks to Joe Sanderson who hooked me up with these discs (as well as a pair of Other Ones from the 2000 Furthur Fest). One of the things that make these discs such a welcome find is that they are great quality. Over the years dozens of Ratdog tapes have come my way, but I've kept only about a half dozen. The castaways were too audience, too bassy, or just plain bad. These CDs, however, sound great- nice and clean. They also follow that classic layout for a Ratdog show; that is, one long set with an opening segment with some shorter tunes followed by a spectacular closing marathon jam that leaves you aching for more. Where this strays from the pattern is that it opens with an acoustic mini-set, the likes of which usually occupy the mid-set area, and generally herald the beginning of the real show. While the Walkin' and Desolation are merely average versions, with a missed line in the Dylan cover, the Twilight Time is great with some lively playing from Marc, and an exceptional solo from Rob. Never a fan of the excessively loungey tune, this one is my clear favorite. (It should probably be noted that the Desolation has a neat section near the end where the band drops into a short reggae walk and bounces right back out of it. Fun.)

Right from the start Bury Me Standing rocks hard. Rob stalks around the crossroads, a definite prey in mind. Bob sings strong and clear as the band works both refrains, Jeff switching from piano to organ with great results. The groove is heavy and grinding, absolutely fantastic, and gives way to a post song jam that has Marc reaching for peak after peak. The transition to Schoolgirl skips just a beat, but the song itself is smokin'. Jay's fat, round beats drive a series of alternating solos from Jeff, Kenny and Marc, while Bob races along, the rhythm ace. That nice couplet is followed by and even better pairing of Sailor > Saint. The former is ethereal, moving hauntingly through the lyrics. Kenny 's solo picks up on an idea that he'd been toying with underneath the vocals, rising up and making the point clear. When it ends, he continues to mull it over right up to "drifting and dreaming" lines where everyone echoes Bobby's voice, cascading upward in a strange, thrilling mist. Throughout Saint Jeff's dynamic piano repeatedly leaps out in front to keep the song plunging ever forward. "Still can't see that other mountain's other side now." But it's really Marc who shines, grabbing a sick path that courses around Bobby's rhythm to take the high vantage point in glorious fashion. An amazing rendition of a classic jam.

A powerful Welcome to the World rounds out the first disc. This song is wonderfully constructed with pensive quietude accentuated by an energized low peak, and a gut wrenching high peak. It's certainly one of the highlights of a great batch of new songs, and this version does it justice.

A slight change of pace leads to Estimated, always a favorite. Beginning with a mellow, somewhat spacious approach, Bob sings knowingly. The mid-song jam commences strongly, but cools with some open drumming; it has long been Bob's approach to hold back jams rather than let them peak too early. But Marc keeps his focus and Kenny moves in for support. Jeff picks a parallel line, punctuating the musical movement with rising scales before the jam drops cold. "Don't worry 'bout me no, 'cause I know where to go." Bobby's end vocals are ominous, making more use of guttural "Ooo yeahs" than trademark screams. The ensuing jam follows that dark blue vein with Marc and Kenny both hinting slightly at Other One. Rather than head straight to that destination, however, they whimper and groan back and forth continuing to work with the dark vibe. When the Other One finally erupts, it takes off quickly, making use of the built up tension. It's a perfect Ratdog moment where no one is in charge, but everyone is contributing to a churning jam, complimenting and reflecting one another. After a few bars dominated by Jeff's piano, Bob begins singing in a voice that is intentionally distant and weary. As soon as the chorus finishes the song disintegrates into a nice bass solo, that hovers mainly in a bluesy region, but ends with sweet bow work, the final note threatening to level my apartment building.

China Cat starts up nice and funky with Rob, Jay and Giovanni digging a trench before Jeff enters with the old 1970 organ line. All the while Bob and Marc move lightly below, creating another example of Ratdog at its finest. Some heavy sax skwonks and a burst from Hildago herald the song proper. Before the second verse it is already a full-blown rager. And when the transition jam takes off, all the floodgates are opened, unleashing a tirade of collective energy that washes you away in a free form boogie. The Rider holds up its end of the bargain, truckin' along with explosive vibrancy and some wonderfully spaced bass lines to cap it off.

For the encore, a good feelin' Good Lovin'. Here Giovanni adds immeasurably to the vibe with sharp bursts of congas. Jeff also lends a hand with a rollicking solo and great rhythm work while Jay and Giovanni take an extended mid-song drum solo. They then reprise and surpass the solo with a drums only closer to the song, making this an exceptional encore to finish a solid and at times transcendent show.

Ratdog @ Melody Tent, Hyannis, MA, 6/24/00

Set List: Jam > Jack Straw > Birdsong > Other One Jam> Easy To Slip, KC Moan*, Me and My Uncle*, Black Throated Wind, Easy to Slip Jam > Supplication Jam > Easy to Slip > Lively Up Jam > Birdsong > Terrapin > Bass > China Cat > Rider
E: Samson

*Bob, Rob, Marc

Due to a technology glitch, this concert review went unpublished over the summer. I'm running it here because it was the greatest Ratdog concert I've ever seen. Up till that Sunday night in June my favorite show had been the show at the University of Albany in the spring of 97. That was my first show with Dave Ellis and I was floored by the new energy and the slew of reworked GD songs. The Cape Cod show had a similar sense of newness. I caught the show at NYC's Bell Atlantic Jazz Fest and had fun, but the show was shut down early. In Hyannis, however, the boys pulled out all the stops, pushing their playing to an entirely new level.

When I was a mere pup, Cape Cod was a given. It wouldn't have seemed strange for the fam to pick up and go elsewhere for vacation 'cause it would never have happened. We went to the Cape and that was that. Passing through my high school years, Cape Cod continued to be the summertime destination but it acquired a sound track. Some amalgamation of personal/family history, vacation in a classic Americana sense, and the laid back "why rush?" attitude of the beach echoed with the psychedelic wanderings of the Grateful Dead. It was as if Garcia's nimble notes frolicked behind the sparse tufts of grass and Phil's thunder tried to mimic the crashing of waves. So when I was checking out recent Ratdog setlists and saw they were playing Hyannis during my first vacation in two years, I grabbed a pair of tix without delay.

The Melody Tent is a weird venue. First off, it's actually a tent, in the big-top tradition. B, it's got a revolving stage that spins ever so slowly in one direction before stopping briefly and rotating in reverse. I had of course heard of such things, but to see one in use? It was comical. Third, they actually handed out programs!

The opener was a NYC based folky guy in the John Wesley Harding school. He was passionate and energetic and garnered a great response from the audience. He was also the first to admit that the rotating stage was making him nauseous.

The assembled mass of just less than 3000, both young and old, were on their collective feet, screaming and hollering for a solid ten minutes before the band darted down the aisle and took the stage. I've seen the Dog some 20 times stretching back to it's inception before Garcia died (that's not including Bob and Rob shows) and I've never seen a crowd react like this. These people were psyched for the show and ready to rock out with the best of 'em.

Unfortunately it took the band a bit to catch up with the audience. The opening jam was too disparate- everyone was tuning and noodling and getting the monitor levels set. There was essentially nothing cohesive here, but it went on for a while before Bob dragged band into an off kilter Jack Straw. The guys were still finding their places and Bob missed the "Got to go to Tulsa" line while he was signaling to the monitor techs. During the jam, however, Marc pulled out a great lead, carrying it straight through bar after bar. OK, things were shaping up a bit.

A quiet transition led to Birdsong. Previously Dave Ellis would have gloriously floated into this one, but he's gone. Kenny Brooks is trying to fill his shoes, but he's got a big job ahead of him and he's still pretty uncertain about his position in the band. 'Course Marc was in the same spot a year and a half-ago, even more so since Ratdog had never had a lead guitar, and look at him now. He adds a whole new dimension to the band and both Bob and Rob seem to really feed off his energy. I'll give Kenny a chance- I just miss Dave.

Anywho, moving beyond the composed section of Birdsong, the show began in earnest. The jam floated in some light waters before Jeff started to add some great FX from his organ- craggy washes of sound that carved caverns into an otherwise calm bay. Rob was stretching his neck to see the keyboarder on the other side of the stage, and eventually the whole band responded by moving into a hot Other One jam. They played the downbeat in unison, and Rob unleashed successive fills that just about knocked me off my feet, his spidery fingers racing all over his electric upright. It was obvious from the start that this one wouldn't develop into a full Other One, which was fine 'cause the band was able to focus on casting some rich, darker shadows before quieting down with a great Easy To Slip. Marc was on top of this one, playing a mean wa-wa that laced itself around Bob's vocals and ensuing rhythm guitar. The intensity of the jam built with Kenny stepping up to go note for note with Marc. And the then the jam just ended. Very slick, like a Boogie On by Phish, or one of those great Ghosts.

At the acoustic portion Jay, Jeff and Kenny didn't seem to know where to go but they jumped off the rotating stage and headed into the crowd. Marc started to leave but Bob called him back for a pretty KC Moan and my first Ratdog Me and My Uncle. It was slowed down a half notch and was very playful with Marc just doodling along throughout. Then Bobby started Black Throated Wind- unquestionably his finest composition and the pinnacle of romantic angst that all artists should strive for. The rest of the band returned almost immediately and joined in the pathos, upping the stakes with each verse. The climax hit and everyone was churning a wild mass, Bob screaming, "Drowning in you, Drowning in you." Wooo!

The moment that Black Throated ended, they jumped back into the Easy To Slip jam. This established the acoustic section as a true interlude, as though you paused the CD player, checked out a new tape, and then went back to the disc. The jam picked up right where it left off with lots of energy. It quickly morphed into a somewhat lengthy Supplication Jam. Jeff decorated it with wonderful B-2 flurries and everyone was just playing along- a smooth groove with no particular focus, or need for one.

A somewhat awkward drop led back into a brief closure of Easy To Slip. They finished up with haste and set off on another tangent, this one developing into a reggae jam that was exceedingly reminiscent of Lively Up Yourself. The smooth laid back groove calmed things down a bit, leaving those in attendance blissfully wading in warm tidal pools.

The sands shifted and as musical layer after musical layer was peeled away, Birdsong resurfaced. But the metamorphosis wouldn't stop and on the drop of a dime Ratdog jumped into one of their trademark musical deconstructions. In full jazz mode, this is where Ratdog is its best, each person straying off on descending lines, establishing dynamically balanced angular sound structures. Exploring caves bubbling with molten magma, Rob and Jay hinted at Other One before bursting into a placid field where once again a Birdsong was heard.

The jam dabbled in those whimsical waters before flowing effortlessly into Terrapin Station. The transition was incredibly smooth- one for the books. And the song was a monster. Kenny steeped out and nailed a series of climbing accents while Marc scorched the earth with racing leads. Bob sang with powerful precision, making this a version that bypassed every Phil and Friends versions that I've seen or heard on tape. The jam was sick, just twirling along on a focused hard rocking line.

Jay joined Rob for a funky, funky bass jam that led to a throw down of a China > Rider. The transition jam was long and performed well, everyone taking a shot at directing the sound. It was wild and threatened to set the tent on fire. As though in response, and since it was Sunday, they encored with Samson. Jay roared into it and kept the energy pumping throughout.

The crowd went nuts, totally floored by an amazing performance. The explosive and skillful playing, the many segues, and great vibe in the room, er. tent, made this a truly amazing concert experience. I couldn't ask for more.