I had the pleasure of writing for Royal Family Records website for all ten nights for Bowlive III. So, if you care for the shorter, not so critical and emotional charged recaps, head over to RoyalFamilyRecords.com and read up there as you all know the following post will be full of extra details and a much longer recap. Available videos are linked to the song titles! With that said:
HAPPY BOWLIVE NEW YORK CITY!!
BOWLIVE RAGERS!!! (Photo by Phrazz)
I must start this recap by giving mad love to the Brooklyn Bowl. If you have never been, what are you waiting for? Their food is killer, their big, leather couches lining the bowling lanes and open feel makes it one of the best venues in Brooklyn, if not all of NYC. Owner, Pete Shapiro, is one of the most humble, caring, proprietors of an establishment that I have ever had the pleasure of meeting. His connections and passion to the music scene are evident as he joins the audience when amazing performances are taking place. For an example of his kindness, Josh (My Mega Rager) and I got engaged last week in Mexico and are frequent attendees at Brooklyn Bowl performances. It is our favorite venue in the city and not just because Josh and I met there at a Karl Denson show two years ago.
Josh and I thanked Pete last night for providing us with such a great platform to meet. He bought us a bottle of champagne and we all shared a celebratory “Cheers.” Josh and I are not drinkers but that didn’t stop the toast because when Pete Shapiro buys you a drink, you take it 🙂 I have now only seen Josh take a shot of tequila (a gift from the Brooklyn Bowl on his birthday) and now a glass of champagne. Thanks again Pete and all the staff who run the Brooklyn Bowl for providing us such a wonderful place to engage in our musical passions, to engage with our musical family and friends and for your killer fried chicken. As well, the addition of the hooks under the bar and upper level viewing deck did not go unnoticed and had both male and females singing the praises of having their purses and jackets now off the sticky ground 🙂 Quality upgrade!!! Now, on to the real magic.
Bowlive III – Night 1 Recap
Faithful fans of Soulive descend upon the Brooklyn Bowl, one of Brooklyn’s premier music venues, on February 28, 2012 for the first night of the highly anticipated ten-night residency, BOWLIVE III.
Mike Gibney, The Royal Family’s announcer or HYPE BOY, if you will, came out on stage to announce the band. He is a hilarious, happy, charming, funny man who never fails to pump up the crowd with his wit and humor or hilarious Cosby Sweater-styled outfits. Tonight, pimpin’ a nice suit, he would scream out how proud he was of himself for being “undefeated in Bowlive History!” I had to scream “ME TOO!” as loud as I could as there are literally a handful of fans AND staff who have actually attended all ten nights the previous years. I have gone to 29 out of 30 Bowlive shows.
Straying from the formula of the past two years, Soulive hit the stage early, opting out of an opening band until the weekend performances. The trio stated slow with the appropriate “So Live.” Their energy was calm and they warmed up nicely into the explosive “Hat Trick,” which would set the tone for the rest of the night. Opting out of an opener really placed full responsibility on the trio to ensure the energy was up, to ensure that we stayed engaged, and to ensure that they made the point that they were back!!! Having seen these three musicians grow since 2000, there was nothing standing in their way last night.
Neal Evans (Photo by Phrazz)
You know when you see the same band over and over and it sometimes appears that they are going through the motions? I have seen Soulive and its members in their various projects for over a decade now. I hold them to a very high standard as the point of all of this is growth. Growth as a band and as individual musicians. Bowlive provides a platform for these men to expand their musical catalog by infusing their material with the styles of the special guests that join them. Because of all these collaborations, it could be easy as the hosts to, perhaps, not invest as much power and passion into the solo songs where the trio played alone. Of course, this is something that SHOULDN’T happen, and on this first night, it didn’t. I looked forward to watching this monster of a musical run grow beneath our feet and in front of our eyes and to watch the exposure of stamina and talent of these three musical masters were going to have to project as time goes on.
Eric Krasno (Photo by Phrazz)
The Legendary John Scofield (Photo By Phrazz)
John “Sco” Scofield, one of America’s greatest Jazz guitarists and composers, was the first guest to appear on stage this year. I absolutely adore seeing Sco and Krasno collaborate. Joining the trio on the third song, “Tabasco”, a Sco original, Krazno and Sco immediately engaged in each other. Coming ever so close to each other, face to face on stage, they played off each others rifts with the Evan brothers blasting their rhythms. A Billy Cobham cover, “Red Baron,” followed allowing for each musician on stage to throw down some lightening rod solos. Sco’s time on stage brought a range of psychedelic jamming and jazz infusion to the trio’s sound that only Sco can help create. This was an exciting show simply because of the fact that John Scofield, Eric Krasno and Luther Dickinson would all be performing together in various combinations throughout the night. For guitar loving rockers like me and every other male that was in that audience, this was FIRE!!! What a great way to start it off.
Nigel Hall (Photo by Phrazz)
Nigel Hall joins Neal Evans on Keys (Photo by Phrazz)
Nigel Hall (The Warren Haynes Band, Dr. Klaw) was next to join the stage, initially jumping in on the keyboards with Alan Evan during “What You See Is What You Get.” The Nigel Hall Band actually opened almost every night during the first Bowlive in 2012. This run, however, Hall took to the microphone only once with his band to deliver the sultry, sexy Donny Hathaway cover “More Then You’ll Ever Know.” Hall’s emotional connection to this powerful ballad was evident as he melted the hearts in front of him. I watched men kiss their girls passionately, I watched bros hug it out on the main floor and I felt my own heart melt. Hall left immediately for home after the song and I texted him to let him know that his connection was so clear to those who were paying attention. His response: “Thank you! When you’ve been in love, you can relate.” I hoped that we would get to experience more of him during this run but at the time, nothing was scheduled. We kept those fingers crossed.
John Scofield and Soulive (Photo by Phrazz)
“Boozer,” another Sco original, end the KILLER first set with Sco thanking Soulive for allowing him to join the party and calling Nigel Hall a “genius.” That statement is powerful and honest and to hear it ring from Sco’s lips, I know for a fact that Nigel’s heart swelled. Mine certainly did.
Nigel Hall connecting with John Scofield (Photo by Phrazz)
After a short intermission, the Evans brothers and Krasno were back on stage, alone, performing the beautifully composed “El Ron,” followed by a raging “One in Seven.” No special guests needed to be on stage to ensure that fire was coming off it. The trio was living up to their responsibilities and taking the songs we have seen them play a million times and breathing fresh life and RAGE into them.
Luther and Soulive (Photo by Phrazz)
Luther Dickinson (Photo by Phrazz)
When southern-style slide guitarist Luther Dickinson (North Mississippi AllStars) joined the stage, all hell broke loose. Literally, broke shit up all over our brains and faces. Booker T. and the MG’s cover “Hip Hug Her” started slow and simple, a playing quality that Luther Dickinson has perfected with his understated simplicity and lightening fast fingers. Initially, after the great versions of Soulive’s original songs had just brought the energy up, Dickinson’s simplistic playing and calm warm-up seemed to bring the energy down but only for that first song. The set continued with Dickinson, Krasno and the Evan brothers elevating their quality of playing to the peak of high energy for the evening, downright melting the audience’s faces with solo after solo after solo.
Dickinson and Krasno (Photo by Phrazz)
At one point, the wonderful Alan Evans was left alone the stage for an isolated drum solo lit by a single house light. His serious composure throughout the evening provided the foundation for all this musical majesty to take place. Neal Evans’ organ play was deep, intense, raw and when paired with the slide guitar of Dickinson, brought Soulive’s sound to new heights. It is collaborations like these that make Bowlive so special. How can we watch the same group for ten nights in a row and not get bored? Well, that is their job and they do their job RIGHT!
Luther and Soulive (Photo by Phrazz)
At times when a song is taking off, I like to take a walk through the audience and listen to them, their comments, their critics (if they know what they are talking about) and just engage in the energy around me. When they broke into “Hear My Train” by Jimi Hendrix, the rage that ensued both on stage and in the audience was palpable. “Holy Shit” and “Do you see what is happening on stage?” were common statement that could be heard throughout the sea of heady heads. People hushed those around them talking too loud and eyes were transfixed on the stage ~ (Some might say STFUAD – Shut The F*&K Up And Dance). The foursome encored with another Hendrix song, “Stone Free,” a tight, jamming song that cemented the power of the evening and left the audience screaming with thunderous applause.
WINNING!!!! (Photo by Phrazz)
Bowlive III had begun in New York City!! We only prayed that we could handle it because after the freight train of rage that was released that night; there would be no stopping it. The power that slides off of these performances are unlike any regular 2-set performances you attend. The energy and collaborations that I would enjoy in the coming weeks would far surpass many musical runs I might experience. TEN NIGHTS!!!! That is a superb feat for any musician of ANY age to accomplish. For those of us with day jobs and for those of us expected to process material by the next morning, it’s even more of a feat. One that I have been proud to be a part of for the last two years.
Last Saturday, The Brooklyn Bowl played host to the 12th Annual Freaks Ball, a high-energy party hosted by the deeply-rooted, music-loving Yahoo! Group the NYC Freaks. With access to so much music, New Yorkers are privileged to see any act of their choice. In some cases, multiple times a year. However, it’s a show like The Freaks Ball that we wait for as music lovers in New York City.
A wonderful part of NYC’s underground musical culture, the NYC Freaks have been around as long as anyone can remember. After inquiring to a few members, many couldn’t recall when they were invited to join NYC’s hottest music list, but noted that they were happy members and the list was their main access to music knowledge and insight. This party would be for the Freaks. Seeing the collection of hugging friends as the city’s heaviest music-loving hitters entered the Brooklyn Bowl was inspirational. The pockets of positivity around me were wonderful. This wasn’t your typical gathering for a concert at Brooklyn Bowl. Freaks had taken over.
Over the years, this friendly, musical party has included musicians and projects that eventually went on to hit the national jam-band scene, including The Duo (Marco Benevento and Joe Russo), Robert Randolph, Apollo Sunshine, RANA, Bustle in Your Hedgerow, New Mastersounds and members of the extended Daptone family.
Opening the show was a quartet consisting of Eric Deutsch on keys, Joe Russo on drums, Scott Metzger (Wolf!) on guitar and Hagar Ben-Ari (Dap Kings) on bass. They played a tight set consisting of the Beatle’s “Day Tripper,” Grateful Dead’s “New Speedway Boogie,” a ‘Wolf!’ tune called “Get in The Van,” Erik Deutsch’s original “Funky Digits,” Neil Young’s “Don’t Let it Bring You Down” and an Ike Willis tune to close the set called “Funky Mule.” If one didn’t know any better, one might have thought that this was a polished group who rehearsed regularly. In reality, the set exposed four accomplished musicians with great talent coming together for a unique super jam that was solid, full of varying styles of music and fully preparing us for the main event that was about to hit the stage.
After a short intermission, we were delivered a Super Jam of E-P-I-C proportions with the Freaks Ball AllStars that included Warren Haynes (Allman Brothers), Eric Krasno (Soulive), Eddie Roberts (The New Mastersounds), Joe Russo (Furthur), Marco Benevento (Surprise Me Mr. Davis), Ron Johnson and Alecia Chakour (Warren Haynes Band).
The collection of musical talent on stage was staggering. Over the course of the night, each musician rotated on and off the stage providing for a rare night of music. Each guitarist was distinctly different in sound covering songs like Sly Stone’s “Sing a Simple Song,” Howard Tate’s “You Don’t Know Nothing About Love” and The Meter’s “Funky Miracle.” Bassist Ron Johnson held it down for the entire set with the biggest smile, killing it during “Windjammer.”
The Brooklyn Bowl audience stood in a pile of their own tears as the super group displayed their love for the magnificent Etta James, who died just days earlier. Alecia Chakour’s voice shook the rafter’s as she and Warren Haynes shared a duet on “Little Wings” while Eric Krasno’s guitar gently wept through “I’d Rather Go Blind.”
The lights this evening were above par, complimenting Marco Benevento’s unique sound as he performed his original “Mephisto” and the Benevento/Russo Duo’s “Scratchitti.” Everyone joined the stage to close with “While My Guitar Gently Weeps.” A completely wonderful, ripping spectacle.
The Freaks Ball kicked off a trend of many more magical nights at the Brooklyn Bowl and raised the bar so high that it will be a long time before this night of music is topped. I look forward to running into more Freaks when that time comes.
An absolutely historical night of music. A bitter-sweet night of music. A magical combination of guitar-shredding artists who came together for the memory of one man. Allen Woody!
His unexpected passing on August 26, 2000 encouraged his fellow musicians to hold the first benefit called One For Woody in September 2000. Tonight, ten years later, Warren Haynes and an ARSENAL of guitar-wielding friends put together the second benefit for this greatly missed musician: Another One For Woody: “Wish You Were Here!”
This was a man whose musical presence touched the lives of numerous musicians, inspired a genre and who’s musical contribution deserves recognition. Tonight, people paid over $140 a ticket to pay homage to this dearly missed bass player whose tragically early departure from music left a gaping whole in the sound of southern rock. The proceeds from this 10th Anniversary event went to raising money for musical education in schools. For every person we heard complaining about the price, we politely reminded them of this fact. Having just had the privilege of attending T-Bone Burnett’s “Waiting For Superman” Benefit at The Beacon (click for my review) a few weeks earlier, it is safe to say that the quest for keeping music & art in the school system is not going to ever be ignored. We are all soldiers in that fight.
“It’s too loud? Too fuckin’ bad” -Allen Woody 4/4/96
Roseland Ballroom
Arriving at 6:45pm, I had quibbled with my man over arriving to the venue early. He didn’t want to stand around for hours and I wanted to make sure we had ample time to arrive early enough for good viewing locations. Roseland Ballroom is one of those venues, like Terminal 5, that has a sardine-like feeling with horrible site lines due to low ceilings and poor design. Doors were meant to open at 6pm but didn’t open until after 7pm. When we arrived, the line to the venue was wrapped completely around the block. Of course, even being an hour early, we were still slightly late but the first of our friends. Our section of the line starting to bulge as more friends joined our space.
Dino Perucci (Dino Perrucci Photography) and Allison Murphy (Allison Murphy Photography), two of my favorite NY based photographers, were walking the front of the stage. My smile swelled because I knew that I didn’t need my camera tonight. Throughout this article, many of the pictures you will see are shots through their lens. Thanks to both photographers for allowing this Tiny Raging blogger to stand there and take it all in, not having to worry about the pictures. And thank you, not simply for this show, but for the hundreds you do every year. Thank you, from all the people who admire your talent and work, for doing what you do and bringing the music to our eyes.
The show was supposed to start at 7pm and the doors didn’t even open until after 7pm. After a lovely chat with the lovely Allison Murphy while the unusually long sound check and stage set-up it seemed about that time. Those of us in the front were debating which musicians would be standing/sitting/playing where. As long as I could see a full-on shot of Derek Trucks, Warren Haynes and Luther Dickinson, I didn’t care where I was standing.
Out walks Warren Haynes with two other musicians that I am unsure of. It wasn’t until maybe an hour later that I found out that the men were Edwin McCain and Kevin Kinney. This was the acoustic set and it was beautiful.
As soon as Warren Haynes started his strumming into Kevin Kinney‘s Just Outside Of Heaven (A Good Country Mile), I got that religious swell that I sometimes reach when the beauty of the music overwhelms me. This time, it was just as much the energy in the room as the music. I looked behind me and saw the faces of all my friends just beaming with excitement and love. Edwin McCain sang The Lucky One. All three sang on a gorgeous rendition of I Shall Be Released.
Set: Just Outside Of Heaven (A Good Country Mile), The Lucky One, I Shall Be Released
Warren Haynes + Gordie Johnson (Photo by Allison Murphy)
The Brothers Dickinson brought the Memphis blues to our ears with Sitting On Top of the World, a 1930’s standard. The gospel tone came out with Shimmy She Wobble > Station Blues > Preachin’ Blues, all North Mississippi Allstars originals. It was at this time that standing in front of the speakers began to take effect and I had to pop in the ear plugs. It never fails and as usual, I ended up passing out the rest to friends and strangers around me who were clearly in need.
And then it was time for the guests. Gordie Johnson, Big Sugar guitarist and recent Gov’t Mule producer, came out to join the Duo for Po Black Maddie. Initially, it looked as though Gordie was going to sing the song but it almost appeared as if he was unsure of the words. Did anyone else catch this mumbling into the microphone?? Luther ended up singing the song.
Gordie Johnson remained for Straight to Hell. Cody Dickinson‘s smile never left his face the entire set. It almost looked plastered on but we all know he was truly happy. How could anyone not be? There was a stand-alone drum solo by Cody Dickinson while Luther and Gordie Johnson switch sides of the stage for the final song of the set.
The end of their set was FIRE!! The Duo welcomed Artimis Pyle (Lynyrd Skynyrd) on drums, Danny Louis (Gov’t Mule) on keys and Audley Freed (Cry of Love & the Black Crowes) to the stage to perform Whiskey Rock A Rolla! There was now an arsenal of musicians on the stage to sing about whiskey and rock-n-roll! Four guitarists as Cody Dickinson moved from his drums to a guitar, tambourines, keyboards…What a mess of Southern rednecks. Their vests, boots, long stringy hair, cowboy hats…all screaming of their bluesy country background.
Set: Sitting On Top of the World, Shimmy She Wobble > Station Blues > Preachin’ Blues, Glory Glory, Po Black Maddie, Straight To Hell, Whiskey Rockin Rolla
The members of Gov’t Mule take the stage after a few minutes of stage setting. Warren‘s iconic raspy voice heads into Railroad Boy. The screen behind the band was projecting a black background with “GOT MULE?” plastered across in white. Warren ripped a solo and the set just launched into southern goodness at its best.
There was a spacey rip into Blind Man in the Dark, a personal favorite to sing around my apartment. Warren asked us how we were feeling and the place erupted with a happy reply. Danny Louis jumped off the keys and onto guitar for Steppin’ Lightly. At this point, there were old picture of Woody shooting or lingering across the screen behind the band. His face smiling at us, showing his appreciation for the music in front of him.
Sometimes there is nothing better then watching the hands of your favorite guitar player. Personally, my favorite guitar player had not yet hit the stage but here in front of me was Warren. He is simply amazing. Watching Warren, I was in tune with his hands much more then usual. I equate that to the fact that I have never been this close to his hands before. I was so happy to be in the front row. Banks of the Deep End sprang out of his hands and so it went…full on Warren!
And now it was time for some GUESTS!!! Gordie Johnson once again joined the stage, this time followed by Jim Loughlin & Vinnie Amico, the drummers from Moe. They raged I’m A Ram before jamming into Dear Prudence where Chuck Garvey, also of Moe, joined with his guitar. I LOVE Moe.
Warren Haynes + Chuck Garvey (Photo by Allison Murphy)
Dear Prudence with the members of Moe. AWESOME! THIS little addition to the stage made me very VERY happy. Seeing Chuck on stage with Warren was interesting. Their sounds are so different so vibing them together was great even though I silently wished it had been Al who was joining the stage. Chuck lead while Warren sang. There were whimsy art paintings across the screen behind the stage. Chuck gave a great solo and then tagged in Luther.
Warren Haynes + Hook Herrera (Photo by Allsion Murphy)
The 320 Blues saw Hook Herrera join the stage with his mighty harmonica. Oh, the harmonica. I LOOOOOOOOOVE the layer of sound a harmonica add to a musical journey. As well, Luther and Cody Dickinson joined the stage followed by Artemis Pyle (Lynyrd Skynyrd). GOD! It just kept getting better and better! So many musicians had been touched by Allen’s friendship, music and memory. Cody busted out his washboard and I finally heard the North Mississippi Allstars sound that I associate so much to that washboard. The place was on FIRE!! and the music was so loud and vibrant that the musicians drinks were shaking off the amps. As far as energy was concerned, this was the pop-off song of the night, so far.
Audley Freed + Robert Kearns (Photo by Allison Murphy)
Warren then spoke of how Big Sugar used to open for Gov’t Mule and how he and Allen Woody would rage this Al Green song. He welcomed Rich Robinson (Black Crowes) to the stage for Stay With Me, Rick’s slide guitar sound melting everyone’s ears. Danny Louis was back on his keyboard. This song was so pretty. Warren ripped a solo and then they all hugged. The next song saw Rich Robinson staying on stage and being joined by Robert Kearns (Cry of Love) replacing Jorgen Carlsson on bass and Artemis Pyle (Lynyrd Skynyrd) jumping on drums. They flew into Sometimes Salvation, a Black Crowes cover, and the venue cheered.
Simple Man was next. I love this song. It never gets old for me. Matt Abts left the stage this time leaving only Artemis Pyle to play the drums. Audley Freed was back out on guitar and so they went…
Warren Haynes + Savannah Woody (Photo by Allison Murphy)
Wishing Well was next with the same people gracing the stage. And then we were given an emotional surprise. Savannah Woody, Allen Woody’s daughter, came out to the front of the stage to sing Soul Shine. And she sang the line: Now you gotta let your soul Shine / Just like my daddy used to say...the entire place erupted with the longest loudest cheer of the night and Warren’s tears took over the gleam in his eye. It took some time for people to realize who Savannah Woody was but when she sang that line, I knew immediately that it must be SOME kind of close relative to Woody.
During the song, she was standing on stage, arms dangling while solos were being taken. A stage hand brought out a tambourine in the cutest way but she still didn’t move that much.
Warren Haynes + Savannah Woody (Photo by Allison Murphy)
When Allen died, a fund for Savannah’s education was established in his memory. She didn’t look any older then a high school student and it made me sad to know she lost her father so young. But the fact that she was up there, singing in her father’s memory, and not crying…we knew she was a strong. Certainly stronger then me as I teared up once I realized who she was and what she meant to the show. It must feel wonderful to see that your father touched so many lives. It must be wonderful to know that all those amazing guitar legends up on stage were actually men who look after their own and I am sure have taken her under their wing over the years. It was a lovely and touching performance of an otherwise tedious song.
This show was supposed to end at 11:50pm, due to city/venue rules. This set ended at 11:30pm and we KNEW that we were not going anywhere for sometime because now….it was time for The Allman Brothers Band, but not before almost a 40 minute set break.
Set List: Railroad Boy > Blind Man In The Dark, Steppin’ Lightly, Banks Of The Deep End, I’m A Ram (with Gordie Johnson, Jim Loughlin & Vinnie Amico), Dear Prudence (with Chuck Garvey, Jim Loughlin & Vinnie Amico), 32/20 Blues (with Hook Herrera, Luther Dickinson, Cody Dickinson & Artemis Pyle), Stay With Me (with Rich Robinson & Artemis Pyle), Sometimes Salvation (with Rich Robinson, Robert Kearns & Artemis Pyle, without Jorgen Carlsson), Simple Man (with Artemis Pyle, Audley Freed & Robert Kearns, without Matt Abts & Jorgen Carlsson),Wishing Well (with Artemis Pyle & Audley Freed), Soulshine (with Savannah Woody & Artemis Pyle)
The set break must have last over 40 minutes. Sadly, my date for the evening felt the weight of the tiresome day during the obsessively long break and had to leave. A set that was supposed to end at 11:40pm and didn’t even start until at least midnight. This was insane but I only knew good things would come from those of us who had been standing on our feet for over five hours at this point.
When the music final started, my feet were aching, I was missing my date and fighting to hold my place up in the front row. The masses pushed even closer as Derek entered the stage. And for the first time since I was able to meet him on his tour bus during Mountain Jam (click to read), I was back into a super fan. My legs buckled at first site, my smile exploded out the side of my face and I screamed like one of those chicks who faint when seeing the Beatles or Justin Beiber. Derek-Mania was going through my entire body. He is the one musician that makes me completely lose control.
Derek Trucks + Marc Quinones (Photo by Allison Murphy)
At this point, I am afraid I won’t be doing a great job of writing out exactly what went down. Like I said, I get a little more then weak in the knees when I see Derek Trucks and stopping to takes notes or trying to recall everything when all I want to be doing is staring at his fingers, well…..I didn’t write much at all.
First, the overly handsome Oteil Burbridge joins the stage, followed by Warren Haynes and Gregg Allman who wander to their respective instruments. It didn’t take more then 60 seconds for the rest of the members of The Allman Brothers Band, including Marc Quiñones on percussion, to lock into place and blast right into Don’t Want You No More, the first song on the first Allman Brothers album and an instrumental that was originally recorded by The Spencer Davis Group in 1967. All I wrote in my notes is “Ok, I just need to dance now.”
Gregg Allman continued striking the keys and singing into This is Not My Cross to Bear, a song Greg wrote about an old girlfriend. Both Derek and Warren were given ample time to release their talents through solos during this song so be sure to watch. And as you watch Derek smile towards the camera right in the beginning of the following video, you can be sure he is smiling at me. Oh yes! To be sure **wink**
End of the Line was next. Warren changed out his guitars for this one and ripped out an astounding solo. Sometimes I just don’t understand how things can sound so different with every show. Same style but soooo different in sounds. At this point it is still only the members of The Allman Brothers Band gracing the stage and it proceeded that way for the following 5 songs.
Greg Allman + Danny Louis (Photo by Allison Murphy)
So at this point, there is a lull in the sound throughout the audience and I catch myself SCREAMING like one of those Beatles Mania fans again: “DEREK I LOOOOOOOOVE YOU!!!!!!!!!!!!!!!.” No One Left To Run With was next, one of the few songs Dickey Betts wrote for the group but never sang.
Fun fact: This song was included on the 2002 compilation CD Mullets Rock!. For a while, The Allman Brothers were prime offenders of the haircut that was “Business in the front, party in the back.”
There was a gnarly guitar duel between Warren and Derek. I mean it just never ends with these two. Warren was presenting us with such a phenomenal night of music and he was the ONLY musician to play in almost every song and at least in ever set. He was the hardest working man in show buisness that night! The drums in this song were killer.
Black Hearted Woman, also a song written by Gregg Allman about the same woman he wrote This is Not My Cross to Bear about, followed and continued right into Other One Jam, a Grateful Dead cover, until they begin inviting out the guests!!! Greg sang his heart out and the video shows it!
Hook Herrera came out and joined the boys for Who’s Been Talking. That man is an absolutely phenomenal harmonica player. I’ve said it a million times but I LOVE THAT INSTRUMENT. You can’t get a sound from any other instrument the way a sound is produced through a harmonica. It’s just soulful and the epitome of the blues to this southern gal.
Artimus Pyle + Audley Freed (Photo by Allison Murphy)
Midnight Rider, a crowd favorite,followed. Now, the original version of the song was with Duane Allman playing. I believe Gregg Allman re-made it a few years later (correct me if I am wrong). If you listen to older recordings, you can hear and feel Duane and Dickeys’ opposing styles very well. So amazing. Also, in 2005, this was used in the opening credits of Rob Zombie‘s horror flick The Devil’s Rejects. Who doesn’t love that kind of product placement!?
Midnight Rider was followed by One Way Out. This song welcomed out Rich Robinson, Berry Oakley Jr. & Artemis Pyle to the stage. I don’t know why but the videographers apparently must have run out of time or video because the Allman Brothers YouTube videos begin dying off around this point.
Warren Haynes + Berry Oakley Jr (Photo by Allison Murphy)
Statesboro Blues saw all guests leave the stage except for Berry Oakley Jr.. Berry Oakley Jr. is the son of Berry Oakley, a founding member and original bass player for The Allman Brothers Band who sadly passed away in 1972. It was a tribute for many people this evening and I was hoping people recognized the significance. Berry Oakley, Jr. left the stage and was replaced by Audley Freed & Danny Louis on guitar and keys respectively for The Band‘s The Weight.
Chuck Garvey, Jim Loughlin, Jimmy Vanderbogart & Vinnie Amico came out to join The Allmans during one of my all time favorite Grateful Dead songs, Franklin’s Tower. Got to be honest with you and admit I have NO CLUE who Jimmy Vanderbogart is and I can’t find any info online that can give me more insight – If you know, please comment.
Southbound followed with the addition of the Dickenson Brothers joining the crowd on stage along side Hook Herrera and Danny Louis. This was one of my favorite songs of the set simply because it was The Allman Brothers with this North Mississippi Allstars Duo and a freaking harmonica. SOUTHERN GREATNESS!!!
All guests exited the stage and a RAGING Whipping Post closed out the set. Derek Trucks once again showing us he is the king of the slide guitar. Once again showing me that he is the king of kings in my world when it comes to the guitar.
Gordie Johnson (Photo by Allison Murphy)
As my girlfriend and I walked away, we realized it was almost 2am in the morning on a work night. We discussed leaving before the encore and went to the restroom. Coming back up from the basement bathrooms, we smiled at each other as we heard the stage light up again. We couldn’t leave. Not this time. Warren Haynes began strumming the chords to Pink Floyd’s Wish You Were Here. And without uttering a word, the entire venue began singing the lyrics. Warren places his hand behind his ears and the venue sings louder. Berry Oakley, Jr., Gordie Johnson, Danny Louis and Matt Abts joined the stage for the remainder of the song with images of Woody’s face flashing smiles across the screen behind them. And I cried…for the third or fourth time that night.
Set List:Don’t Want You No More, Ain’t My Cross To Bear, End Of The Line, No One Left To Run With, Black Hearted Woman > Other One Jam, Who’s Been Talking, Midnight Rider, One Way Out, Statesboro Blues, The Weight, Franklin’s Tower, Southbound, Whipping Post
Encore: Wish You Were Here
What an amazing night of music!! Simply amazing. The epitome of love and community within southern rock was found on that stage this night. I truly wish I could offer you a free download but alas…..
It was a night New Yorkers and beyond had been waiting for since it was first announced back in July. The Royal Family would be taking over Terminal 5 for a night of pure FUNKY RAGE hosting their 3rd Annual Royal Family Ball. Knowing that The Royal Family is a tight brotherhood that rolls deep with love, we die hard fans knew it would be a special night. A night to remember, a night of complete surprises, a night of of complete funk, of blues, of rock ‘n’ roll. A night requiring us to dance till we drop….simply a night we would NEVER forget.
Event Poster: The Royal Family Dream Team
For months, we have eagerly awaited this night. The Royal Family had enticing little offers before the show such as rewarding the first 100 people to purchase a ticket with an autographed poster of The Royal Family. Man, what a hilarious treat. I, of course, jumped on that offer, buying my ticket at 12:01 pm, right when they went on sale, closing the sale out at 12:03pm. Sadly, I didn’t get a poster but many of my friends did. I will some how rectify this 😉 You can be sure of that!
The importance of this night and the energy behind it hit me the second I woke up Saturday morning. I felt like it was Christmas. As much music as I see, this was a show that had me jumping on my toes. The anticipation was palpable. For weeks before the big night, I had numerous friends from outside NY toy with the idea of coming in for the show. However it was my dear friend Andy who was the only one to make the trip from Baltimore for the day/night.
“Street fair arepas… Gut bomb. Royal Family Revue… Funk bomb.” ~ Andy D.
They handed out party favors...
This was one of those events where traveling would be worth it. My phone had been blowing up all night prior to the show with friends wondering what was going down before the Rage. In the end, we summoned all our favorite Ragers to a “Ragehearsal,” as one of my dear friends has come to so aptly name our rendezvous before the shows. Everyone was eager to make a day of it. A 24-hour rage. The EPICNESS of what tonight might bring to our eyes and ears was lost on no one.
“Royals, you shook me, you shook me all night long. Powerful stuff.” ~ Robert M.
Of all the years I have been an Eric Krasno junkie, I have never been part of such a complete day and night full of The Royal Family. And the best part about it…there were guests. Oh yes, there were guests. Tonight’s rage would include performances by:
Terminal 5 doors opened at 6:30pm and we were all in the building by 7:30pm, not wanting to miss a single minute of the show. The venue was far from packed but by the end of the night, the 3,000-person venue was packed in on all sides. It was a night filled to the brim with the EPITOME of Funk, Soul, Blues, Rock, Hip-Hop and more. They play it all ladies and gentleman. And it all began, as it almost always does, with a set from The Nigel Hall Band. Let’s get this Royal Party started…..
MVP OF THE NIGHT – It just needs to be said, flat out, hands down!!! ROYAL FAMILY MVP! Nigel Hall started the show, performed throughout the show and closed the show with the highest elevation of energy and the full embodiment of what RAGE truly entails. He had been rehearsing for weeks with new back-up singers and the rest of the crew to deliver what was quite possibly the greatest performance I had ever seen him lay out on a stage. As soon as I started seeing Nigel Hall perform many moons ago, I started recognizing a pattern prior to his performances and the pattern goes a little something like this…..
Set I: The Nigel Hall Band
Arriving early, I walk around the venue, listening to the audience talking. Many are not sure of who this magnificent singing, keys player is who will be opening for whatever Royal Family Project is slated to open that night. You hear a few people explain “It’s Nigel Hall!” but they do not elaborate. “Who is this Nigel Hall” you hear them wondering out loud? I always want to stop and answer each one of them but I know that Nigel will be answering for himself as soon as the music starts. And then he starts performing…and if not by the end of the first song, by the end of the second song the audience is locked in, jaws on the ground asking everyone around them, WHO IS THIS GUY!!!!?? But this time, they are really looking for answers, they actually care and are invested…floored by this magical singing machine.
Set I: The Nigel Hall Band
And so it was this night. I walked around the venue listening to people talking about what might happen on stage this night. Noticing so many people asking about the opener, Nigel Hall. What those around me didn’t realize yet was that he would steal the show.
Set I: The Nigel Hall Band
Tonight The Nigel Hall Band consisted of a thick wall of solid musicians that we all recognized and a few new faces to the mix. His back up band consisted of those listed above. Eric Krasno, the King of the Royal Family, supporting his fellow Family member on bass guitar. Alan Evans stepping out of his drummer seat to sing backup vocals while Adam Deitch destroyed the drum kit. Not wanting to be left out, from my second level perch I noticed Neal Evans hanging over by Deitch striking things with a single drum stick. You might not have noticed him if you were on the ground level in front of the stage.
This was also the first time I had seen backup singers. Lindsay Lucas and Mel Flannery‘s voices, supported by Alan Evans, melted seamlessly with Nigel‘s smooth vocals. This line-up of The Nigel Hall Band hit a home run. To begin, the stage was set with each member on stage, warming up the mics and the instruments for a funky introduction which Nigel steps out to in an orange Argyle sweater with a smile so wide I couldn’t help but mirror the image. And so it began…right into Hang It Up.
Set I: The Nigel Hall Band
Wait Till I Get Home had the Shady Horns completely blowing up the stage. Ryan Zoidis completely standing out on the baritone sax. Everywhere I looked…smiles. Second song in and the place was on fire. This is EXACTLY what Nigel Hall is meant to do and by GOD he does a GREAT job. Never Know saw the Shady Horns exit and Krasno and Smirnoff backing Nigel on keys through the slow and smooth flow.
“I loved the show. I felt that Nigel stood out as there were many great musicians but only 1 best singer. I myself was born under a bad sign so I can relate.” ~ Josh R.
Set I: The Nigel Hall Band
Gimmie a Sign upped the funk meter ten-fold with Nigel funking up the keys. He then takes a moment to explain to the audience, “This is a song that has stuck with me over many years after I heard this song as a young boy. I hope you enjoy it.” And while Adam “Shmeeans” Smirnoff completely let loose on his guitar, Nigel sang a soulful Baby, I Do Love You.
“Give it up for the Horns,” screams Nigel. With Never Gonna Let You Go closing out his set, Nigel Hall sang smoothly as his backup singers filled in when he walked off the stage. And as Ryan Zoidis soloed on his axe of funk, Nigel came running back on stage, grabbing the mic, screaming “NEVER! NEVER! NEVEEEEER!” His passion and his lust for life provides a fuel to his energy that is unmatched. And this was only the first set 🙂
Nigel Hall Setlist: Intro, Hang It Up, Wait Till I Get Home, Too Sweet, Never Know, Gimme A Sign, Baby I Do Love You, Never Gonna Let You Go
NOTE TO TAPERS!! TAPE NIGEL’S SETS and post them. Where is the love??? He is just as much a part of this raging cycle of music as anyone of them. Just sayin….get with the program on that tip please.
After Nigel’s set, I decided to move from my second floorperch to ride the rail with my friends for a bit. Sadly, my crew was situated right in front of the DJ Booth. However, I could see neither drums nor the horns. Absolutely couldn’t stand that option for the rest of the night. Even though I wanted to chill with my friends, I thought, well, I do that every night and this was a show I really had to SEE and inhale completely. So, I reserved myself to chillin on the second perch alone while my crew raged the rail! As it should be 🙂 Watching them, waving to them, laughing with them, we were all still connected as I was completely visible to them. This was actually a part of the night that enhanced my happiness. Seeing them react to Warren coming on stage…their faces, their jumping, screaming, hugging. Perfection.
Set II: Lettuce w/ Talib Kweli, Big Sam, John Scofield
Set II: Lettuce w/ Talib Kweli, Big Sam, John Scofield
Soul singer Hall left the stage and was replaced by DA FUNKY FUNK!!!! One of my top ten favorite groups to have formed on this earth: LETTUCE. Going on a little before/after 9pm, the entire original crew graced the stage, to include the rare appearance by E.D. “Jesus” Combes on bass. Living on the West Coast, he is constantly working with big names such as Eminem, Dr. Dre and played bass and wrote/produced several tracks on Britney Spears new album Blackout. I love E.D. “Jesus” Combes because he puts a lot of thought into the notes he chooses to play, sometimes bursting to the front of the stage with a blast of funk through his body. He totally grinds into his playing which I LOVE!. He stands out with understated effort because his sound is unusual and not forced. You just got to hear him to understand.
“Excellent night all around. Nigel and Soulive were incredible, but Lettuce especially blew me away! Check out the rooftop area for a breather between sets. Nice joint!” ~ Markus S.
The stellar cast on stage played a handful of favorites to include Blast Off, Sam Huff’s Flying Ragin’ Machine and Last Suppitt before bringing out the guests. Let it be made very clear that Lettuce completely set the stage on fire even without the guests. They truly are so tight and on point every time and we were enjoying them so much. The guests were simply a blessed bonus. My hands were on the railing of my ledge and I was literally head banging with so much fury as their energy coursed through me. The horn section with it’s supplements was completely out of control. FIRE FUNK!
Set II: Lettuce w/ Talib Kweli
“Talib was money” ~ Eric S.
“You have my quote on the evening… “Tits on bacon.” ~ Andy D.
The first guest and a personal favorite of the night was Talib Kweli. Rapper’s delight. He brought such an unusual layer to the revue. Bringing the urban into an already straight up funky urban rage, he rapped through Move Something.
The whole joint start shakin
This ain’t the time or place for you to prove something
Cut the stargazin’ yo, move somethin’! ~ Talib Kweli
Set II: Lettuce w/ Talib & Nigel
The Blast saw Nigel Hall back on stage as he joined in on vocals with Talib Kweli. Nigel, man, the guy can do it all. Albeit, he is not a rapper in my mind and probably never will be. He did, however, bring a soulful layer to his rapping that Talib couldn’t touch as he continued to rap over/under Nigel. “Jazzfest energy” was a term I heard among my friends to describe the energy of Talib‘s trio of songs ending with Get By.
Talib and Nigel leave the stage for the originals, led by the ever amazing Eric Krasno, rage through Break Out and Relax. Eric Krasno, relentless, captivating. His sound and style, one you could pick out of any crowd of guitar players. Powerful musician…wonderful band leader. With all his projects and large catalog of musicians under his Royal Family records, Eric Krasno ensures that our nights in NYC are constantly filled with talented musical projects and shows. I can’t imagine the city without Krasno, Deitch and the lot. And here he was showcased in front of all his projects together in one night. Then as if things could get any better…John Scofield joined the stage…enjoy his warm up…
John Scofield, a legend. A complete and utter master at his trade. Being billed right off the bat, this was one of the highlights of the show that everyone was anticipating that evening. The Flu… it was amazing. John took a little time to warm up in my opinion but then it got rowdy. The horns were grimy, popping in sounds that reminded me of Skerik. It got powerful. The guitar standing out on top of it all, the audience slightly more quiet now, just watching it unfold.
The Shady Horns with Big Sam on trombone was out of this world. Orchestral. Everything was so tight and then Scofield would go off into trippy spacey scratching of the guitar making faces to match. He is endless with the sounds he can produce with a guitar.
Set II: Lettuce
And with a gracious introduction from Alan Evans, with the horns blasting out his name and with John Scofield still in the mix, Nigel Hall was brought back on stage to perform their Curtis Mayfield staple, Move On Up. As many times as I have heard Nigel sing this song and heard he say he was sick of singing it, this version was STELLAR!!! My video is not so great so just turn it down a little lower to hear it and watch it…
The one below is only 1 minute but much better sound. Thought I’d give ya everything 😉
One of the deepest, funkiest, raging songs of the night: Making My Way Back Home, a song about Nigel’s hometown of Washington, DC. Raised three hours away in Williamsburg, Virgina, I relate to this song well. The bass line is killer in this song. Nigel, so interactive with the audience, breaks it down and just continually bringing the energy UP, UP, UP Chuck Brown-style!!! SARDINES & KRAZ AND SCHMEENS!!
Lettuce Setlist: Intro, Blast Off Sam Huff’s Flying Ragin’ Machine, Last Suppitt, King of the Bergs, Move Something, The Blast, Get By, Break Out, Relax, The Flu, Move On Up, Makin My Way Back Home
Breaksciene’s Afterparty at The Loving Cup’s Cameo was announced and the merchandise was plugged….and the headlining group was finally announced. Soulive. Live it, learn it, love them!
You know about Soulive right? One of the greatest trios ever IMHO!! I sure hope you know who they are and if not, check them out. It’s a trio comprised of the virtuoso guitar player, Eric Krasno, drums played by Alan Evans and then there is Neal Evans who plays keys. The standout detail about this group is that Neal also plays the bass through the second layer of his keys. Seriously. Now…what kind of brain can do that? That takes a complicated mind right there. Such a cool combination of sounds/notes/vibes.
Set III: Soulive + Shady Horns
Soulive came out dressed in stylish suits and slammed into Beatles tunes. Their latest CD release, Rubber Soulive, has been something of a hot topic among talented music circles. It’s luscious, loud and worth every single penny. Bringing their own touch to classic Beatles tune such as Come Together, Something in the Way, and Eleanor Rigby, it’s just superb. Sing alongs ensued. Come Together found it’s way into everyone’s throats and the audience sang for their tickets as Soulive played for their lives. Jazz-filled funky rock. The following video is a wonderful collection of all the Beatles tunes. Sit back, turn it up and watch the magic. Best video of the article 🙂 Everyone say “Thank you Mike!”
Krasno completely ripped open the songs, jamming us all into the floor. Backed by the brothers of rage, the Beatles medley was one of the highlights of the show. I Want You (She’s So Heavy) was on a different level all together. Everyone thank my boy Scott for the excellent video below!!
“Was really great to see Soulive hit a comfort level with the Beatles material that they really ripped into it- I want you (She’s so heavy) seemed to really hit another gear of nastiness as they did with that song what most instrumentalists I know have always wanted to do with it.” ~ Russ A.
Set III: Shady Horns + some!!
And once the covers of the Rubber Soulive were done they blasted into their oldies but raging goodies with The Shady Horns (Sam Kinninger & Ryan Zoidis) joining the stage for El Ron. The place was utterly packed and from my second floor perch, I could see everyone moving, groovin’ and clapping. Christian Scott had joined the rage and John Scofield joins the stage again for What You See Is What You Get. Granted, Scofield is a god, but this song was stolen by Christian Scott‘s trumpet solo and Neal Evans‘s keys.
At this point, the show starts elevating into a high point that seems unreachable. Time for a horn rage. By this time Maurice Brown and Rashawn Ross have joined Christian Scott and the Shady Horns. A horn rage ensues but where is Big Sam Williams on the trombone?? Oh man….well, he tried to join the horn ledge, however, Christian Scott had taken his microphone so NOLA represented. Walking behind the drum kit to the front of the stage, Big Sam took over Eric Krasno‘s vocal mic for an intense in-your-face solo. Enjoy! (Turn down volume a bit – it’s one of mine)
Set III: Soulive!
It was time for Scofield to lead the show with one from his own catalog, the funk rock original Hottentot!! The whisper through the audience after this song was loud. This song choice made a lot of people happy, as it should. The song allowed for he & Krasno to trade licks and let loose for a great jam, which I thought might lead to the beginning of the end of Scofield’s addition to the stage, until possibly the encore. Boy….I had no idea what I was thinking. The best was totally yet to come…..
Since the album version was my ringtone for years, the surprise bust-out of Sco’s “Hottentot” was probably one of my favorite highlights. It had a slightly slower, nastier vibe to it that I really enjoyed. ~ Andy D.
WARREN joins the stage...
And if you just watched the video above, then the end just gave it away but THE BEST WAS TOTALLY YET TO COME!!! Warren Haynes……….WARREN HAYNES joined the stage. I literally grabbed the bars in front of me and screamed at the top of my lungs while flailing around. I couldn’t believe it. I just couldn’t believe it. What is more unbelievable is I had to tell all the people around me who that even was. I believe they were there for Talib Kweli but they had NO clue who Warren was. Unreal. And so it was that the venue erupted into a ball of energy that the night had yet to see.
Set III: Soulive + Warren + Sco
Born Under A Bad Sign, a song made popular by Cream and originally written by the legendary blues guitarist, Albert King. Yes SIR!! HOLY YES!!!!!! What can I say about this? It was phenomenal. Warren Haynes, John Scofield and Eric Krasno on the stage at one time…kidding me? Nigel Hall came out and sang alternating verses with Warren Haynes and there were mixed reviews over this move but I thought it was superb. Nigel, once again adding a layer to the mix that just felt right.
“Nigel’s voice is always a special treat. Being a longtime Soulive fan, I really appreciated their take on the Beatles. Oh Eleanor Rigby! Thank you Soulive, Nigel Hall and the whole crew for getting so many wonderful musicians together all on one stage for this major collaboration!” ~ Jessica B.
I’m actually a little torn on Nigel. I think Warren could have held the vocals down on “Born Under a Bad Sign” on his own, though Nigel did rip Too Much and the JB mini set. ~ Russ A.
I always did say Warren sings like an angel. ~ Jessica B.
This was just such a treat. You had Big Sam on his trombone as well. I mean, the $25 ticket was paid for so long ago but if anyone had any qualms, they were silenced by this mega, face-melting guitar threesome horn flip-out. Nigel‘s voice was killer. Warren was killer. The horns were unmatched. Scofield was melting into the floor with his guitar. Unreal. For a minute, I forgot who I was there to watch. Wondering who the true star of the show truly was. Scofield left the stage and the rest of the set was Nigel Hall tearing up the vocals and Soulive blasting the stage apart with funky goodness. It was so great!
(Doin the 2 Video is uploading. I’ll insert it tomorrow)
The encore was a James Brown Medley of all kinds of songs. John Scofield came back out. During the 3rd song, Nigel miscounted the beats and had a little rage to a stop and rewind the moment. TWENTY!!! And the second time around it went down right and they dropped the funk into our faces and dripped funk until they exited the stage. JAMES BROWN MEDLEY!! Think about that energy if you can! Those of you there, remember that? Nigel screaming, horns blasting…
There was some kind of swagger in the Soulive set that night. maybe it was that this was the biggest paying crowd for them headlining a show in nyc, maybe it was just feeling good on the material, maybe it was the hard work, but they played the hell out of those tunes. they owned those tunes. ~ Russ A.
Soulive Setlist: Come Together, Something In The Way, Eleanor Rigby, I Want You (She’s So Heavy),
El Ron, What You See Is What You Get, Hottentot, Born Under a Bad Sign, Do The 2, Too Much, JB Medley w/ John Scofield
It was a phenomenal night of music at Terminal this night. for $25 you just couldn’t beat what we had just witnessed. There was a fire on stage and an energy pumping thorugh the venue that I hadn’t felt before. The crowd being so diverse, some coming for Talib Kweli and not knowing Warren Haynes. Others knowing Warren Haynes but not Nigel Hall. Others boasting about Lettuce but knowing nothing of John Scofield. I think the greatest part of the night was knowing that a lot of people were introduced to a lot of new music and musicians this night. I hope they went home and looked up Warren Haynes and Talib Kweli and Nigel Hall.
The Royal Family ensures that New York City will remain at the forefront of musical collaborations and musical history. I feel as though whenever The Royal Family has a big to-do, they out do themselves every single time. Thank you Royal Family. Thank you for feeding us, supplying us with the music we need to survive.
As the eve before Mountain Jam arrived, I couldn’t sleep, no one could. My phone was blowing up with text messages finalizing last minute plans, causing last minute mini-drama bombs that kept us on our toes. It was like the day before Christmas, as it is before every festival. It might as well be Christmas, right? You know you are going to meet up with long lost phamily that is normally scattered across the nation and when you arrive you are given lots of goodies and presents 🙂 AM I RIGHT? Oh, our world is so full of life and love.
Approaching Hunter Mountain
Get ur tickets
The four of us piled into my buddy’s rage mobile and we took off down Highway 87. Two and a half hours later we were taking Exit 20 and making our way through the windy roads to the top of Hunter Mountain, the site of Mountain Jam for the last six years. The scenic drives through these mountains, or any mountains, are one of the perks of heading to any festival. Once you exit the bustling city, it only takes about 20 minutes before you start hitting lush rolling green hills on either side. My mind always gets thrown back to the Blue Ridge Mountains and it makes me miss Virgina, my home state, that much more.
The Weekend Rage Haven
I don’t do well with rain and this festival was notorious for it’s thunderstorms and drastic change of weather. After much debate and consideration, I decided to shack up with my buddy in his house for the weekend. It was a lovely cottage type house with three bedrooms and a shower, which numerous friends used over the course of the weekend. It’s always good to have a friend with a house! (MUCH LOVE FOR MURRAY! THANK YOU MY DEAR FRIEND!)
Welcome Center (& my housemates)
Waiting to see the music and get into camping....
With all my friends setting up their tent cities in Camping, I was free to roam the grounds. As I walked up the hill, a lovely old deadhead stopped just to tell me I looked lovely. I was wearing my favorite skirt I had bought at my first festival (All Good) over 11 years ago. A wonderful skirt my mother has repaired numerous times over to allow it to continue to live. It is the little moments like these that I never have to write down. The little moments of joy that find their way to your ears and eyes because people are just KIND in these settings. Hippies are the greatest people in the world.
Climbing up Hunter Mountain (East Side)
This venue was GORGEOUS. I had never been to a venue with such a gorgeous backdrop. The scene I was staring at behind the stage was magnificent. Beautifully lush green mountains with white clouds floating above. It truly was a sight to behold. Wait until you see the pictures of the sunset.
Look at the view behind stage! WHAT?
Kofi Burbridge & TR
My music karma followed me to Hunter Mountain. The commute went smooth, the house was so close, the weather for the weekend was, for the most part, sunny and dry. As well, within the first two hours of arriving, I had spotted and caught up with just about everyone I was hoping to see that weekend. One of the first people I ran into was Kofi Burbridge. He is always one to be found mingling among the crowd, getting into trouble. Then came a string of friendly faces who just made the hug chain continue for a few hours. This was going to be a GREAT weekend.
Elmwood in Colonel’s Hall
As I explored the grounds, the first drop of music I could hear was from the Colonel’s Hall, one of four stages set up at the venue. I stepped in for a few seconds to hear Elmwood and was right back out. There were three other stages: The East stage (Main stage), The West stage (side stage) and The Awareness Village stage. The shows I wanted to see were going to be mainly on the East and West stages.
The Karma Wash @ Mountain Jam
My home base for the festival was the Karma Wash. From now on, if they are part of any festival I am at, you can always find me there. A wonderful group of people who have more fun then I can describe. They have created a wonderful wonderland of playfulness for both adults and children. Everyone always need a good Karma scrubbing and they provide the services! Join their Facebook fanpage to see where you can get your Karma Washed next!
Scott Avett – Vocals, Banjo, Kick Drum, Drums Seth Avett – Vocals, Guitar, High-Hat, Keys, Drums Bob Crawford – Vocals, Bass Joe Kwon – Cello
I made my way to view the East stage where I could hear the folk/rock sound of The Avett Brothers tearing it up. Ah, the banjo always makes me smile. Their vibe was upbeat and feisty. Scott Avett’s singing flowed over the mountain from the stage and was so lovely with his brother harmonizing. When family members sing together there is a blend and a cohesiveness in the sound that is intangible to others. I wish I could tell you who else is on stage with the Avett Brothers in the above picture but alas. They rang out bluegrass into rock up the mountain until a piano was brought out for a few numbers which slowed down the vibe considerably.
As the piano accompanied, Scott sang I and Love and You, the title track off their newest cd. A simple song with a powerful statement. The only songs I recalled from quickly listening to their cd a few days prior. It caught my ear when I heard the lyrics Brooklyn, Brooklyn, take me in and Three words that became hard to say, I and Love and You. This group is tangible and by that I mean that I felt something when they sang. They touched me. I am not a fan of lyrics but coming from folk/bluegrass type music, I adore it. They were solid in their delivery and emotional amongst their dancing jigs. I loved them as they had help me toss my shoes off, hike my skirt up and dance in the dirt. Dancing with nature.
Now, Mountain Jam is the brain child of Warren Haynes, of The Allman Brothers Band and Gov’t Mule. This meant that we would be blessed with two full nights of 2 sets of Gov’t Mule. It meant that Warren Haynes would be sitting in with whatever group he felt drawn to join. Get your party pants on…because once Mule started, there was no turning back.
Here's that sunset 🙂 SO lovely!
The rad ladies room
There was a 45 minute break before we were raging with Gov’t Mule!!! I completely shacked up by the Karma Wash for this set! I had no intention of trying to fight the thousands of people cramming up to the stage. Took off for what I heard was NICE bathroom in the ski lodge. ALWAYS a plus to have something other then a porta-potty. I about died as I walked passed the men’s room that looked like just a bunch of high school stalls. And then walking into the ladies room that had a lavish dressing room area, numerous sinks, mirrors, and couches. LOL!! Typical…
Now THIS was how one should watch Gov’t Mule. This was their festival, their time to shine. They know just as well as we do that it is their set that first night that sets the mood for the rest of the weekend. The energy and pure freaking rage of the first set was enough to cause a landslide…pun totally intended!
As World Gone Wild played, I totally realized that I was away from the city and I threw my head back to look at the stars. In that moment, a shooting star crossed overhead and I totally had a moment with myself. I shit you not. I thanked the powers that be for making my life worth living. And when the sun finally set, Hunter Mountain literally looked like it was on fire from the lights and the energy that was kicking off the weekend. Look at the picture below. Fire on the Mountain!
Gov't Mule @ Main Stage
Thorzine Shuffle closed out the set. Warren screamed “Till the damage is done!”over the mountain and everyone sang along. I could hear the harmonica on stage as if it were right beside me. The sound from the stage up that mountain was tremendous. Warren’s solos were superb and he teased Eleanor Rigby. I looked to see my friend dancing her heart out. A fellow blogger, I actually had written in my notes to just link to her description of this set. A COMPLETE MULEHEAD!! She was so happy and at that moment I loved me some Warren just as much as she did.
Gov't Mule @ Main Stage
For the second set of Mule we decided we needed to be closer. The highlight of the set for me was when Les Claypool joined Warren on Greasy Granny’s Gopher Gravy. Such a combination of styles: Warren’s southern drawl against Claypool’s slapstick bass. They TOTALLY jammed it out for a while. Unfortunately, this would be the only guest appearance I would SEE. I took a trip to the parking lot with a friend which caused me to miss seeing Kofi Burbridge sit in on Raven Black Night, Grace Potter sit in on Gold Dust Woman and Ray Lamontague join the stage but THANK GOD I was able to hear it all!! Kofi’s flute reached my ears and I immediately lost focus on my parking lot mission. Those conversations would have to wait. I had to get back.
I about died when I thought I had missed the end of the last set but the encore followed. Inside Outside Woman Blues was SOOO damn sexy! I loved Warren’s guitar on this one the best. Any Open Window and Steppin’ Lightly, where Jorgen Carlsson stood out on bass, closed it OUT!!! WHAT WAY TO START YOUR FESTIVAL!!!!
Set 1: Intro, Stay With Me, New World Blues, World Gone Wild, Time To Confess, The Shape I’m In, Monkey Hill >, Monday Mourning Meltdown, Where Did You Sleep Last Night, Thorazine Shuffle
Set 2: One Of These Days >, Fearless, The Wind Cries Mary, Greasy Granny’s Gopher Gravy (Part 1 & 2) > (w/ Les Claypool), Drums, Wishing Well, Raven Black Night > (w/ Kofi Burbridge), Gold Dust Woman (w/ Grace Potter)
Encores: Inside Outside Woman Blues, Any Open Window >, Steppin’ Lightly
After Mule, we geared up for the 1am late night sets. Les Claypool (Main Stage) and The New Mastersounds (Colonel’s Hall) were performing at the same time. This would be my first mental headache of the festival. I adore Claypool, as he feeds into my tiny dark side. However, I had tickets to see Claypool at the Brooklyn Bowl the following Tuesday in Manhattan so I decided to rage it with The New Mastersounds first. Apparently, I was not alone. The venue was PACKED but we got our front row spots on lock down no matter where we roll.
The New Mastersounds @ Colonel Stage
Throughout the day, my friends and I had told everyone that The New Mastersounds were the band to watch that night. Most definitely, one of the freshest acts to come out of England in the last few years. They truly have skyrocketed up in public opinion and I had been looking forward to seeing them all year. A friend spit out some interesting info the other day about NMS: “they’ll be the first to tell you they didn’t even think about “jamming” their tunes until they started touring the U.S. and learned that there were people that actually enjoyed that approach.” So, having only heard their studio album, I was blown away by their live performance.
Kofi Burbridge joins The New Mastersounds
Eddie Roberts threw out so much energy from that stage that I felt involved. He got so into his vibe that it was flat out tangible. Man, being so used to small club type settings or even large venues, on any given night, I felt closer to these bands at certain times on that Mountain amongst 15,000+ people then I ever did in NYC venues. And The New Mastersounds has us sweating bullets on that dance floor. A large portion of my friends said that they danced their hardest that first night at New Mastersounds. I know in that first set, I lost a few pounds myself. The heat was unbearable and I was dancing up front with my favorite people. SO HARD!!! Kofi Burbridge joined the stage during Fast Man and stayed for quite some time, adding his spectacular talent and sound to an already rocking performance.
Set I: Intro, Zambezi, Miracles, Dusty Groove, Thermal Bad, MRG, Fast Man -> Kofi Jam ->, Get On The Good Foot -> You Got It All, Six Underground, The Minx, 33 (A Good Year To Die), Carrot Juice, Make Me Proud!, One Note Brown ->, One Note Brown, Stage Banter, San Frantico, Idris, Nervous ->, Jam ->, Nervous
About half way through their set, I was dying of heat exhaustion and decided to take a walk outside and catch some Les Claypool. As I walked up the side of the mountain I decided if I was going to watch some Les, I wanted to be in the front row. A friend had been in charge of designing the paramedic route to the stage so the set up was a little different then previous years I was told. This new route allowed for me to walk right up the middle to the front and allowing me to access the stage very easily. And by god, it took me sometime but I got to the dead center, front row just as Les was teasing Led Zepplin’s Kashmir. We are in the second song of the second set at this point. Times FLIES! And then I couldn’t move! Not because of the people, but because Les Claypool delivered a RIGHTEOUS set and a funky David Makalaster I sandwiched a kickass version of Southbound Pachyderm. The New Mastersounds had lost me.
The Utterly Amazing! Les Claypool
If only you could have seen what my eyes saw...
My favorite part of Claypool’s performance was when he left the stage for the drummer rage. Upon his return, he had put on his monkey mask and transformed into one of his many personas of strange. Freaking Creepster. I love him. This was just FUN!! The strobe lighting allowed for him to walk out stunted, as we only saw every other step. In the frame of mind I was in, I could have easily freaked out. He looked completely out of control to me. It was creepy and wonderful at the same time.
Set I: Up On The Roof, Rumble Of The Diesel, Toys Go Winding Down tease->Amanitas, Buzzards Of Green Hill**, Red State Girl, Hendershot, Precipitation->Mr. Krinkle tease->Precipitation>, Drums->, Drums & Whamola Jam
Set II: Booneville Stomp, Cosmic Highway->Goodbye Blue Sky tease->Cosmic Highway->Kashmir tease->Cosmic Highway, David Makalaster I, Southbound Pachyderm, David Makalaster I, D’s Diner
During D’s Diner, I took off back towards The New Mastersounds hoping to catch the last few songs with my friends. I didn’t even bother making my way to the front. Remember how my friends said they might have danced their hardest to this set? Well, as I entered Colonel Hall, everyone who I had lot track of, still wanted to see, or was looking for, was right there in the back. My friend “M” must have been introduced around 5 times but within a few minutes more glorious friend circles collided and the krewe grew exponentially right on the spot. GOD, I LOVE THIS COMMUNITY! My friends were flying all over the place. Literally, arms flying, spinning in circles, twirling each other, dipping each other….we might have been dancing with the music but we were more dancing with each other at that moment. This continued for the remaining songs. And I found myself another few pounds lighter.
The music ended and we walked 20 feet outside to the picnic tables and I SANK into the chair that would remain my best friend for another 2-3 hours. We literally raged there for the remaining time with new friends and old. I sat back watching my friends click with each other. The weather was gorgeous, the vibe was chill. To me, these might be the greatest moments…when friends from different walks of life finally cross paths and everyone just chills and talks about the great music they saw…all connected through the music, the vibe, the atmosphere. And it’s especially great when you get to say thank you to the band as they walk to their tour bus to go make more people in another location happy. The New Mastersounds had blown their spot up at Mountain Jam. Totally rocked the Mountain to a close. And when they walked out, the cheer was probably heard in Camping. They were so appreciated. I hope they knew that deep down in their souls!
We walked home as the sun came up and my head hit the pillow before 6am. It was difficult to sleep with everything running through my head. What a night and with beautiful weather to boot. I looked forward to doing it all again tomorrow.
Thorzine Shuffle closed out the set. Warren screamed “Till the damage is done….”over the mountain and everyone sang along. I could hear the harmonica on stage as if it were right beside me. The sound from the stage up that mountain was tremendous. Warren’s solos were superb and he teased Eleanor Rigby. I looked to see my friend dancing her heart out. She was so happy and at that moment I loved me some Warren just as much as my friend did.
Musical Musings of a Tiny Rager 