Row Knows

Last night, Washington, DC’s 9:30 Club was treated to one of the handful of shows on GYBE’s sold out US tour. A packed and attentive crowd enjoyed two hours of soaring guitars, blistering violin, and driving percussion. The eight-piece groups masterful use of dynamics took full advantage of the remarkably quiet audience. At times, some band members stepped off the stage, leaving the others to craft quieter sounds and returning for the powerful crescendos. As before,  the band was backed by their stunning visuals which lend social and political context to the music. While the themes and intent are portrayed in an abstract fashion, the tone and tilt of the message is loud and clear.

This being my first GYBE show I was, understandably, blown away. Other, more inveterate fans, commented that time has had an impact but the group still delivered what the fans came to hear. I will certainly be watching for more dates and hoping that we don’t have to wait another eight years…

Setlist:

Godspeed You Black Emperor
2011-03-20
9:30 Club
Washington, D.C.

Hope Drone
Moya
Albanian
Gathering Storm
9-15-00 Outro
Chart #3
World Police And Friendly Fire
Rockets Fall on Rocket Falls
The Sad Mafioso

Today I wanted to share one of my favorite Garcia side-projects, Garcia/Grisman. Jerry’s collaborations with Grisman go well back into their younger years. They first met at a bluegrass festival on the East Coast (well before that whole Grateful Dead thing) and a friendship was born. Later, Grisman was key to assembling the crazy successful Old & In The Way band. He played on The Grateful Dead’s American Beauty album and also he plays a bit of mandolin on one of the Garcia/Saunders Keystone records.

Time passed…

Enter the 90s and two old friends begin playing casually at home. Grisman decides to roll some tape. Before long, they decided to cut a record and play some shows around the Bay Area.

That record, the first of many, came to be called “Garcia/Grisman”.  It was an all acoustic affair with the pair accompanied by regular Grisman collaborators, Jim Kerwin on bass and Joe Craven on percussion and fiddle. The songs ranged from originals to covers of blues (“The Thrill Is Gone”) and traditional folk (“Two Soldiers”). At a time when many felt that Jerry Garcia was beyond doing anything new or different, this record came as a revelation.

Personally, I wore out at least one cassette version of the release as it was on constant rotation in my car and college dorm. But don’t just take my word for it.

Here’s their take on the Grateful Dead’s “Friend Of The Devil” :

Where the real pleasure of this collaboration arose was in the merger of their two unique styles of music. No song better exemplifies this than Grateful Dawg. Forgive the quality of the video… The audio of this live performance from 1990-12-17 is worth it.

The collaboration continued until Jerry’s passing and has, to date, resulted in seven releases (all but two were posthumous.) The second release, a collection of children’s folks tunes and the remaining albums mix folk and jazz and bluegrass much in the manner one would expect of two men so steeped in American music.

I’ll leave you now with one more song.

Here’s “Shady Grove” from The Pizza Tapes (with Tony Rice!)

Today’s Jerry Week entry is not coming to me too easily. So I thought I’d just write a little about my history as a Deadhead.

I probably started listening to the Grateful Dead in the mid-eighties just as I began listening to other groups from the 60′s and mostly rejecting the pop music of the day. Something about the music of the era spoke to me and I filled my twelve-year-old brain with Pink Floyd, Led Zeppelin, Bod Dylan, The Stones, The Beatles, The Who and, The Grateful Dead. I think it was late in eighth grade when my friend’s dad gave him two cds for his birthday: Jimi Hendrix – Are You Experienced and Big Brother & The Holding Company – Cheap Thrills. I immediately taped those and began to digest their contents.

With my radio tuned to classic rock and tapes playing as much of the stuff as I could copy from friends or from the radio, I was enveloping myself in the music of the past and loving it. I dubbed copies of American Beauty and Skeletons In The Closet and wore them out. But I soon had all of the albums and, having moved, I made new friends who actually had seen the Grateful Dead. One gave me my first live tape (1981-05-05 Glens Falls, NY) and, that Spring, they invited me to join them for the shows at the Cap Center. My parents denied me those shows just as they had denied me all concerts at that point.

Summer of 1991 approached and, with it, another tour. Then that fateful day of June 14th arrived and my life changed forever.
(Read about it here.)

Anybody who really gets it will tell you that The Grateful Dead were more than just a rock band. And they weren’t just a lifestyle choice, either. They were troubadours bearing a message more complex than peace and love. Theirs was of higher thought and interconnectedness; groupthink and grasping after the elusive “it”. Jerry Garcia, although he casually rejected the mantle of leadership, bore that weight and guided us into places no other music has uncovered.

Have a listen to some of that RFK ’91 show:
http://www.youtube.com/view_play_list?p=3A22B30080BACE40

Today we’re just going to watch and enjoy a video.
From September 1, 1990, here’s the Jerry Garcia Band performing “I Shall Be Released.”

Today I want to tell you about one of my favorite bits of Grateful Dead music. Some (most) days I will probably tell you that the 1972-08-27 show from Veneta, Oregon is the Best Show Ever. Naturally, that’s just my opinion but it certainly is one of the great ones.

Played in record heat as a benefit for Ken Kesey’s Creamery, this show features notable performances of China > Rider, Playing In The Band, Jack Straw, Bird Song, and The Greatest Story Ever Told. It’s the triple-punch of Dark Star > El Paso followed by Sing Me Back Home that launches this show up into legendary status.

Dark Star opens the third set just as the sun has slipped away and the band and audience find relief from its blistering heat. They begin at a leisurely pace completely dialed in from their long hot day on the stage and hit several peaks before launching into space. Deep space. Out of that space, an astute listener may think they hear Morning Dew beginning to form. I certainly do. But then, in a move that may forever be questioned but ultimately proves decisive and delightful, Wier begins strumming El Paso and Jerry takes off with it. The intergalactic ego-death of Dark Star into the murderous cowboy ballad of El Paso comes off as a powerful mind-fuck if you let it. The song is nailed and then, after only the briefest pause, they slowly enter Merle Haggard’s prison ballad, Sing Me Back Home. This one is a great song given the most powerful of treatments and should forever go down as one of Garcia’s strongest vocal performances. You’ve got to hear it to believe it, so I’ve setup a stream of this epic three song passage below.

If that does the trick for you, I suggest you seek out the entire show. It also floats around in the form of an unreleased concert film entitled, “Sunshine Daydream”. Here’s the Jack Straw from the film:

Dark Star > El Paso & Sing Me Back Home stream comes from the Live Music Archive at Archive.org.