Tim Carman & The Street 45s - “Live at State Park”

Known in the Boston area for his steady blues and jazz—infused drumming, Tim Carman wows the feel-good soul scene with his second music release titled “Live at State Park”. This album follows his debut self-titled album, “Tim Carman & The Street 45s” (2019). The out-of-this- world glossy funk of the ensemble’s 2019 debut garnered much attention, securing a nomination for ‘Jazz Act of the Year’ at the Boston Music Awards.

Carman is a known percussionist in his own rite. Making a name for himself on the East Coast playing with acts such as GA-20 and Julie Rhodes. There is an easy-listening quality to his style of playing, and it really shines through with the new album. There are notes of jazz-driven melodies, blues heavy guitar, heart-filling organ, and bumping electric bass. Regarded as straight up jam-music holding space between the ensemble and audience, “Live at State Park” presents itself in an organic and raw way. “Tim Carman & The Streets 45s” accomplished this rocking sound by recording directly into the soundboard at State Park in Cambridge, MA. The album has that live-music sheen to it, rounded out with mixing done by Dave Brophy in just two days. The epitome of ‘hot off the press’.

“Live at State Park” presents itself in an organic and raw way

There are notes of jazz-driven melodies, blues heavy guitar, heart-filling organ, and bumping electric bass.

Tim’s influences play through his syncopated drumming, honoring a number of this favorite 60’s and 70’s era artists. The album begins with “Root Down and Get It - Live”, a fun and upbeat invocation into the classic days of 1972 Jimmy Smith. The lead guitar on this track is smooth with Tim’s drumming framing the groove of the song. It tells the listener, “We will be going down musical memory lane. Buckle up.” There is this sense of lifting off from one note to the next.

The second track, “Cardova - Live”, tips off with the electric bass drawing the listener in. Tim Carman & The Street 45s utilize this track to lead the listener through a stellar rendition of The Meters’ song of the same title. “Cardova - Live” has its bells and whistles, but ultimately, it remains relaxed. A good track to think things through to... The tapping notes of the organ tell a story, as the electric bass heads heavy into the pocket of Carman on the drums. A well to do second song that insures the rest of the album will be in smooth flight.

Thirdly, we hear a waxy and funk-melding original song titled, “Beard Oil - Live”. “Beard Oil” is not just gripping due to its visceral name, it is also immersive in its presentation. The electric guitar lead holds strong with Pat Faherty of the band, GA-20, on the strings. Carman mentions that this song was written the week of their “Live at State Park” show, and the true essence of a tight group of musicians is revealed. Tim explains that the band got together to rehearse just once before putting on this venue-rocking show, furthermore, the song was played with precision. Wonderful execution of a lively song with just the smallest hint of twang.

In at number four is “Memphis - Live”. It’s like a nice little mid-afternoon cup of tea, clocking in at 2 minutes and 45 seconds. Brief, to the point, and paying lots of honor to the great, Chuck Berry, its composer. There is something so American and rock-a-billy about Chuck Berry’s music. With Tim Carman & The Street 45s adding this to the album, I think it really draws out the group’s fusion Americana vibe.

That same vibe is drawn out quite nicely with a fuzzy couple riffs on the guitar via the beginning of track 5, “9 ’Til 5 - Live”. Originally composed and recorded by The Meters, Carman & The Street 45s bring down the house with a truly captivating call to dance. It’s during this song, around 2:33, that Tim’s drum talent shines through and clicks. I hear in context why he is a sought out musician throughout Boston and beyond.

Following “9 ’Til 5 - Live” is “Soul Sanction - Live”, originally performed by Booker T. & The MG’s. I have to say this is my favorite track on the album. There’s a homegrown feel to the way the guitar and organ compliment each other. I look forward to jamming this album often, and Tim Carman & The Street 45s version of “Soul Sanction” confirms that fact.

There’s a drum lead into “The Ocean - Live”. I feel like I have heard this song a million times. It’s got a real hook to it. Its nuance and novelty proves relevant to rounding out the band with a spectacular set.

Lastly, Tim Carman & The Street 45s close out the album with “Bring it on Home To Me - Live” by Sam Cooke. I picture the audience swaying on the dance floor, happy to know honest music is alive and well. Take the time to check out “Live at State Park” by Tim Carman & The Street 45s. You will be glad you took the time.

Spin Cycle Presents

6/8/2020
 - Album Review

By Kendra Muecke

www.kendraelisabethmuecke.com

CHECK OUT THE ALBUM ON SPOTIFY:

https://bit.ly/timcarman_liveatstatepark

Psychedelic Jams Light Up TRiP Santa Monica

Lights were flashing and the juke box was turned up for a bright night of psychedelic jams and rock ’n roll bands. Picture the TRiP Santa Monica, local West-LA venue with a crowded room full of concert goers ready to dance and experience a little slice of westside world peace. The event was Thursday night jams brought to the community by Spin Cycle Presents. On the bill for the evening, were bands The Ashtones, Blooming Fire, and Vimanas.

View fullsize

Ashton Slater - The Ashtones

The Ashtones kicked off the party with a funk heavy ensemble of musicians providing guitar, bass, percussions, drums, and a distinct sounding of harmonica interludes. There’s really something revving here as they oscillate between original songs, jams, and a rendition of “New Speedway Boogie”. Behind the band, we see a pinned up background of white sheets. Atop it are looped rainbow feedback visuals like something you’d see on the television test signal of a 1960’s Twiggy and Andy Warhol photoshoot. These visual stylings were provided by Anthony Diaz of Moire Bender.

View fullsize

Sierra Madre & Dryden Van Cleave - Blooming Fire

Next up on the bill is longtime friends of mine, Blooming Fire. As a politically charged, sustainable-water-bottle wielding, and nature-loving group with poignant lyrics and danceable magnetic music, Blooming Fire provides a soundscape of letting go via freedom and self- expression. Through Fire’s set and by speaking with Spin Cycle Presents head honcho, Keith Erickson, I realize the relatability and cohesion prevalent in the SCP scene. Keith calls me down to Santa Monica to come write a review for Psychedelic Thursdays at TRiP, and it ends up being for a band I know from my days living in Venice Beach 4 years ago.

Adding to this sense of strangers-stopping-strangers just to shake their hand, I run into a good number of friends I hadn’t seen in years. It’s telling when a night out on the town can bring such brightly-lit people together to share in experience. Moments later, I speak with the percussionist of tonight’s first band, The Ashtones, and secure the potential that he can play drums on my upcoming album for my own group, Kendra & the Bunnies.

View fullsize

Vimanas

Thirdly, the audience jets into a smooth landing of upbeat rock with Vimanas. The Inland Empire group has a welcoming and unique sound, reminiscent of jam-classic Phish. With a cool presentation of guitar solos and a well-rehearsed musical catalog, Vimanas persuades the crowd to keep jiving. A truly engaging set of music reflected by an outstanding night of local talent.

An event to note is Spin Cycle Present’s upcoming 11th anniversary on Saturday, April 18, 2020. To celebrate their journey as a music and event entity in the Southern California region, SCP will be bringing together their second annual round of all-star groups to play their 11th anniversary event. To form the all-star group, the best musicians in the SoCal area are to be nominated.

The nominees will undergo a voting process in which the public will decide who makes it to the next round. Nominations are now live at this link [http://bit.ly/ nominations_scp_allstarcelebration2020]. Additionally, more information on Spin Cycle Presents and Allstar Band Nominations, can be found on their website [https:// www.spincyclepresents.com]

By Kendra Muecke

https://kendraelisabethmuecke.com

*TO VIEW THE FULL PHOTO ALBUM BY ROBERT STALEY: CLICK HERE

View fullsize

UMPHREY’S MCGEE COMING TO FIRE UP LA MARCH 13th

View fullsize

March in LA usually means lots of great jam bands coming to town. The rest of the country has been under a blanket of frost for months, and it’s as if it dawns on everyone at once…hey, there’s a whole other side of the country that isn’t freezing, lets go there and play. Umphrey’s Mcgee is one of these bands that figured this out, and the Indiana/Chicago based prog rock jam behemoth makes their annual pilgrimage to the Wiltern Theater again this March 13th. Welcome back boys!!!        

2019 was a little different. Umph actually made two So Cal appearances, their typical March show at the Wiltern, but they also came back in August to the House of Blues in Anaheim to coincide with their High Sierra Festival appearance. That show in Anaheim was a Jake Cinninger (lead guitar/god) showcase, including a mind blowing Syncopated Strangers>Ocean Billy. I left that show marveling that here’s a band 20+ years into their existence, and they still throw down consistently every show.

View fullsize

Kris Myers (Drums, Umphrey’s McGee)

Although originally formed at Notre Dame University in the 1990’s, both Kris Myers (drums) and Joel Cummins (keys) have called LA home at one point. There’s definitely some added fire to these local shows. Kris is a madman on the drums, and they usually uncork him on vocals once or twice a show. It’s hard to fathom how great a singer he is, while still playing drums. He unleashed Hot For Teacher by Van Halen last year in Anaheim, and it doesn’t seem fair that the same person can sing and play drums to that song at the same time. Kris is a one of a kind talent, not to be missed.

Speaking of insane, one of a kind talents, Jake Cinninger is mesmerizing with a guitar in his hands. There isn’t an Umph show I leave where I’m not dumbfounded by what he does. It isn’t the flowing blues jam that a lot of us jam heads are used to. He’s technical, precise, and completely shreds. Sometimes I expect to see sparks coming off the guitar neck. Brendan Bayliss (lead vocals/guitar) is no slouch on guitar either. And in any other band he’d be the one getting the praise, but it’s hard understandable playing next to Jake.  With Ryan Stasik on bass and Andy Farag on percussion rounding out the backline, you can tell this is a band that has played together for 1000s of shows.

As if Umph wasn’t enough, Buffalo based quartet Aqueous is opening. I caught these guys last year with Big Something at the Bootleg Theater. The hype is legit. There’s a reason you see these guys playing every jam festival all over the country. Quoting their bio: ‘Rock and Roll, pop-laden melodies and hooks, hip hop inspired grooves and massive, anthemic choruses, Aqueous’s sound is explosive, fresh, and undeniably their own. Citing influences as wide ranging as Steely Dan to Tame Impala, Queens of the Stone Age to Kendrick Lamar, the band’s sound is a nod to their open-minded approach as songwriters and musicians.’

OK, DO WE HAVE YOUR ATTENTION LA JAMILY?…because the next bit of info is where March 13th becomes not just another normal Jam night in LA. Because Spin Cycle Presents is teaming up with Redhouse Productions to throw down one of the coolest after shows LA has seen in a long long time. YOU READY? I’m not sure how many details we can give out yet…but…

View fullsize

View fullsize

Joel Cummins, Venice Local and UM Keyboardist, will be one of many featured guests at the Official Umphrey’s McGee LateNight SuperJam.

After the Umphrey’s show at The Wiltern, head to The Mint for the official after show. The Creature Collective kicks off the evening while UM is finishing up things at the Wiltern…then things get wild. The evening will include sets by Marcus Rezak’s Gateway to the Galaxy and CITIZUN plus A LATE NIGHT SUPERJAM featuring: Joel Cummins and Kris Myers (Umphrey’s McGee), Jason Hann (The String Cheese Incident), John Norwood Fisher (Fishbone), Angelo Moore (Fishbone), Antwaun Stanley (Vulfpeck), Eric Moore (Suicidal Tendencies) Marcus Rezak (Shred is Dead, Gateway to the Galaxy) Jesse Clayton (Citizun)…and who knows who else will show up. The firepower coming off that small stage is going to melt the walls down. YOU THINK THAT’S IT ??? Nope.

Can’t really mention what’s going happen after that, but let’s just say, the night isn’t going to end when it usually does, and LA is going to grow up and act like a real city. Don’t miss this night, seriously, it doesn’t happen like this often. More info to come…

Joshua Cumming

Spin Cycle Presents (editorial)

Dead In The Dome 3.0 Infrared Roses (Night Two Only)

I wasn’t sure what to expect heading to the third iteration of Dead in The Dome at the Wisedome LA. The first two were a blast, and the venue is the most unique you can find in LA. Over the last year the Wisdome has been hosting regular Pink Floyd Dark Side of the Moon shows, Jimi Hendrix, Funk night with Bootsy Collins, and Dumpstaphunk for NYE. The promoters are trying to bring some fantastic music regularly to LA, and it has been impressive to say the least.

View fullsize

But, this night was going to be different. The first Dead in Dome 1.0 had George Porter, Steve Kimock, Eric Krasno and company. Dead in Dome 2.0 was JGB with Melvin Seals and Steve Kimock. And both presented straightforward, rockin Grateful Dead music. This installment was George Porter and Steve Kimock again (both returning from playing Japan with Voodoo Dead), but also had original Dead organist and keyboardist Tom Constanten, Bob Bralove (keys), Papa Mali (vocals/guitar), Wally Ingram (Drums), and Scott Page (sax), and their mission was to recreate the 1991 Grateful Dead album Infrared Roses. This album was produced by Bob Bralove and stitched together some off the Dead’s best live performances of Space. Space being the section of music following Drums in a Dead show that has the whole band perform open ended, ‘spacey,’ jams that really fall into more of a jazz inspired sound at times.

OK, enough back ground. Honestly, I’ve never been a huge fan of Space. I’m not really well versed in jazz and at times I find myself not enjoying the Space portion of shows. With that caveat, I was excited to experience this show, and hopefully change my perspective about Space.

The Wisdome was awesome as always. There were a few vendors, and a Vegan food stand. It’s a mini Shakedown Street with a bunch of bars. There were also some great art exhibits in the various domes, the Android Jones display is worth checking out. In the main dome before the music was an artist performing. Not sure why this was happening in the main dome, because it ended up going long. Then they had to arrange the chairs. After a brief sound check that sounded amazing from outside they opened the dome and the crowd filed in.

After an introduction of the band the music started at 9:50. The band sounded fantastic. Kimock and Porter had obviously found a good grove together in Japan, and the opening jam was very spacey and had the whole band really take it a bit far out. I was starting to think they were actually doing the Infrared Roses set first, but just as that thought occurred GPJ dropped a familiar bass line and the whole band rolled into Sugaree. I should have noted earlier that the shows were also billed as a Rose and Love themed show due to Valentine’s Day, so Sugaree was a logical choice. GPJ took the vocal lead. Recently, when Robert Hunter passed, George thanked Robert for writing such a beautiful song and how honored he was to have sung it all these years.

As George was singing to the crowd to SHAKE IT, SHAKE IT SUGAREE in his signature gravely voice (its like Tom Waits singing the dead, ha ha), the band was finding their groove. Kimock playing his signature acoustic guitar (someone has to explain to me how he gets that electric tone from that thing, its wicked) got the crowd going with a pretty fierce solo and the show was rolling. Next up was Big Railroad Blues, not quite the love song I was expecting, and Papa Mali handled vocals. But the highlight of this song was Tom Constanten. I wasn’t quite sure what to expect from the 75-year-old member of the Grateful Dead…but wow. He unleashed a solo during Big Railroad Blues that was ripping. He was the highlight of the night for sure, but unfortunately it seemed as though he wasn’t utilized as much as I had wished. The band fired off Bertha after that and Kimock again showed the crowd why he was one of Jerry’s favorite guitarists, scorching a solo and getting the vibe of the show moving a bit more.

The other real surprising musical highlight was Scott Page on saxophone. A touring member of Supertramp and Toto in the 1980’s, Page was asked by David Gilmour in 1986 to join the newest version of Pink Floyd. Scott is an insane saxophonist. I’ve seen him sit in with Gov't Mule in the past and he always brings an awesome layer of music to the shows.

Tonight was no different. At times it was Scott who kept the band together. When some of the songs wandered a bit, he would come blazing in on a sax riff and get everyone lined up again. Especially during Infrared Roses, where his musicianship really shined (more on that later). Much like a famous Eyes of the World of the past (looking at you Branford), the version tonight was a real sax highlight. With some dazzling visuals being displayed above on the dome ceiling, the band jammed an extended Eyes, with some amazing rhythm playing by Kimock while Page ripped sax solos over it. It was definitely one of the musical highlights of the night. The set ended with the always upbeat Deal that had the crowd on their feet. And the first set ended exactly an hour after it started.

After a 25-minute set break the crowd settled in for the Infrared Roses set. I found myself on one of the couches for the first time in my three visits to the dome, and I must say it’s quite an awesome way to experience the music and visuals. The couch, the dome, the visuals were absolutely perfect for this presentation of Space. It was WAY better than I expected. That’s not to say there weren’t parts that weren’t challenging as a listener, but there was much more rhythm and grooves, and much less open space and abstract sound than I expected. Every time it seemed to get a little disjointed, GPJ would find a bass groove and get the train back on track.

Scott page was the other real driving force during the Infrared set. Much like GPJ, when it seemed a bit chaotic, Scott would find a beautiful sax run to fill in the ‘space.’ Or at times he would kind of grab the jam and make it something of his own. Each member of the band had moments to shine. Again for a few brief moments Tom Constanten really killed it on the keys. There were two times during Infrared that he really let loose and it was impressive. The defining moment of the night for me personally was seeing TC play and how outstanding he really was.

It would be useless for me to break down every measure of the Infrared Set, but I’ll post a link to night one where someone more qualified than I has. Some other notes on the set was an outstanding moment by Bob Bralove on keyboards that really stood out. Bob was the musical director behind the original Infrared Roses album, and he served as the same role for these shows. George Porter Jar also had just a heart stopping extended bass solo that was blissful and powerful at the same time. The sound of his bass in that dome is a beautiful relationship.

And finally, the real backbone of the whole night was Wally Ingram on drums. Holy crap! I’m not really familiar with his work prior to tonight. I knew he toured with Bob and Phil on their duo tour in 2018, but he held parts of the Infrared Set together alone. His improvisational work during the set was outstanding. He continued to find creative sounds and ways to stay connected to the band and the jams. At times it was easy to get lost in the sound, and then you could find home base again focusing on the drums. He may not have been the most noticeable musician of the night, but like most great drummers, he held together what could have been a very easily discombobulated set.

The set lasted an hour, after which George noted they were short on time. On night one they played a four set encore, but tonight because of time restrictions the band played New Speedway Boogie>Other One Jam. Then wrapped up with George singing Black Muddy River with giant visuals of waterfalls and rolling rivers projected above on the dome. One quick note, although because of the later start due to the art show prior to the music (hope the remedy that before next time), the band scratched Smokestack Lightning, They Love Each Other, and I Know You Rider from the encore. I will say the brief Other One jam was out of this world. It seemed as it was Kimock’s decision to play it after discussing it with George, and Kimock used his guitar to ‘sing’ the lyrics to the Other One. It was a unique way to do The Other One. And the tone and sound coming from Kimock’s rig fired things up. It seemed like Kimock saved a lot during the show, but for this brief jam he really let loose.

Another great night in LA for Dead fans. The opportunity to see a legend like George Porter Jr and an original member of the Grateful Dead, Tom Constanten, play Dead music with stunning visuals over head (I forgot to mention, every time I go to the dome the visuals get better and better. The visuals paired with the Infrared Set made for awesome eye candy)…it’s not going to happen very often. The Infrared Set had never been done before and may never be presented like this again. It was done with great class, and delivered better than I had expected. Thanks Wisedome!!! Can’t wait to hear about the next one!!!

Joshua Cumming

Pink Talking Fish Bring Deep Cuts and Special Guest to Teragram Ballroom in Los Angeles, CA

Saturday night at the Teragram Ballroom in Los Angeles, CA, East coast mash-up band, Pink Talking Fish came strong with the deep cuts from the bands they represent (Pink Floyd, Talking Heads, Phish). Don't call this a cover or tribute band because they're something more than that, weaving in and out of all three bands music during a show to create a proggy musical tapestry that you can't help but give mad respect to.

All you have to do is look at the first set and see that the LA show was unique. No "greatest hits", no "fan favorites", just a whole lot of deep cut delight. "Flesh>Alumni>Jimmy Page>Psycho Killer>Jimmy Page>Alumni>Astro Domine>Nothing But Flowers" without a stop, seamlessly blending the three bands together beautifully. For the un-indoctrinated, that would be Pink Floyd-Phish-Phish-Talking Heads-Phish-Phish-Pink Floyd-Talking Heads. The set ending with "Root Down" and "Fight For Your Right to Party" by the Beastie Boys, done incredibly well, I might add and certainly riled up the near capacity crowd for second set.

View fullsize

02/01/2020- PTF, Teragram Ballroom, Los Angeles, CA

Set 1

• In the Flesh>

• Alumni Blues>

• Letter to Jimmy Page>

• Psycho Killer>

• Letter to Jimmy Page>

• Alumni Blues>

• Astro Domine>

• Nothing But Flowers

• Reba>

• Root Down

• Fight For Your Right To Party

Once everyone had time to wrap their heads around what they just witnessed during the first set, PTF came out and delivered something a bit more familiar for the ancillary fans of the body of music. Phish's "Split Open and Melt" to kick it off certainly woke up anyone that was not yet on board. The familiar Pink Floyd classic "Shine On You Crazy Diamond" coming out of Talking Heads' "Found A Job" kept that going.

View fullsize

Special guest of the evening, Josh Eckhaus, from LA's own Phish tribute, Great Divide, sat in on the next tune, "Llama".

One of my favorite Talking Heads songs to hear is Naive Melody. I love it when they do it, Phish does it, anyone. It's just a great song so when PTF busted out those first few synth notes that are so familiar, I busted out my video setting. Judging from the people all singing along, I'm not the only one with this opinion.

https://youtu.be/cPl9hj5U2M8

This Must Be the Place (Naive Melody) 2/1/2020 Teragram Ballroom, LA, CA

They closed out the set with Pink Floyd's "Run Like Hell" into Phish's "2001", a counterpoint to the first set Beastie Boys closer. But, as they say in the infomercials...there's more. The crowd wouldn't let them leave without one more and the band literally walked off the stage, turned around and came right back for a nice rendition of George Harrison's "While My Guitar Gently Weeps". A nice way to end the show.

Set 2

• Split Open and Melt

• Found a Job>

• Shine on You Crazy Diamond

• Llama

• This Must Be the Place (Naive Melody)

• Run Like Hell>

• 2001

E: While My Guitar Gently Weeps

I would be remiss if I didn't mention the 5th member of PTF, their Lighting Designer and all around bad ass, Vin Pugliese. To say that Vin crushed the visuals on Saturday night would be a gross understatement. Good job Vin! Please keep your eyes (and ears) peeled for an upcoming interview with Vin taking a look behind the curtain at what make the LD from PTF tick.

Los Angeles based Alligators, opened up the night. They play tribute to Grateful Dead keyboardist, Ron "Pigpen" McKernan and his catalogue of music.

Special thanks to Bill McCoy of Shakedown News for this review!

PINK TALKING FISH returns to the Teragram Ballroom - Feb 1st!

There are so many things to say about this band. Where to start?? Well, the obvious, they are a fusion band that plays Phish, Talking Heads, and Pink Floyd. At least that’s how they started, what they’ve evolved into is a super charged version of all three bands, with insane transitions, and surprise covers of all sorts of genres. 

If you’re from the east coast PTF has been an institution of the Jam Scene for many years. Hosting countless after shows of Phish concerts all around the east coast, most recently in NYC during Phish’s annual NYE run at MSG. While they don’t play the west coast as frequently, recently the group has made an effort to spread their unique jam style to the Pacific Coast. They’re also scheduled to play in April at Skull and Roses in Ventura, along some of the best Dead inspired bands in the world.

Back to this Saturday Feb 1st at Teragram. A recent lineup change last year has vaulted this band into another stratosphere, especially their Phish songs. The band replaced guitarist Dave Brunyak, with Cal Kehoe. Cal, has an impressive connection to Phish. He has collaborated and played with Tom Marshall (Trey’s writing partner) in a band called “The Amfibian All Stars.” Cal is a wizard, and his addition has made the Phish songs standout. He’s also been selected to play the Official VIP Pre show of various Phish concerts as a solo artist, where he loops multiple sounds to create amazing covers (catch it if you get a chance). He channels Trey’s technique while adding his on style.  I caught this new PTF lineup last March at the Teragram, and I was melted away. He’s added such a dynamic to the band, and the Phish tunes just explode.

Eric Gould holds it down on Bass and lead vocals, while Richard James plays keyboards and also shares lead vocal duties. Zack Burwick is on drums, and you can tell the three of these guys have played 100’s of shows together. Ripping jams, crazy transitions, interweaving songs you didn’t even know could be woven together. I guess they’re a “cover” band by definition, but they make the songs their own. Check them out LA, you tell me…does Pink Floyd’s ‘On The Run’ fit perfectly into the middle of Phish’s YEM?

Does a segue of Run Like Hell (Floyd)>Making Flippy Floppy(Heads)>Piper(Phish)>Run Like Hell sound like fun???

Or how about their idea of a Mike’s Groove… Mike’s Song(Phish)>Have A Cigar(Floyd)>Once In A Lifetime(Heads)>Weekapaug Groove(Phish)

This Saturday at Teragram. 9PM. Don’t miss it!

Opening Act: The Alligators. To my knowledge The Alligators are the only local Grateful Dead cover band that focuses on Pigpen era Dead music, and it’s as amazing as it sounds. Do you enjoy blues music? Do you like ripping harmonica? Do you enjoy whiskey? Then this is the band for you. Saw them after Dead and Co. at the Hollywood Bowl last year. Their energy is off the charts. Their frontman Pete “Pen” Carona is a whirlwind, giving an over the top performance, that has to be seen to describe. Words truly don’t do it justice. Enjoy!

Dead in the Dome 2.0 Review! (Night 1 at Wisdome LA)

Well, what a weekend in Downtown LA. For those of us that were there, there isn’t much more to stay, but for those who missed…just don’t miss the next one ok?

Night one was fantastic. What a cool venue. A really chill atmosphere right in the middle of the Arts District Downtown LA. Wisdome has everything. Food Trucks, booze, lots of open outdoor areas, and some of the largest cleanest port o’ johns I’ve seen (seriously). OK let’s get to the music.

Melvin Seals and JGB took the stage right at 9pm. And the proceeded to tear thru the next 80 minutes of classic JGB tunes with a little Grateful Dead sprinkled in. They began with How Sweet It Is, and by the time they started Cats Under Stars next, the place was rocking. The overhead projections were eye melting and the perfect compliment to the music. If you haven’t experienced it, it’s quite remarkable. You find yourself going between the music and the visuals overhead. It’s fun to explore the dome, and hear the differences in sound depending on the location. After the show Melvin and the rest of the band said that it was the best visuals they had seen in a very long time (and these guys play almost every night all over the country).

Steve Kimock really shined during the first set. He has another band with Melvin Seals called Zero, and you could see early how comfortable they were playing off each other, with Kimock really pushing Seals at times.

The first set ‘After Midnight>Eleanor Rigby>After Midnight’ was the highlight. Very reminiscent of the legendary Kean College JGB show in Feb 28th 1980 (worth finding the official release). They ended the first set with an intense ‘Cumberland Blues,’ not a typical JGB tune but they did the classic Dead song justice. Not to be overlooked was DJ Logic. Someone turned to me during the set and noted the added texture the DJ’s scratching was adding to the music. He also had a standout ‘solo’ during the set. After a long first set, everyone was ready to catch their breathe for the second set.

Second set got way more psychedelic than a traditional JGB show. And with the atmosphere in the Dome, that was a perfect choice. Although ‘Aint No Bread In The Breadbox’ was on the written setlist to open the set, they skipped and played a reggae cover ‘Johnny Too Bad.’ The Slickers song from The Harder They Come soundtrack was played a handful of times by JGB in 1994/95. John Kadelick really started to drive the show at this point. If Steve was the star of the first set, John was pulling the share of the jams the second set. Just unleashing blistering solos while pouring his soul into the vocals. It was quite the senses overload, in all the right ways.

After a beautifully poignant Sisters and Brothers (‘this world is not our own, we are only passing thru’), they closed the set with Deal. Now we’ve all heard Deal before, but this was a face peeler. Melvin, Steve, and John brining the jam to insane heights, and John nailing it shut with a perfect solo, really closing the night out on an incredible high.

It was one of those Grateful Dead nights in LA that people will remember and talk about for a long time. The crowd was fantastic, the energy was great, and the music stood out among it all. I have a good feeling these Dead in the Dome shows will become a regular occurrence.

 Set 1:

How Sweet It IsCats Under Stars

Wonderful World (Sam Cooke)

Run For The Roses

After Midnight>Eleanor Rigby>After Midnight

The Night They Drove Old Dixie Down

Get Out My Life Woman

Cumberland Blues

Set 2:

Johnny Too Bad

Knockin On Heavens Door

Expressway

Mission In The Rain

Tore Up

Sisters and Brothers

Deal