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Mid-Atlantic
Regional Report
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Edited by Anthony Coloneri
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Phil
Lesh and Friends By Kevin Ford
The cold winds of autumn blew ferociously up Broadway as I emerged
from the 72nd Street subway station and walked toward the familiar
marquee of The Beacon Theater. The only reason I had ever previously
visited this hallowed hall was to watch the Allman Brothers Band,
a staple at the Beacon every March since the mid-90's. Now I would
be witnessing my first Phil & Friends show. I'd heard tapes of previous
incarnations and was suitably impressed. Yet something kept holding
me back from committing to an actual show (my shrinking wallet perhaps?).
After reading the reports from Boston, and contemplating how many
more times I may ever get to see Mr. Lesh in the flesh, I went to
the Box Office on a whim and snagged one of the few remaining tickets
for the Tuesday night show.
A quick hop up the winding stairs of the 72 year-old art-deco
theater and I settled into my second row, center loge seat and waited
for the festivities to begin. Rather than the traditional lowering
of the lights and triumphant march onstage to the cheers of the
crowd, Phil, Warren Haynes, Rob Barraco, John Molo, and Jimmy Herring
each ambled out of the wings with the house lights still up. It
took a while for the crowd to realize who was actually up there.
After a minute or two of plugging in and noodling, the lights went
out, the crowd cheered, and the boys began a ten minute, meandering
jam that seemed to be more for the benefit of those onstage than
off. It was interesting, but not the sort of one-two punch that
kicks off most rock concerts. I was getting skeptical. Good things
come to those who wait, however, and the Dear Mr. Fantasy that followed
erased all doubts I had about this incarnation of the PHIL-Harmonic.
Especially heartening was the assertive role Rob Baracco took on
organ. A satisfyingly psychedelic Cryptical Envelopment followed,
transitioning into a funky/jazzy interlude before Phil brought things
to a halt. Now it was Warren's turn to step up to the plate and
knock one out of the park with his signature tune, Soulshine. His
delicate interplay with Jimmy Herring on this one was especially
impressive, and Rob Barraco's powerfully evocative organ turned
the Beacon into a Southern gospel hall for just a few minutes.
The band then launched into a tight Mississippi Half-Step, during
which an incredibly charming (or well connected?) and attractive
brunette snuck onstage and started twirling behind Barraco's amps.
Perhaps not wanting to press her luck, she jumped back behind the
curtain as the band transitioned into Eyes of the World. It's hard
not to smile at this inherently sunny tune, yet this song above
all others reminded the audience of why Jerry Garcia is so missed.
Jimmy Herring performed an admirable interpretation, but he just
couldn't match Garcia's light as a feather touch that used to make
Doug Irwin's guitars veritably sing the lead melody of this chestnut.
Bringing his friends back to the Live Dead era, Phil led the band
into The Eleven. Certainly this is a rare one, but one he's played
before of late, so the tune that he chose to close the set with
really shook the Beacon to its foundation: The Golden Road to Unlimited
Devotion. Now this is one song I NEVER expected to hear live, with
Phil or any cover band for that matter. The crowd was whipped into
a frenetic fit of aural ecstasy as Warren belted out the lyrics
with gusto. It was Shindig meets VH1, as this mid-60's nugget was
given a 2000 twist. A perfect recreation of the final organ note
from the studio version brought the first set to an incredible end.
As the band wandered offstage, Phil slapped himself on the head
as if to say, "oh, yeah", then ran back to the lead mike and announced,
"We'll be back with some more music for ya in just a few minutes."
So back they came, again with the house lights on. The musicians
plugged back in, tuned up, took their respective sips of water,
and waited for the lights to go out. 1&2&3&. and, Viola Lee! Another
mid-60's nugget that has been experiencing a renaissance of late.
Ratdog has played it with members of moe., and I've seen both the
Zen Tricksters and Juggling Suns offer up faithful renditions. This
was a long and spacey version, with lots of room for improvisation.
Once again, Rob Barraco stepped into the spotlight on this one and
offered up some outstanding organ work. The dancing brunette who'd
snuck onstage during Half-Step reclaimed her spot behind Rob, and
would stay for the remainder of the show. The raucous Alabama Getaway
that followed sounded more Gov't Mule than Grateful Dead. Phil,
60, may be embracing his senior status offstage, but he played this
one like a longhaired, garage rockin' teenager. The band then went
into a terrific Goin' Down the Road Feelin' Bad. Amidst all the
swirling purple and blue stage lights and bouncing glow sticks in
the crowd, all I could see was a black and white image of Eddie
Quillan as Connie Rivers, singing this same song in John Ford's
The Grapes of Wrath. (released, coincidentally, the same year Phil
was!) Road transitioned nicely into a very mellow The Wheel. They
sped it up in the middle, doing what sounded like a little sample
of Ritchie Valens' La Bamba. Then back into the mellow mood of The
Wheel.
The transitional jam was so seamless that it took me an extra
moment or two for me to realize they had gone into Dark Star! This
was not your father's Dark Star, however. Gone were the trippy stylings
of the Live Dead era, replaced with a swingin' drum beat that sounded
as though Ellington or Basie decided to have a go at the Robert
Hunter classic. After singing the first verse, Phil led the band
into an exquisite Mountains of the Moon. I felt especially privileged
to witness this, having seen Phil's old roomie Tom Constanten perform
the same tune at a wedding just a month earlier. The concert had
already been a mind-blower up to this point, but Phil was saving
the best for last. Warren stepped back up to the plate and belted
out a powerful Revolution, perhaps a salute to what would have been
John Lennon's 60th birthday. Approaching 12:00, Phil and his Friends
closed the set with what I can only describe as the penultimate
Midnight Hour. Certainly I have heard some wild tapes of Pigpen
belting the Wilson Pickett standard back in the 60's, but they're
all hampered by the chemical and electronic limitations of the era.
This version came roaring out of the amplifiers as though liberated
from a thirty-year imprisonment, with Warren and Jimmy again dueling
mightily on their guitars and Rob joining happily in the musical
fracas on his inimitable organ.
The boys jammed the tune out until they couldn't jam anymore,
and left the crowd stunned and amazed at what they had just witnessed.
The guy standing next to me, a spinner named Kora, turned to me
and gave me a giant smile and hand slap, as though we had just watched
the Yankees and Mets defy logic and simultaneously win the World
Series. The band ambled offstage for a few minutes, allowing the
crowd to whip itself up into a frenzy chanting for an encore. Phil
re-emerged, waited for the noise to die down, and graciously thanked
the crowd for making possible a night of some incredible music.
He then confirmed the historic nature of the show by scratching
his head and wondering aloud, "I mean, what WAS that?" After citing
his own recent experience and imploring the crowd to consider organ
and blood donation, he introduced the band one by one. The Blue
Sky encore seemed almost anti-climactic, considering what had just
preceded it. Just as Eyes had yearned for Jerry's guitar, this version
initially seemed incomplete without Dickey Betts. Yet Warren Haynes'
voice has always fit this song like a glove, and he sang it with
such passion and clarity, his pipes became the only lead instrument
necessary for the moment. The crowd stood and applauded the five
musicians as they took a collective bow, walking off into the night
and leaving the crowd wondering what was to follow for the remaining
five nights of the run.
Karl Denson By Margot Main
Friends meeting, feet tapping, heads bopping, bodies grooving
was what Saturday's, October 7th Karl Denson concert at Irving Plaza
was all about. Opening the evening, Denson's sweet sax and Chris
Wood's (from Medeski, Martin and Wood) acoustic bass performed pieces
from their duo record expected to be released in early November.
The predominantly jam-band audience prepared for a night of dulcet
sounds.
Karl Denson shepherded the venue with his regal sax and eloquent
flute. His Tiny Universe consisting of, Andy Cleaves soaring on
Trumpet, Brian Jordan piloting guitar, Ron Johnson massaging bass,
David Veith stoking keyboards and Eric Bolivar keeping the vibe
moving on drums, immediately got the near capacity crowd moving
on their feet. Jamming in unison, each instrument's sound blended
together like a finely woven unicorn tapestry airing itself in an
orbit of sunshine.
It's easy to dance to the beat of Denson's unique sound which
is strongly influenced by standard setting groups such as Parliament-Funkadelic,
Maceo Parker, and James Brown. Denson, working hard but showing
no signs of slowing down, jammed out "Ruff, Tuff and Tumble" as
everyone seemed to feed off the venue's energy and the floor exploded
with twirlers, twisters, groovers and shakers.
New York City's been kind to Karl Denson and his Tiny Universe;
and, he's been kind to New York City. He started this year off playing
a sold out show at the Knitting Factory then took over the Bowery
Ballroom. It's not a shocker to see Karl Denson and his Tiny Universe
move on from Irving Plaza to open for Widespread Panic at the Lakefront
Arena in New Orleans on October 28th . If you happen to find yourself
drawn into Denson's orbit - go with it.
One For Woody by Margot Main
The Allen Woody Memorial benefit concert brought together a group
of powerful musicians and faithful fans to honor the recently deceased
Gov't Mule bass player and raise funds for his daughter's educational
trust. This musical eulogy began with Warren Haynes, Phil Lesh,
John Rolo and Rob Baracco. Opening with rotund tones with a "Misunderstood
Jam" leading into "Dark Star", these aural leaders closed their
nine song beginning of the night's euphonious journey with a thetic
"Sunshine Of Your Love". Working diligently, the crew set up the
stage for The Allman Brothers Band with Jimmy Herring and Warren
Haynes. Gregg Allman opened up his exotic blues vocals with "Trouble
No More" which lead into "Stand Back" and a fervent "Jessica" (exceptional
guitar synergy between Haynes and Herring). Little Milton joined
the already sizzling set to lend his crimson vocals for "Feel So
Bad" as well as sharing the spot with Gregg and Warren for "Soulshine".
Chris and Rich Robinson combined with the forces on stage and delivered
to the fans an emotive "Dreams". Phil Lesh returned and together
with the Allman Brothers played a pastoral "Franklin's Tower" (tandem
images of steal your face and mushrooms on the background screen).
Massaging the soul rendering peak, the Black Crowes, with Gordie
Johnson on bass, eased the over-sold ballroom into a gallant groove
with "Burrito No. 2". Warren Haynes, working out his love for his
departed brother in "Chevrolet", he slid into a crowd pleasing "Shake
Your Money Maker" and stayed on for the Crowes' final song in their
six song set, "Oh Well".
Ethereal serenity was interrupted when Warren Haynes, Matt Abts
and friends: Dave Schools (bass, Widespread Panic), Johnny Neel
and Danny Louis, plowed through Gov't Mule's "Lay Your Burden Down"
and "Fallen Down" like a convoy of eighteen wheeled Mac trucks.
They showed no mercy with an excellent bawdy cover of Traffic's
"Low Spark".
A quick player switch put Gordie Johnson (Big Sugar) on guitar
and Berry Oakley, Jr. (Blue Floyd) on bass. As the stellar line-up
swam through "Shine On You Crazy Diamond" then plunged into a deeply
rhythmic, gut wrenching "Wish You Were Here", gaunt images of Allen
Woody held court on the slide show. A venue filled with cheering
faces and watery eyes greeted "Cortez The Killer".
It was almost with comedic relief when Haynes, Abts, Schools,
Herring, Kevin Kinney, Edwin McCain and Darius Rucker performed
"Straight To Hell". The mood certainly lightened when Haynes, Abts,
Milton, Schools, Louis and Neel kicked out "When The Blues Come
Knockin". Increasing the levity was a funked up "Lovelight" with
Haynes, Milton, Molo, Neel, Merl Saunders and Oteil Burbridge.
Switching to a southern tone, Haynes, Herring, Saunders, Lesh,
Molo, Barraco and Chris Robinson played "Goin Down The Road Feeling
Bad". One of the more definitive songs of the evening, "Simple Man"
as performed by Haynes, Oakley, Eddie Harsch, Audley Freed and Artimus
Pyle offered an essence of the character of Allen Woody.
In keeping with the tone most closely related to Allen Woody's
southern rock n blues roots, Haynes, Abts, Kearns, Pyle and Leslie
West loaded their rigs with octane and drove a hard "Never In My
Life" into a rowdy open highway call "Mississippi Queen".
With every note hit and every emotion squeezed in the six hour
concert a sense of closure wrapped the low vibrating yet penetrating
spirit of Allen Woody as Haynes, Abts, Pyle, Neel, McCain, Louis,
Harsch, Falzarano and Hook Herrera sang, "I Shall Be Released".
A Wash But Far From a Wash Out By Suzie Cream Cheeze
HandiJam 2000 took place on Saturday the 23rd on Staten Island,
New York. Merl Saunders, Dave Nelson Band, Vassar Clements, Michael
Falzarano of Hot Tuna, Toni Brown band and One-Eyed Jack were some
of the fine acts performing at this event. It was a non-profit event
for mentally and physically challenged individuals proceeds to benefit
the Mount Lorretto and the Rainbow Hope foundations. From the start
it was obvious that rain was going to play a major factor in the
day. Around 11:30 One-Eyed Jack, a new band to the jam band scene
took second stage with a rousing 45 min set including material off
their soon to be released 3rd CD. Lex Grey and the Urban Pioneers
took main stage after. A fine mix of blues and powerful rock ballads.
Lex s vocals were so reminiscent of Janis Joplin that you needed
to really look up to realize it wasn t.
The break once again featured One-Eyed Jack on the second stage
tossing out another continuous jam of 3 or 4 songs (40 min set).
By this time the weather started setting in and I noticed the lack
of cover on the 2nd stage was starting settle in on One-Eyed Jack
s set, still without a hitch they continued to play on in the rain
till they completed the last song. Meg Griffin and Train Wreck followed,
joined by Vassar Clements on violin. The set was blue grass with
a folk feelin , some down home vibe that was sparkling with Vassar
s special sound. Michael Falzarano of Hot Tuna joined the band on
mandolin to complete a perfect match of harmony and instrumentation.
The weather started to get worse and without adequate cover it
was obvious this was going to be it for the 2nd stage. One-Eyed
Jack squeaked out one more Wet Set. Ending with a rousting version
of Damn Temptation off their Live at the Lion s Den CD. Vassar and
the Electrix hit the main stage and some of the Old and In the Way
Classics started to flow off of Vassar's violin. A classic assortment
of Jerry tunes mixed with that Blue Grass feel made the rain seem
almost non-existent.
The 2nd stage closed and the next act was Toni Brown band. Jeff
Pearlman (keyboards) who played with One-Eyed Jack sat in with Toni
s set only to discover keyboard problems on the main stage. Toni
continued with the set and finally the problem was resolved.
An excellent jam of the Allman s Blue Sky lead into Merl Saunders
set. Jeff Pearlman and Katie Schmidt (percussion) from One-Eyed
Jack joined Merl and the rest of the Toni Brown band. A heated up
version of Mystery Train with Michael Falzarano on vocals and guitar
was another high point in the performance.
Merl s set was inspiring, regardless of the rain the band was
energetic and Merl was having a great time doing what he does best.
A break in the set and a political plug for Ralf Nader was followed
by My Problems Got Problems off of his Fire it Up release.
Dave Nelson Band followed Merl and closed the night. At this point
all of the backstage gates were open and the crowd was allowed to
mingle with the artists. It was a great pleasure being able to meet
Merl, Vassar, Mike and Dave Nelson. This was a treat, the weather
may have sucked but the low turnout provided a special intimate
performance that I would have never got to have at any other event
this summer. The Dave Nelson Band was awesome, Lonesome LA Cowboy
and other Classic New Rider songs featuring Vassar on violin wrapped
up a great day in the rain. I grew up listening to the New Riders
it was a pleasure to actually meet Dave in person and watch him
perform in such an intimate venue.
The show in general was great sound and performance wise, I must
say that the appearance of the event due to the weather and turnout
was definitely not representative of the quality of the overall
day s performances. Highlights in the day were Merl s set, my introduction
to the band One-Eyed Jack and the Dave Nelson Band with Vassar.
Unfortunately, Charlene s HandiJam event did not raise as much
donations as it wanted to. She is asking that people interested
in finding out about her cause and donating can still do so by contacting
her at her store 718-980-1820. Another event benefiting this benefit
was talked about back stage and news of the lineup, venue and date
will soon be announced.
Black Uhuru w/ Sly & Robbie By George Schaefer
For lovers of reggae this is a can't miss show. Black Uhuru have
long been legends of the reggae circuit. They have been among
the torchbearers for nearly two decades since the death of Bob
Marley. But they have been having personnel problems of late.
This is unfortunate for anyone who has ever seen this band. It
was with great anticipation that I approached this show.
It had been five years since the last time Black Uhuru toured.
It was also exciting because the Black Uhuru was being backed by
Sly & Robbie. Sly Dunbar and Robbie Shakespeare need no introduction
to reggae fans. This is the finest rhythm section in reggae music.
Indeed, one of the finest rhythm sections in all of music. The
prospect of Black Uhuru being backed by Sly & Robbie was a tantalizing
prospect.
And I must say that this performance did not disappoint. Although,
the Electric Factory is not the most pleasant place to see a show,
I was still anxious. I was sure that the music would make up for
the annoying security who don't seem to realize that the reason
they get a paycheck is because of us fans who pay our hard earned
money to buy tickets to the shows. Well, enough of the soapbox.
This was an amazing show. Sly & Robbie came out with a vengeance.
The bass was turned all the way up and they rocked. They could
have played an entire show instrumental and it would still have
been awesome. My ears were ringing from the get go. Then Black
Uhuru came out. Founding member Duckie Simpson is the only original
singer left. He had two other singers who were never identified
during the show. They did a competent job anyhow. And the audience
was treated to a lot of classic reggae. The crowd seemed to appreciate
the song "Sinsemilla" a lot more than the security did. This is
an old Uhuru standard that received fine treatment here. Sly &
Robbie just kept the music driving along at a breathtaking pace.
The set was replete with songs like "Guess Who's Coming to Dinner,"
"World Is Africa", "I Love King Selassie", "Shine Eye Gal" et al.
It was great to hear all these songs live again. I had missed Uhuru.
It was a thrill to have them back. It was also great to hear Sly
& Robbie playing live again. It had been nine long years since
their last American tour. This was certainly a historic tour.
Hopefully, they won't make us wait nine years for an encore performance.
This was close to two and a half hours of the hardest driving reggae
I've heard in years.
Manic Mule By Harlan Mexler
Brief background: I saw the band for the first time in early
1998 at the Trocadero Theater in Philadelphia. Since then I have
seen only 5 show but have been knocked off my feet each time I have
encountered the four guys from Philly better known as Manic Mule.
Arrival at my sixth Manic Mule show: I made my way into the recently
restored North Star Bar in Philadelphia. The place is as perfect
of a setting for a show of this nature. Its capacity is around
250 and the beer is stellar. Imports all over the place on tap.
The sound system is better than average and there is ample room
to cut some rug if you feel the need.
I was slightly surprised when I arrived because Manic was billed
to headline with Fat Mama opening yet the Mule's gear dawned the
stage at five past ten. Apparently there had been some complications
and Mule was now set to go first. In my brief past history with
the band I have found it is sometimes a plus when they are opening
because they really try to be as energetic as possible and ultimately
perform to their highest level. 4-20-00 was prime example. When
the band is billed with an act of more fame they tend to perform
better.
Enter Manic Crew: The band took the stage at 10:40 and with nothing
said guitarist Mike Philbrick opened the set with the dissonant
chord lines to "Daniel's Lament." This drum and bass oriented tune
is new to the bands rotation and has really taken off since its
debut in August when the band headlined to a crowd of 500+ Livestock
Music Festival. Daniel Bower's intense jungle rhythms make this
a dancing orgy in the audience. For the Philadelphia crowd this
was the first display of the song inside Philly's city limits.
Next came the original classic BOO. This rock anthem culminates
with high energy call and response between the piano and guitar.
As always the anthem hyped up the crowd. It the space jam of Boo
is when I realized the room had really filled up and the place was
moving. Up next was Philbrick's new composition W.O.I.A.2.U (we
owe it all to You). I had heard this tune on the bands new two
disc set from Labor Day weekend at the Two daze festival. It is
a testimonial the trials and hardships of being in a struggling
band with the reminder that they owe it all to those who have supported
them from the start. The song has a basic country feel but the
vocals are delivered with such conviction that the climactic line
of "We owe it all to You!!" was heard ringing through the vocal
cords of most in attendance. Seems like the 2 disc set has been
moving around the circle of heads. The song has much potential
and I am looking forward to see how the band tweaks it as they continue
to play it out.
"Dancin in the Rain" played the part of cleanup tune at the fourth
position. I have only seen the song twice but the three part harmonies
and explosive ending are what I have grown to look forward to at
Manic Mule shows. Keyboardist Michael Borowski adds great flavor
to the song with his calm descending piano lines. Dancin segued
into the new ambient jam coined Ray's Road. This song featured
bassist Jay Ganis(aka Ray Jay). Ganis was using a tap technique
on the bass that emulated an old Fender Rhodes. Hence the name
"ray's RHODES". That jam meshed into a rearranged version of the
Mule original "Travelin By". I have always liked Travelin By because
of the gradual build. The band makes you feel as though someone
is turning up the volume ever so slightly throughout the song.
The next on the setlist was the Mule reggae original "I Know".
This song has continued to build since I first saw it on 4-20-00
when the band opened for Deep Banana Blackout. The Mule just plays
the simple reggae roots groove so tight. They didn't try to get
fancy and eventually the energy just took control. That's what
I love about Manic Mule, they don't try to blow you off your feet
with ridiculous solo's and changes from 3/4 to 15/16. They keep
it all in the pocket and ride the groove.
They rode right off "I Know" into "Can't Believe", a cover by
Mike Watt and his early 90's band Firehose. Not to be confused
with Firehouse, the crappy, teased hair one hit wonder. This post
era punk rock ditty was unexpected yet well delivered and received.
The "Thillar" off of the bands debut album was played next. The
song "Chilla" is a musical memorial to a late pet that dates back
to the first dates Manic Mule had in the bar scene. The snappy
catch phrase is reminiscent of the Beach Boys song Barbara Ann.
Ganis played such a great bass break in the middle of the song followed
by a Hornsby-esque solo by Keyboardist, Borowski. Although it was
only the second live experience with the song, "Chilla" stood out
as the best tune in the set on this evening. Brief solo's from each
member and vocal complexities help the song showcase the band's
collective talents while keeping energy at the highest level.
Bringing up the rear was Bower's blues composition "Nymoi". The
instrumental included brief solo's from each member with a focus
on Ganis's Upright Bas solo. Ganis gave a great offering for those
bass enthusiasts in the audience. "Nymoi" slowly melted into "Quijies",
a Spanish sounding song that gives a musical interpretation of hallucinogenic
psychedelia. Borowski shined in this composition he wrote early
with the band. Most of the crowd joined Philbrick and Borowski
in singing the 1st verse. "every thing is melting to the Ground...".
Bower exploded in his drum solo mid song. He played for a good
two minutes and then broke into the opening beat to the band's bluegrass
favorite "DIng DANG DO". This closer was faster than I have ever
heard it before. In last adlibbed verse Philbrick mentioned how
it was great to see everyone in Philly again. The crowd was very
responsive!!!
The band ended the night with their original bluegrass hit. I
felt the band could have played forever but the short show I was
treated to was superb. For those of you who haven't gotten to see
Manic Mule in their entirety, I suggest you do so soon. After
all time runs short....
One-Eyed Jack & Mike Falzarano (Hot Tuna) By Suzie Cream Cheeze
We walked in on the sound check. Already 10:30, we new it was
going to be a late night. Four tries at the chorus to This, Too,
Shall Pass" set the band up for the their vocal levels. A new song
called Hawt Sauce was used to check the instrument levels. This
should have just been the opener. It was smoking and we were ready
to burn. The band settled in with some drinks and some members came
back with that kind scent that we all know. The set opener was Kick
Away the Blues. Then Katie stepped up with Joe for the Appalachian
rocker Shotgun Mamma. A beautiful version of the new song Pride
in Your Pain flowed into Bill Dawson. Before the last chord was
strummed Joe Kicked into Copperhead Well with the intensity of a
freight train. The last chords rung out and the harmonica got strapped
on for a beautiful rendition of Trials & Tribulations this has become
my favorite. The new piano & harmonica opener and Katie s vocals
have taken this tune to new heights. The solo was hot, Jerryish
and flowing perfectly into the chorus. The Road was next with a
great seven jam at the end. The sound checks prepped the band for
the real rippin version of This, Too Shall Pass. It has been a
while since this was played out and it seems that the
new lineup is the best at pulling this off. I ve heard this before
and this is the strongest it has been, the new surprise was the
jam at the end that melted into Playing in the Band. What a version,
Jeff & Katie s vocals were compatible to great Weir and Donna takes.
The jam was nutz. Mountain Jam? was it could it be? Slam! That cool
little lick that tells us all it s rolling back to the bridge and
Playing is back.
The second set opened with Mike Falzarano (Hot Tuna) on acoustic
and One-Eyed Jack behind him doing Big Railroad Blues. Mike s
vocals were great and O-E J complemented his style. Mike sat in
on 2 O-E J songs Brother Tom & Move On. Excellent versions and
the acoustic was definitely a treat to hear in these songs. It added
a whole new dynamic. I was honored to be seeing and hearing this.
Mike then went into Going down the Road. Once again his vocals
were great and extra harmonies by Joe & Jeff added to the mix. Katie
stepped up for the new Draw the Line. Friend of the Devil with
Mike on vocals followed. Then Deep Elm Blues a great shuffled out
version, the bass was a whailin! Luved it. Then a real surprise,
Joe pulled out Kevin Kinney s Straight to Hell. This was the first
time the band did this one and since Mike was at the Allen Woody
benefit I guess the band took advantage of his presence. It was
a great ending song with Mike and Joe on vocals for the chorus (this
is a great FSU song). Mike Falzarano left the stage and O-E J jumped
into Time on the Run check out http://www.one-eyed-jack.com/tunes/mp3/OneEyedJack-TimeontheRun.mp3
for the Mp3. Excellent close, the floor dropped out from me and
bam&. Set break. Roll another one.
The third set took a while to kick in. Actually, it was after
2 am as the second set closed. The third set opened with Hard to
Find. I came in late and only caught the last half. Already after
3 am, I figured this was it but a China Cat peaked out and a China-Rider
close was the end to a FSU Mob gathering.
UPCOMING SHOW INFO: Bartleby will be playing its next show at
ACME Underground on Saturday, November 4 at 11pm.
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