“Weeeeeee… LOVVVE You!” Furthur Rings in the New Year in SF
By Blair Jackson
Back in the Grateful Dead days, New Year’s Eve shows were sort a hit-or-miss. Always loaded with expectations, they sometimes fell a bit short for any number of reasons—though through the golden haze of memory, they all seemed like winners to me now! Anyway, one thing most veterans of Dead New Years runs will agree upon is that the show on the 30th was frequently “the hot show.” Maybe it’s because the band and crowd were always more relaxed and the atmosphere in the hall was so much less frenetic than the next night. Maybe it’s because they (and we) weren’t partied out (yet). Well, Furthur’s show on the 30th at the Bill Graham Civic fits nicely in that long tradition of exceptional shows on that date.
Civic Center Plaza was a sight to behold on that cold evening, with hundreds of ticketless hippies milling about near the large Christmas tree covered in white lights that stood a couple of hundreds yards away in front of majestic City Hall, which itself was lit up in stripes of red and green for the holidays. Once inside and ensconced in some seats near the top of the balcony directly opposite the stage, I faced my first and only real disappointment of the run: Alas, the band’s hometown fans were not going to revel in the psychedelic glory of Courtenay Pollack’s trippy tie-dye backdrop which graced the band’s last tour. In fact, it was a bare stage for the most part, no screens even (fine by me), with just an inflatable King Kong, clad in a tie-dye t-shirt, MSG-style (if you’ll recall those late ’80s shows there) hoisted above the stage—kinda strange, but also not obtrusive and, we assumed at the time, probably in keeping with the circus theme that had been in advertising for the shows and on the gold-foil tickets sold by the fine folks at GDTS-TOO (whom we pause momentarily to salute for another year of great service; nice to know there’s still one place where Ticketmaster doesn’t completely rule). Once the show started, though, it was clear from the first second of the “Shakedown” opener that came booming out of the crystal-clear sound system—no warm-up noodle necessary—that the light show was going to be a colorfully kinetic wonder. The whole Civic became a playground for the lights, with colorful “architectural” constructions across the stage and audience, changing by the second (or split-second)—these were the best lights I’ve seen accompany this particular band. Kudos to lighting director Preston Hoffman and his crew from Long Island-based A.G. Light & Sound for a job very well done, both nights (and all year long).
The band seemed fired up right out of the gate, and John Kadlecik’s first long solo of the night was another indication of what many have been observing at recent shows—he is increasingly willing to move away from his Garcia comfort zone to explore other timbres and approaches, and that is leading the group as a whole in some interesting new directions. Don’t get me wrong—there is still plenty of Jerry in his playing (and I am among those who believe he does it exceptionally). But some of the jams seem to be moving farther afield into more abstract spaces, both tonally and rhythmically as JK and Jeff Chimenti and Joe Russo assert their own personalities even more. The opening trio of “Shakedown” > “Estimated” > “Crazy Fingers” felt like the heart of a second set, with generous and assured jamming in all three, and the “Crazy Fingers” delivering that rippling sweetness you really want from that gorgeous tune. This was my first time hearing both Phil’s “Welcome to the Dance” and Bob’s “Seven Hills of Gold” in person (I’ve been following the whole year on archive.org audience recordings—many of them superb—and also have purchased a number of SBD FLAC downloads along the way), and this time out I was most impressed with “Welcome…” which had a couple of big, melodic jams the band leaned into confidently. “Seven Hills,” too, benefitted from a strong slide solo by JK and a nice flurry after the song, eventually steaming into a punchy “Lovelight” set closer. In mid-set, JK had led the band through snappy and energetic versions of “Cold Rain & Snow” (perfect for the weird and wicked weather it seems we’ve all been experiencing) and “Tennessee Jed.”
The second set opened with the “new” song I most wanted to hear: George Harrison’s “Any Road” (from his excellent final album, Brainwashed), sung by John. It has the joyful bounce of a “Scarlet” or “Bertha” and sharp lyrics that, in a Robert Hunterish sort of way, cut both ways as either a positive or cautionary message: “Oh, Lord, we pay the price / With the spin of a wheel, with the roll of the dice / Ah, yeah, you pay your fare / And if you don't know where you're going, any road will take you there.” A great choice for this band (and these fans)! The “Playing in the Band” was long and circuitous, with many strange paths taken, before eventually resolving back at the “reprise”—always a satisfying denouement to a twisted journey.
From there, though, the set really took off, with a crisp and assertive “China Cat,” a quite spectacular sing-along “St. Stephen” (which also contained a long, serpentine jam that departed far from its parent tune), and then a tremendously uplifting “Scarlet” > “Fire.” That pairing has not been as automatic with this band as it was with the Grateful Dead, but I must admit it felt somehow right to hear them together, and performed with such brio, on this night. “Death Don’t Have No Mercy” was, amazingly, the first real ballad of the evening, and Bob sang it with tremendous emotion, matched by the soloing of JK and Jeff C. From there, the band rolled into “The Eleven” and then a sparkling “Goin’ Down the Road” which had a very cool ending—after the band played the traditional instrumental “We Bid You Goodnight” theme that usually marks the transition to another tune, they actually went into the a capella vocal version of that song to end the set; very nice (as Borat might say)! The “Attics of My Life” was icing on the cake— the crowd was connected so fully to that song, between verses you could’ve heard a pin drop in the place. And that’s always a beautiful thing. I’m not sure backing singers Jeff Pehrson and Sunshine Becker get all the credit they should for filling out the group’s vocals so beautifully, and for their cheery and enthusiastic stage demeanor. They really add a lot to this band.
The pre-show scene the next night—New Year’s Eve—seemed surprisingly relaxed and mellow. People found their spots on the floor or the balcony and then just chilled for the most part; a far cry from the craziness of most GD New Year’s Eve shows. More amazing is that it pretty much stayed that way all evening. From my perch in the front row of the loge (JK side), it appeared that the floor never became ridiculously over-crowded and folks could always find plenty of room to dance near the back and on the sides. Is it possible this is one New Year’s show that was not oversold? Bill Graham would not have approved! (We kid Bill because we love him… honest! I can’t tell you how much I miss his presence in the Bay Area scene.)
I wondered if the fact that the show was set to be broadcast nationally on the Sirius Satellite Radio Grateful Dead channel would put a little more pressure on the band. As we’ve seen in the past, that can definitely cut both ways (sometimes the band would try a little too hard for a national audience and the music wouldn’t be as free and easy), but the sad fact is the simulcast was a total washout. Apparently, parts of the opening “Alligator” and then a little bit of the following “Big Bad Blues” made it out into people’s homes, but then the show conked out completely for the rest of the night—because, I gather, of problems with AT&T’s system of phone lines, which were bedeviled with power outages in California and elsewhere. Whatever the case, it was a big bummer and it no doubt spoiled many a spirited listening party coast to coast. I know I would’ve been crushed by that development. (Tell us what you did instead, Dead Heads!) The good news is that Sirius is re-broadcasting the Furthur New year's Eve show on Saturday, January 8, and noon ET, then again on Sunday (1/9) at 9 p.m., Tuesday (1/11) at noon, Thursday (1/13) at 3 a.m. and Saturday (1/15) at 9 p.m. (all times Eastern). They're offering one of their free 30-day trials, too, so anyone can hear it: Go to www.sirius.com/deadfreepass for more info.
I found the first set of New Year’s to be a sort of hill and dale affair (to quote the late, great Spalding Gray). I am, frankly, not a fan of this band’s “Alligator”—John K. doesn’t have the Pigpen grit to sell it vocally, and though the jams occasionally go to some exciting places, this one didn’t for the most part. Bob’s new “Big Bad Blues” moved along at a nice clip—it’s another one of his tunes with lots of different sections and slightly odd transitions, but I dug it and it got the crowd going in spots. I sort of felt the band was struggling a bit during the early part of the set. The sound should’ve been perfect where I was, but it felt unbalanced at times—I’ve been going to these things long enough to know that’s usually the band being tentative, not the fault of the sound folks. Staying in the blues mode, they next took off with the locomotive beat of “Caution,” and though this one really exploded after each mention of “mojo hand,” the verses, such as they are, were muttered in a sort of low-key monotone by Bob—I’ve heard him spit out the tale of the Gypsy Woman with so much more urgency and emotion. Still, it’s always a treat to hear that chestnut and it once again brought back fond recollections of the departed Pigpen. “Wharf Rat” was nicely delivered by JK & Co. but felt out of place in the set to me. (I don’t think it’s just years of hearing it late in the show that’s conditioned me.) Then, out of nowhere, came a short but blazing “Sitting on Top of the World,” also sung by John, and for me this is where the set turned in a solidly positive direction. “High on a Mountain” followed—with its soaring harmonies that remind me of the Jefferson Airplane, and its surging, melodic instrumental passages—and then, to finish the set on a strong note, another great “Cumberland Blues” (which I thought I heard coming earlier, pre-“Caution” perhaps). This band really tears it up with that tune!
Set Two started with a rather easy-going “Cassidy,” nicely sung by Bob (though I’d love to see him do it as a duet with Sunshine). The jam seemed to take forever to get going, building very slowly, but eventually it did hit a rich vein, and the back half of the jam was potent indeed. Next came the other new Phil-sung “Mountain” song—in fact, it’s called “The Mountain Song” and the chorus progression was co-written by Garcia and the Airplane’s Paul Kantner back in 1971 during the famous “Planet Earth Rock and Roll Orchestra” sessions that resulted in David Crosby’s first album at Wally Heider’s studio in SF that year. Phil Lesh’s musician son Brian later found some Robert Hunter lyrics designed for that song and Brian wrote some new progressions for the verses, and also performed a different version with his own band, Blue Light River. Furthur has been playing it since the summer and it’s developed nicely. It also proved to be a perfect lead-in to an uplifting “I Know You Rider,” which had everyone in the Civic singing along, as you can imagine.
A nearly stand-alone “Other One” had its hot moments, but never really broke completely free of its moorings, and then lurched clumsily into “Let It Grow”… but, man, here’s where this set really went into the next dimension for me! “Let It Grow” was so fiery and imaginative, with a long and varied jam at its heart, and all the tentativeness that I was hearing in “Cassidy” and “The Other One” seemed to melt away, and from that point on—and for the rest of the night—I thought the band was on fire! I know there are some who feel that “Stella Blue” is somehow untouchable—it is the quintessential Jerry ballad—but I’ve really enjoyed the couple of versions I’ve seen John sing. I think he delivers it with conviction and he certainly plays the hell out of it—his closing jams on the song are so moving and well-constructed. This was a powerful reading, and it set up a striking contrast with the tune that erupted right after the graceful conclusion of “Stella”—“Viola Lee Blues,” all boppin’ and snarling and drenched in that raw late ’60s feeling that this band manages to convey so well. This might have been the first version I’ve personally seen that was not broken up by other songs between the verses, and I liked hearing it “whole” for a change. The jam before the final verse was developed spectacularly—noisy and aggressive and relentless, as it should be. I thought that might be the set ender, but instead they charged into “The Golden Road” to the delight of the madly dancing throng. Wow! One hour and seven minutes till midnight!
True… but… what the?... Right at 11:30, the lights went down and the P.A. started blasting circus music. From under a curtain to the right of the stage (that’s stage left for you thespians) came the first of three floats, following a previously cleared path across the floor to the center of the arena. It gets a little packed down there when a giant swath is carved into a crowd, but what’s a little crush between friends, right? Hey, it’s a Grateful Dead tradition! Leading the circus parade was a giant golden circus elephant on its hind legs, covered head to foot with little mirrors that reflected the lights in a million different directions, like an oversized mirror ball. Coolsville! Next came what looked like a circus train car with a flying eyeball theme, and then finally one with an enormous red dancing bear holding a rose. All sorts of folks were part of the parade, too, and threw things into the crowd and generally made merry, as the loud prerecorded circus music, with its blaring horns and crashing cymbals and drums continued without relief. (Trippier music might have served the parade a bit better.) Then the parade slowly made its way back under the magic curtain, and we all looked at each other with puzzled expressions because it was still only 11:45! Nevertheless, our attention was next commanded by a large circus cannon that was perched on the lip on the stage. The P.A. started blasting the obscure (but fantastic!) Rolling Stones song “We Love You” (a fave of mine; it was the B-side of the summer 1967 single “Dandelion,” which I owned)…. “Weeeeeeeee…. lovvve you!” the Stones sang in their patented psychedelic-era harmonies, “and we hope that you will love ‘we’ too!” Yeah! An inspired choice! As various girls of all ages clad in colorful circus and other apparel danced onstage, the cannon went off and a tsunami of confetti exploded into the audience in front of the stage. Bill Walton, decked out in Father Time/circus regalia, glided through the mayhem, and then 10 people holding large white cards appeared at the edge of the stage. The countdown began… “10… 9… 8…” each number prompting a card to be turned over revealing that number… and then it was “HAPPY NEW YEAR!!” and the balloon drop, everyone going crazy, delirious, and then the band kicked into their own version of “We Love You”! Now that takes chutzpah—to follow the Stones magnificent recording with your own take. But they totally pulled it off! It sounded fantastic from where I was dancing, the voices rising with the same sort of hypnotic power as the Stones’.
There’s just one thing—the “midnight” moment was actually ten minutes before midnight, which was, I’ve gotta say, kind of disorienting. Of course, there’s a long and noble tradition of “midnight” being whenever Bill Graham said it was, so this wasn’t exactly unprecedented, but I felt like we were kind of denied the slow, methodical, things-are-getting-crazier-every-second build-up to midnight I’m used to at these shows. At any rate, it was still a VERY high and happy moment and how’s this for poetic justice: Right after the band concluded “We Love You,” they went right into the traditional “Sugar Magnolia” and four minutes into that song was when the real midnight occurred! Dancing to “Sugar Mag” as balloons continued to fly around the hall… every man, woman and child seemingly with huge grins plastered on their pusses… it doesn’t get any better than that! Definitely a highlight of my year and, hopefully, a harbinger of a better year ahead!
Rather than splitting off the “Sunshine Daydream” and saving it for later, Furthur played the full “Sugar Mag,” then kept the warm glow in the hall going with excellent versions of “The Wheel” and “Uncle John’s Band.” “Unbroken Chain” was, as usual, a showcase for some intense, focused jamming led by John and Jeff, and all year I’ve enjoyed the song’s new coda, which to me feels a bit like the end of “Layla,” the way it builds and soars. Then it was on to the full “Terrapin Station” suite, which I think is certainly a candidate for Song of the Year from this band. I’ve heard every version they played, and they’ve all been outstanding, as this one was. The jam after “his job is to shed light, not to master” was developed beautifully, the group in “search” mode, deftly exploring some of the landscape of “Terrapin.” Then, from the majestic “At a Siding” entrance through “Terrapin Flyer” (which is totally propelled by Joe Russo’s dynamic skins work) to the final reprise is always such a wonderland of different musical tempos and feelings—it slays me every time.
I could have gone home fully satiated after that batch of songs, but the band had more up their collective sleeves: like a killer “Help on the Way” > “Slipknot!” > “Franklin’s Tower” (the “Slipknot!” was especially gnarly and interesting), and finally, to close the third set, a solid and fun “Truckin’” (which I thought I’d heard in the tune-up before the first set). “Saturday Night” was a surprise to me (though I guess it was at least Saturday morning when they played it), but I appreciated going out with a full-on rocker instead of a ballad, and danced my ass off one mo’ time. Hey it’s New Year’s Eve! We have the whole rest of the weekend to sleep it off!
Furthur has been proving itself night after night all year long—new songs, fascinating rearrangements of old ones, intriguing cover tunes… This is a vital band that feels like it's just hitting its stride. It’s been a joy to witness, so here’s a champagne toast to lots more Furthur Fun in 2011. Thanks, guys!
Note: You can find a fantastic selection of great photos of the NYE shows and festivities taken by ace shutterbug Jay Blakesberg at www.furthur.net . And for another view, check out John Margaretten's astonishing gallery of pics from the shows on jambase.com: http://www.jambase.com/Articles/25545/Furthur-NYE-Run-San-Francisco-Pics
I do appreciate you taking what I have to say into consideration. Admittedly, it is a little late to be bringing the band members up. I have listened to some of the recent stuff on Sirius and it does sound good. I'm not saying it doesn't. It took me a long time to get over Phil disbanding his original quintet. That was the greatest GD related configuration since the GD, IMO.
At this point, my main gripe is with Phil and Bob not picking Mattson over JK. I heard David Gans raving about DSO and Mattson's ablility to play pre 1970 shows with the energy that the Grateful Dead had back then, so much that he felt that's what it must have been like to see the GD back then. And it is the truth. And up until Mattson joined DSO, they have never played any Pigpen era shows. Anyway, I'd love more than anything to see Jeff up there leading Phil and Bob into that primal Dead arena. I think he really deserves it more than anyone. Thanks, maybe I'll give the current band a shot, but the backup singers are not allowed to play air guitar. Air guitar is for fans only.
Most of the line ups. I love Warren and he brought much to The Dead. I love Jimmy Herring but I think he is better fit for Widespread Panic and his style makes them really good. But I think that Furthur is the best yet. I respect your opinions and understand your reluctance (I was there too initially) GC but I have to disagree, please give them a chance, you'll see! =)
"It's got no signs or dividing line and very few rules to guide"
Something neither he nor I mentioned was what I'll reference as my only night seeing Furthur and what I heard coming from Mr. Chimenti. I was completely blown away! Now I've listened to a lot of music in my day, and pride myself on an extensive collection, including a lot of jazz. Jeff's playing sounded like something I might have heard on a Miles or Coltrane album. Listen to Cumberland 11/21. If this was just a cover band I don't think his playing would be so inspired.
And one more thing Gary Coleman, since all the people you mentioned on your wish list (e.g. Haynes, Herring, Tedeshi, Osborne et al) who knows? Maybe someday they will play with this band. But for the time being I'm quite happy with this group delivering this music played with conviction, skill and style.
At this point in the game its not even worth entertaining GC with an answer or explanation to questions like that. One year ago when it was all still really new - sure. But it seems late to bring up a full-on debate about each band member. These guys (and gal) are the real deal and are as tight as a band can be. After seeing Furthur 11 times with 3 more coming next month, there must be a reason I keep going back for more =)
"It's got no signs or dividing line and very few rules to guide"
Your comments/questions invoke some thoughts after having read them. First, have you ever seen this band play? I have once, this past November, last night at MSG. I went with an open mind, although having read set lists and comments on philzone I must say my expectations were high, but still well aware this was not the Grateful Dead (as there's no way it can be). Now I saw Dark Star Orchestra once, and frankly it's not my cup of tea at all. There are plenty who like them, and I'm happy for them. The concept of tribute bands is an interesting one; it shows a respect for the band/artist to learn/play all the music in an attempt to replicate that which made them so great. So for me DSO is a novel concept, but not an entertaining one.
Furthur is not, as Billy hinted, a cover band. First of all, as if this is necessary, two of the guys on stage contributed to the writing of, while not the majority, but some of the songs played. If I had my way Billy would be the drummer with this band. I've not heard any reason as to why this is not the case. Is Billy a little bitter maybe? I have nothing but the utmost respect for him, having been a drummer and watched him, spellbound, many times. Let's face it, some of the all time best shows he was the sole drummer. I hope Billy's comments are not in any way sour grapes.
Some of what you say regarding Furthur I have to completely disagree with you on, and some of it seemed a little harsh. First, what's with your comments about the back up singers? The guy plays air guitar for two seconds....big deal. What's with the "they don't look professional" (paraphrasing here) swipe at them? Frankly having back up singers seems a little unnecessary, but I'm not Phil or Bobby and that's their decision. As far as John K is concerned, I think he sounds great both in his playing and singing, both of which I think are inspired. I envy him actually. Which brings me to Russo, I wished it was me instead of him, but then you'd be harping on me, lol! I think his playing is fine, and never in the one time I saw Furthur play did I hear him lacking in pushing the music along.
Since this band is called Furthur, instead of anything with reference to the Grateful Dead (i.e. the Dead or the Other Ones) it's just another incarnation of that which prompts us all to be here writing about this stuff. As I did at the Garden a couple months ago, I had the chance to revisit, to see and hear some of the guys that made me, at times, abandon my straight world responsibilities back in the day to travel thousands of miles going to shows. Being amongst all those happy folks at the Garden made me think that this is not just a bunch of guys playing covers, but that this is indeed a group of talented musicians playing the best music ever, and good vibes were more present there than perhaps just about anywhere else on the planet for those 3 1/2 hours. It was my ability to revisit those feelings of yesterday, not really caring what the folks on stage look like, but having that sound push my body in ways it rarely is anymore. I remember many a Dead Head say "I know what they look like, I'm here to hear the music and boogie". I accomplished those two things, and look forward to more in a couple months. Should you not share that sentiment is your loss.
Perhaps you should send Phil or Bobby an e mail with your concerns.
I have no interest in seeing this band, no matter what songs they play. I can't help but think to myself (and if anyone can shed some light on this question for me, I'd greatly appreciate it), "What were Phil and Bobby thinking when they put this band together?" After years of having fantastic original guitarists like Warren, Jimmy Herring and Kimock, and Phil having brilliant songwriters like Ryan Adams and Jackie Greene in his bands, why did they go with a cover band guitarist? And after having Susan Tedeschi and Joan Osbourne singing with the band over the years, why choose unknown, unprofessional looking and acting backup singers? They both can't dance for spare change (not that I'd want to see the guy dancing), and if you look at the following video, you will see the guy playing air guitar from 1:34-1:36. What is up with that? http://www.youtube.com/watch?v=oRgxhLx84hM . Joe Russo is a great drummer, but is clearly not the right drummer for this band. I understand and support Billy choosing not to play with these guys now. http://www.jambands.com/news/2010/12/02/kreutzmann-takes-a-stab-at-furthur The Other Ones and The Dead lacked Jerry, but they tried to make up for it by including all-star quality musicians, who created a real draw to go see them. Like Billy says in the clip from the above article, the truth is that this band has the appeal of just another cover band. And if they had to go with a Jerry cover guitarist, why didn't they at least pick Jeff Mattson, for Christ's sake? His playing crushes the current guy's playing in emotion, power, technical ability, tenacity, and spirit.
In short, we had a great time, as usual. One of our favorite venues, along with the Kaiser, for NYE. Always a pleasure, and the site of my first NYE in '83. The first night the energy was off the charts (for me, anyway), coming in as we did just as Shakedown started, and it was a wild ride from then on out. We were well primed by some nice, mellow old Bourbon ( in a nice bit of syncronicity, I read in a book I had picked up at City Lights, in a story by H.L. Mencken, wherein he recounts that fine old Bourbon was the same lubricant of good-will sent by compliments of Mayor Rolf to the delegates of the 1920 Democratic National Convention held in that very same building, to the delight of the attendees and the cause of unprecedented good health and cammaraderie amongst them), and the night's dancing raced by on wheels.
NYE was great, also, same primer in use, same fantastic results. We enjoyed ourselves hugely with all the lovely people, and the cool Dali-esque plastic beer bottles. I really loved that they played We Love You, (one of my favorite early Stones songs) I thought it was a nice twist to do a different cover of a Stones song from the one they normally do, plus being a really fantastic psychedelic tune. I really liked last years rendition of Time, also. I like being absolutley surprised by my favorite songs done by the boys as covers. I think they picked it because it is a variation on a theme (not fade away), and says what they feel. I also liked that they completed (for me) the opening night's China Cat with the second night's I Know You Rider. The Cold Rain and Snow was nice, too. Reminded me of all those tours back East...lots of fun, and we're looking forward to the next shows already. Nice Colorado poster, by the way.
In that case I suppose it could be said that while Furthur loves us, they've also certainly been the victims of law enforcement targeting them. Both Phil and Bob have been arrested a few times for similar charges as what the Stones were. Matter of fact, 1967 saw members of the Grateful Dead and the Rolling Stones taken into custody.
I guess an alternative would have been for Furthur to write a new song only about how much they love us, or alter the existing song in a way that would have expressed only the love you sentiment, and foregone the bits directed at authority. I still think it was pretty cool they played the song.
Well Alpine Valley maybe we are both right :-)
The following lyrics are certainly not aimed as the fans "we don't care if you hound we and lock the doors around we" or "you will never win we, your uniforms don't fit we."
Wikipedia maybe gets it more or less right
"Outwardly, it was a message from the band to its fans, expressing appreciation for support in the wake of their recent drug busts. It was also an ironic, tongue in cheek slap in the faces of the police harassing them and the Stones' true feelings about it, putting on a cooperative and friendly face while inside they were seething with anger and indignation (as is represented by Brian Jones' unforgettably surreal Mellotron in the background). "We Love You" is a psychedelic collage of jail sounds, Nicky Hopkins' foreboding piano riff, and otherworldly tape-delayed vocal effects, featuring a visiting Lennon and McCartney on high harmonies."
This song is a classic piece of British double speak. Jagger was singing 'We love you' but he was also saying loud and clear to the British establisment "go f**k yourselves".
Due to the site I checked out not allowing me to copy/paste the lyrics to We Love You here (check them out if you like, easy to find), but I'm going to take issue with Cosmic Badger's description of this song.
As someone quite familiar with the history of the Rolling Stones I know for a fact that this was not a "tribute to the British police". Au contraire, this was a song to the fans that showed their support during the time they had been unfairly treated by the British police and legal system.
As a side note to this, I looked up the phrase "to break a butterfly on a wheel" in Wikipedia to reference an article that had been written in support of Mick Jagger whilst he was on trial in 1967> It is as follows:
William Rees-Mogg, as editor of The Times newspaper, used the "on a wheel" version of the quotation as the heading (set in capital letters) for an editorial on 1 July 1967 about the "Redlands" court case, which had resulted in prison sentences for Rolling Stones members Keith Richards and Mick Jagger. The editorial, highly critical of the court's decision, is thought to have contributed to the success of Jagger's and Richards' appeal against the sentences. It concluded "If we are going to make any case a symbol of the conflict between the sound traditional values of Britain and the new hedonism, then we must be sure that the sound traditional values include those of tolerance and equity. It should be the particular quality of British justice to ensure that Mr. Jagger is treated exactly the same as anyone else, no better and no worse. There must remain a suspicion in this case that Mr. Jagger received a more severe sentence than would have been thought proper for any purely anonymous young man.
Therefore I believe this song to be first and foremost a song for the fans. I believe Furthur's use of it on NYE was appropriate, and wished I'd been there to hear it. I concur with Mr. Jackson's sentiment he's expressed here regarding it's choice, and hope they play it again. Heck, I"d love to hear them play the A side as well! Why not the whole Satanic Majesties Request album! Ahem, now I'm getting carried away. Ciao!!