Ratdog
Pre-Opening Night Show
Sweetwater Music Hall
Bob Weir, Rob Wasserman, Mark Karan, Jay Lane, Kenny Brooks, Dave Ellis, Jeff Chimenti, Steve Kimock
1st Set
Truckin’ >
Brown Eyed Women
Loser
Loose Lucy (with Sammy Hagar singing)
Let It Grow
2nd Set
WHen I Paint My Masterpiece
Deep Elen Blues
A Hard Rain’s A-Gonna Fall (Jerry Harrison [Talking Heads] joins in)
Take Me to The River (Jerry Harrison [Talking Heads] on keys) >
The Other One >
Playin In the Band >
Stuff (metal space jam) >
Standing on the Moon
China Cat Sunflower >
I Know You Rider
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!
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 
with 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.
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.
The 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.
Due 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.
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
SWEETWATER TICKETS NOW ON SALE!
Bob Weir, rhythm guitar ace (Grateful Dead, Furthur, RatDog), is “reopening” the historic Sweetwater Music Hall, in a new location, down the street and around the corner from it’s old spot in Mill Valley. In a building formerly known as Woods Music Hall or The Masonic Lodge, is now the new home of The Sweetwater Music Hall, and they are opening to the public in two weeks with a very full schedule of exciting music events. As our readers might remember, this was the location of some Furthur Rehearsals back in 2009, in fact, this is where Sunshine Garcia Becker made her debut with the band!
And, particularly interesting, is the Wednesday Night Live series with Mark Karan (Wednesday Feb 8 and 22, with more dates to follow – $8 in advance.) Karan (RatDog, Jemimah Puddleduck) will explore new material and approaches with drummer Dave Brogan (ALO); bassist Joe Kyle, Jr. (The Waybacks); Danny Eisenberg on keys (Mother Hips, Ryan Adams); drummer Billy Lee Lewis (Tommy Castro, Roy Rogers, Jemimah Puddleduck); new friends Robert Powell and David Phillips on guitars, pedal steel and dobro; and surprise guests.What else to expect? Well it is a small intmate venue, and since so many great musicians (including Mr. Weir) call Marin County (and nearby Sonoma) home, one can expect plenty of drop in guests… of course one never knows when… but anything can happen in Marin!
Located in the Masonic Hall at 19 Corte Madera Avenue in Mill Valley, the Sweetwater Music Hall will offer food, drinks and live music for all ages, including national and local headline musical acts; Open Mic Mondays with Marin County keys player Austin DeLone; as well as other types of performances and private events. The club also will offer residencies and master classes with accomplished artists beginning with the Steve Kimock class on opening weekend.
Join the mailing list here: http://www.sweetwatermusichall.com/
Of course, DHL will keep you posted too!
DHL Grateful. Always (~);}
FOR IMMEDIATE RELEASE:
Sweetwater Music Hall to Open this January in Mill Valley
Rebirth of Landmark Roots Music Venue Marks a New Chapter for
San Francisco Bay Area Treasure Founded Nearly 25 Years Ago
MILL VALLEY, CA (January 11, 2012) – The much-anticipated Sweetwater Music Hall – a community gathering place and live music venue dedicated to bringing back the Sweetwater’s musical legacy to Mill Valley – is set for a soft opening this January. The opening of Sweetwater Music Hall marks a rebirth of the landmark roots music venue and Bay Area treasure founded by original owner Jeanie Patterson nearly 25 years ago.
A local venture that will be comprised of multiple investors including Bob Weir (Grateful Dead, Furthur) and other longtime supporters of Patterson’s club, the Sweetwater Music Hall is a state-of-the-art nightclub and café that will not only present nationally recognized top-quality entertainment but also will provide a comfortable home venue for local and emerging talent to perform and experiment. Through its intimate setting, the club is designed to be both a neighborhood hangout as well as a world-class entertainment destination employing cutting-edge Meyer Sound and streaming video technology capable of bringing exceptional live events to broader audiences.
“For years, the Sweetwater was the place many of us local and visiting musicians headed to when we were looking to play for fun,” said Weir. “Well, our clubhouse is back – and it belongs to all of us. Woo hoo – Mill Valley finally has its playpen back! Here we go…”
Located in the Masonic Hall at 19 Corte Madera Avenue in Mill Valley, the Sweetwater Music Hall will offer food, drinks and live music for all ages, including national and local headline musical acts; Open Mic Mondays with Marin County keys player Austin DeLone; as well as other types of performances and private events. The club also will offer residencies and master classes with accomplished artists beginning on opening weekend.
In addition to entertainment, the Sweetwater Music Hall will include a full-service restaurant and on-site catering led by renowned chef-restaurateur Gordon Drysdale (Pizza Antica, Café de Amis), who will offer artfully crafted, fresh, locally sourced and organic fare. At the soft-service café, initial orders will be taken at the counter and served by staff; subsequent orders may be placed tableside. While initially focusing on evening and happy hour fare, it is expected that by spring the Sweetwater will introduce breakfast and lunch, patio dining and musical Sunday Brunches featuring fresh-squeezed juices and super-premium coffee from Stumptown Coffee Roasters.
Over its nearly 25-year history, the original Sweetwater hosted performances by artists including Weir, Carlos Santana, Clarence Clemons, Elvis Costello, Gregg Allman, Huey Lewis, Jerry Garcia, Maria Muldaur, Sammy Hagar, Richie Havens and many other musical luminaries. In 1992, BBC Television shot a documentary at the club featuring Bonnie Raitt, John Lee Hooker and Ry Cooder. That same year, Hot Tuna recorded two live albums at the Sweetwater. The new club intends to carry on this storied tradition.
Sweetwater Music Hall’s Live Music Calendar
Sweetwater Music Hall’s opening month includes outstanding musical collaborations; guitar-slinging rock ‘n roll; old-school funk, Latin, reggae and R&B; global funk; acclaimed singer-songwriters; fun for the whole family; and the return of a rollicking community favorite, including:
Friday, January 27: The Outlaws
Born to the blue-collar port city of Tampa, Florida, in the early 1970s, The Outlaws established themselves as premiere players in the phenomenon that came to be known as Southern Rock. Driven by the band’s high-powered, guitar-driven country-rock and three-part harmony, The Outlaws’ earliest hits include their AOR classic, “Green Grass and High Tides,” as well as “There Goes Another Love Song.” The band’s 1980 cover of “(Ghost) Riders in the Sky” was their biggest single chart success, reaching #31 on the Billboard Pop Singles chart. Today, The Outlaws are at the threshold of a new era, with original singer/songwriter/guitarist Henry Paul and original drummer/songwriter Monte Yoho, Chris Anderson, Billy Crain, Randy Threet and Dave Robbins. Doors at 7 p.m., show at 8 p.m. Tickets: $31.50
Saturday & Sunday, January 28 & 29: Steve Kimock plus Special Guests
Steve Kimock is widely regarded as the quintessential musician’s musician. For nearly four decades, Kimock has been inspiring music fans with his transcendent guitar speak. While one can say that his genre is rock, no one niche has ever confined him. Instead, through the years, he’s explored various sounds and styles based on what’s moved him at the time, whether it’s blues or jazz; funk or folk; psychedelic or boogie; traditional American or world fusion. Every Kimock show is a fresh exploration of expansive jams and euphoric grooves — and whenever this master collaborator with deep Bay Area musical roots comes to town, magic is in the air. Doors at 8 p.m., show at 9 p.m. Tickets: $40 in advance; $42 at the door
Sunday, January 29: Master Class with Steve Kimock
Bring your guitar and get ready for a rare opportunity to learn guitar technique from Steve Kimock in an intimate setting. Participate in hands-on instruction as the prolific guitar master discusses his approach to the instrument and some of the theory behind his technique. Limited seats are available for this very special event! Doors at 1 p.m., master class at 2 p.m. Tickets: $67 in advance; $77 at the door
Monday, January 30: Open Mic Monday
A much-cherished Sweetwater tradition is back! Open Mic Monday returns to downtown Mill Valley at the Sweetwater Music Hall, hosted by Austin deLone. To sign up, email openmic@swmh.com on Mondays after 3 p.m. Doors at 7 p.m., show at 8 p.m.
Monday, February 6: Open Mic Monday
To sign up, email openmic@swmh.com on Mondays after 3 p.m. Doors at 7 p.m., show at 8 p.m.
Wednesday, February 8: “Wednesday Night Live” with Mark Karan and Special Guests
Best known for performing with the extended Grateful Dead family, Mark Karan’s soulful blues-based vocal stylings and inspired guitar work hit that sweet spot where rock meets R&B and country, then is blended with the soul of New Orleans and spiked with reggae, folk, funk and whatever else the muse might bring. At “Wednesday Night Live,” Karan will explore new material and approaches with drummer Dave Brogan (ALO); bassist Joe Kyle, Jr. (The Waybacks); Danny Eisenberg on keys (Mother Hips, Ryan Adams); drummer Billy Lee Lewis (Tommy Castro, Roy Rogers, Jemimah Puddleduck); new friends Robert Powell and David Phillips on guitars, pedal steel and dobro; and surprise guests. Doors at 7 p.m., show at 8 p.m. Tickets: $8 in advance, $10 at the door
Sunday, February 12: YouthRock the Rebuild
Youth musicians from YouthRock the Rebuild (YRR) will host a concert to celebrate the return of Sweetwater Music Hall. The fun family event will include performances by Marin-based youth bands and vocalists. As a service organization, YRR is committed to raising money to support important causes. Proceeds from this concert will be donated to Kiddo! to help keep music and the arts as an integral part of our schools. Doors at 4 p.m., show at 5 p.m. Tickets: $15 in advance, $20 at the door
Monday, February 13: Open Mic Monday
To sign up, email openmic@swmh.com on Mondays after 3 p.m. Doors at 7 p.m., show at 8 p.m.
Friday, February 17: The 21st Annual Mardi Gras Mambofest with Rhythmtown-Jive and
Special Guest Bonnie Hayes
A special Louisiana musical package of original music and selected covers of New Orleans R&B, funk, swamp-pop and marching brass tunes by a top-tier dance combo of Bay Area players who have worked with the likes of Earl King, Frankie Ford, Dr. John, Zigaboo Modeliste and Leo Nocentelli of The Meters, Lee Allen, La Vern Baker, Queen Ida, Sly & The Family Stone, Allen Toussaint, Commander Cody, Jesse Colin Young and Boz Scaggs, to name a few. Featuring: Tim Eschliman (vocals, bass), Ken “Snakebite” Jacobs (bari-sax), Mike Rinta (trombone), Michael Peloquin (tenor sax, harp), Kevin Zuffi (piano), Jimmy Sanchez (drums), and special guest Bonnie Hayes (vocals, keys). Doors at 8 p.m., show at 9 p.m. Tickets: $15 in advance, $17 at the door
Saturday, February 18: Dan Bern with Common Rotation
Singer-songwriter Dan Bern is joined by friends and collaborators Common Rotation for a special West Coast tour stop at the Sweetwater Music Hall. While Bern’s musical tales receive comparisons to those of Bob Dylan and Woody Guthrie, most recently Bern has focused much of his talent and sharp wit on writing songs for movies and other projects. He composed songs for the Jake Kasdan/Judd Apatow spoof Walk Hard: The Dewey Cox Story, starring John C. Reilly, as well as for Apatow’s Get Him to the Greek, starring Russell Brand and Jonah Hill. L.A.-based Common Rotation’s modern folk-rock features a melodic blend of acoustic guitar, trumpet, banjo, harmonica and cajon. Doors at 8 p.m., show at 9 p.m. Tickets: $22 in advance, $24 at the door
Monday, February 20: Open Mic Monday
To sign up, email openmic@swmh.com on Mondays after 3 p.m. Doors at 7 p.m., show at 8 p.m.
Wednesday, February 22: “Wednesday Night Live” with Mark Karan and Special Guests
Ace axe man/signer Mark Karan (RatDog, Jemimah Puddleduck) explores new material and approaches with drummer Dave Brogan (ALO); bassist Joe Kyle, Jr. (The Waybacks); Danny Eisenberg on keys (Mother Hips, Ryan Adams); drummer Billy Lee Lewis (Tommy Castro, Roy Rogers, Jemimah Puddleduck); new friends Robert Powell and David Phillips on guitars, pedal steel and dobro; and surprise guests. Doors at 7 p.m., show at 8 p.m. Tickets: $8 in advance, $10 at the door
Saturday, February 25: Vinyl
Marin County’s favorite funky sons, Vinyl is the rare sort of band that can meld funk, Latin jazz, dub and reggae without coming across as pale imitators of the style of the moment. Instead, Vinyl can alternately sound like the best live funk, Latin, reggae or dub band you’ve heard in ages — and occasionally, all at the same time. Instead of going for flash or gimmicks, Vinyl brings it with fierce musicianship and zesty abandon, proving you can have both substance and style. It’s an approach that has made the band favorites of the festival circuit, but the best place to experience them is on the dance floor of a hot, sweaty indoor venue. Doors at 8 p.m., show at 9 p.m. Tickets: $15 in advance, $17 at the door
The Venue
The first floor of the 107-year-old Masonic Lodge No. 356 in Mill Valley underwent an extensive renovation and has been transformed into a live music venue and café evoking the deconstructed elegance of a grand old home. Arriving at Sweetwater Music Hall, guests will walk through a courtyard and enter the café through four black French doors flanked by two courtyard lanterns. The café features an open kitchen and espresso bar, with classic French bistro tables and café chairs as well as a U-shaped pistachio-hued banquette. Walls dressed in exposed brick and warm camel color frame the space, while three chandeliers hang languidly from the high ceiling.
Moving into the music hall, guests are welcomed by an inviting ambience marked by a blend of comfort, rawness, beautiful touches and hidden acoustics. Guests may choose between standing room or seating options that include a long deep burgundy velvet and leather-tufted banquette; cocktail tables and chairs in black and brass; generously sized drink ledges that double as seating; and at the back bar, elevated seating that provides great sight lines across the music hall. Walls cloaked in antiqued burlap wallpaper with stenciled gold transition seamlessly to the coved ceiling, which reveals exposed wood joist and pin-spot lighting at its center. Sound panels are fashioned as decorative wall panels, while Moroccan wall sconces, black casework and black drapery accent the space throughout. Those who frequented the original Sweetwater venue may notice two memorable pieces of artwork: two much-loved mermaid paintings that have been retrieved for display at Sweetwater Music Hall.
Sweetwater Music Hall supports the San Francisco Bay Area Musicians Fund, the regional chapter of Sweet Relief Musicians Fund. A portion of all ticket sales will be donated to the non-profit charity organization, which provides financial assistance to all types of career musicians who are struggling to make ends meet while facing illness, disability or age-related problems.
