REVIEW: Furthur Night 3 of 3 – Bill Graham Civic , New Years Eve 2011 > 2012

Editor’s note: Grateful Ted had this review ready on 1/1/12 – it is all DHL’s blame it is not published until now! Furthur NYE 2011 > 2012  | (♥);} MarkoVision for DeadHeadLand

Since their public debut a couple of years back at Oakland’s Fox Theater, Furthur has had enough time to work the gears, flex their collective musical muscle and evolve into a complex, fully operational entity capable of alchemizing the audience-to-band-and-back feedback loop. This energy transfer was perfected by the Grateful Dead and these lessons have been internalized by the younger members of Furthur to the point of mastery.
This New Year’s Eve show was prima facie evidence of the beauty, skill and power that is Furthur. Whoever was responsible for architecting the three nights set lists was clearly informed with the insight, knowledge and a deep sense of the history behind this music. They also knew intuitively how to connect directly with the emotional pleasure center of both the casual and passionate Deadhead.

While the pleasure of the New Year’s Eve show was profound, it was even more satisfying in the context of the set lists from all three nights as several I’s were dotted and T’s crossed that were left dangling from the previous evening’s entertainments.

Prior to the show the scene in Civic Center Plaza was very laid back with heads beating drums, jamming, “loading up,” and getting primed for the marathon evening ahead. Many seemed to be selling tickets for more than cost but there were plenty of bargains to be had. This writer lucked into a bargain ducat and is hugely Grateful for it.

This show was a textbook example of the “mastery of the jam,” possessed by this collective, but if you are reading this, you already knows of this magic. Regardless of the point, “Golden Road” was a perfect choice to jump-start the festivities. It was the 1st cut on the eponymously titled first studio GD LP, and the driving energy and message of the tune lays it all out unambiguously. “Hey hey, come right away. Come and join the party every day.” It’s the perfectly crystallized message that you are in the right place at the right time in front of the right band… “So take off your shoes, child, and take off your hat.
Try on your wings and find out where it’s at.” The final dissonant note of this number was discordantly emphasized by a potent Lesh invoked bass chord.

Following a brief moment to re-tune, another psychedelic opus from the earliest golden years of Grateful Dead Music was ignited Bob Weir Furthur NYE 2011 > 2012 | (♥);} MarkoVision for DeadHeadLandwith the signature swirling slide riff by John Kadlecik.  “Cosmic Charlie how do you do?” Clearly Charlie is still happily truckin’ in style along the avenue….

Characters from the (Robert) Hunter lyrical cannon are liberally salted throughout GD repertoire and one of the most cherished is “Althea”. Since that cathartic moment when John K. stepped up to sing his first “Althea “during the first ever public Furthur show at the Fox this song has grown more potent in its impact with this band. Unfortunately for Bob Weir, who seemed to be experiencing technical issues with is guitar and signal chain, it was not the model of musical perfection but the tension of the verses was fully released with the “you know this space is getting hot,” bridge and ensuing jam.

More GD history was unearthed with the classic cover of the Junior Parker blues tune, “Next Time You See Me” which the Dead performed mostly in their earliest years. Jeff Chimenti’s melodic riffs rode on top of the Lesh/Weir/Russo rhythm section and made space for a fat JK solo or two.

The vocal harmony blend of Furthur is augmented and improved with the presence of back- up singers Sunshine Becker and Jeff Pehrson and their harmony blend on “High Time” was the icing on the cake of this rarity. The JK solo was both tender and screaming and the band simply brought the goods to finish out this slice of musical pie from Workingman’s Dead.Phil Lesh Furthur NYE 2011 > 2012 | (♥);} MarkoVision for DeadHeadLand
I would guess a number of lysergified synapses may have snapped with Phil Lesh’s first profound and pounding bass note of “Shakedown Street”. The sonic impact of it was massive. This was a pretty disco themed affair but the jam went way-way outside of the normalcy of a C7 one chord vamp. The latter half of this one had a wild vocal jam and thankfully the arrangement has minimized the “shake it down, shake it down, shake it down now,” motif to only one stanza. From there, “Viola Lee Blues”, perhaps the hookiest riff from the earliest GD era scooped up the mental remnants of Shakedown Street and tossed them over the fence. This one, one of the oldest tunes in the repertoire (from Gus Cannon of the Jugband era) is at the same time super psychedelic, funky and Americana to the core. It also is a showcase for Phil Lesh whose 12 foot bass stack massaged more than a few brains as this romp of a tune rollicked and rambled over the crowd. With one set down many of us took note of just how much more quality music was in the offing.

At this point in the show we were all kid’s in a cosmic candy store and no better multi-flavored “ice cream cone in the forehead” of a song could have been dialed up than “Morning Dew”. As the signature riff locked into place it came to my mind that opening a set with this profound ballad seemed to diminish its importance in a given set list as the deep, emotional inference of its lyrics is diminished when utilized as an appetizer instead of a main course. But John Kadlecik’s heartfelt vocal treatment and massive, soaring leads provided more impact and emotion than I thought possible. It was a brilliant rendition and bears more listening. And as if AM Dew wasn’t big enough, the subsequent Jam into the signature riff -of “Dark Star” was a tell-tale sign of just how off the hook this show was to be. Lesh sang the opening verse solo as he pulled the Furthur ship into orbit.

Sunshine Becker, Jeff Pehrson - Furthur NYE 2011 > 2012 | (♥);} MarkoVision for DeadHeadLandThe jams here were angular, mechanical and blazing all at the same time and a long, trippy journey ensued from the final words of the first verse of “Dark Star” to the first of the obscure but rocking “Mason’s Children”. This was another vehicle for Lesh bombs and a collective vocal chorus treatment of the verses. And yet, still more heavy duty jamming served as the transition into the 2nd verse of “Dark Star” which featured split vocal treatment between Phil, Bobby and John.

In keeping with the long standing GD tradition to mix old with new, Phil stepped up to deliver a fairly new one, “Mountain Song.” A tune put together by Phil’s son Brian Lesh with lyrical themes contributed by David Crosby and Robert Hunter. One could say that this unfamiliar song was redeemed by the massive JK led jam that concluded it and featured the classic “Mountain Jam” riff derived by the Allman’ Bro’s Dickie Betts.

At this point in this already ridiculously good show, a few of the unconnected dots from Thursday’s throw down were summoned up to the delight of the heads… “I Know You Rider” > “St. Stephen”  > “Fire on the Mountain” was a hugely satisfying musical sandwich that kept us all floating on the ether – and still it wasn’t even midnight. This show was just getting going and up to this point it had gone way beyond expectations.

Year of the Dragon!  Furthur New Years 2011>2012 photo by MarkoVision for DeadheadlandDue to the jammy intent of Furthur the break between the 2nd and 3rd sets was blissfully short and provided only enough time for one cocktail and a bio break leading up to the Midnight Spectacle. From the floor one could see the not well concealed, giant dragon hiding behind suspended curtains and hanging from a flying gimbal off the roof of the Civic. Before it took flight a loud, eerie soundtrack of thunder, dragon wails and rain was broadcast over the PA. From the rear of the hall a chrome tower rose up from the floor and a beautifully clad woman representing the birth of the new year mounted the flying dragon and in a massive puff of Dragon Smoke the flying beast alit for the stage with a trumpet fanfare followed by the Rolling Stones “Start Me Up,” played at full cranking volume. Meanwhile, onstage, a number of damsels tossed party favors to the crowd while Bill Walton, decked out as Father Time stood front and center. In great puffs of smoke the Dragon delivered its gorgeous cargo to the stage and with a count down from 10 to 1 Furthur exploded in the classic style with a rollicking “Sugar Magnolia” punctuated with the sound of thousands of popping balloons. Revelry happened amongst the dancing mayhem and the potency of the band’s delivery wasn’t lost on anyone, especially with the huge “Sunshine Daydream” follow through.Father Time (Bill Walton) and John Kadlecik - Furthur NYE 2011 > 2012 | (♥);} MarkoVision for DeadHeadLand

One of the ultimate jam vehicles (as if this show didn’t already have a half dozen of them), “Playin’ in the Band”, kicked off the deeper part of the 3rd set and in the classic style contained a dark, wandering but purposeful jam that rolled into the telltale riff of “Uncle John’s Band”. (Uncle John’s Band indeed – though more like Nephew John’s Band.) Ed Note: when a lot vending friend of mine asked JK what he would think of an UJB shirt with his image on it, John said he wareally just a nephew!

From here the unfamiliar was once again summoned up by Phil with “Colors of the Rain”, a new Hunter/Lesh composition recently added to the Furthur repertoire. This unfamiliar song diminished from the jammy themes of the night but eventually, towards the tail end of the song JK stepped up to swing the momentum back to deeper waters. Bobby stepped up for a tried and true psychedelic effort, “Born Cross Eyed”, “seems like I’ve been here before. Fuzzy then still so obscure.” The driving impact here was ridiculous and blissful… which triggered the opening strains of “The Wheel” giving everyone the opportunity to get grounded together in the familiar lyrical refrain. The sets conclusion was the obvious envelope closing “Playin’ in the Band Reprise” which was a perfect capper to this huge swath of powerfully delivered music.

Many in the crowd had low expectations of the predictable “One More Saturday Night” encore but Furthur, in keeping with the exceptionally high value set list gave us all the ultimate year-beginning gift: a full “Terrapin Station Suite” that show cased the unbelievably potent skills of drummer Joe Russo who kept lobbing home runs over the wall during the “At a Siding” portion of this opus. The ultimate conclusion of this event was a genuine and clearly heartfelt bow and group hug by all members of the band while the dragon smoked, bellowed and roared – a perfect way to send us into the New Year by giving us all a collective bond with the band.

This show was one for the ages and clearly represented Furthur at an ultimate peak moment in their evolution. Fantastic jams, incredible dynamics, pleasing, barely a clunker in the list song choices, impactful lead guitar and vocal treatments, stellar musicianship and palpable energy transfer between audience and band were all present here over the last three nights and throughout 2011 with Furthur. One can only imagine the potential to come in the years ahead.

Grateful Ted Silverman
SF, CA

(~);}

Photos by Happycat MarkoVision for DeadHeadLand

Furthur Set List, New Years Eve 12.31.2010

IMG_7708

Furthur
December 31, 2010
Bill Graham Civic Auditorium
San Francisco, California

Set 1

Alligator >

Big Bad Blues >

Caution (Do Not Stop On The Tracks) >

Wharf Rat

Sittin On Top of the World >

High on a Mountain  >

Cumberland Blues

Set 2

IMG_7724

Cassidy >

Mountain Song >

I Know You Rider >

The Other One >

Let it Grow >

Stella Blue >

Viola Lee Blues >

The Golden Road

Set 3

We Love You

Sugar Magnolia >

The Wheel >

Uncle John’s Band >

Unbroken Chain >

Lady With A Fan >IMG_7720

Terrapin Station>

Terrapin >

At A Siding >

Terrapin Transit >

Terrapin Flyer >

Refrain >

Help on The Way >

Slipknot >

Franklin’s Tower >

Truckin’

Phil’s Donor Rap

Encore:

One More Saturday Night

WE LOVE YOU!  Furthur

Furthur 2010-2011 New Years Eve Concerts Announced! Bill Graham Civic in San Francisco

Furthur New Years 2010/2011

full details on Furthur website!

from the band’s site:

Join us for two special nights at the Bill Graham Civic Auditorium
in San Francisco on December 30th and 31st. Come on along as we bid a fine
farewell to an amazing year and join the circus as we usher in the New Year
with a special 3 Set performance on the 31st. We are looking forward to continuing
our journey in the coming year!

December 30th @ $45
December 31st @ $65
All seats are General Admission

Doors both nights @ 6 PM
Showtime both nights @ 7:30 PM
New Year’s Eve a special 3-Set show!

Limited Pre-Sale

Mail order Oct 9-14
Internet pre-sales Oct 11-14

Public On Sale

FRIDAY, OCTOBER 15 @ 10AM PST

REVIEW: Phil Lesh's 70th Birthday with Furthur and Friends (with pictures and videos)

20100312_Phil_70th_9176

Friday night was cold and wet as a dog’s nose outside San Francisco’s Bill Graham Civic Auditorium.

The security is unfortunately getting proficient at hassling Shakedown vendors. The vendors are adapting. Many still managed to throw out blankets about an hour before the show. The scene was densely crowded in a relatively small area on the southwest corner of the plaza across from the venue. The Furthur designs and artwork are maybe philbetter since New Years and it was damn good then.

The hippies were looking pretty miserable in the raw weather and at the same time hopeful as they absently held up a right index finger like a sad, unlit birthday candle wishing someone will come by and take it to the party.

You could feel the crowd was excited about Lesh celebrating 70 years on the planet.

Lesh was five hours on stage that night.

Age is just a number.

Set 1: Acoustic – Furthur, Jay Lane on drums and Steve Molitz adding additional keyboards plus Chris Robinson, Jackie Greene and very special guest Pigpen

The evening was a benefit for the Unbroken Chain Foundation with all proceeds going to Haiti earthquake relief

Lesh played the big brown bass

I’m on the floor in the center right in front of the tapers and the soundboard. The Bill Graham auditorium was even more full than on New Years – if that is possible. I guess you could say the place was crowded. I’ve had less contact playing in football games. 20100312_Phil_70th_9184

 

Ripple (Bob Weir)

Lazy River Road (John Kadlecik)

Peggy O (Chris Robinson)

Two Souls in Communion (Chris Robinson)

Broke Down Palace (Jackie Greene)

A Hard Rain’s (A-gonna Fall) (Bob Weir)

They Love Each Other (Chris Robinson)

Mountains of the Moon (Phil Lesh)

Attics of My Life (All)

 

Chris Robinson killed Two Souls in Communion. There was a time when the only way to hear that song was on bootleg tapes and bootleg albums. It never occurred to me we’d ever hear that song performed again. Nice surprise. Robinson just channeled Pigpen. I would pay another $50 just to hear Robinson sing Two Souls in Communion again.

Jackie Greene didn’t seem the least intimidated by taking the lead after Robinson’s incredible performance. Greene nailed Broke Down Palace and added the genius guitar. The man has the whole package – talent, writing, singing, playing.

If someone told me Chris Robinson and Jackie Greene had the same mama I wouldn’t call them a liar.

Attics of My Life was done in seven-part harmony. Stunning.

Just the song list on this acoustic first set should tell you to go get a copy of this show.

You can buy a copy of the show here:

http://furthur.in-merch.com/catalog.php?act=view_prod&i=&l=&sid=&id_categ=5614&entrant=3

 

Set 2: Russo and Lane on drums, Greene and Robinson remain on stage for the entire show. (Once in awhile – during jams – Robinson would walk off but he’d always come back on cue).20100312_Phil_70th_9180

Scarlet Begonias (Jackie Greene)

Minglewood Blues (Bob Weir)

Easy Wind (Chris Robinson) ->

New Speedway Boogie (Jackie Greene) ->

Viola Lee Blues->

High Time (Chris Robinson) ->20100312_Phil_70th_9142

Caution Jam ->

Viola Lee Blues ->

Hard to Handle (Chris Robinson)

Viola Lee Blues ->

Like a Rolling Stone (Chris Robinson) ->

Sugaree (Chris Robinson vocals, Jackie Greene, keyboards)

 

Two Souls in Communion, Easy Wind, and Hard to Handle – Welcome to the party, Pig.

I bet if Chris Robinson sang Good Morning Little School Girl it would make virgins weep, mothers sigh, and fathers go after their shotguns.

20100313_Phil_70th_9104Robinson’s soulful vocals were right there with Van Morrison and Al Green.

Jackie Greene was a monster on Scarlet Begonias – vocals and guitar.

The Viola Lee Blues jam was a classic. The guys really tore it up and seemed to be having themselves a real good time. The Viola Lee Blues Jam is reason number two to go as quick as possible to find a recording of this show.

http://furthur.in-merch.com/catalog.php?act=view_prod&i=&l=&sid=&id_categ=5614&entrant=3

Set 3: Russo and John Molo on drums. Molitz again adding some keyboards.molitz

Balloons crash down from the ceiling as Molo pounds the Buddy Holly beat for a Not Fade Away jam.

A curtain opens stage right and three floats roll out and track their way through the center of the audience.

Each float has a birthday cake theme.

The first float looks like a Mardis Gras birthday cake, the center float looks like a traditional birthday cake painted in blue icing and lettered in pink, and the third float is a cake topped by Redi Kilowatt with a six-string black bass.

The crowd sang Happy Birthday after the floats were in and then the jam continued as the floats went back out.

The balloons were still popping when the floats were gone.

Weir looked annoyed.

He announced the band was taking another break

Not Fade Away jam

(Happy Birthday, Phil)

Not Fade Away jam

(break)

Meltdown ->

Playing in the Band (Bob Weir) ->

The Other One jam ->

jam ->

St. Stephen ->

The Other One (Bob Weir) ->

Elevator ->

Unbroken Chain (Phil Lesh)

Comes A Time (Chris Robinson)

Cream Puff War

Franklin’s Tower (Phil Lesh)

 Donor Rap

Encore: Johnny B. Goode (Bob Weir)

 

At the end of the encore Lesh gave Robinson a big hug.

It looked like Robinson was leaving and the rest of the band was staying for another song or at least a bow.

It was about 2 a.m.

Slowly, kind of one-by-one, the band started to float off the stage.

Finally Weir threw up his hands in a “fuck it” gesture and stomped off.

The lights came up shortly after.