• January 7, 2010
    http://www.dead.net/features/news/general-news/going-furthur-new-year-s-eve
    Going Furthur on New Year’s Eve
    OK, I think we can officially say that the “show me” phase of Furthur’s trial period is over. This band has got the goods, for sure, and they definitely seem to be on a roll. Playing a handful of well-received dates on the East Coast during early and mid-December, then tuning up for New Year’s with a couple of “stealth” shows at the tiny Mill Valley Masonic Hall, the band went into the Bill Graham Civic shows with a good head of steam—it’s great to see everyone looking so relaxed and happy, and speaking for myself, it’s delightful to see the group playing in smaller venues than the mega-halls that The Dead played in last spring.

    Now, I did something I’ve almost never done since the early ’80s—I intentionally didn’t follow what the group played on the East Coast or the Masonic Hall because I thought it would be more fun to be surprised when I got to Civic on New Year’s Eve. That’s right, I also didn’t go to the show on the 30th, opting instead to see Jackie Greene and Jemimah Puddleduck (featuring Mark Karan) at the intimate Great American Music Hall that night instead—an awesome show as it turned out.
    The New Year comes in at the Bill Graham Civic in SF.
    Photo: Dave Clark / daveclarklive.net © 2009
    I did hear about the Furthur show on the 30th from friends who attended, and every report was glowing, so I didn’t go into New Year’s with the completely blank slate I’d hoped to—but all the better to not wish for “Scarlet-Fire” and “China Cat-Rider” and a few of the other great songs they played at that show.

    The weather gods were with us this year—it was cool but clear both nights; no rain in sight, and people seemed remarkably easy-going from what I could see (which is not always the case on New Year’s Eve, to say the least). I managed to land a nice spot for my group of three in the back row of the loge, behind the soundboard. Man, I can remember stressing over trying to save something like 16 seats for my crowd at Dead shows; now we’re down to a Power Trio? Oh well, their loss. The place filled up slowly, but considering the show started 40 minutes late (tsk, tsk), by the time the music started, it was packed from the side of the floor up to the rafters. I’ve seen it more crowded, for sure—in fact I’ve seen it obscenely crowded—but this definitely looked like there wasn’t room for many more to squeeze in there comfortably.

    I called the “Shakedown” opener (thank you, thank you) and immediately my eyes were drawn to the right side of the stage (do we call it “the John side” now?) and… WTF? Somehow, in the reports of the previous night’s show, my friends had neglected to tell me that there are now a pair of ladies singing with the band! Wow! Their names are Zoe Ellis—the sister of original RatDog sax ace Dave Ellis and a veteran of the Phil & Friends lineup featuring Jorma Kaukonen a million years ago—and Sunshine Garcia Becker, no relation to either Sunshine Kesey or Jerry Garcia. And they sounded great, filling out the group’s vocal sound on most songs—when you could hear them. For my money, they could have been turned up much more in the mix, ’cause this group, great as it is, still needs help in the vocal area, and these women are ready, willing and able to provide that support. I say, let ’em fly!

    The first set had many high points. The “Shakedown” was solid and funky; the “Jack Straw” was beautifully developed in the middle; I love the more Merl Haggard-ized “Mama Tried” they’ve been playing for a while; and John K. handled “Candyman” nicely (though I can’t say he made me truly believe “that the Candyman’s in town”). I thought the “Loose Lucy” dragged a bit because of Bob’s insistence on stretching out the spaces between each vocal line, but once it got to the choruses, it soared. And yes, gentlemen, I do “thank you for a real good time,” once again! “Viola Lee Blues” was a nice late-set surprise, and unlike most of the versions I’ve seen in recent years, this one was self-contained (i.e. no other songs tucked into it between verses). Which isn’t to say the jams didn’t go way out and far away from the song; they did, and in my view not always that purposefully—some of the jamming felt a little unfocussed, a complaint I’ve rarely had with this lineup. But the way they miraculously returned to “Viola Lee” after going so far afield was wondrous, and then the set-ending “Truckin’” was a perfect closer that got everybody singin’ along. This party was on!

    People seemed buzzed and happy out in the hallways between sets—yep, it’s definitely New Year’s Eve! The harsh hall lighting was a drag (gone are the days when Bill Graham’s troops used to put colored cellophane over the hall lights at Kaiser!), so I quickly returned to the interior cocoon, where all was mellow and beautiful. Seems like they were playing cool music between sets, but for the life of me I couldn’t tell you what it was—that’s a good thing. It felt right.

    Set Two started with a bang: “Help on the Way” > “Slipknot” > “Franklin’s Tower”; always great to hear and these versions were all excellent, especially the “Slipknot.” “Cassidy” came next, and though I missed Bob having a harmony partner for the verses (ladies?), it was certainly very well-achieved, with a long, graceful build-up during the jam, then a sustained crest at the top, before sliding back to the denouement; sweet. “The Wheel” was a perfect choice for New Year’s Eve, of course, and this time the full complement of singers really added a lot of power. Out of the song the group went into a fantastically variegated jam that went hither and yon, there and a back, inside and outside—all over the place!—before sliding into a really fine “Dark Star,” again self-contained. Here, the jamming was confident and assertive; one of the best versions I’ve heard of that one in a while.

    And out of the ashes of that comes… wait a minute… no, it can’t be… but it can’t be anything else… YES!... It’s the familiar opening strains of Pink Floyd’s “Time” from Dark Side of the Moon, a tune that’s as much a part of the collective DNA of most of us as a lot of Dead songs. What an amazing choice! (And the fact that I hadn’t looked at setlists from previous Furthur shows allowed me to be completely surprised!) Jay and Joe had the drums on the intro down perfectly, John K, was hitting those ringing David Gilmour tones, and it built and built until that moment when the voices come in and then…WOW: the ladies took the first lines and wailed ’em! What a great moment! Then Phil took the Gilmour “answer” lines so the girls (please, can I call ’em “the girls,” in honor of Jackie and Gloria?) could do the “oohs” and “aahs” or whatever it is that accompanies that part of the song. We already knew that John can “play” Jerry; well, he also nailed Gilmour’s part in “Time,” sending his heavily reverb-ed solo to the upper reaches of the hall… and beyond—breathtaking! And then, sweet as honey, “Uncle John’s Band” to close out the second set.

    The full, expanded band during Pink Floyd's "Time."
    Dave Clark / daveclarklive.net © 2009
    What? Why aren’t they leaving the stage? The little red digital clock behind Phil’s rig says its past 11:30! But I guess there was one more song on the list (didn’t expect there to be quite so much jamming, eh boys?), because out of nowhere comes John K. (go, Johnny, go!) singing a freakishly speedy “After Midnight”—thematically, a stupendous choice for the pre-midnight set, with extra points for the Garcia connection! But they really rushed through it, with barely a solo. It was still cool, but they left the stage at 19 minutes to midnight, barely enough time to get a drink or find a friend or do much of anything.

    Then, at about five until midnight, the lights went down, the howls from the crowd went up, and smoke started to rise from the area of the floor right behind the soundboard and spotlights hit four mirror balls. Music started to pour out of the speakers—it was Stravinsky’s “Rite of Spring,” I’m told; I have no memory of it because I was focused on whatever the hell was rising very slowly right in front of me, from the smoke below. All of sudden there’s the familiar horn fanfare of “La Marseillaise,” but every person there knows they ain’t playin’ the French national anthem over the P.A.—it’s the opening of The Beatles’ “All You Need Is Love”! What a perfect way to usher in a new decade! Rising in front of us we first saw a girl dressed in white “New Year’s” finery, but it wasn’t until she was directly at our level that I realized she was standing on an enormous grinning silver skull, crowned with a wreath of roses, with red lights for eyes! The crowd went appropriately berserk, and as the Beatles’ anthem continued, the skull—20-year old Deadhead-since-birth Emily Sunderland looking very regal standing atop it—cruised high above the heads of the people massed on the floor on its way to the stage. There, the skull and our New Year’s Girl were greeted by Father Time—Bill Walton!—there was the countdown from “10” and then the giant balloon drop! Happy New Year, y’all! Hugs and kisses all around. Noisemakers and horns rattling and honking! The skull then ascended to a spot above the stage, where it remained for the rest of the night, its red eyes shining.

    Unfortunately, there was no band onstage when the New Year’s moment came, so with “All You Need Is Love” long ended and no one ready to play, the next couple of minutes of pandemonium were, alas, completely unaccompanied by music; a darn shame! When the band did finally all assemble with their instruments, it wasn’t the “Sugar Magnolia” I’m sure most were expecting, but “The Golden Road”—a fantastic choice, I thought: “Come join the party every day!” From there, it was one good song after another. “Let It Grow” was jammed out wonderfully and eventually led to “Cryptical Envelopment.” I can’t help it, I always think of Jerry on that one… but in a good way. This, too, was extended nicely and ended up at “Born Cross-Eyed” (which I swear they play at every show I go to; not that I’m complaining). That, then, led into the anticipated and mildly teased “Other One,” back in to the “Cryptical” (I always like it when they “finish” it), and then what for me was probably the emotional highlight of the night: “So Many Roads," beautifully sung and played by John. I love that song, and to hear it played with so much assurance (and affection) was really satisfying.

    I could have gone home a very happy man after that, but there was still a colossal “Saint Stephen” to go, followed by “The Eleven” (after all, it is still “the season of what now”) and finally “Not Fade Away.” Phil was warm and optimistic in his “donor rap,” noting that he really believed that 2010 will be a great year; jeez, I sure hope so. And then, because there could be no other encore, even though every one of us was prepared for it not to be the encore ’cause you gotta go with the flow, whatever it is… “Sugar Magnolia,” as rockin’ and spectacular as you could want it to be, every person in the place doin’ the hippy-hippy-shake as if we hadn’t already been dancing for five hours.

    Didn’t see a single frown on the way out; everyone was sort of floating a few inches off the ground, as it should be. It was a glorious night and the perfect way to start the New Year and New Decade. Do you realize how lucky we are to still be doing this… together? LOVE is all you need!!!

    12/31/09, Bill Graham Civic Center, SF
    #1: Shakedown Street, Jack Straw, Mama Tried, Candyman, Loose Lucy, Viola Lee Blues > Truckin'

    #2: Help on the Way > Slipknot! > Franklin's Tower, Cassidy, The Wheel> jam> Dark Star> Time> Uncle John's Band, After Midnight

    #3 (midnight set): Golden Road (to Unlimited Devotion)> Let it Grow> Cryptical Envelopment> Born Cross-Eyed> The Other One> Cryptical Envelopment> So Many Roads, St. Stephen> The Eleven> Not Fade Away E: Sugar Magnolia


    12/30/09, Bill Graham Civic Center, SF

    Jam> Here Comes Sunshine> Bertha, Promised Land, Mississippi Half Step> Deep Elem Blues, Lost Sailor> St. of Circumstance, Cosmic Charlie

    Playing in the Band> jam> Eyes of the World> Scarlet Begonias> Fire on the Mountain> King Solomon's Marbles, Unbroken Chain, Standing on the Moon> China Cat Sunflower> I Know You Rider E: Terrapin Station
    15995
user picture

Member for

10 years 2 months
OK, I think we can officially say that the “show me” phase of Furthur’s trial period is over. This band has got the goods, for sure, and they definitely seem to be on a roll. Playing a handful of well-received dates on the East Coast during early and mid-December, then tuning up for New Year’s with a couple of “stealth” shows at the tiny Mill Valley Masonic Hall, the band went into the Bill Graham Civic shows with a good head of steam—it’s great to see everyone looking so relaxed and happy, and speaking for myself, it’s delightful to see the group playing in smaller venues than the mega-halls that The Dead played in last spring.

Now, I did something I’ve almost never done since the early ’80s—I intentionally didn’t follow what the group played on the East Coast or the Masonic Hall because I thought it would be more fun to be surprised when I got to Civic on New Year’s Eve. That’s right, I also didn’t go to the show on the 30th, opting instead to see Jackie Greene and Jemimah Puddleduck (featuring Mark Karan) at the intimate Great American Music Hall that night instead—an awesome show as it turned out.
The New Year comes in at the Bill Graham Civic in SF.
Photo: Dave Clark / daveclarklive.net © 2009
I did hear about the Furthur show on the 30th from friends who attended, and every report was glowing, so I didn’t go into New Year’s with the completely blank slate I’d hoped to—but all the better to not wish for “Scarlet-Fire” and “China Cat-Rider” and a few of the other great songs they played at that show.

The weather gods were with us this year—it was cool but clear both nights; no rain in sight, and people seemed remarkably easy-going from what I could see (which is not always the case on New Year’s Eve, to say the least). I managed to land a nice spot for my group of three in the back row of the loge, behind the soundboard. Man, I can remember stressing over trying to save something like 16 seats for my crowd at Dead shows; now we’re down to a Power Trio? Oh well, their loss. The place filled up slowly, but considering the show started 40 minutes late (tsk, tsk), by the time the music started, it was packed from the side of the floor up to the rafters. I’ve seen it more crowded, for sure—in fact I’ve seen it obscenely crowded—but this definitely looked like there wasn’t room for many more to squeeze in there comfortably.

I called the “Shakedown” opener (thank you, thank you) and immediately my eyes were drawn to the right side of the stage (do we call it “the John side” now?) and… WTF? Somehow, in the reports of the previous night’s show, my friends had neglected to tell me that there are now a pair of ladies singing with the band! Wow! Their names are Zoe Ellis—the sister of original RatDog sax ace Dave Ellis and a veteran of the Phil & Friends lineup featuring Jorma Kaukonen a million years ago—and Sunshine Garcia Becker, no relation to either Sunshine Kesey or Jerry Garcia. And they sounded great, filling out the group’s vocal sound on most songs—when you could hear them. For my money, they could have been turned up much more in the mix, ’cause this group, great as it is, still needs help in the vocal area, and these women are ready, willing and able to provide that support. I say, let ’em fly!

The first set had many high points. The “Shakedown” was solid and funky; the “Jack Straw” was beautifully developed in the middle; I love the more Merl Haggard-ized “Mama Tried” they’ve been playing for a while; and John K. handled “Candyman” nicely (though I can’t say he made me truly believe “that the Candyman’s in town”). I thought the “Loose Lucy” dragged a bit because of Bob’s insistence on stretching out the spaces between each vocal line, but once it got to the choruses, it soared. And yes, gentlemen, I do “thank you for a real good time,” once again! “Viola Lee Blues” was a nice late-set surprise, and unlike most of the versions I’ve seen in recent years, this one was self-contained (i.e. no other songs tucked into it between verses). Which isn’t to say the jams didn’t go way out and far away from the song; they did, and in my view not always that purposefully—some of the jamming felt a little unfocussed, a complaint I’ve rarely had with this lineup. But the way they miraculously returned to “Viola Lee” after going so far afield was wondrous, and then the set-ending “Truckin’” was a perfect closer that got everybody singin’ along. This party was on!

People seemed buzzed and happy out in the hallways between sets—yep, it’s definitely New Year’s Eve! The harsh hall lighting was a drag (gone are the days when Bill Graham’s troops used to put colored cellophane over the hall lights at Kaiser!), so I quickly returned to the interior cocoon, where all was mellow and beautiful. Seems like they were playing cool music between sets, but for the life of me I couldn’t tell you what it was—that’s a good thing. It felt right.

Set Two started with a bang: “Help on the Way” > “Slipknot” > “Franklin’s Tower”; always great to hear and these versions were all excellent, especially the “Slipknot.” “Cassidy” came next, and though I missed Bob having a harmony partner for the verses (ladies?), it was certainly very well-achieved, with a long, graceful build-up during the jam, then a sustained crest at the top, before sliding back to the denouement; sweet. “The Wheel” was a perfect choice for New Year’s Eve, of course, and this time the full complement of singers really added a lot of power. Out of the song the group went into a fantastically variegated jam that went hither and yon, there and a back, inside and outside—all over the place!—before sliding into a really fine “Dark Star,” again self-contained. Here, the jamming was confident and assertive; one of the best versions I’ve heard of that one in a while.

And out of the ashes of that comes… wait a minute… no, it can’t be… but it can’t be anything else… YES!... It’s the familiar opening strains of Pink Floyd’s “Time” from Dark Side of the Moon, a tune that’s as much a part of the collective DNA of most of us as a lot of Dead songs. What an amazing choice! (And the fact that I hadn’t looked at setlists from previous Furthur shows allowed me to be completely surprised!) Jay and Joe had the drums on the intro down perfectly, John K, was hitting those ringing David Gilmour tones, and it built and built until that moment when the voices come in and then…WOW: the ladies took the first lines and wailed ’em! What a great moment! Then Phil took the Gilmour “answer” lines so the girls (please, can I call ’em “the girls,” in honor of Jackie and Gloria?) could do the “oohs” and “aahs” or whatever it is that accompanies that part of the song. We already knew that John can “play” Jerry; well, he also nailed Gilmour’s part in “Time,” sending his heavily reverb-ed solo to the upper reaches of the hall… and beyond—breathtaking! And then, sweet as honey, “Uncle John’s Band” to close out the second set.

The full, expanded band during Pink Floyd's "Time."
Dave Clark / daveclarklive.net © 2009
What? Why aren’t they leaving the stage? The little red digital clock behind Phil’s rig says its past 11:30! But I guess there was one more song on the list (didn’t expect there to be quite so much jamming, eh boys?), because out of nowhere comes John K. (go, Johnny, go!) singing a freakishly speedy “After Midnight”—thematically, a stupendous choice for the pre-midnight set, with extra points for the Garcia connection! But they really rushed through it, with barely a solo. It was still cool, but they left the stage at 19 minutes to midnight, barely enough time to get a drink or find a friend or do much of anything.

Then, at about five until midnight, the lights went down, the howls from the crowd went up, and smoke started to rise from the area of the floor right behind the soundboard and spotlights hit four mirror balls. Music started to pour out of the speakers—it was Stravinsky’s “Rite of Spring,” I’m told; I have no memory of it because I was focused on whatever the hell was rising very slowly right in front of me, from the smoke below. All of sudden there’s the familiar horn fanfare of “La Marseillaise,” but every person there knows they ain’t playin’ the French national anthem over the P.A.—it’s the opening of The Beatles’ “All You Need Is Love”! What a perfect way to usher in a new decade! Rising in front of us we first saw a girl dressed in white “New Year’s” finery, but it wasn’t until she was directly at our level that I realized she was standing on an enormous grinning silver skull, crowned with a wreath of roses, with red lights for eyes! The crowd went appropriately berserk, and as the Beatles’ anthem continued, the skull—20-year old Deadhead-since-birth Emily Sunderland looking very regal standing atop it—cruised high above the heads of the people massed on the floor on its way to the stage. There, the skull and our New Year’s Girl were greeted by Father Time—Bill Walton!—there was the countdown from “10” and then the giant balloon drop! Happy New Year, y’all! Hugs and kisses all around. Noisemakers and horns rattling and honking! The skull then ascended to a spot above the stage, where it remained for the rest of the night, its red eyes shining.

Unfortunately, there was no band onstage when the New Year’s moment came, so with “All You Need Is Love” long ended and no one ready to play, the next couple of minutes of pandemonium were, alas, completely unaccompanied by music; a darn shame! When the band did finally all assemble with their instruments, it wasn’t the “Sugar Magnolia” I’m sure most were expecting, but “The Golden Road”—a fantastic choice, I thought: “Come join the party every day!” From there, it was one good song after another. “Let It Grow” was jammed out wonderfully and eventually led to “Cryptical Envelopment.” I can’t help it, I always think of Jerry on that one… but in a good way. This, too, was extended nicely and ended up at “Born Cross-Eyed” (which I swear they play at every show I go to; not that I’m complaining). That, then, led into the anticipated and mildly teased “Other One,” back in to the “Cryptical” (I always like it when they “finish” it), and then what for me was probably the emotional highlight of the night: “So Many Roads," beautifully sung and played by John. I love that song, and to hear it played with so much assurance (and affection) was really satisfying.

I could have gone home a very happy man after that, but there was still a colossal “Saint Stephen” to go, followed by “The Eleven” (after all, it is still “the season of what now”) and finally “Not Fade Away.” Phil was warm and optimistic in his “donor rap,” noting that he really believed that 2010 will be a great year; jeez, I sure hope so. And then, because there could be no other encore, even though every one of us was prepared for it not to be the encore ’cause you gotta go with the flow, whatever it is… “Sugar Magnolia,” as rockin’ and spectacular as you could want it to be, every person in the place doin’ the hippy-hippy-shake as if we hadn’t already been dancing for five hours.

Didn’t see a single frown on the way out; everyone was sort of floating a few inches off the ground, as it should be. It was a glorious night and the perfect way to start the New Year and New Decade. Do you realize how lucky we are to still be doing this… together? LOVE is all you need!!!

12/31/09, Bill Graham Civic Center, SF
#1: Shakedown Street, Jack Straw, Mama Tried, Candyman, Loose Lucy, Viola Lee Blues > Truckin'

#2: Help on the Way > Slipknot! > Franklin's Tower, Cassidy, The Wheel> jam> Dark Star> Time> Uncle John's Band, After Midnight

#3 (midnight set): Golden Road (to Unlimited Devotion)> Let it Grow> Cryptical Envelopment> Born Cross-Eyed> The Other One> Cryptical Envelopment> So Many Roads, St. Stephen> The Eleven> Not Fade Away E: Sugar Magnolia


12/30/09, Bill Graham Civic Center, SF

Jam> Here Comes Sunshine> Bertha, Promised Land, Mississippi Half Step> Deep Elem Blues, Lost Sailor> St. of Circumstance, Cosmic Charlie

Playing in the Band> jam> Eyes of the World> Scarlet Begonias> Fire on the Mountain> King Solomon's Marbles, Unbroken Chain, Standing on the Moon> China Cat Sunflower> I Know You Rider E: Terrapin Station
Display on homepage featured list
Off
Feature type

dead comment

user picture

Member for

11 years 3 months
Permalink

there was the "music" of the balloons popping while the band got their instruments-it all happened so fast, I'm surprised anyone remembered (did u take notes or something?) Glad ya had a great time like we all did.......:)))
user picture

Member for

9 years 10 months
Permalink

Time was the ultimate mind blower on so many levels. I could go on an on gushing over each song but I fully agree with Blair - So Many Roads left not a dry eye in the house. I just want to say that any negative thing I may have said about DSO or JK I want to take back. JK made those 2 shows I was really impressed. He brings energy to Phil and Bobby which is just so wonderful to see. I truely feel blessed to have been there. "I've stayed in every blue-light cheap hotel. Can't win for tryin. Dust off those rusty strings just one more time. Gonna make em shine."
user picture

Member for

11 years 5 months
Permalink

the candyman is watchingpeace to all and happy f----in new year wolff
user picture
Default Avatar

Member for

9 years 6 months
Permalink

I actually appreciated the lack of music at midnight! Often, it's just too chaotic to even hear the music over all the balloons and horns, etc. Better to revel in the moment, and by not having to play immediately, the band was able to enjoy the moment as well.Did they or did they not play the 2nd verse of Dark Star in the third set? I didn't write it down, but have seen a list that included it. I was barely able to form words on a page, let alone get ALL the songs. I knew Jon would be a good fit, I've always liked DSO. Phil never has to worry about whether Jon is "there" or not - he always seems primed and plays so effortlessly. Interesting to watch him defer some of the "Jerry" vocal duties to Phil and Bob, while at other times belting 'em out. So glad he sang So Many Roads rather than Bob. I'm still haunted by Bob's version of Standing on the Moon at the Gorge last May All in all, a great two shows! Loved being in SF for the party - great venue!
user picture

Member for

11 years 5 months
Permalink

Shred em' Bobby!!! Is that my glass? Can you see it? Understand me?
user picture
Default Avatar

Member for

11 years 5 months
Permalink

...was played, yes. Always a good sign when you can't remember stuff like that, heh-heh....
user picture

Member for

11 years 5 months
Permalink

... at Internet Archive ... About the singing girls and the mix. Wasn't that always a problem with the Dead, that from time to time certain members were buried in the mix? That's what I hear on tapes from the late 60's and the first couple years with Keith Godchaux. One can hardly hear the piano from time to time. Or didn't he play during complete shows? Anyway, about Furthur ... nice to hear and get the feeling of the good ol' ... Grateful Dead ... again ... Micke Östlund, Växjö, Sweden ------------------------------ My record collection: jazzmicke
user picture

Member for

10 years 4 months
Permalink

We had a super great time at both shows. It was particularly wonderful to realize within the first couple of notes that they were doing Time. Fabulous, as was After Midnight. Thanks for still blowing my mind, boys! I also appreciated the speakers in the hall, just like in the old days. Thank you for a real good time!!!
user picture
Default Avatar

Member for

9 years 5 months
Permalink

while i missed these shows, i just want to chime in on two things: good idea to not waste a song battling the sound of popping balloons. secondly, great to hear about the return of speakers in the hall. we used to call the speaker scene outside the backstage entry on the ground floor of the oakland coliseum: The Lab. it was such a wonderful place to experiment! to furthur digress, there were three show runs in the coliseum when we never bothered to go "inside." yet, we poured our hearts and souls and every ounce of energy into our experiment. as a devoted "fringe dancer" i was concerned about the prospects at shoreline earlier this year. however, i am happy to report: the sound was sooo phenomenal - all of the flat space across the entire top was superb for all manners of experimenting.
user picture
Default Avatar

Member for

10 years 10 months
Permalink

We had tix for both Furthur and Jackie for NYE but after the 30th at the GAMH we had no choice but to sell our Furthur tix and go see Jackie again. Man am I glad I made that decision! Best Jackie Show Ive seen to date! The Midnight special, after midnight, midnight rider midnight hour, rocked that old joint! Mark and Jackie were playing so well off each other! Jeremy even picked up the guitar so Robin could come out on bass.Incredible night of music! Maybe we will catch you at a Jackie show somewhere along the line! Peace , Barry
user picture
Default Avatar

Member for

11 years 5 months
Permalink

LOVE. LOVE.LOVE. ALL YOU NEED IS LOVE ALL YOU NEED IS LOVE LOVE LOVE IS ALL YOU NEED LOVE IS ALL YOU NEED LOVE IS ALL YOU NEED LOVE IS ALL YOU NEED You can learn how to feel inside it's EASY! BRAVO Gentlemen! BRAVO! -------------{------@ --------------{-------@ -------------{--------@ ----------------{-------@ --------------[-------@ -----------------{-------@ Cadillac. Still smiling and never gonna stop! xoxoxoxoxoxoxoxoxoxoxoxoxoxoxo THANKS FOR EVERYTHING>FORVER! nothing you can do... love love love
user picture
Default Avatar

Member for

11 years 3 months
Permalink

The show was amazing, I think the addition of the backup singers should become a norm.BTW, between 1st and 2nd sets at least, the music playing was none other than U2. It was my first NYE in San Francisco, my wife and I had the greatest time. The venue was hospitable, open and friendly while the show took the cake. A great time was had by all!!
user picture
Default Avatar

Member for

11 years 5 months
Permalink

Working today and needed a ride across the day.Tuning in to www.gdradio.net and I've just hit the cruise control. Posted why: Because you can enjoy the ride and if you didn't know it, well well well now you do. (got any nails?) Thanks John! ----------{-----@ Mama Tried <> <> <> % <><><> %%%%%% SherBear
user picture
Default Avatar

Member for

11 years 4 months
Permalink

If you could have not mentioned phil's horrific vocals on time and franklins, then you might have broken down a bit and given a bit of props to Bob who brought it both nights.
user picture
Default Avatar

Member for

11 years 5 months
Permalink

...Bob DID sound fantastic both nights. No slight was intended...

 

His guitar was also SUPER-loud where I was (loge, above soundboard), which is how I like it...

user picture
Default Avatar

Member for

10 years 2 months
Permalink

Let's start with a big HOLY @*#%!! I'm old by some standards, young by some others. But my first show was Marx Meadows in Golden Gate Park in 1973. Since then 450 Dead shows and another 250+ Jerry shows and hundreds of "Other Ones, Further, Dead, Bobby & the Midnights, Ratdog, Phil & Friends, and God knows what other configurations". You name it, I've probably seen it. I've seen lots of good, and bad, and this NYE line-up made me do things I haven't done in a very long time. Folks, I'm sure there are other pundits that will give you all the news that is the news, but me, I'll tell you that the ghost of Jerry sat on the equipment cases next to John and smiled all night long. He heard someone play his songs almost note for note and he was truly pleased. You could see it on the faces of Phil and Bobby. They were both so relaxed they knew that no matter where they went musically, John would already be there. While there is a place in Phil & Friends for Warren Haynes and Jimmy Herring, it's not in The Dead. John fills that spot perfectly. If this night didn't show that, they are blind. The Girls, it's simple - I needed to hear them more in the mix. From where I was, I just simply could not hear them well enough - especially in the Pink Floyd "Time" piece. That blew me away, by the by. This whole show gave me back the confidence to see them again. As long as John is playing with them they are on safe ground. YAHOOOOOO!!!!! I cannot wait until I get another chance to see them again. Be safe this year and be kind to each other. No matter what they say, there is always a reason to be paranoid of government - don't trust politicians because they all lie, cheat and steal.
user picture

Member for

11 years 3 months
Permalink

Jealous? Eric Abrahamson, B.S.C.S (candidate) Yale University Class of '71 Pierson College P.O. Box 1112 2057 University Ave., Apt. 47, 94704 Berkeley, CA 94701-1112 510-356-8083 (mobile) 510-845-7342 (work) 510-809-1369 (home) ericabrahamson@aya.yale.edu
user picture

Member for

11 years 5 months
Permalink

Well, this was my first NYE show despite being on the bus since the late 70's and having been to many iterations of the Grateful Dead (GD, JGB, Kingfish, Bobby & the Midnights, Dead, and now Further). We had a blast at both shows. That said, I didn't feel the same power and magic as I did during last Spring's West Coast tour run. When I listen to those shows now they still sound unbelievably fabulous. When I listened to the Further NYE run, it sounds not so great afterward, though again, we had a blast at the time and would do it again. I had issues with Bobby & Phil choosing a cover band front man to play with them to begin with. I've never been interested in DSO and still am not. Hell, I have more than enough real GD tunes to probably last me a lifetime at this point. But I missed the scene, the family vibe and of course the dancing. As I said, had a great time, probably the best NYE I've ever had and the hubs feels the same, but to me, JK doesn't have the technical or creative chops to take the music to the next level when a song requires it. You know when you're going out of your mind and you think they can't get any better, and then one of the boys takes the song to a whole other level and you just lose your shit and think "how can this even be possible?!?" Well I don't experience that with Further, at least I haven't yet. And unlike last Spring's show CDs, the post NYE shows don't sound nearly as magical and tasty as they did in the heat of the moment. I'm not trying to flame anyone or bitch for the sake of bitching. It's my opinion only. At this point, Jeff is the man and his place in any iteration of the Dead works for me. He's like Brent on steroids only better. But the Jerry spot is different when you've got someone who's made their livelihood on copying every aspect of Jerry - the exact notes, the stance, the voice - when people say "he played every note exactly like Jerry", well, I don't think that's a great thing. To me copying is copying, and since when is the Dead about copying anything? I enjoyed Warren's take on playing that spot because while I felt he channeled the vibe of Jerry, he did it totally in how own way. And he has the the technical chops to back it up. And for me to even say I loved Warren playing in that spot is unreal because I didn't think anyone could live up to that hype. I guess I'd just prefer someone less Jerry like, than someone who seems to copy every move as much as JK can. In fact, even though many enjoy the fact that JK sounds so much like Jerry, I find it creepy. Maybe it's just me... Last comment, there were some moments, like during Deep Elem on the 30th, where JK seemed to be playing as JK and not as Jerry, and I found him much more enjoyable during those moments. So maybe if/when he starts playing more like whoever he really is, I'll like his contribution more...Only time will tell.
user picture

Member for

11 years 5 months
Permalink

I'm with Gypsy Cowgirl on the balloon popping "music". I loved that that's all you could hear for about 5 minutes or so. It started to sound like gigantic popping corn and it was a very cool sound indeed.
user picture
Default Avatar

Member for

11 years 5 months
Permalink

I know there are many who share your view, Peggy-O, and I can't say I disagree with you on any point you made. I, too, liked Warren for the same reasons--because he was different--and that's what I really loved about the last incarnation of Phil & Friends with Jackie Greene and Larry Campbell--they embodied the spirit of the songs beautifully but they also brought their own personalities to the music--for the better. (I miss that band!) Still, I am enjoying the JK lineup, too, for its sheer "blast from the past-ness"! Personally I'd like to see them break away more from the Dead repertoire. I think that's where these post-Garcia bands have been most interesting, in a lot of ways--like on "Time" or "After Midnight" with Furthur, or things like Jackie Greene singing "Don't Let Me Down" or "Voodoo Child" and Warren singing everything from "Low Spark of High Heeled Boys" to "Gimme Shelter."
user picture

Member for

9 years 10 months
Permalink

As long as Bobby and Phil are out there doing their thing I really don't care who is playing with them because I'll be there to witness it period. There are good and not so good things about all of the line ups - Phil and Friends and Rat Dog included. I am just thankful we still get to go out, travel, hook up with old friends and make new friends all while listening to our favorite music. To me that's what it is all about. It's not about trying to find the "perfect" match but enjoying and opening your mind to whatever they decide to bring us. I don't think anyone can say with a straight face that any of the line ups have been straight up terrible. And if so I just don't agree. "I've stayed in every blue-light cheap hotel. Can't win for tryin. Dust off those rusty strings just one more time. Gonna make em shine."
user picture

Member for

9 years 10 months
Permalink

There were some shows from 93-95 that quite frankly were not that good. Meaning there were times when the Grateful Dead were not as good as The Dead/Furthur of 2009/2010. Sorry to say it but it is true. "I've stayed in every blue-light cheap hotel. Can't win for tryin. Dust off those rusty strings just one more time. Gonna make em shine."
user picture

Member for

11 years 5 months
Permalink

JackStraw...believe me, I remember plenty of way off nights for the Dead back then, and even in the 80's. Hell, they've always had moments in just about every tour when you go "WTF was that?", and not in a good way! But then again, taking risks and going out there is what it's always been about to me. Blair, thanks for helping me not feel like I'm the only one feeling as I do about JK. I was just out driving in the car and I had in the NYE CD, and I popped in the first set of May 09 Gorge show and it just wasn't even comparable. Then it hit me, maybe it's the drums of Billy and Mickey that I'm missing? Maybe I'd like JK more if he was more himself AND I had Billy and Mickey there? I felt that even in person for the NYE run, the drums were coming through sort of thin over the speaker mix and I thought perhaps the flac files would be richer but they're really not. I'd be really interested in hearing what the core 5 (I consider Jeff core now, nobody else could ever play keyboards as good as him) plus JK...Maybe we'll get that chance soon... I forgot to say in my earlier post, that I never fail to be blown off feet by Jeff. He's just other-wordly with his playing and the NYE run was no different. That dude seriously kicked ass while taking names. Unreal talent. I'd go see The Grateful Jeff Show any day.
user picture
Default Avatar

Member for

9 years 6 months
Permalink

Interesting dialogue between Jack Straw and Peggy-O.Obviously, just being able to hear this music in any iteration is a treat, can't ever lose track of that! I'm with the opinion that the drums (if anything) is what was holding Furthur back on the two NY's shows. We are so spoiled by Bill and Mickey, there's no way to capture the dynamic of their long term partnership. I like the Furthur drummers, great energy, but they don't have that many shows together under their belt. I agree that over time, John will grow into his own more, but damn.... I found it incredibly exciting to see the Grateful Dead sound come alive those two nights. There is a lot of potential here! Based on the rehearsal show setlists, they're grooming both Dead and cover tunes. Interesting to read others' perspective on the sound quality, and who shone when. I was previously harsh on Bob, partly because I couldn't hear him very well. I was on the floor, in the center; generally pretty close to the stage, but at times closer to the board. From there, the backup singers sounded great! Jeff was hard to hear on the 30th, but came in loud and clear NY's (and he is all that, isn't he?). I found myself listening to Phil play off John most of the time. Not to dissimilar from those old cassettes from the 60's, where all you can hear is Phil and Jerry, dueling it out. But that's just me. Can't wait to see them here in March, feeling very lucky they chose to play in the Rose City!
user picture

Member for

9 years 10 months
Permalink

Is most definitely the super star of Rat Dog, The Dead and Furthur. He can play the keys so many different ways - he's amazing. Don't get me wrong - I miss Billy and Mickey too. I also just loved Warren and the whole tour last spring. But something was different about those NYE shows. Maybe I was just so excited to be in SF at a NYE show (something I have always wanted to do) that I was biased, also being in a smaller building with a smaller crowd and a little less hype than the Dead tour was nice too but I don't think it was just all that, I had a grate feeling, that magical feeling from Here Comes Sunshine to Sugar Magnolia.... "I've stayed in every blue-light cheap hotel. Can't win for tryin. Dust off those rusty strings just one more time. Gonna make em shine."
user picture

Member for

11 years 5 months
Permalink

I too felt there was a certain energy in the NYE shows that was "different" than the Spring Tour. I do think the 'less hype' was a factor. Let's be real, if it was The Dead (same as Spring Tour) playing NYE, there would have been way WAY more people trying to get into that show and it would have been mayhem. That said, during the first intermission of NYE I said to one of my friends that the venue felt more like being in a town hall with one's neighbors, and I forgot how much I enjoyed GA shows. You are wherever you're supposed to be at a GA show and that's rather a treat in this day and age of trying to score the best seats in the house. If we'd wanted to be in the front row those two nights, we easily could have been. We chose to sit up one level behind the soundboards and those sitting around us chose to be there as well so it was a very groovy vibe. I miss that from all the GA shows I went to in the late 70s and 80s. I do want to say that I'm digging hearing tunes that I've never heard live before, such as Here Comes Sunshine and Golden Road....good stuff!
user picture
Default Avatar

Member for

48 years 10 months
Permalink

.. better from the git-go than The Dead ever got last spring with Warren Haynes. I'm not a musician so I can't make a technical argument about whose chops are the best or if Jeff beats Brent and if the drummers can't compare. Only thing I know is what the music sounds like and how it feels and if I'm enjoying myself in the atmosphere that the crowd has created along with the band. I haven't seen Furthur yet so I can't even comment on that last part. But the music I hear from Furthur is definitely making me feel a whole lot better than the music I saw and heard from The Dead last spring. If the shows are less crowded and the people less jaded and more enthusiastic then I'm sure I'm going to have a great time. The same old songs in a different way is what it's all about. I'm just happy I can still drag my bones to a few more shows with some kindred spirits who enjoy the same thing. I know I'm going to avoid the buzz-crushers badmouthing the show like the plague. Positivity and enjoyment is what I'm after.
user picture

Member for

9 years 10 months
Permalink

Lights come on at the end of the show, sated and dazed we slowly reformed our group, over across the aisle sat the grey-head bright tie-dye big man with his lady and kids in their 20's, he'd danced sitting all night, his kids had been down on the floor, like mine, together our thoughts revisited and reflected upon the scene, our gazes met and discussed this night with a deep eyeful of each other's smile and nod, yes, this was it.
user picture

Member for

8 years 9 months
Permalink

Hello Fellow Gratefuls, This being my first post, I have been very eager to offer my perspective and gratitude to the band(s),tours,and fans. Past, present, and future. After growing-up a total "metalhead"(Judas Priest, Ozzy etc..) I found myself being forced to listen to some band called The Grateful Dead by my Fraternity Brothers(Alfred N.Y. late 80's). Thus began a transformation to a life of "Deadication".An obsession,according to old friends. Having seen The Grateful Dead only 22 times with Jerry,I was thrilled to witness ALL the ensuing incarnations.From Further Fests and The Other Ones to the solo projects and the Dead Bands.Even The Dead for Obama.Lo and behold the Music never stopped,the Band has kept playing on. My point(to keep with the topic)is to me it has always been about the music and not just about Jerry.The Boys are still giving us the music that Jerry loved to perform.Warren fit in nicely with the Dead and Phil and Friends.Bluesy yet uplifting at times.Now it's 2010 and we get Bob and Phil again.Good enough for me.Jeff,Jay,and Joe too,great!!!I'm not a fan of Dark Star Orchestra.Saw only one time and left at intermission.To me it is Fake Dead.But John K. is not DSO any more than Jerry was The GDead.So I've decided to drop my guard at Buffalo and Utica in February.And allow myself the blissful enjoyment of watching Bob and Phil prove once again that YES,in fact, The Grateful Dead still lives!!! 1965ForeverGrateful2010
user picture
Default Avatar

Member for

11 years 5 months
Permalink

I think you might be pleasantly surprised!
user picture
Default Avatar

Member for

8 years 9 months
Permalink

First off great post by Blair, great to read a fans perspective by a seminal insider. As a '50' yr old warrior whose been thru more shows than i care to remember (1st show at Roosevelt Stadium '76) my only thoughts regarding this new tour which I ll catch at RCMH is that with each tour these guys bring their live zeitgeist to a new generation, who all can now appreciate it in a whole new light. They (The Dead) choose to enlighten these newbies with their Dead Sets and hope it can only perpetuate itself. As Phil so poignantly noted at a show when a fan screamed out .."I miss Jerry..' He replied- So do we!!" With that, whether its JK or Warren or Larry Cambell, we can only agree that its the memories we share and the music that's played-not the players who perform. their job is to shed light and not to master...thanks for 4 decades of memories, now its my turn to get our kids into these tunes and not Lady Gaga...Happy Birthday Phil, last show I saw was on Bobby's B day, may there be many more the world's a better place with you, and Bobby, Mickey, and Billy in it--How about a Lazy Lightning on this tour PLEASE???? Best always,
user picture

Member for

9 years 1 month
Permalink

I went to see the captain, strangest I could find... Some lines in the article by BJackson and some of the comments here have really surprised me. First JK - The comment that BJ did not really think the Candyman was "in town" really rubbed me the wrong way and I think Peggy O's comments regarding JK are suspect at best. In regards, to JK's playing- First, I have seen GD (although 95 when JG was not functional- people seem to forget that JG was not consistantly JG for alot of the '80s and most of the '90s because of detoriating health and substance abuse), other ones, the dead from last spring, Furthur in Wallingford and have the dicks picks and other live recordings to get a taste of JG playing in his prime. Getting to the point- the other ones show was ok but did not have a special cohesiveness, and the dead show I saw in Hartford last spring was awful and I left after KSMarbles and thats saying a lot considering how much I paid to see it. The tempo was off, drumming was slow and the drum sequence with Obama soundbites was a tragedy (not just for throwing politics in my face but for making the dead sound like djs eiwwww). The timing was not just off because of the drumming but the jumping guitar melody needed for the music was replaced by an Allman Brothers type southern slide which totally does not work with the music. After seeing JK in Wallingford, I believe he was able to bring the speed and melody back with his playing that is both inspired and creative- I have since bought the show and listened to it numerous times and it just gets better. Sure JK has a vocal intonation that sounds like JG (but doesn't Bob try to sometimes sound like Dylan and doesn't Dylan try to sound like Guthrie and doesn't all of rock try to sound like the blues?) and he can play JG styles but he moves the jam to good fresh spaces that JG could not do consistantly since the big H took over. To respond to BJ the Candyman went for the candy and left the music holding the bag..... Lately, I have heard alot of enabling type defenses of GD music which may have done more harm to the music and help perserve it in a mummified state in the later years- like a zombie. The line goes like: Sure they had off nights but it was the risk they were taking...... Let's be real- the "risk" was not taken intentially after hard drugs took over. Check out the You tube clip of Bret saying how his '82 new years wish is to kick drugs- maybe if we had called a spade a spade and not filled the stadiums back in the '80s because the quality was sub par, some may still be alive today- who knows... To summarize- lets not glorify the past to knock JK's contribution to the music- it doesn't hold up. All in all- JK brings the music and takes it Furthur regardless of the JG predjudice. His playing is consistant, technically up to par, and creative. I am not trying to provoke with these comments I am just trying to give another perspective to the argument- nothing personal, I appreciate the debate. Thanks!
user picture
Default Avatar

Member for

11 years 5 months
Permalink

All I was implying in my comment about "Candyman" is that in that particular case I felt like JK sang it but didn't embody it. (And yes, I saw many a version where Jerry did the same.) JK DID embody "So Many Roads." My own opinion is that I would rather see JK sing almost any Jerry song than either Phil or Bob because at least he sticks to Jerry's phrasing--and Jerry was a MASTER at phrasing, so why mess with it? A singer can still bring his/her own passion and personality to it--and I point to the "faithful" renditions of Jerry tunes by everyone from Warren Haynes to Joan Osborne to Chris Robinson to Jackie Greene as proof. (Or look at how Jerry handled Dylan's tunes, which he slowed down or speeded up or otherwise changed but never lost the essential connection Dylan's original phrasing--would that Dylan himself would do the same, but don't get me started on that!) Jerry was a meticulous songwriter and singer and Hunter clearly an impeccable craftsman with a wonderful sense of the rhythm of words, how lines balance with each other and the emotional flow of words as they're accompanied by music. You screw with that at your peril, IMO. I appreciate that JK is at least honoring the songwriters' intent, and I admire his playing unreservedly.
user picture

Member for

9 years 1 month
Permalink

I went to see the captain, strangest I could find... Thank you for the reply and I guess my comments were not so much a critique of your reporting beacuase I was not at the show but an overall response to some of the negative comments that I have read about JK. It must be tough (pressure wise) to play so similiar to JG with Bob and Phil to boot, while all the while knowing that this music has such emotional meaning to so many people. I am happy for JK because I believe he pulls it off with true heart and to be honest I am happy for me and others because the way the music has been played lately has really stoked up pasion for all GD music- past and present BTW I have read An American Life and I want to thank you for your work. It really gave me a great understanding of GD and I refer to it all the time; especially when I buy an archived release and want catch up on "what was going on". I can dig your response concerning the embodiment view of playing a song, and upon reflection, unfortunately (in my opinion) to truly embody some of the great GD songs you have to pay the ultimate price (Black Peter, etc...) In a twisted way I sorrowly thank JG for having the courage to delve so deep into the darkness (not sure if that makes sense), but to go off on that topic sounds like a completely different book! Anyway, thank you for clarifying your point of view- I appreciate you taking the time to respond!
user picture

Member for

11 years 1 month
Permalink

e-mail friskotatt2@yahoo.com... 4 more tatt2 ////////some things u can replace and others u cannot////aint no time to hate////sometimes u get shown the light in the strangest of places if u look at it right/////if u( really) get confused liten to the music play.......----shall i continue, need i say more---- o.k. uno mas,,,might as well..//// i want to thank u for a real good time
user picture

Member for

11 years 5 months
Permalink

...and yes it was great...The All You Need is Love intro to the new year was especially cool, especially for us old timers. I'm so glad that Deadheads continue to carry it all on keeping the vibe and the dream alive. Sometimes during the workaday world a person can feel isolated...so... fuck that reality... Onward through the fog...See you at Phil's birthday bash...Further
user picture

Member for

11 years 5 months
Permalink

mpace, I found it really contradictory that you started your post by calling out blairj and I for expressing honest opinions on our recent NYE experiences, particularly since you were not present for those shows. You called my comments "suspect at best", and then you end your post with "nothing personal, I appreciate the debate." Seriously? Dude, I've been to more shows than I can count and yes, there were times there were off nights. Those of us lucky enough to have been around for a while know full well there were good times and off times. Nobody's denying that. I've never been to a show that sucked all the way around though. There was always a good nugget in there somewhere. But regardless, I have a right to express my opinion - respectfully - and share what I thought about the shows. Again, the good and the not so great. I'm pretty sure I said that I wasn't blown away by JK but that I had a wonderful time and that Bobby and Phil were terrific and Jeff was just on fire. Yes, I don't care for JK. I don't like the overtly similar sound to Jerry because for me it verges on imitation, particularly since I know he's coming from DSO. I'd prefer someone who got the essence of how Jerry played/sang, but without that almost-mimicking, which is how I hear it. You hear it differently and it seems to work for you, so good for you because you'll really enjoy the shows! I enjoyed the NYE experience/shows very much, despite the fact that I'm not sold on "the new guy". But please, don't come around here and start telling people the thoughts they share "are suspect at best". You don't know me. If you did, your post would read much differently. I appreciate good conversation - back and forth exchanges of differing and sometimes similar ideas. It's just too bad some people can't engage in a conversation of differing opinions here without stooping to disrespecting other people's posts. If we all had the same opinions it would be a hella boring planet wouldn't it? Peace brother...
user picture

Member for

9 years 1 month
Permalink

I went to see the captain, strangest I could find... Just to clarify- I do not believe calling your comments on JK suspect at best to be a personal attack. I do not know you, all I know is that when you state a musician did not have the technical skills or creative chops, I believe you should back it up with an example of why you feel that way. I believe saying I did not care for his style is one thing but to say the guy is not technically skilled or creative is different and frankly offensive on your part. I saw JK on this tour so I believe that I have a reference point to debate your comment. With that said, seeing that you took that comment as a personal attack, let me re phrase- I feel your comment is based on opinion more than fact. I believe technical skills are fact, you either have them or you don't. I think JK has them because he can solo flawlessly and creatively, even when playing some of the more involved solos- ex. Eyes and Shakedown (I saw him play both on this tour). Also he added some tasty licks that were not normally played back in the day, so I think he was creative. I gave an opinion about Warren where I said that I thought he had the wrong style for the songs and didn't think he fit- I didn't say he was technically off because I believe thats different (and he's not). I was debating what I thought to be the facts you presented not your opinions. Anyway, I apologize if I offended you by that phrase it was not my intention to do so-
user picture
Default Avatar

Member for

10 years 8 months
Permalink

The biggest difference I noticed was that people were poppin' the balloons instead of enjoyin' 'em. In years past I remember most of 'em would end up on stage.........Mebbe folks are just gettin' sick of seein' so many of 'em in the parking lot.Yes we are lucky to be doing this together......Love IS all you need :o) Once in awhile you can get shown the light. In the strangest of places if you look at it right.
user picture

Member for

11 years 5 months
Permalink

Ever since I got to listen to the NYE show I have been doing a lot of thinking and reflecting on this band that I love so much. Initially, I had very mixed feelings about it and in some ways I still do. Through all of this, there are several things that have become very clear to me:First of all, I have to echo Blair J's sentiments that it is amazing that it is 2010 and we are still going to shows and getting this music. After Jerry died, I did not envision that in 2010 there would be anything like this. So now we are getting this music delivered by yet another post-Jerry line-up. Hey, the music is good and people are happy so let's rock. Second, I will say that I find it interesting as I have read through this site and various other forums that many people have raved about this show and previous Furthur shows. Out of curiosity, I looked at reviews of many shows of the other post-Jerry line-ups throughout the years. What seemed to be the case is that many people raved about those line-ups as much as this current one. Also too, there were the harsh critics as well. The same can be said for many Grateful Dead eras, tours, shows as well. Well, I finally realized 2 important things: A.) everyone's sensibilities are different so what one person likes can be completely lost on another. A good example would be the Richfield Coliseum show in 3/21/94. This show is consistently regarded as one of the better from that year and era and also one that I love. A lot of people are enamored by the Lovelight>Stella Blue> Lovelight sandwich to close out the show. Sure, I love that but what floored me was the inspired and passionate vocal jam during He's Gone (you know, the "nothing's gonna bring him back"). Simply different sensibilities. B.) The experience of being at a show is different, which I always knew, but it seldom translates to the recording. So many shows that I have attended don't sound/feel quite the same when I listen to the recording - know what I mean? Plus, and more importantly, you can never interpret someone else's experience at a particular show. I can't really say how it went down for someone else, but only for me. Third, any band whether it be the Grateful Dead or some other post-Jerry line-up, Phish, Allman Brothers, etc... that are jam bands that live and die by the live improvisational show. This creates an expectation in people’s minds that is either fulfilled or not. So as much as it may be termed enableing, it can be hit or miss. Not every show goes great, for various reasons, and some shows are just out of this world. So with Furthur and this NYE show, as I have listened to it, what jumps out at me is that this band seems to be playing exceptionally tight as if they had been together for years. I would venture to guess that JK's years of playing GD songs and homing into the Jerry sound to what ever extent he did has helped this. Jeff really works the keys well and he definitely had his practice. The drummers are great fit too and I totally dig the ladies on the backing the vocals. Overall it sounds good and real tight. Now, as good as this was, nothing stands out to me as being other worldly or mind blowing (Time was close). But then again I have different sensibilities and I was not at this show. I hope that these guys stay together and tour this summer when I am off work so I can check them out. Rick Do or do not; there is no try.
user picture
Default Avatar

Member for

11 years 5 months
Permalink

Go see Furthur. I saw the Dead over 50 times from 1972 on, and after just seeing Furthur at Hampton and Fairfax, I can gladly say that that my son and I just witnessed the two most wonderful shows of Grateful Dead music I've heard since Jerry left the planet.
user picture

Member for

9 years 10 months
Permalink

John Henrikson, producer of "The Deadpod" on iTunes, just posted an excellent recording of the highlights of this show. It was released on 2/26/2010 and his line up is as follows:Time> Uncle John's Band After Midnight III: Golden Road to Unlimited Devotion> Let It Grow> Cryptical Envelopment> Born Cross-Eyed> The Other One> Cryptical Envelopment. It's free and can be picked up on iTunes or at http://media.libsyn.com/media/deadshow /deadpod022610.mp3. A truly amazing show, and their version of Time is moving. It kicks the shit out of Phish's version of Time for sure. Hope you enjoy it as much as I did. -A.Steinmetz
user picture
Default Avatar

Member for

7 years 7 months
Permalink

when can you buy tickets for next year? does any one know any information on the show coming in 2011?
user picture

Member for

11 years 5 months
Permalink

anything's been announced yet, but I'd also keep an eye on furthur.net

The Band

49 comments
sort by
Recent
Reset
  • marye
    7 years 7 months ago
    I don't think
    anything's been announced yet, but I'd also keep an eye on furthur.net
  • Default Avatar
    lovedeadx
    7 years 7 months ago
    furthur new years show 2011
    when can you buy tickets for next year? does any one know any information on the show coming in 2011?
  • Strongandmanly
    8 years 8 months ago
    Recording
    John Henrikson, producer of "The Deadpod" on iTunes, just posted an excellent recording of the highlights of this show. It was released on 2/26/2010 and his line up is as follows:Time> Uncle John's Band After Midnight III: Golden Road to Unlimited Devotion> Let It Grow> Cryptical Envelopment> Born Cross-Eyed> The Other One> Cryptical Envelopment. It's free and can be picked up on iTunes or at http://media.libsyn.com/media/deadshow /deadpod022610.mp3. A truly amazing show, and their version of Time is moving. It kicks the shit out of Phish's version of Time for sure. Hope you enjoy it as much as I did. -A.Steinmetz
  • Default Avatar
    markh
    8 years 9 months ago
    Furthur!
    Go see Furthur. I saw the Dead over 50 times from 1972 on, and after just seeing Furthur at Hampton and Fairfax, I can gladly say that that my son and I just witnessed the two most wonderful shows of Grateful Dead music I've heard since Jerry left the planet.
  • Gratefulhan
    8 years 9 months ago
    Ever since I got to listen
    Ever since I got to listen to the NYE show I have been doing a lot of thinking and reflecting on this band that I love so much. Initially, I had very mixed feelings about it and in some ways I still do. Through all of this, there are several things that have become very clear to me:First of all, I have to echo Blair J's sentiments that it is amazing that it is 2010 and we are still going to shows and getting this music. After Jerry died, I did not envision that in 2010 there would be anything like this. So now we are getting this music delivered by yet another post-Jerry line-up. Hey, the music is good and people are happy so let's rock. Second, I will say that I find it interesting as I have read through this site and various other forums that many people have raved about this show and previous Furthur shows. Out of curiosity, I looked at reviews of many shows of the other post-Jerry line-ups throughout the years. What seemed to be the case is that many people raved about those line-ups as much as this current one. Also too, there were the harsh critics as well. The same can be said for many Grateful Dead eras, tours, shows as well. Well, I finally realized 2 important things: A.) everyone's sensibilities are different so what one person likes can be completely lost on another. A good example would be the Richfield Coliseum show in 3/21/94. This show is consistently regarded as one of the better from that year and era and also one that I love. A lot of people are enamored by the Lovelight>Stella Blue> Lovelight sandwich to close out the show. Sure, I love that but what floored me was the inspired and passionate vocal jam during He's Gone (you know, the "nothing's gonna bring him back"). Simply different sensibilities. B.) The experience of being at a show is different, which I always knew, but it seldom translates to the recording. So many shows that I have attended don't sound/feel quite the same when I listen to the recording - know what I mean? Plus, and more importantly, you can never interpret someone else's experience at a particular show. I can't really say how it went down for someone else, but only for me. Third, any band whether it be the Grateful Dead or some other post-Jerry line-up, Phish, Allman Brothers, etc... that are jam bands that live and die by the live improvisational show. This creates an expectation in people’s minds that is either fulfilled or not. So as much as it may be termed enableing, it can be hit or miss. Not every show goes great, for various reasons, and some shows are just out of this world. So with Furthur and this NYE show, as I have listened to it, what jumps out at me is that this band seems to be playing exceptionally tight as if they had been together for years. I would venture to guess that JK's years of playing GD songs and homing into the Jerry sound to what ever extent he did has helped this. Jeff really works the keys well and he definitely had his practice. The drummers are great fit too and I totally dig the ladies on the backing the vocals. Overall it sounds good and real tight. Now, as good as this was, nothing stands out to me as being other worldly or mind blowing (Time was close). But then again I have different sensibilities and I was not at this show. I hope that these guys stay together and tour this summer when I am off work so I can check them out. Rick Do or do not; there is no try.