January 6, 2012 in 09, 10, 12, 2, 3, 9, a, AAA, access, age, all, am, American, an, and, Are, around, as, at, ban, band, beach, Boys, Burn, but, by, ca, can, center, dead, Documentary, Edit, en, end, eq, Eve, FEAT, fee, fi, FOR, From, get, grateful, grateful-dead, hampton, hi, home, in, interview, is, IT, jam, John, Jr, leo, light, long, MA, MI, Music, nc, New, News, Nine, no, ny, of, on, op, out, PA, Phish, photos, pro, production, Pt, rare, recording, rock, roll, rs, SC, So, sound, SPAC, St, studio, tab, That, the, to, us, view, WA, with |
DOCUMENTARY TO BE BUILT AROUND
1987 INTERVIEW WITH GARCIA
Music documentary filmmaker Malcolm Leo has announced plans to produce and direct a feature length documentary on Jerry Garcia. Personal manager John Hartmann will co-produce the project. Since the documentary is being created with full authorization and support from the family of Jerry Garcia, the ninety minute piece will blend an unprecedented amount of never before scene performances, documentary footage and rare home movies.
Filmmaker Leo’s credits include “This Is Elvis”, “Heroes of Rock & Roll”, “The Beach Boys – An American Band” and “Crosby, Stills & Nash – Long Time Comin’”.
Deadline is reporting that the film will be constructed around a three-hour interview that Leo conducted with Garcia in 1987. The historic interview was shot on negative film with studio quality sound and lighting.
A biopic to be directed by Amir Bar-lev had previously been reported, but was soon aborted as Grateful Dead Productions announced they would not allow any Grateful Dead recordings to be used in the film, nor would they allow access to any members of the Garcia family.
Click here for more information about the documentary.
Tags: beach, beach-boys, documentary, end, feat, fee, film, grateful, jam bands, Music, Phish, the-documentary
October 27, 2011 in 06, 09, 10, 11, 12, 2, 2011, 27, 3, 30, 31, 50, 9, a, AAA, after, Again, age, all, Also, am, an, and, Are, arena, around, as, at, ban, band, bands, Bass, big, blue, blues, book, boot, Burn, but, by, ca, california, can, center, City, close, Closer, comes, Commentary, cream, Crowd, cup, Day, dead, didn't, distract, Documentary, down, Drop, Dust, en, Encore, end, engineer, eq, Eve, excellent, fairgrounds, fall, Fall Tour, Famous, fee, festival, fi, final, First, FOR, four, frank, From, front, gain, George, get, gin, give, golden, Good, Gorge, grace, grateful, great, Groove, ground, grounds, Guitar, hampton, Heads, hi, high, home, How, ice, in, inspired, into, is, IT, IX, jam, jammin, jamming, John, King, know, late, Led, Lee, let, levels, Like, LITTLE, live, live music, log, logic, long, love, MA, Main, MI, mix, money, Much, Music, MVI, Nat, nate, nc, New, News, NH, night, no, ny, of, on, one, op, Open, out, PA, page, Part, party, Phish, play, Pop, Pot, pro, Pt, rain, read, relief, return, Road, rock, room, row, rs, run, Sand, saturday, Saw, SC, second, set, Shine, show, Shows, So, solo, song, sound, SPAC, St, stage, start, stone, stones, street, tab, Taste, That, the, Thunder, times, to, tone, tour, Tv, two, us, va, WA, Walk, war, Way, ways, we, Weekend, Ween, with, woods, words, years, You |
Words by: Garrin Benfield | Images from Furthur Facebook Page
Furthur :: 10.07.11-10.08.11 :: Monterey County Fairgrounds :: Monterey, CA
 Furthur in Monterey by Dylan Carney |
It was a no brainer for most California Deadheads to make the pilgrimage to Monterey County Fairgrounds for the final two shows of Furthur‘s West Coast Fall Tour. The Petee Arena, site of the fabled 1967 Monterey Pop Festival, is where the Grateful Dead famously either played horribly at their highest profile gig to date, or just had the misfortune of being sandwiched between Jimi Hendrix and The Who. Whatever the case, the band refused to license their performance for the highly influential documentary film about the festival by D.A. Pennebaker, and the set attained a kind of legendary status, not unlike the also-omitted performance from the Woodstock movie two years later. For those who know Pennebaker’s movie well, walking into that fairground-size performance area was a bit eerie – the place has not changed one bit, from the low-slung stage to the beveled roof of the stands that surround the main floor, which was covered in sawdust. Vending booths, concessions, and grassy sections surrounded the performance area. The whole place had a homespun, small town feel for a crowd that is used to impersonal arenas. Much credit is due to the band for searching out and continuing to play truly special spots like this, Cuthbert in Eugene, Red Rocks, and on and on.
 Furthur in Monterey by Dylan Carney |
Expectations were running unfairly high on the first night, but even so, the band came out of the gate a bit stiff and tired sounding. Bobby‘s night got off to an inauspicious start as he forgot the first few lines of “Promised Land”. The infrequently played “Easy Wind” was a great surprise but would’ve come off better when everyone, including the crowd, was warmed up. “Pride of Cucomonga” showed the first signs of promise as the blues groove in the middle opened up and hinted at some Anthem of the Sun era jamming. At this point, though, the inconsistent mix was becoming a big distraction to folks around me. We were right behind the main pit, in front of the board, where you’d expect a good representation of what the engineer was intending. Instead, we got wildly fluctuating levels and an all around lack of John Kadlecik‘s lead guitar. Unfortunately, “Mission in the Rain”, one of Jerry’s most beloved and beautifully melodic tunes, almost fell apart right from the get-go as Bobby struggled with his teleprompter. A certain amount of lyrical amnesia is always a charming element of any Dead-related show, but this moment really deflated the energy in the room and seemed to knock Bob’s confidence for a while. The “Two Djinn” that came next, while probably not on anyone’s wish list, refocused the band. Musically, this song sounds to me like Bob and Jerry sat down and wrote together, with Bobby’s typically dissonant, somewhat futuristic chordal structures giving way to a very “Scarlet”-like melodic hook. “Mason’s Children” contained a gnarly jam led by the finally audible JK that segued gracefully into the set closing “Mighty Quinn”.
 Furthur in Monterey by Dylan Carney |
JK got the the second set going with a favorite new cover, George Harrison’s “Any Road” from Brainwashed, the excellent album Harrison was working on when he died. This tune is such a natural fit for Furthur I had some folks ask me when Hunter and Kadelecik had started writing together. Its infectious, bouncy feel and zen-like lyrical sentiment fits the “all who wander are not lost” crowd very well. After a brief pause, the band fell into a dark, snaky “Estimated Prophet”. You could almost hear the relief come over the room as people exhaled and prepared to sink into some “primal Dead”. This version, like many of Bob’s tunes of late, was slowed down, but the deliberate, muscular delivery served this song well. Phil‘s dub-like bass was cranked, Bob treated us to some genuine, echo-enhanced screams, and we were off, finally firing on all cylinders! On paper, the rest of the set looks amazing and certainly did contain some jaw-dropping playing, but overall didn’t quite muster the X-factor this band has shown it’s capable of on a nightly basis. The “Dark Star” jam did what it should, and that is to surprise and be forever new, but I would have appreciated a few minutes of theme-based melodic playing. “King Solomon’s Marbles” crackled, and “Dear Prudence” really gave singers Jeff Pearson and Sunshine Garcia Becker a chance to shine.
 Furthur in Monterey by Dylan Carney |
After a gorgeous, relaxing California day, the band returned on Saturday refreshed, recharged and ready to rock. The audience had also grown to past-capacity and the Saturday night energy was on. The one-two 80s combo of “Feel Like a Stranger” and “Althea” started the first set on a high note, with the whole band interlocking and pressing each other forward. “No More Do I”, the best original song to come out of the Phil Lesh Quintet and sometimes played by the Other Ones and the Dead, was a bold, well played choice. The back section of the first half was like being plunged deep into a second set. “Viola Lee Blues”, arguably the most revitalized of the resurrected songs in Furthur’s repertoire, came next, followed by a chilling duet on “Comes a Time” by Kadelecik and Becker, and a thunderous “Throwing Stones” closer, with Weir, confidence intact, changing the lyrics to “Money green, it’s the only waylike I said, you can buy the whole god damned government today”. A song that sometimes seemed strident and self-important in the eighties now seemed the perfect rallying cry for the Occupy movement gaining momentum while the show was going on.
 Furthur in Monterey by Dylan Carney |
Saturday’s second set was an example of when the music really was as good as it appears on paper. An amazing setlist and equally inspired playing brought the whole weekend home in an immensely satisfying way. Phil, in particular, was indulging his restless mind with such taste and groove that it was hard to pin down where he was going at any given time — you just knew you were going somewhere. It brought to mind Jerry’s comment about how if you isolated any four bars of Phil’s playing it wouldn’t really tell you anything because his ideas extended the whole length of the song. After the party of “Golden Road > Shakedown Street > Truckin’”, the triumvirate of “Let it Grow” , “All Along the Watchtower” and “Morning Dew” once again manifested a darker, reflective commentary on our culture’s reawakened sense of economic and ecological collapse. After that intensity, what better salve than the reassuring sentiments of “Help on the Way”? This was a beautiful, deliberately crafted journey of a setlist that emerged into the reassuring “Franklin’s Tower” closer and “One More Saturday Night” encore. The audience response was heart-warmingly genuine and appreciative — for this night, and for all the years we’ve gotten to do this together. The band lingered on stage longer than normal, hugging and waving, and we slowly wandered out of this special little place in Monterey.
Furthur Tour Dates :: Furthur News
JamBase | Furthur Along
Go See Live Music!
Tags: arena, bars, blue, cup, festival, heads, lee, live music, rain, relief, stranger
August 30, 2011 in 06, 10, 11, 12, 2, 2011, 25, 28, 50, a, AAA, account, Again, age, all, am, an, and, Are, as, at, ban, band, bands, black, Burn, but, ca, can, cart, center, compress, DAW, Day, definition, dog, down, Drums, en, end, Eve, FEAT, fee, festival, fi, First, FOR, Free, gain, Genre, George, get, gin, give, Good, Guitar, hampton, hi, ice, in, into, is, IT, jam, John, jon, jones, las, late, Led, let, Like, MA, mass, MI, mod, Much, Music, My, New, News, night, no, North, ny, of, on, one, op, Open, organ, out, PA, Phish, Piano, Pop, pro, Pt, r&b, rad, radio, Road, rock, rock music, roll, row, rs, run, santa, Say, SC, second, So, SPAC, Split, St, Stab, stars, state, studio, tab, That, the, to, Too, track, two, us, va, Video, WA, water, Way, we, Web, Wednesday, with, You, Your |
TOO ROCK FOR COUNTRY, TOO COUNTRY FOR ROCK
 New Free Compilation |
Spearheaded by Shooter Jennings, an effort to create a new format on radio and elsewhere for country-rock music that fits neither the country or rock establishment as it exists today is underway at www.givememyxxx. A statement on the site sums it up nicely:
It is a true shame that there are such rigid GENRE definitions in popular music today! You’ve got POP, ROCK, COUNTRY, R&B, AAA and HIP HOP. This may be fine for most musicians, but there is a very unfair gap in music the way it is. ROCK music is split into two formats MODERN ROCK and ACTIVE ROCK, both of which do not accept SOUTHERN or COUNTRY-LEANING music at all. Then there’s COUNTRY. COUNTRY is a market controlled by NASHVILLE’S inner-workings. Video outlets such as CMT and GAC have created ‘back of the bus’ programming like “Wide Open Country” and “Edge of Country” to relieve the pressure created by the growing movement of outsiders in the field, but it’s not a fair representation of the broad scope of these underdogs. Radio stations have created late-night and weekend specialty programming to play these artists as well, but again, this is just placating these tremendous artists. Our goal is to create XXX festivals, internet, radio and video programming, as well as standing in solidarity with other grassroots efforts such as Muddy Roots, Saving Country Music and it’s affiliates, and others who have fought and stood for exposing this good music!
WE WANT OUR OWN GENRE! SIGN THE PETITION! MAKE A CHANGE!
The folks behind this worthy movement have just released their second free compilation of XXX-minded artists, Southern Independent Vol. 2. It’s absolutely FREE. As the site says, All you have to do is register an account with us and download the compressed archive file to your hard drive, and turn that som’bitch up!
Southern Independent, Vol. 2 Tracklisting
1. Honky Tonk Carnie / Lonewolf OMB
2. Devil In New Orleans / Powder Mill
3. Quittin’ Time / Joecephus and the George Jones Town Massacre
4. Codeine / Jason Isbell & The 400 Unit
5. I Like The Way / The Imperial Rooster
6. Whatever Kills Me First / Joey Allcorn
7. Chevy Beretta / Jonny Corndawg
8. Santa Monica / John Carter Cash
9. Sweet Delta Water / Black Oak Arkansas
10. Down and Out / Honky Tonk Hustlas
11. Canteen Full of Dreams / Roger Alan Wade
12. I Ain’t Drunk / Whitey Morgan and the 78′s
13. Hear The Hills / North Mississippi Allstars
14. Hootchie Kootchie Man / Jerry McGill*
* a historical track, recorded at Sun Studios, by one of the original Outlaws featuring Waylon Jennings on guitar, Jim Dickinson on piano, Richie Albright on drums, The Memphis Horns and more…
Visit the XXX website and sign the petition to help create a fresh, much needed new genre in contemporary music.
Tags: black, burn, country, gain, gin, jon, las, let, mass, News, night, open, road, rock, row
Furthur | Monterey | Review
October 27, 2011 in 06, 09, 10, 11, 12, 2, 2011, 27, 3, 30, 31, 50, 9, a, AAA, after, Again, age, all, Also, am, an, and, Are, arena, around, as, at, ban, band, bands, Bass, big, blue, blues, book, boot, Burn, but, by, ca, california, can, center, City, close, Closer, comes, Commentary, cream, Crowd, cup, Day, dead, didn't, distract, Documentary, down, Drop, Dust, en, Encore, end, engineer, eq, Eve, excellent, fairgrounds, fall, Fall Tour, Famous, fee, festival, fi, final, First, FOR, four, frank, From, front, gain, George, get, gin, give, golden, Good, Gorge, grace, grateful, great, Groove, ground, grounds, Guitar, hampton, Heads, hi, high, home, How, ice, in, inspired, into, is, IT, IX, jam, jammin, jamming, John, King, know, late, Led, Lee, let, levels, Like, LITTLE, live, live music, log, logic, long, love, MA, Main, MI, mix, money, Much, Music, MVI, Nat, nate, nc, New, News, NH, night, no, ny, of, on, one, op, Open, out, PA, page, Part, party, Phish, play, Pop, Pot, pro, Pt, rain, read, relief, return, Road, rock, room, row, rs, run, Sand, saturday, Saw, SC, second, set, Shine, show, Shows, So, solo, song, sound, SPAC, St, stage, start, stone, stones, street, tab, Taste, That, the, Thunder, times, to, tone, tour, Tv, two, us, va, WA, Walk, war, Way, ways, we, Weekend, Ween, with, woods, words, years, You | No comments
Words by: Garrin Benfield | Images from Furthur Facebook Page
Furthur :: 10.07.11-10.08.11 :: Monterey County Fairgrounds :: Monterey, CA
It was a no brainer for most California Deadheads to make the pilgrimage to Monterey County Fairgrounds for the final two shows of Furthur‘s West Coast Fall Tour. The Petee Arena, site of the fabled 1967 Monterey Pop Festival, is where the Grateful Dead famously either played horribly at their highest profile gig to date, or just had the misfortune of being sandwiched between Jimi Hendrix and The Who. Whatever the case, the band refused to license their performance for the highly influential documentary film about the festival by D.A. Pennebaker, and the set attained a kind of legendary status, not unlike the also-omitted performance from the Woodstock movie two years later. For those who know Pennebaker’s movie well, walking into that fairground-size performance area was a bit eerie – the place has not changed one bit, from the low-slung stage to the beveled roof of the stands that surround the main floor, which was covered in sawdust. Vending booths, concessions, and grassy sections surrounded the performance area. The whole place had a homespun, small town feel for a crowd that is used to impersonal arenas. Much credit is due to the band for searching out and continuing to play truly special spots like this, Cuthbert in Eugene, Red Rocks, and on and on.
Expectations were running unfairly high on the first night, but even so, the band came out of the gate a bit stiff and tired sounding. Bobby‘s night got off to an inauspicious start as he forgot the first few lines of “Promised Land”. The infrequently played “Easy Wind” was a great surprise but would’ve come off better when everyone, including the crowd, was warmed up. “Pride of Cucomonga” showed the first signs of promise as the blues groove in the middle opened up and hinted at some Anthem of the Sun era jamming. At this point, though, the inconsistent mix was becoming a big distraction to folks around me. We were right behind the main pit, in front of the board, where you’d expect a good representation of what the engineer was intending. Instead, we got wildly fluctuating levels and an all around lack of John Kadlecik‘s lead guitar. Unfortunately, “Mission in the Rain”, one of Jerry’s most beloved and beautifully melodic tunes, almost fell apart right from the get-go as Bobby struggled with his teleprompter. A certain amount of lyrical amnesia is always a charming element of any Dead-related show, but this moment really deflated the energy in the room and seemed to knock Bob’s confidence for a while. The “Two Djinn” that came next, while probably not on anyone’s wish list, refocused the band. Musically, this song sounds to me like Bob and Jerry sat down and wrote together, with Bobby’s typically dissonant, somewhat futuristic chordal structures giving way to a very “Scarlet”-like melodic hook. “Mason’s Children” contained a gnarly jam led by the finally audible JK that segued gracefully into the set closing “Mighty Quinn”.
JK got the the second set going with a favorite new cover, George Harrison’s “Any Road” from Brainwashed, the excellent album Harrison was working on when he died. This tune is such a natural fit for Furthur I had some folks ask me when Hunter and Kadelecik had started writing together. Its infectious, bouncy feel and zen-like lyrical sentiment fits the “all who wander are not lost” crowd very well. After a brief pause, the band fell into a dark, snaky “Estimated Prophet”. You could almost hear the relief come over the room as people exhaled and prepared to sink into some “primal Dead”. This version, like many of Bob’s tunes of late, was slowed down, but the deliberate, muscular delivery served this song well. Phil‘s dub-like bass was cranked, Bob treated us to some genuine, echo-enhanced screams, and we were off, finally firing on all cylinders! On paper, the rest of the set looks amazing and certainly did contain some jaw-dropping playing, but overall didn’t quite muster the X-factor this band has shown it’s capable of on a nightly basis. The “Dark Star” jam did what it should, and that is to surprise and be forever new, but I would have appreciated a few minutes of theme-based melodic playing. “King Solomon’s Marbles” crackled, and “Dear Prudence” really gave singers Jeff Pearson and Sunshine Garcia Becker a chance to shine.
After a gorgeous, relaxing California day, the band returned on Saturday refreshed, recharged and ready to rock. The audience had also grown to past-capacity and the Saturday night energy was on. The one-two 80s combo of “Feel Like a Stranger” and “Althea” started the first set on a high note, with the whole band interlocking and pressing each other forward. “No More Do I”, the best original song to come out of the Phil Lesh Quintet and sometimes played by the Other Ones and the Dead, was a bold, well played choice. The back section of the first half was like being plunged deep into a second set. “Viola Lee Blues”, arguably the most revitalized of the resurrected songs in Furthur’s repertoire, came next, followed by a chilling duet on “Comes a Time” by Kadelecik and Becker, and a thunderous “Throwing Stones” closer, with Weir, confidence intact, changing the lyrics to “Money green, it’s the only waylike I said, you can buy the whole god damned government today”. A song that sometimes seemed strident and self-important in the eighties now seemed the perfect rallying cry for the Occupy movement gaining momentum while the show was going on.
Saturday’s second set was an example of when the music really was as good as it appears on paper. An amazing setlist and equally inspired playing brought the whole weekend home in an immensely satisfying way. Phil, in particular, was indulging his restless mind with such taste and groove that it was hard to pin down where he was going at any given time — you just knew you were going somewhere. It brought to mind Jerry’s comment about how if you isolated any four bars of Phil’s playing it wouldn’t really tell you anything because his ideas extended the whole length of the song. After the party of “Golden Road > Shakedown Street > Truckin’”, the triumvirate of “Let it Grow” , “All Along the Watchtower” and “Morning Dew” once again manifested a darker, reflective commentary on our culture’s reawakened sense of economic and ecological collapse. After that intensity, what better salve than the reassuring sentiments of “Help on the Way”? This was a beautiful, deliberately crafted journey of a setlist that emerged into the reassuring “Franklin’s Tower” closer and “One More Saturday Night” encore. The audience response was heart-warmingly genuine and appreciative — for this night, and for all the years we’ve gotten to do this together. The band lingered on stage longer than normal, hugging and waving, and we slowly wandered out of this special little place in Monterey.
Furthur Tour Dates :: Furthur News
JamBase | Furthur Along
Go See Live Music!
Tags: arena, bars, blue, cup, festival, heads, lee, live music, rain, relief, stranger