Homecoming (Colgate University)
Set 1
Bertha
Good Lovin'
Brown-Eyed Women
Cassidy
It Must Have Been The Roses
Sunrise
New Minglewood Blues
Dupree's Diamond Blues**
Let It Grow
Set 2
James Gang Intro
Samson & Delilah
Cold Rain & Snow
Playing in the Band
Eyes of the World
Estimated Prophet
Other One
Drums
Iko Iko
Stella Blue
Playing in the Band (Reprise)
Encore
Johnny B. Goode
Notes:
a dosed show
band is wearing sunglasses
dupree's has a jingly, jangly fresh good feel. 1st set highlight
super fast too rushed eyes
Saturday, November 4, 2017
Saturday, January 7, 2017
Madison, WI - February 3rd, 1978 ("Hygge")
...well i married me a wife, she's been trouble all my life...
the good ol' grateful dead at the dane county coliseum
seahawks/lions wildcard (one more) saturday night
Set1
Cold Rain & Snow
They Love Each Other
Looks Like Rain
Brown Eyed Woman
The Music Never Stopped
Set 2
Estimated Prophet
Eyes of the World
Playing in the Band->
The Wheel->
Playing in the Band
Johnny B. Good
the good ol' grateful dead at the dane county coliseum
seahawks/lions wildcard (one more) saturday night
Set1
Cold Rain & Snow
They Love Each Other
Looks Like Rain
Brown Eyed Woman
The Music Never Stopped
Set 2
Estimated Prophet
Eyes of the World
Playing in the Band->
The Wheel->
Playing in the Band
Johnny B. Good
Madison Square Garden - December 29th, 2013
It's early January. It's frigid. This set remains hot.
(Wildcard football -- the hapless Texans with Brock Osweiller beating the hapless Raiders with third string Connor Cook)
Set 2
Down With Disease
Carini
Waves
Twist
Golgi Apparatus
David Bowie
Encore:
Possum
Friday, December 2, 2016
Manchester By The Sea/Nocturnal Animals
Friday double feature. Strangely complementary. Each more compelling viewed in tandem.
Wednesday, November 30, 2016
Arrival/Allied
Double Feature at the AMC Castletown 14. $10 matinee ticket. $6 fountain soda. Reserved lazy boy seats.
Left the theater with a headache.
Left the theater with a headache.
Friday, November 25, 2016
Why the Band's 'The Last Waltz' Is the Greatest Concert Movie of All Time
THIS FILM SHOULD BE PLAYED LOUD!
And then we begin at the end, with the weary members of the Band shuffling onstage to hoarse cheers. "You're still here, huh?" asks guitarist Robbie Robertson. "We're gonna do one more song, and that's it." Drummer Levon Helm stretches; bassist Rick Danko smokes a cigarette and wishes everyone a Happy Thanksgiving. They've been at this five or more hours now, poring through their back catalog and backing every celebrity guest along for the ride. Along with pianist Richard Manuel and multi-instrumental mastermind Garth Hudson, they tear into a funky "Don't Do It," their customized cover of Marvin Gaye's "Baby Don't You Do It." After the last note, Robertson says, "Good night. Goodbye." Exit, stage left.
Graham often said that Scorsese and company "missed it," because the lack of attention paid to the people who paid their $25 to dig Bob Dylan looking like, per Roberston, "a Christ in a white hat." There was no sense of community, he griped. But there's an incredible sense of the community onstage that gets captured by making this a performance film first and foremost, and that was exactly what Scorsese was after. The director wasn't interested, he said, in showing two girls giggling and then cutting to Rick Danko looking like a Tiger Beat pin-up; he wanted to see Helm shooting Danko a glance as they lock into the beat and go into the bridge of "Ophelia." It's as cinematic a rendering of the alchemy that musicians – and especially those five Band members – produce when they're caught in that spotlight.
Even if you don't know that The Last Waltz actually begins with the show's final number, you sense the one-more-for-the-road vibe. It's the film's very last musical interlude, however, that reminds you that you've watched both an extraordinary concert movie and something more than that. As the group plucks out the instrumental "Last Waltz Suite," the movie pulls back from Robertson's guitar to include Danko on an upright bass; we rotate and Manuel, playing a lap-steel guitar, comes in to the frame, as does Helm on mandolin and Hudson behind a bank of organs. They're playing together. The film is still playing it loud. The movie and the music are fused now. The camera pulls back farther and farther, until the shadows of these men loom larger, very large over the musicians themselves. Right before the credits roll, the Band have become dwarfed by the darkness around them, but they still keep playing. Until they don't. Good night. Goodbye.
And then we begin at the end, with the weary members of the Band shuffling onstage to hoarse cheers. "You're still here, huh?" asks guitarist Robbie Robertson. "We're gonna do one more song, and that's it." Drummer Levon Helm stretches; bassist Rick Danko smokes a cigarette and wishes everyone a Happy Thanksgiving. They've been at this five or more hours now, poring through their back catalog and backing every celebrity guest along for the ride. Along with pianist Richard Manuel and multi-instrumental mastermind Garth Hudson, they tear into a funky "Don't Do It," their customized cover of Marvin Gaye's "Baby Don't You Do It." After the last note, Robertson says, "Good night. Goodbye." Exit, stage left.
Graham often said that Scorsese and company "missed it," because the lack of attention paid to the people who paid their $25 to dig Bob Dylan looking like, per Roberston, "a Christ in a white hat." There was no sense of community, he griped. But there's an incredible sense of the community onstage that gets captured by making this a performance film first and foremost, and that was exactly what Scorsese was after. The director wasn't interested, he said, in showing two girls giggling and then cutting to Rick Danko looking like a Tiger Beat pin-up; he wanted to see Helm shooting Danko a glance as they lock into the beat and go into the bridge of "Ophelia." It's as cinematic a rendering of the alchemy that musicians – and especially those five Band members – produce when they're caught in that spotlight.
Even if you don't know that The Last Waltz actually begins with the show's final number, you sense the one-more-for-the-road vibe. It's the film's very last musical interlude, however, that reminds you that you've watched both an extraordinary concert movie and something more than that. As the group plucks out the instrumental "Last Waltz Suite," the movie pulls back from Robertson's guitar to include Danko on an upright bass; we rotate and Manuel, playing a lap-steel guitar, comes in to the frame, as does Helm on mandolin and Hudson behind a bank of organs. They're playing together. The film is still playing it loud. The movie and the music are fused now. The camera pulls back farther and farther, until the shadows of these men loom larger, very large over the musicians themselves. Right before the credits roll, the Band have become dwarfed by the darkness around them, but they still keep playing. Until they don't. Good night. Goodbye.
Thursday, November 24, 2016
Saturday, November 19, 2016
Grateful Dead -- Fillmore East 5.15.70 (Early Show)
a cold, november evening. a warm, acoustic set (around the fireplace).
setlist
don't ease me in
i know you rider
ain't it crazy (the rub)
friend of the devil
long black limousine
candyman
cumberland blues
new speedway boogie
cold jordan (w/ new riders)
setlist
don't ease me in
i know you rider
ain't it crazy (the rub)
friend of the devil
long black limousine
candyman
cumberland blues
new speedway boogie
cold jordan (w/ new riders)
Sunday, April 3, 2016
Horace & Pete: Episode 10
louis ck just laid down the gauntlet
cue "america"
"that's a wrap on horace & pete, everybody."
---------------------------------------------------------
Several days later from the finale, still upsetting.
Completely of it's time. America in 2016. Angry, sad, confused. Broken. Yet full of a beating heart.
Summoning the subversive, messy spirit of Robert Altman. (Now if only we could have a voice from my generation step up.)
cue "america"
"that's a wrap on horace & pete, everybody."
---------------------------------------------------------
Several days later from the finale, still upsetting.
Completely of it's time. America in 2016. Angry, sad, confused. Broken. Yet full of a beating heart.
Summoning the subversive, messy spirit of Robert Altman. (Now if only we could have a voice from my generation step up.)
Saturday, April 2, 2016
Friday, April 1, 2016
Phish - Amsterdam (Paradiso 7.2.97)
Set 2
Stash->
Llama>
(Wormtown Jam>)
Wading In The Velevet Sea
Encore
Free
David Bowie
Notes:
Stash (from 15:00 onwards...) canon of phish sets.
Stash->
Llama>
(Wormtown Jam>)
Wading In The Velevet Sea
Encore
Free
David Bowie
Notes:
Stash (from 15:00 onwards...) canon of phish sets.
Sunday, March 27, 2016
Morning Dew (covered by The National)
(pastiche of sonic youth/velvet underground with leonard cohen. i dig it. no i don't. it's flacid.)
Horace & Pete: Episode 9
Ann:
Well, how am I supposed to make that happen?
Tom:
You can't. Not by looking for it. That's why they call it 'falling in love.' See, you can't fall on purpose. See I, I used to be an actor and I, uh, took a class on falling...trying to make it look like I fell...and [uh] still trying... I must've fallen over about a thousand times. Tryin' to make it look like an accident. And I couldn't do it. So...um...I quit being an actor.
Ann:
Well, that's not any help. I mean...I mean what is a person supposed to do?
Tom:
Well, you just accept. Just accept the fact that, that love is rare, and it probably won't happen to you. Ever.
Ann:
Is that what you do? You just accept it?
Tom:
No. (laughs to himself) No I, uh, walk around brokenhearted. (Pause) and I, I get drunk. I mean I hate being alone. (Beat) Some day it'll kill me.
Well, how am I supposed to make that happen?
Tom:
You can't. Not by looking for it. That's why they call it 'falling in love.' See, you can't fall on purpose. See I, I used to be an actor and I, uh, took a class on falling...trying to make it look like I fell...and [uh] still trying... I must've fallen over about a thousand times. Tryin' to make it look like an accident. And I couldn't do it. So...um...I quit being an actor.
Ann:
Well, that's not any help. I mean...I mean what is a person supposed to do?
Tom:
Well, you just accept. Just accept the fact that, that love is rare, and it probably won't happen to you. Ever.
Ann:
Is that what you do? You just accept it?
Tom:
No. (laughs to himself) No I, uh, walk around brokenhearted. (Pause) and I, I get drunk. I mean I hate being alone. (Beat) Some day it'll kill me.
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