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Big Sky Regional Report

Edited by David Shulman - davids@sterlingdirect.com

Hi all,

Fall has arrived, and finally a relief from the summer heat. Not to mention fall tour season. September delivered a very exciting month to the St. Louis area. There were some fine shows, as you will see described below, but for sports fans, specifically baseball fans, McGwire hitting 70 was a thrill to say the least. Yours truly was lucky enough to bethere for the historic day, and to top it off, I ran into Bruce Hornsby (recently of The Other Ones fame) at Busch Stadium the same day. I mentioned last month that a media guide listed Matt Morris, a Cardinal pitcher, as a fan of Phish. I have learned further that his requested song to be played when he walks up to the plate is "Weekapaug Groove". Way to go Matt!! Please make sure to read this months installment of "Minutes With Mimi" as I think you will find the article to be very interesting.

I would like to thank Casey, Chad, Paul (Pro), and Scott for their help with this months report. As always, additional participation is most welcome. Have a great October!!
-David Shulman

Greg Beebe-vocals, guitar
Erik Blomenkamp-guitar
Steve Petty (of Meandering Blue)-bass, vocals
Tim Zoucha (of S.O.U.P./Grateful Dudes)-drums
Pro-sound

Guests:
Holly Karsten-vocals on Rack Em Up and Mercedes Benz
Josh Hoyer-saxophone
Matt Johnsen-bass on Scarlet>Fire
Shad Higgins-bg vocals
Visuals by APEX3

Setlist: Fluffhead>China Cat Sunflower>I Know You Rider, Poor Heart Suzy Greenberg>Sweet Home Alabama, Werewolves of London>Suzy Greenberg I Don't Want To (But I Got To)*Rack 'Em Up^Eyes of the World Set Break Mercedes Benz^ Scarlet Begonias>Fire On the Mountain Franklin's Tower

*-original, SP 1998; ^-first time

The setting is Bodega's Alley in Lincoln, NE. The scene at Bodega's is typical of a university town-lots of students looking for a place to hang out-but on Wednesday nights, the scene is a bit more freaky. Sponsore dby the university station, KZUM 89.3, the Dead Hour comes on at 10:00 PM, drawing a mix of Heads into this little establishment for a round of Bass and a dose of Dead. The couches that normally sit on the stage in the window have been replaced by amps, mikes, guitars and cyberlights for the show.

To say that the 9/23/98 Strange Pleasures show was a "jam" in the true sense of the word is probably an understatement. Due to some personnel changes, the lineup on stage had never played together. Never even practiced together. While this might be a serious problem for another band, Strange Pleasures takes it in stride. The addition of Grateful Dudes' drummer Tim Zoucha and bassist Steve Petty of Meandering Bluefor the evening was a wonderful pairing and let guitarists Erik Blomenkamp and Greg Beebe fill in the sound with their unique stylings. The energy ofthe novel lineup was evident from the beginning. As the musicianscautiously felt their way through "Fluffhead", the sound was building. Thetransition into China Cat seemed to take forever, but once China was locked in,the groove was golden for the rest of the night. Zoucha, no stranger to a Dead set, made the bouncy "Rider" an extra special treat (the last "Fluff->China->Rider" was sometime in April). I don't know if cyberlighting has any effect on the notes coming out of the instruments, but it sure changes the way songs are perceived. Shannon Jackson of APEX3 put on a killer light show that intermingled with the sound, enhancing the effect of the extended tune. The sole original offering of the night, "I Don't Want To", pulsed slowly through the first two verses and built into a crescendo that pulled the crowd onto the floor. Holly Karsten then joined the fray for a first time run through "Rack 'Em Up"-pulled from Johnny Lang's latest. The only word you can possibly use for Josh Hoyer's saxophone on "Eyes" is "CREAMY." Following a short break, a well-received "Mercedes Benz" by Holly Karsten, original Strange Pleasures bassist Matt Johnsen got up to jam on a pretty nice "Scarlet>Fire", and then the night ended with a crowd-pleasing "Franklin's". From my seat at the soundboard, it felt like a pretty good show. The board recording, however, proved to be almost unreal. Maybe it was the lineup, maybe it was the lighting, maybe itwas the crowd or some combination of the three, but there was definitely a huge dose of love in the room that made this night something special.

Strange Pleasures will be returning to their usual Thursday night slot at the Saddle Creek Bar in Omaha NE on October 15 and 29 and then a three-night run on November 5-7. Another Bodega's show is slated for Wednesday October 28. Hope to see you there. For further information, check out the Strange Pleasures website at www.strangepleasures.com. More from the Husker state in next month's issue.

Also, August 1 marks their annual tribute to legend Jerry Garcia. This past year, the Dead set included a China->Rider, King Solomon's Marbles, and Shakedown Street. The 1997 tribute boasted an impressive Eyes of the World, Franklin's Tower, Estimated Prophet, and Music Never Stopped. The group strives to make each show more inventive than the last. In my five year association with the band, they have not failed to meet this credo.

If you would like to receive additional information on one of my favorite bands, give Brian Baggett a call at 785.228.1362. He's a personal friend of mine and also the lead guitarist and vocalist. The band also boasts an impressive DAT collection that can be accessed through Brer. His phone number is 785.865.3770. Lastly, you can check out the band's web page at www.e-e.org
Thanks for your time.
Casey Wilhm

Our club's capacity is 250 and we have the best acoustics of any room in St. Louis. Every local and national band that has played here has agreed that no club in St. Louis sounds as good as Cicero's. You may have already heard of Cicero's. Like I said before, we have been around a long timeand have supported many types of music in the past. I believe that music is going in the direction that most jam bands are taking; that is a mixture of Jazz, a touch of blues, and rock & roll.

We will continue to book indie rock bands as well as Jazz and blues among others, however, I would like to feature national , regional and loca ljam bands at least twice a week, more if St. Louis can support it.

If you are interested in playing St. Louis, please send a press kit to 6691 Delmar Blvd., St. Louis, Mo. 63130. I listen and will give equal consideration to every band I receive information on. Please feel free to call, or e-mail me if you have any questions, or just want some more information.
Thanks,
Chad

On September 15th, David Gans began his solo acoustic tour through the Midwest. The tour consisted of close to 2 weeks of touring through the Midwest, starting in St. Louis on the 15th and ending in Chicago ten days later. David Gans is the well-known host of the Grateful Dead Hour out of San Francisco, which is broadcast coast to coast. His solo acoustic show brought out many old-school Deadheads who still listen to his weekly program and a varied mix from the younger jamband scene. I had a chance to see him at the tour opener in St. Louis at Off Broadway and again a few nights later in Columbia, MO at the Music Cafe.

David is a very amiable character who sat near the door chatting with fans and friends before the show in St. Louis. During both sets he played many originals and, of course, included many Dead covers as well as covering a various number of other artists, including Gram Parsons, Robbie Robertson, Gillian Welch, and Jackson Brown. Highlights of the St. Louis show were the Black Peter > Thunder Road, and a wonderful Psycho Killer, capped off by a stellar Wharf Rat > What's So Funny About Peace, Love, and Understanding? > Sitting in Limbo > Our Lady of the Well > Wharf Rat >One Time, One Night! Rocking cheers from the crowd brought David out for a couple of more tunes including the always fun "Seeds and Stems" by Commander Cody and His Lost Planet Airmen and his Gans own "Popstar".

A few nights later I made the journey down to Columbia, MO, to see David again. This venue was much smaller than the St. Louis venue, but contained more people. The two shows were like night and day, as the St. Louis crowd was quiet and appreciative, the show in Columbia was more of a backyard party. The atmosphere was much more playful as people yelled out requests all night, which David usually played to many cheers. Countless highlights on this evening, but most notably was the Gans original "River and Drown", which weaves the tale of two young souls in America, and "Ripple" which brought quite a few smiles.

All in all, David Gans puts on a very good show. I think many of uslook at him, in almost a father-figure sort of way, because of his vast knowledge and expertise with the Dead. Having attended well over 500 Dead shows, his many writings on the Dead, and of course, most notable, his work for over 10 years with the Grateful Dead Hour, he is someone who has been in the heart of the community for along time. This almost creates that "immediate appreciation" of his works. I highly recommend seeing David if he ever comes to your way.

'Akimbo' opener, and I loved it. I can't get enough of this song, I've heard it a million times and love it everytime. This was followed by, 'Blue Eyed Son', a new moe. tune for this tour, which was much different then I expected it to be, much faster and more bluegrassy, but I definitely like. This is a new Al tune written for his newborn son, Benjamin, which gives it that extra special kinda feeling. Next came an incredible 'Jam > Rebubula'. The first chords of the jam started and a friend and I look at each other "Is this the new 'Brain Tuba'?"... butno it wasn't, they were just jamming, it was beautiful. Heavy 'I Know You Rider' teases, lasted about 3 or 4 minutes easily (that's a guess), then you hear the first few chords of 'Rebubula' and the segue from the jamwas tremendous. Playing 'Reboob' as the third song! I knew it was going to be a good night! 'Spaz Medicine' came next... pretty standard version (doesn't take away from the fun factor of this song though!)

Then came the ever sweet 'Four', I'm getting chills writing this,because I was getting chills hearing it. I absolutely love 'Four' beautiful, beautiful song. I especially love it live, of course! When they're in between songs and there's that pause, that "What are they gonna play next?!?!?"-vibe, and Chuck steps up with the first few chords of'Four', goosebumps race up my arms. I especially love when Chuck gets the high voice going on the "it was so easy" lines and the varied scat at the end. The set closer was 'Head', which always get me going, not real jammed out, nothing like 'Space Dog' 'Head's', like my friend and I were looking for, but good none the less.

The second set opened with 'Big World'. I REALLY like this song, tentimes more though since the release of the album. I think knowing what Iknow now from the liner notes to "Tin Cans and Car Tires", it really makes the song take on a whole new meaning to me. For those who have not bought the album, shame on you, but Al informs us that it written about this summer when he finally got to meet his real parents. Before learning that Al was adopted, I thought this song was just funk-a-licious, now I think ittakes on a whole new lyrical meaning. This was followed by the all-time bomb ass tune 'Jazz Wank'... moe.'s instrumentals = Scott happy. I can't get enough of the damn things, I wanna whole instrumental set! 'Jazz Wank' is so sweet... but here the question arises, is it gonna be the Wank > Spine of a Dog > Buster, like they've been playing so often lately?!?! Nope... not tonight... as we hear Rob's bass reverberate around the room to the all too familiar bass line Buster intro. I really enjoyed this 'Buster'. They took the jam out for a long time, and I don't know about other people, but I've always had this certain feel about 'Buster'..like during the lyrics section, I picture everything in my head, the pigs, the cognac, the Gouda, the snakes and bee's, and then during the whole instrumental ending, I see what happens in my head too. What I've always pictured was 'Buster', is tricked by his evil twin brother, Link, into thinking he can fly, thereby killing himself when he tries. So what I always picture once they go into the instrumental ending is Buster wearing a cape and all, and climbing up a huge sloping hill to the top of a cliff, ya know going to attempt aviation because he believes he can fly... the jam builds as he gets closer and closer to the top. He gets to the edge and looks all the way down to the rocky floor beneath, closes his little beady pig eyes, and leaps off, and falls. He fall sand falls , tumbling end over end in midair (by the way - in song proportions, he falls for a LONG TIME), and then straightens himself a little, squints his eyes and believes in himself and then BAM that'swhen the jam turns more into the 'wah-wah' guitar section and Buster DOES IT just before he hits the ground he DOES FLY, he shoots upward, big grin and all, and is just hurtling around in the air, cape flapping in the wind... the song is in the peak of the jam and Buster is flying around and asthe screen fades to black, the song trickles to an ? :-)

Following up this was 'Again & Again'... really good version, much better than when I saw it this summer... more jam section too. Then came the monster of the night. I'm gonna be honest here, I'm not a huge 'Moth' fan, I think I gotta a little burnt out on it, but as the great Harry Carey would say, "HOLY COW". Incredible, absolutely, hands down, the BEST MOTH I'VE EVER HEARD/SEEN/READ ABOUT... EVER. I can't even beginto explain it, I never knew 'Moth' could be taken to such places. The funny was not the usual "3 sheets to the wind" line, but rather the lights are killed and a solo spot light is put on Al as he does 'Itsy Bitsy Spider'!!! Then back into 'Moth' they go, just as they would with the funny!!! Amazing...

'Tambourine' came next. The jury is out on this one. I need to give it another listen. Then came the set closer, and you couldn't pick a better way to do it then the all-time classic 'Time Ed'. Another song that still blows me away, whether it be live or listening to HeadSeed. Vinnie rips it up on the skins during the drum section middle jam.

Encore was St. Augustine with an even longer than usual opening jam...St. Aug fits into the same category as 'Moth' for me, it just doesn't do much for me. My favorite part is the jam intro, and the song just doesn'tblow me away after that.

Fresh off a nice moe. show, I was anxiously awaiting another. This time I knew I would be in for a special treat as the Ominous Seapods were opening, the last show of the tour they would be opening for moe. This in it'sown right would be a highlight, knowing their tendencies to jam together.

As I hit the Blue Note in Columbia, I started to feel that special vibe in the air. Although the place was empty (maybe 20 people as OSP took the stage), there was magic in the air. People began to pour in steadily throughout the Seapods set, which is typical for an opening band in a college town on a Thursday night. Those who were not there, did miss out on a great OSP set. Started off with a great 'Leaving the Monopole > Sneakin' Sally Thru the Alley'. Followed by 'Jet Smooth Ride' and an incredible 'John Henry's Hammer'. The highlight though was still to come.

I had heard through the grapevine of a new OSP song being played the last few nights, and I was just about to yell out a request for it, when they announced, "We have a new one for you guys!" Knowing this was it I bee-lined it even closer to the stage. What followed next is a song that is sure to bring smiles all over the country as they play it more. It is a true story from Max Verna (OSP guitarist), and it is called 'Marv Albert and My Switchblade Comb'. The lyrics tell the all too true tale of Max Verna going to Madison Square Garden with a buddy of his when they were young. Max had recently picked up a switchblade comb, the things that we've all seen that look like a switchblade, but when ya flick the switch, a comb pops out. Max happened to land box suites for this event, and as he headed to the bathroom, who should come up to use the urinal next to him, but Marv Albert. The story relates how Marv Albert began to inquire why Max was up here, and that he probably wasn't allowed. Max looked at him, whips out his switchblade (to a now shocked and scared Marv), flips the button, and out pops the comb! Now Marv is pissed, so he calls security on Max, but the security guard takes Max side and tells Marv to "leave the kid alone". With all the trouble Marv is in now, Max relates to us in the chorus that "Who's got the last laugh, Marv Albert? Who is laughing now?" Great song, big laughs, and a perfect ending to the last OSP set to be played on the moe. tour.

As moe. began to set-up for there show, the place began to fill, and the intensity of the Blue Note began to rise. The first set started to the new "hit" off of 'Tin Cans and Car Tires', 'Stranger Than Fiction'. Good song, not a bad opener. This was followed by the "country hoe-down" 'Time Again', which got those not standing already off their feet and dancing. 'Spine of a Dog' was to come next, and this sent the crowd roaring as the melodic "You say potato and I say three!" reverberated throughout the hall. This segued into the ever jamming 'Yodelittle'. After this monster of a two song segue, the band whipped out the ever-popular sweetness of 'Nebraska'. What followed was what truly got the evening going though. The old school. kick-you-in-the-ass 'Don't Fuck with Flo'. The jams throughout the song traveled far and wide, and ended incredibly intense. The next song was a new one for this tour (one of six new tunes moe. has brought out this tour), called 'Bring It Back Home'. I love this tune! This tune and 'The Faker' are both filled with incredible jams and wonderful choruses. This was a perfect song to end and incredible first set.

Things were just starting to get interesting though. For some reason, you can see great shows everytime you see moe., but it's these ass-backward towns in the middle of nowhere, that moe. will suddenly bust out an unbelievable show, and this had the makings of such a night. As moe. took the stage to a 20-min plus 'Timmy Tucker'. Max Verna and Ted Marotta (drums) from the Ominous Seapods took the stage after Timmy, and joined moe. for an awesome 'Bring You Down', which was perfect song to play as a sort of an 'Ode to the Seapods' as it was their last show with moe. The chorus goes "I don't wanna go home soon", etc. Max' guitar sang as he jammed playfully along with Al and Chuck, for around 20 minutes. As the Max and Ted left the stage, the air filled with that "what is next?" feeling, and boy would it be a good one! 'That Country Tune' another oldie that is seldomly played, but always loved. Coming next was 'She Sends Me', the old version. The difference between the two SSM's is night and day. The 'She Sends Me' played most recently is sort of a sitter for me, something I've heard tons of times, and does nothing for me. The old SSM had heavy reggae jamming, that is followed by a sort of disco/80's final chorus, this is the one we got tonight. What followed in the next 3 songs and the encore can only be described with one word, "WOW". This was all started off with the Rob song called "The Faker". The song starts off as a tender sweet ballad of sorts, but carries the listener through many jams, and finally ends completely different then it's balledesque beginning, much more upbeat and on fire. Rob's bass began to reverberate around the room as the jam continuedafter the song, the lights turned the room into a blacklit room with neon green highlights. It was beginning to be clear that Rob needed some room towork his magic, as the bass seemed to increase with every slap, until it exploded with 'Brent Black'. Loud and intense could only describe it as Rob slapped and slapped his way though this, during the jam it seemed as if Rob had gone nuts. He was making a statement, "I am Rob, hear me roar!" Al and Chuck tried to stay with him and contain him, but nothing could bring down the Big Bear as he furiously laid down the bass lines! The local rock fans were going nuts, they hadn't seen a man like this in a long time, as they crowded the center of the stage headbanging along and throwing the "Rock-on" hand sign. By the time 'Brent Black' had finally spun its course, I took a look around and nearly everyone was left wide-eyed and opened mouthed. Always ones to out-do themselves, moe. didn't even pause as they exploded into the rocking 'Seat of My Pants'.

In an interview this past spring with Joe Madonna, Chuck answered some questions about this song, his answers always bring a smile to my face. When Joe brought up SOMP, and the jam section, he asked "What do you guys feel like on stage when you come to that jam section?" Chucks reply, "I feel like breaking stuff! It sound cheesy, but I feel like a young kid, sittin' in my room, listening to Ozzy records, sometimes you need to spaz out." Tonight's SOMP was no different, it was an ass kicker. At one point Rob jumped down into the crowd with all the headbangers and started throwing "Rock-on" signs to Chuck and Al! As moe. exited the stage, the crowd was a buzz at the unbelievable events which had just transpired. The encore would do nothing else but enhance this phenomenal show, as the band took the stage to play 'Moth'. Even though it was done the previous night (an incredible version at that), they were going to play it anyway. Don't be alarmed though, this 'Moth', took on a whole new flavor of its own, as one by one the Ominous Seapods came on stage and "tagged in". Ted and Vinnie shared the drumkit, Chuck gave up his guitar to Dana, Al gave his guitar to Max Verna, and Rob relented his bass over to TP. Chuck, Al, and Rob began to play various intruments, as they banged away at cowbells and car hubcaps which were adorning the backdrop. Rob jumped back into the crowd to cheer on the Seapods! The Seapods played flawlessly in moe.'s absence keeping 'Moth' alive. The song was finally brought to a close, with the Seapods played moe.'s instruments, Chuck and Al playing various instruments, and Rob singing with nothing in his hands, but a beer!

moe.
10.02.98
Newby's
Memphis, TN

One long drive and one speeding ticket later, we finally made it from Columbia to Memphis. I've never seen so many Elvis things in my life, then I did in the 30 minute drive across the town to Newby's. I had been warned about Newby's, some referring to it as a "dank pit". It was a hall without thrills to be sure, but not as bad as I expected, I mean there was a connecting restaurant, with some bomb ass jalapeno poppers, and the place did seem to cater to jambands.

Tonight's opener was the Gibb Droll band. The band is a newly formed group that Gibb has brought together, so the playing wasn't real tight, but Gibb is an amazing guitarist. Just watching him jam away during the opening set had me wishing he would join moe. for a tune or two later in the evening. moe.'s first set started off with a bang with the newly revised 'Waiting for the Punchline' which was played heavily last fall on the Space Dog tour, but then dropped off the radar do to reworking, finally coming back late this summer. When I first heard the new version, I immediately longed for the old one, however the newer version has grown on me. I really like the new ending now, in fact much like 'the Faker', the ending is such a complete opposite then the beginning of the song, that many people unfamiliar with moe. think the band segued into a whole new song. Up next was an oldie, and a goodie, 'Dr. Graffenburg'. This song is always sure to bring a smile to your face and a boogie to your bones, not to mention the ever present anticipation of moe. segueing straight into 'Havah Negilah'. Many people wonder about the lyrics to this song, and the origination, and just "Who is Dr. Graffenburg?" The answer is a little known moe. factoid, that Dr. Graffenburg was the German doctor, who clarified and classified the sexually potent sport on the female body, now referred to the shortened version the "G-Spot", but originally called the "Graffenburg-Spot". It kinda sheds light on the lyrics, such as: "Well Suzy was a moaner and a sleazy little tease
But once you got her going she would always aim to please
With a quart of cheap tequila and a quarter gram of hash
Her hips would start a smokin' like a pipe of burning ash?
Thank You Dr. Graffenburg" :-)
After these two 20+ minute songs to start us off, moe. slowed it down a little with one my personal moe. favorites, 'Water'. A tune Rob wrote about Death Valley. 'Water' is one of my favorite tunes lyrically, an dis musically no slouch either. This was followed by 'It', good to throw in some Chuck. What was to come next though takes the cake so far? 'Take the Skinheads Bowling'! This a Camper van Beethoven cover, that was in heavy setlist circulation around '95, but had since disappeared till this Fall, when they played it acoustic at Rasputin's Music in California. A nice 'Hi&Lo' by Chuck came next, followed by a rip-roaring '32 Things' to end the set. Second set started nicely with 'Plane Crash', probably moe.s hottest new tune for new listeners. This one keeps the old.bies happy by guaranteeing lack of radio play with a chorus of "Too fucking high!". 'Plane Crash' is one of the songs though gets everybody up and moving if they weren't already. Backing this up was a sweet 'Mexico', another old favorite of many moe.rons. At this point it began to look like Al was gonna take over the show as he had led the way though the first two songs, and it didn't look like he was going to stop as the band began 'Blue-Eyed Son' and followed this with 'lylelovet.'. Rob stepped up next and started the crowd rocking 'Buster' to highly appreciative crowd, but as the jam fizzled, Chuck wouldn't stop playing, he was sucking us into Chuckieland, and the road led to 'Havah Negilah'!!! This was by far the highlight of the evening, as the boys kept bringing "Halvah' around faster and faster until the crowd finally was completely emerged in all that is moe. Al picked up right where he left off, finishing the set with three of his songs, 'Saltcreek', 'Letter Home', and 'Meat'. 'Meat' brought the crowd to its knees to end the show, somewhere after 3:00am. Al came back on stage and informed everyone there they had played way past they're allotted time (2 songs over in fact), so there would be no encore. Don't worry Al, we were plenty satisfied with what we got!