Gravy, 10-15-2011, Tipitina’s, New Orleans, LA

Umphrey's McGee, October 29, 2011, The Tabernacle, Atlanta, GA

The Disco Biscuits ~ Chicago Auditorium Theater ~ Chicago, IL ~ 12-30/31-2011 ~ NYE RUN!!

       The Disco Biscuits had their first NYE show 1995 in Philadelphia, PA.  Since then, they have grown to be a popular jam band that puts on GREAT shows!  They usually play their NYE shows in northeast locations including Philadelphia, New York, Massachusetts, and New Jersey.  This year was their first year to play somewhere besides the northeast, so everyone was really excited to see them play somewhere new.  Chicago was a perfect place for them to play because it isn’t too far from the northeast and it is big enough to have a good crowd.  Also, the Chicago Auditorium Theater is a big, beautiful, and historic place to have a concert.  The Theater was built in 1889 and has hosted plenty of famous shows including Jimi Hendrix, The Doors, and Grateful Dead.  Lately, the Theater has been used for plays, balls, etc... So to have The Disco Biscuits come and play was going to be really interesting!

       The Disco Biscuits played December 26th, 27th, and the 28th in New York and then came to Chicago to play their NYE shows on December 30th and 31st.  On the 30th, they had Abakus and EOTO opening.  Abakus is a DJ who opened around seven-thirty.  EOTO is a Dubstep-type of band that consists of Michael Travis and Jason Hann from The String Cheese Incident, and they played around eight-thirty.  They were a fun way to get the crowd wild and ready for a great Biscuits show!  EOTO ended around nine forty-five and then the Biscuits came on around ten-ten.  The Disco Biscuits opened the show with a HUGE “7-11” that went straight into “Munchkin Invasion”.  Next was a jamming “Mindless Dribble,” into “Lunar Pursuit,” back into “7-11,” BACK into “Mindless Dribble,” and then into the ending of Pink Floyd’s “Run Like Hell” to end the first set around eleven-fifteen!  

Abakus came back on during the set break and the Biscuits came back around eleven fifty-five.  They opened the second set with a straight up Biscuits jam consisting of “Strobelights and Martinis”>“Pimp Blue Rikki”>“Strobelights and Martinis”>“I-Man!”  Next was “Morph Dusseldorf,” which was unfinished, and morphed into a crowd favorite “Basis For A Day” to end the second set!  The encore was one of their new songs “Portal To An Empty Head” into the ending of “Svenghali,” back into “Portal To An Empty Head.”  What an AMAZING first night!  The late night show was Dr. Fameus, which is the solo project of Disco Biscuits’ drummer, Allen Aucoin.

       NEW YEAR’S EVE, and there was excitement in the air!  Alpha Data and Future Rock were the openers.  DJ Alpha Data came on around seven-thirty.  Future Rock is a jam-tronica band that came on around eight forty-five and ended around nine-twenty.  They definitely had the crowd RAGING, not that the crowd needed to be pumped up being that it was NEW YEAR’S EVE!  The Biscuits came on stage around ten-thirty and the crowd went NUTS!  Jon “The Barber” Gutwillig was wearing an all-white jump-suit with white shoes; it was a funny sight to see.  They opened the show with a “jam” that went into a dyslexic version of Pink Floyd’s “Run Like Hell.”  Now, for The Disco Biscuits, a dyslexic version means that a song is broken up into different parts.  For instance, they played the ending to “Run Like Hell” the 30^th; and on the 31^st, they played the beginning and middle sections.  “Run Like Hell” went into “Tricyle”>“Orch Theme”>“Spacebirdmatingcall.”  The lasers were in FULL FORCE the first set.  To end the first set was an old song, “Little Betty Boop.”  They ended the first set around eleven-fifteen and came back on around eleven-thirty.  

       The Biscuits opened the second set with a dyslexic version of “Confrontation,” which completes the song from their show on the 28th in New York.  “Confrontation” went into “Morph Dusseldorf,” which finished the song from their 30^th show.  Next was “Astronaut”, during which I noticed that it was getting close to being midnight.  Everyone was wondering what was going to be the New Year’s song!!  “Helicopters” was next and that’s when we realized what it was!  Almost every year since 1999, The Biscuits play “Helicopters” and they change the lyrics from “Helicopters, look out below. Helicopters, flying low,” to “Happy New Year’s, look out below. Happy New Year’s flying low.”  So, they did the countdown at the beginning of the song and when it hit midnight they SCREAMED “HAPPY NEW YEAR’S, LOOK OUT BELOW!”  The balloons and confetti dropped and the crowd went WILD!!  They jammed out “Helicopters” and then took a minute or two break to gain their composure.  After that, they went into a MASSIVE jam that consisted of “Little Shimmy In A Conga Line”>”Vassillios”>”Voices Insane”>”Little Shimmy In A Conga Line!”  Everyone thought they were never going to end and just keep going with a long second set instead of a third set.  But, they did end the second set a little after one.  

       Around one-thirty The Biscuits came back on with some slow jams, “Floes”>“My Lady Survives.”  Next they played an unfinished version of “Rock Candy” which went back into “Floes.”  Next was “Crystal Ball”, and then a nice version of “Kitten Mitts.”  The last song was “Highwire”, and during that song I noticed that it was getting close to two-thirty.  Sure enough, after a good “Highwire,” the band said “Sorry, but we went over curfew there will be no encore.  HAVE A GREAT NEW YEAR’S!!!!”  At first it was a bummer that they didn’t play an encore, but then I realized that they still played as long as they could, so I didn’t miss any music! All in all, I have to say that was one of the BEST New Year’s Eve shows I have ever been to!!  Thanks to Chicago, the Biscuits, and the people for a WONDERFUL NEW YEAR’S RUN!!!!  HAPPY 2012!!

December 30, 2011 - Auditorium Theater - Chicago, IL  

Abakus and EOTO opened

Set 1:  7-11 > Munchkin Invasion, Mindless Dribble > Lunar Pursuit > 7-11 > Mindless Dribble > Run Like Hell ¹

Set 2:  Strobelights and Martinis > Pimp Blue Rikki > Strobelights and Martinis > I-Man, Morph Dusseldorf ² > Basis For A Day

E:  Portal To An Empty Head > Svenghali ¹ > Portal To An Empty Head

1 ending only 2 unfinished

 

December 31, 2011 - Auditorium Theater - Chicago, IL  

Alpha Data and Future Rock opened

Set 1:  Run Like Hell ¹ > Tricycle > Orch Theme > Spacebirdmatingcall, Little Betty Boop

Set 2:  Confrontation ² > Morph Dusseldorf ³, Astronaut, Helicopters ⁴, Little Shimmy In A Conga Line > Vassillios > Voices Insane > Little Shimmy In A Conga Line

Set 3:  Floes > My Lady Survives, Rock Candy ⁵ > Floes, Crystal Ball, Kitchen Mitts, Highwire

1 Dyslexic completion of 12/30 version 2 Dyslexic completion of 12/28 version 3 Completes 12/30 version 4 w/ countdown and New Years lyrics 5 unfinished

MORE PHOTOS HERE

Review by: Stuart Wimpee

Edited by: Rosemary A.W. Roberts

Photography by: Stuart Wimpee

America and Jim Messina – Holiday Harmony Tour – The Saenger Theatre, Mobile, AL  12-08-11

Perhaps a Thursday night in Mobile is not a typical time to go to a concert; or perhaps, as guitarist Jim Messina joked, “Not everyone got the memo”; whatever the reason, the Saenger Theatre was not sold out for this Holiday Harmony Tour.  But for the lucky audience in attendance, both Jim Messina and the iconic band America treated us to an incredible evening of music.

Jim Messina and his talented band opened with a few Loggins & Messina classics, including “Watching the River Run”, “Danny’s Song”, and “Thinking of You”.  His band was comprised of Gary Oleyar (fiddle, violin, guitar), George Hawkins Jr. (bass), Jim Christie (drums), and Craig Thomas (saxophone, flute, clarinet).  I was truly entranced by Jim’s friendly stage presence, his acoustic guitar, and his lovely voice which has stood the test of time.  Switching to electric guitar, Jim gave us a healthy dose of enjoyable country-tinged rock from his time with the band Poco, with songs like “Kind Woman” and “You Better Think Twice”.  We witnessed Gary and Craig engage in a dueling match with violin and clarinet, and heard some smooth guitar work from Jim.  The new tune “Jolene” was a great country rocker, a song that reflects Jim’s passion for this style of music, and it was lots of fun.  The set closing “You Need A Man” was phenomenal, allowing some jammed out space for Gary’s lively fiddle, a killer sax solo from Craig, some great bass funkin’ from George, and solid drumming from Jim Christie.  My personal highlight came during the encore, when the band delivered an incredible version of Loggins & Messina’s “Angry Eyes”, a song I fell in love with the first time I heard it years ago; the sax and flute sections were nailed, and Jim’s guitar solo was perfection, hovering close to the beloved album cut, while embellishing where warranted.  The encore concluded with a rockin’ “Your Mama Don’t Dance”, and the crowd was on their feet applauding the sensational set!

We didn’t have to wait long before America took the stage, with Gerry Beckley (guitars, keys, vox, harmonica), Dewey Bunnell (guitars, vox), Wil Leacox (drums), Michael Woods (guitars, keys), and Rich Campbell (bass).  We knew this was the Holiday Harmony Tour, but when the intro music of “Tin Man” was accompanied by the lyrics of “White Christmas”, it was quite a surprise, and one that worked surprisingly well!  A full-fledged “Tin Man” followed, and Dewey’s voice sounded every bit melodic and smooth as it always has.  “You Can Do Magic” transported me back in time to my 1980s childhood.  Gerry’s voice was pristine and tender for “Don’t Cross the River” and the beautiful “Daisy Jane”.  America brought us some holiday cheer throughout the show, sprinkling songs like “Winter Wonderland”, “Let It Snow”, and a lovely “Silent Night” amongst fan-favorite hit songs.  The exquisite harmonies of “I Need You” were complimented by the comfortably smooth drumming of Wil Leacox.  The classic “Ventura Highway” was a major crowd-pleaser, as was the excellent rendition of Joni Mitchell’s “Woodstock”, a song included on America’s 2011 album Back Pages.  “Woman Tonight”, “Only In Your Heart”, and “Lonely People” were all expertly performed, and I felt like I was back in my parents’ study, sitting on the floor with the History album spinning on the record player.  A cover of The Mamas & The Papas’ “California Dreamin” segued nicely into a song about Christmas in California.  The set closing “Sandman” was hard-rockin’ and featured some smoldering guitar work, and left the fans on their feet begging for more.  America’s encore thrilled the audience, when “Sister Golden Hair” came out to play, followed by the best-known “Horse With No Name”.  Finishing with a “Holly Jolly Christmas”, America brought our holiday-happy musical adventure to a close.  The fortunate fans who came out in Mobile to see America left immensely satisfied, and I can safely say that we would ALL like to thank Jim Messina and America for a wonderful evening.

Review and Editing by: Rosemary A.W. Roberts

Photos by: Clayton Roberts

Daryl Hall & John Oates – Beau Rivage Theatre, Biloxi, MS            12-02-2011

To be privileged to see a band that played a major role in your younger years is quite an honor, and when we learned that Daryl Hall and John Oates were playing in Biloxi MS, my husband and I had the same response: WE HAVE TO GO!  When we arrived for our first concert at the Beau Rivage Theatre, we immediately enjoyed the comfortably intimate setting provided by the 1500-seat venue.  Our excitement was heightened with the knowledge that this was a SOLD OUT concert, and the room would be packed with an eager crowd, sure to spur the musicians to soaring peaks.  For a Hall & Oates concert, it would be logical to assume that we 30-somethings would be part of a handful of “youngsters” in the crowd, but there was actually a wide age range that included a group of teenage girls with homemade T-shirts, as well as silver-haired couples who had seen this band numerous times.

To open the Biloxi edition of their “Do What You Want, Be What You Are” tour, the band strolled onstage and tore into “Maneater”, with Daryl Hall’s voice and guitar as pristine as ever, and saxophonist Charlie DeChant coming down front to trade licks with John Oates’ guitar.  “Family Man” followed, and found percussionist Everett Bradley animated and lively.  I was thrilled to hear “Out of Touch”, one of my all-time favorite Hall & Oates songs, which Daryl sang flawlessly, and which included some great guitar work from John.  I was less familiar with the next song, from the Voices album, but I really enjoyed hearing John sing “How Does It Feel To Be Back”.  Next up was another of my favorites, from the Rock & Soul album; “Say It Isn’t So” was quite a treat, and Eliot Lewis worked over his keyboards, while Charlie delivered a smashing sax solo.  “Las Vegas Turnaround” was well done, with bassist Klyde Jones and drummer Brian Dunne holding the solid beat, and guitarist Paul Pesco pushing the band to peaks.

Daryl introduced the next song by explaining it was one of the first that he and John wrote together, and although they’ve played it countless times, each time feels like the first time: “She’s Gone” was soulfully wonderful.  To hear John’s opening guitar chords being strummed on his slick silver guitar for “Sara Smile” was blissful, and Daryl’s voice was so tender yet strong at the same time.  Then Daryl put aside his guitar and moved to a keyboard, for a deceptively slow starting intro that then exploded into “I Can’t Go For That (No Can Do)”.  Throughout the show, you could watch as the music of Hall & Oates drove people out of their seats to dance, even for just a minute; but by the end of this grooving and building song, it was a bit of a real dance party, with many folks on their feet!  When the final notes rang out and the band left the stage, many people clamored forward to crowd around the stage, and everyone was clapping and cheering.

Much to our delight, the band returned to the stage for a spirited encore of “Rich Girl” and “You Make My Dreams”, and the audience continued to enthuse and rave!  For their second encore, the classics “Kiss On My List” and “Private Eyes” had the sold out crowd happily dancing, absolutely loving the experience.  We were thrilled that we got the chance to see Daryl Hall and John Oates live in concert, and we were truly impressed with their genuine musicianship, their entertaining stage presence, and their talented band.

FULL PHOTO GALLERY HERE

Review and Editing by: Rosemary A.W. Roberts

Photos by: Clayton Roberts

North Mississippi Allstars – Minglewood Hall, Memphis, TN  11-25-11 

Everyone has their Thanksgiving traditions.  For me, it’s a huge meal with my family, waking up at the crack of dawn (or crack of midnight as was the case this year) for Black Friday shopping, and attending the annual North Mississippi Allstars hometown show in Memphis.  No matter how many variations of the trio that I see during the year, it’s always nice to see them play in their true form.  This year was made even better when I learned that Jason Isbell and the 400 unit would be opening for them.  Given that their equipment was stolen just days before in Dallas, they put on quite a show with borrowed gear.  “Decoration Day”, written by Isbell for his father, is perhaps one of my favorite songs by the Drive-By Truckers and I was thrilled when they broke it out during their set.  Other songs rounding out their short, but fabulous set were a cover of the Meters “Hey Pocky Way”   sung by former Memphian Chad Gamble, and their own “Alabama Pines” and “Codeine”.  Closing the set with “Try”, they had the audience primed and ready for the Allstars.  They even slid in a few bars of Led Zeppelin’s “No Quarter”.  Was it a nod to audience member Robert Plant, perhaps?

Cody strutted out in a Viking hat and goggles with a “Drinking Muddy Water” video intro in the background and it was clear to all that the Allstars came to this hometown show to have fun.  Staying true to their North Mississippi Hillcountry blues roots, the trio played crowd favorites such as “Mississippi Boll Weevil”, “Po Black Maddie”, “Skinny Woman”, and “Mean Ol’ Wind Died Down”.  Cody’s “Psychedelic Sex Machine jam” brought down the house as always.  Joining them onstage with his own classic brand of washboard playing was Jimmy Crosthwait.  His playing on “Horseshoe”, “Moonshine” and “KC Jones” reminded the older Memphis audience of bygone days when Crosthwait played with Jim Dickinson--a Memphis legend and father of Luther and Cody.  Closing the set with Cody playing the drums with red wiffle ball bats and Luther playing his cigar box guitar, “Drinkin’ Muddy Water” was a crowd pleaser for sure. 

Coming back onstage for the encore we were pleased to see Jason Isbell join the trio for a cover of Justin Earle Townes “Harlem River Blues”.  The final guest appearance of the night would be Alvin Youngblood Hart doing his own “Big Mamas Door” and with that the house was rocking.  “Hear the Hills’ and “Let it Roll” rounded out the first encore.  However, we then got a second encore.  “All Night Long > Snake Drive” would officially end the night, and with that smoking hot ending, the holiday show was over.

Review by Cindy Neal

Edited by: Rosemary A.W. Roberts

Photos by: Cindy Neal

The String Cheese Incident, The Fabulous Fox Theatre, Atlanta, Georgia, 11-24-2011

Reach up to the sky and touch the stars with your own hands!

            On Saturday November 24th, a car full of people and I drove up to Atlanta, Georgia to see The String Cheese Incident at the Fabulous Fox Theatre.  I have been listening to them for about ten years now and this was my first time to see them, so I was extremely excited!  We got to the hotel just in time to watch the Iron Bowl, a perfect way to “pre-game” for the show, before heading to the lot to check out the vendors and their wares on Shakedown Street.  The show time was eight and we were all very antsy so we walked in around seven-fifteen.  We sat on the floor about fourteen rows back to the right of the stage.  The stars were twinkling and the crowd was ready to get down and PARTY!   

The band came on stage around eight-fifteen and everyone started whooting!  All weekend my buddy was calling “Restless Wind” as the opener and of course that’s what they opened with!  Right when they started playing the crowd started jamming and the balloons went flying.  After a HUGE “Restless Wind,” they went into “100 Year Flood.”  Next up was Stevie Wonder’s “Boogie On Reggae Woman,” which got the crowd going NUTS!  “Barstool” was a mellow jam and then the band broke out a new song called “Colliding.”  It was a good dance kind of song that got everyone ready for a rockin’ crowd pleaser, “Miss Brown’s Teahouse!” “Miss Brown’s Teahouse” went into “Shine,” which was a long, party jam and a great way to end the first set.  

They came back from the set break and didn’t waste any time to break out Allman Brothers “Southbound!”  That really got the crowd ready for an exciting second set!  Next was one of my favorites, “Desert Dawn”; it is just one of those good, uplifting jam songs.  “Desert Dawn” has a verse that says, “Reach up to the sky and touch the stars with your own hands.”  I noticed that they played three songs which mentioned something about stars in the lyrics and it was perfect for the Atlanta Fox, which has stars twinkling on the ceiling.  A funky “Sirens” was next and that’s when the jams and lights started to get weird and crazy.  The balloons were in full force and all over the place by now and they went into the electronica song “Bumpin’ Reel.”  Michael Kang’s fiddle sounded great during that jam!  “Way That It Goes” was next, and I really enjoyed Kyle Hollingsworth’s voice and organ during this song.  Next, Bill Nershi had everyone do a group whoot, which lead into a song that IS String Cheese, “Jellyfish,” and everyone was screaming the lyrics!  To end the second set was “It Is What It Is,” with a good jam to have everyone pumped for the encore. 

The crowd was extremely LOUD and ready for SCI to come back on for the encore! The band asked if it was cool for them to play some bluegrass since they were down south, and we responded by screaming.  They started playing the fast song “Rollin’ In My Sweet Baby’s Arms.”  After some awesome bluegrass, they walked off stage and the crowd did not let up with the screaming.  So, they came back on stage and said they couldn’t not come back out and play another one.  They ended the show with the good ole song “Way Back Home”, just before twelve.  After the show a friend and I were talking and we both agreed that even though we wouldn’t normally say this, we thought that there was positive energy at the show.  It was AMAZING!  The whole environment (music, people, lights, everything) was just happy and positive.  There was no way you could not have a good time at the show!  It was one of my favorite shows I have ever been to!!



11/26/2011 Fox Theatre - Atlanta, GA
Set 1:
Restless Wind, 100 Year Flood > Boogie On Reggae Woman, Barstool, Colliding, Miss Brown's Teahouse > Shine
Set 2:
Southbound, Desert Dawn, Sirens > Bumpin' Reel, Way That It Goes, Jellyfish, It Is What It Is...
Encore:
Rollin' In My Sweet Baby's Arms, Way Back Home

Review by: Stuart Wimpee

Edited by: Rosemary A.W. Roberts

Photos by: Stuart Wimpee

Bear Creek Music and Arts Festival – November 9-13, 2011, Live Oak, FL

What do you do when you see a bear in the woods?  Well, if it happens to be “Warm and Fuzzy” night at the Spirit of the Suwannee Music Park, you know you’re at Bear Creek Music and Arts Festival…and you prepare to party!  2011 marked the fifth annual Bear Creek Festival, and the atmosphere was festive and fun throughout the weekend.  Nestled in amongst the trees in Live Oak, FL is this wonderful music park that hosts several festivals during the year including Wanee Festival, Blackwater Music Festival, Magnoliafest, Suwannee Springfest, and Bear Creek Festival.  Spirit of the Suwannee Music Park knows how to take care of concertgoers:  lots of space for tent camping and RV’s, cabins for rent, bathouses with showers, a disc golf course, canoes, playgrounds, a general store, and a café.  And because Bear Creek is a music AND arts festival, there were tents housing art galleries, providing visual delights to compliment the experience.

And THEN there’s the music!  Bear Creek had four outdoor stages (and there were lots of hammocks strung between trees at the back of the Amphitheatre!), an indoor music hall, and a silent disco tent.  The bands were well-scheduled, there was constantly good music to go see, all the music and vending was within a comfortable walking distance, and all of it added up to one of the best music festival experiences I’ve ever had.  We arrived on Friday, 11-11-11, and enjoyed Papadosio on the Purple Hat Stage, followed by the entertaining jazz organist Dr. Lonnie Smith, who is an incredible Master of the Hammond B3 Organ.  At the Campground Stage, we watched fellow Mobilian Chris Spies on keys with the Russell Batiste Band; as Russell enticed bassist George Porter Jr. onstage, we saw the first of many collaborations that would include this world renowned bass player.  We heard the Anders Osborne Trio ripping up the Big IV Amphitheatre, where Stanton Moore and Billy Iuso joined him for a fantastic version of Sugaree.  Orgone was a treat, bringing the west coast funk to the table; then we headed into the cold of the Purple Hat field where we were frozen in our tracks by Garage a Trois’s intense yet disjointed set.  Our bones were later warmed and rocked by Soulive at the Amphitheatre, a supremely fun and danceable set that included an awesome Beatles tribute medley (Come Together, Something, Eleanor Rigby, and I Want You (She’s So Heavy)).  Medeski Martin & Wood gave us some delicious jazz, and Giant Panda Guerilla Dub Squad had a great set as well.

On Saturday 11-12-11, we started off our funkin’ adventure with Chapter 2 at Uncle Charles’ Porch Stage; then we hit the Amphitheatre for one of the liveliest Bear Creek sets with The Funky Meters, with Arthur Neville and George Porter Jr. absolutely funkin’ us up!  The New Mastersounds grooved out the Porch Stage, and then we headed inside to the SOS Music Hall where we got quite a treat from 3^rd Stone.  Third Stone’s music is incredibly uplifting and fun to dance to, with lovely vocals, solid rhythms, and a talented lead guitarist; and with guest keyboardist Chris Spies, saxophonist Chris Spies Jr., and pedal steel guitarist Roosevelt Collier (The Lee Boys), this ended up being one of my favorite shows.  Back at the Amphitheatre, Medeski Scofield Martin & Wood played a blissful set that included some of my favorite tunes off the “A Go Go” album.  Then at the Porch Stage, Lettuce primed us with the funk factor and poised us perfectly to head to the Bear Creek main headliner at the Amphitheatre.  It was time for the Trey Anastasio Band, and this Suwannee crowd was ecstatic to have them here!  Warmly received even in the cold night air, TAB played a solid set from the opening “Push On Til The Day” all the way through.  Russ Lawton (drums) and Tony Markellis (bass) held strong, and Trey gave Ray Paczkowski (keys) room to roam.  Russell Remington provided sweet sax and flute, and Natalie “Chainsaw” Cressman (trombone) and Jennifer Hartswick (trumpet) blew us all away!  Trey’s guitar sounded clear and fluent, particularly in the midst of “Simple Twist Up Dave”.

Sunday, 11-13-11, an early set of Jacob Fred Jazz Odyssey got us going good; then the Porch Stage housed a rousing set with The Trio, featuring George Porter Jr., famed NOLA drummer Johnny Vidacovich, and Jennifer Hartswick.  The Lee Boys took us to church for a while; and then we got to rock out to the talented Honey Island Swamp Band.  John Scofield & Piety Street gave us some smooth NOLA-laced jazz.  We took a short drive down to the river to admire the scenery, before returning to the Amphitheatre for one of my favorite sets of the whole festival:  Lettuce absolutely exploded with their groovin’ funk, driven by their super-tight horns, drums, bass, electrifying keys, and smoldering guitar.

After this amazing weekend of funktastic music, we headed home exhausted, but filled with gratitude to be able to experience such a wide array of talent and enjoyment.  Bear Creek Music & Arts Festival was a wonderful experience, and one that we hope to continue in the years to come.

Review by: Rosemary A.W. Roberts

Edited by: Rosemary A.W. Roberts

Photos by: Tarver Shelton and Clayton Roberts

Links to additional Photo Galleries and Relix Blog.

Links to audio downloads of Performances

11-8-11 The Wilderness of Manitoba, Alabama Music Box, Mobile, AL

It is not often that I hear vocals that truly impress me; I tend to focus on the instrumentation of music.  So I was pleasantly surprised when the vocals of The Wilderness of Manitoba (TWOM) entranced me.  From the moment their exquisitely crafted harmonies greeted my ears, I was captivated.  I was happy to learn their tour would bring them to the Alabama Music Box in Mobile, AL.

Hailing from Toronto, Ontario, TWOM includes Scott Bouwmeester (guitar, bass, percussion, vox), Will Whitwham (guitar, uke, keys, vox), Melissa Dalton (guitar, shakers, vox), Stefan Banjevic (guitar, banjo, uke, cello, etc , vox), and Sean Lancaric (percussion).  It was intriguing to watch these multitalented musicians work with such a wide array of instruments; and the singing bowl played by Melissa was the first time I’ve seen or heard anything like that.  To classify The Wilderness of Manitoba as a 21^st Century folk band hints at the heartfelt feelings imparted by their vocal harmonies, but does not adequately describe the musical experience of seeing this band.

The soundscape created by TWOM was richly textured, and was warm and inviting in the midst of the Alabama Music Box.  A feel-good equilibrium was established, with some songs hypnotically peaceful, and some songs that enticed folks to get on their feet and dance.  I was grateful for the opportunity to have The Wilderness of Manitoba playing in my town, and glad I got to see and hear them in action.  If given the chance, I highly recommend you check out this band live; they are truly unique musicians with a definite passion for their art, and quite unlike any other band I’ve seen.

Review by: Rosemary A.W. Roberts

Edited by: Rosemary A.W. Roberts

Photos by: STOCK

MOE. November 6, 2011, Vinyl Music Hall, Pensacola, FL

There is nothing like a beautiful Sunday night in Pensacola, Florida; and there is especially nothing better than a moe. show on the Gulf Coast.  It was Jams Plus Media's first time at Vinyl Music Hall, but it will not be our last!  This venue is clean and intimate, and is obviously well-managed with a lot of passion and focus to bring great music to the Northwest Florida area. 

Show time!  And the Boys from Buffalo open with a solid "Brent Black".  And the crowd chants "Brent Black where did you go?"  So from a Rob Derhak opener, to a "Good Trip" with Al Schnier, straight into "Akimbo" from Chuck Garvey, you knew all three men at the mic wanted a chance to turn on this southern crowd.  Later that set the band played "Down Boy", and at this point Clayton Roberts (The Open Door) and Stuart Wimpee (Wimpee Reviews) both look at me and say, "Oh man! I love this song!" And apparently the fans and the band did too, because the energy in Vinyl increased rapidly.  The first set ended with "Lazarus" which paved the way for a second set that would bring a solid punch. 

Now thirty-seven minutes past the hour, and the band rolls back onto the stage with "The Road" that seriously sent us into the stratosphere.  They are at this point telling us “full steam ahead!”  We all catch a serious "Bullet" with a sneaky and sick "32 Things".  Man oh man, the Gulf Coast was once again getting a pearl in the shell.  After they try to cool us with "Water" it is time to get down and dirty with "Bearsong". So from "Hi & Lo" to a set ending "Big World", the crowd was glad they made it to this venue, on this night.  The encore wrapped it up with a rocking "Lylelovit" into an amazing "New York City" that had us singing along to lights out.  But we all left after midnight wanting so much moe.  The entire Jams Plus team hopes moe. will quickly return to the Gulf Coast to bring their awesome vibe and amazing music to us again!

Review by: Dale Taylor

Edited by: Rosemary A.W. Roberts

Photos by: Tarver Shelton

Umphrey’s McGee (The Tabernacle, Atlanta, Georgia) 10-29-2011

HAUNTLANTA!!

On October 29th, 2011, my dad and I drove up to Atlanta to go see Umphrey’s McGee play their Halloween show.  We got to Atlanta mid-afternoon so we could tour the SweetWater Brewery, which was really fun; I would recommend it to everyone who has the chance to go.  Dubconscious was going on at nine and Umphrey’s around ten-fifteen.  We got inside around eight-thirty so we could get a decent seat.  It was already packed with people dressed up and ready to party.  We got lucky and found pretty good seats on the top balcony.  While we were waiting for Dubconscious to come on, I heard that Dubconscious’ drummer was hurt and they would not be playing, which meant Umphrey’s was coming on early.  I like Dubconscious and was excited to see them, but I was also glad that we were going to get more Umphrey’s!  They came on stage around nine-thirty and they were all dressed up! Brendan Bayliss (Guitar, Vocals) was dressed up as Keith Richard Simmons; Jake Cinninger (Guitar, Vocals) was Dimebag Darrell Hall; Joel Cummins (Keyboard, Piano, Vocals) was Vince Neil Armstrong; Andy Farag (Percussion) was Raggedy Andy Rooney; Kris Myers (Drums, Vocals) was Pamela Anderson Cooper; and Ryan Stasik (Bass) was Karate Kid Rock.  It was a sight to see!  

The first set was a standard badass Umphrey’s set, with songs to get the crowd pumped up and ready for some mash-ups.  To end the first set, they played what they called “Addicted to Kiss,” which was a mash-up of the Prince song “Kiss,” Robert Palmer’s “Addicted to Love,” and Genesis’ “I Can’t Dance!”  When they played “Addicted to Love,” they had female dancers, like the ones in the music video, come out on stage with blow-up guitars and dance.  Then, when they played “I Can’t Dance,” Brendan, Jake, and Ryan did ‘the dance’ off the stage to end the set around ten-fifty.

They came back on stage around eleven-thirty or so and started off with “Come As Your Kids,” which was a mash-up of MGMT’s “Kids,” Nirvana’s “Come As You Are,” and Dead or Alive’s “You Spin Me Right Round!”  I don’t know how they came up with it, but it’s awesome!  A couple songs later they were playing their original “All In Time,” and they jammed Ozzy’s “Crazy Train” and Yes’ “The Fish.”  It got the crowd head banging!  To end the second set, they played “1985 Wellwishing,” which was a mash-up of Wings’ song “Nineteen Hundred and Eighty Five,” Terrence Trent D’Arby’s “Wishing Well,” their original “Wellwishers,” and then Wings’ “Band On the Run” ending!!  

For the encore, they played one of their great songs “Hajimemashite” and then played what they called “In The Puppet Kitchen,” which was Umphrey’s “Puppet Strings” and “In The Kitchen.”  Just when we thought it was over, the crowd started to chant “WE WANT THE UMPH, GOT TO HAVE THAT UMPH!!”  It was so loud and crazy and the band came back on stage for a second encore!!  They played their instrumental original “Nothing Too Fancy,” which was awesome, and then they decided to add Blue Oyster Cult’s “Don’t Fear The Reaper” jam to end the song!  The crowd went nuts for MORE COWBELL!  The show was over around one-thirty and we were all happy with what we saw!  Umphrey’s McGee never ceases to amaze me!  What a GREAT Halloween show!


SET 1:  Jazz Odyssey > 40's Theme, Miami Virtue -> Push the Pig, Mulche's Odyssey > The Haunt > "Jimmy Stewart"* > Padgett's Profile, The Floor, Addicted to Kiss**
SET 2:  Come As Your Kids$ > Mulche's Odyssey, All In Time$$, Day Nurse, Resolution > 2x2, 1985 Wellwishing%
ENCORE 1:  Hajimemashite, In The Puppet Kitchen%%
ENCORE 2:  Nothing Too Fancy&

 

Review by: Stuart Wimpee

Edited by: Rosemary A.W. Roberts

7 Walkers, October 18, 2011 (Tuesday). Tipitina’s (Uptown), New Orleans, LA 

     What do you get when West Coast Psychedelic Rock-n-Roll meets New Orleans Funk?  Some people may not know, but if you were at Tipitina’s on this night you would; and that band is the 7 Walkers.  7 Walkers is a collaboration of Bill Kreutzmann (Grateful Dead ~ Drummer), George Porter Jr. (Meters ~ Bass), Papa Mali (Burning Spear ~ Guitar) & Matt Hubbard (Willie Nelson ~ Keys).  Just like the Grateful Dead and some New Orleans bands, sometimes musicians are busy with other projects; so from time to time Kirk Joseph (Dirty Dozen Brass Band (DDBB) ~ Sousaphone) will play shows while Porter Jr. is on the road with the Funky Meters or his own band the Runnin’ Pardners, which both hail from New Orleans.  Robert Hunter (lyricist for the Grateful Dead) also chimes in on the 7 Walkers, with his influential lyrics on seven of the thirteen tracks on their new CD titled 7 Walkers.  This would be a special night for the 7 Walkers to play Tiptina’s:  they announced to the audience that they would be doing a *Live Recording* of the show to be released later on.  When this was announced, the crowd went wild, knowing that there were Special Guests from NOLA in the house that night as well. The 7 Walkers were about to take us on a Psychedelic trip through time and this is how it went down….   

     Opening up this starlit night would be *Space*, an incredible improvisational instrumental that the Grateful Dead would play at shows from time to time to get the crowd ready for a night to remember.  Where the Space flows so do the Heavens above, so how appropriate for them to come straight into *He’s Gone* next; it was like a tribute to Jerry Garcia, who perhaps was looking over us that night at Tipitina’s.  *King Cotton Blues* was next up on tap, “Some Say It’s My Attitude ~ Others Say My Luck ~Those Who Say My Just Desserts ~ Can Take a Flying F***”.  On the 7 Walkers Album, Willie Nelson sits in with Papa Mali on ‘KCB’, trading vocal licks back and forth, making for one great masterpiece.  *Just Kissed My Baby* would get the crowd ‘Funkin’ around next, and bring the band to the roots of New Orleans Bassist George Porter Jr. who has been called the ‘Architect of Funk in NOLA’.  *Evangeline* would follow after and would bring the crowd into a “Creepin Thru the Bayou” mood.  Flying through the crowd next would be *Bird Song*, another great by Hunter; “Don’t Cry Now ~ Don’t You Cry” because the show is about to explode.  Joining in on the next song would be Sam Williams (Big Sam) from NOLA’s own DDBB & Big Sam’s Funky Nation on Trombone to bring us the sights and sounds of *Eyes of the World*,  another masterpiece and a popular song that the Grateful Dead used to conquer fans over the years.  It was time to “Wake Up To Find Out” that the 7 Walkers are here for your entertainment purposes, channeling some of the greatest music ever written and played.  Big Sam would stay on stage for an instrumental arrangement next called *[For the Love of] Mr. Okra*, which was written about a vendor that traveled the streets of NOLA with his charismatic charm selling vegetables out of his truck.  Closing out the first set would be another 7 Walkers original *Sue From Bogalusa* written by Robert Hunter, rockin’ the first set away into the night, and it was a mighty fine one at that.  Yeah You Right!!! 

     7 Walkers would start off the second set with an acoustic *Ripple* featuring special guests Aaron Wilkinson and Chris Mule’ of Honey Island Swamp Band.  Ripple would send a rippling effect through the crowd getting them ready for what was about to come.  As the members of HISB left the stage, Big Sam returned to the stage along with his fellow Members Efrem Towns, Kevin Harris, & Kirk Joseph of the DDBB and play a tune called *New Orleans Crawl*; it was an “All For One ~ And One For All” type of tune that would teach you all the different ways to crawl around the Big Easy.  *Deal* would follow the crawling around with all guests still on stage from the DDBB and Big Sam, and it “Goes to Show You Don’t Even Know” what might come next; just chill and dance and “Play It Slow” because the ‘Deal’ was going down now, and everyone was getting a winning hand.  “Without a Warning” up next would be *Lovelight* and a superb jazzy-influenced one at that.  The collaboration of all these special guests would make for some great times and antics that took songs to a new and experimental level by joining the forces of music that happened to be on stage this wonderful night.  *7 Walkers* the self-titled song would be next in line, another great written by the man himself, Robert Hunter.  *Bottle Up & Go* a song that was written by Tommy McClennan (Mississippi Delta Blues Legend) in 1939 would be up next; the song was made more famous by John Lee Hooker later on.  This was the night for the 7 Walkers to take that song to a new level, and boy did they!  Closing out the second set would be the infamous song *Sugaree* another crowd pleaser for sure; by the time the second set was over there wasn’t a single quiet person in that room; “Encore ~~Encore!” rang out.  

     The 7 Walkers would leave the stage for a few minutes, then come back out and slap us with a *New Speedway Boogie* into an incredible and unforgettable *Wharf Rat*.  Wow, what a night of Musical History in the Making!  This had to be one of the best shows in the world that was going on that day;  phenomenal and remarkable to see so many musicians on stage, some from the past who came together to bring life to the Future stars that were in front of their eyes that night.  Next time you have the chance to see the 7 Walkers please do, because you’ll regret it if you don’t. 

Review By:  Tarver Shelton 

Edited By:  Rosemary A. W. Roberts

Photos By:  Tarver Shelton

Gravy, 10-15-2011, Tipitina’s, New Orleans, LA

IT’S ALL GRAVY!

    On October 15th, 2011, Mark Clark from Blue Eyed Dog Productions and I drove over to New Orleans to see Gravy at Tipitina’s. When we got in town we went to Stephen Kelly’s (Guitar and Vocals) house. While we were there I asked him a few questions. I had always been curious where the name Gravy came from. Stephen explained how the name came about.

“When we first came together we started coming up with names that were terrible. They were so cliche. It started to become a source of friction. We would be in rehearsal and we would be like look man we got this gig coming up and we need a name. Then, Marcus [Bass and Vocals] was like you know man, f**k it dude, we’re gravy, don’t worry about it, everything is gravy. Then we all looked at each other and said YESSSS dude, we’re GRAVY!”

Review by: Stuart Wimpee

Edited by: Rosemary A.W. Roberts

Photos by: Gravy Management

Trey Anastasio Band, October 14, 2011, The Fillmore, Charlotte, NC

Okay; so Trey will always be Trey; quite simply, he loves what he does and you can see his passion carry over from Phish to his Trey Anastasio Band.  The 2011 TAB features Jennifer Hartswick, Natalie “Chainsaw” Cressman, and Russell Remington wailing away on the horns; Trey also has drummer Russ Lawton, bassist Tony Markellis, and keyboardist Ray Paczkowski to finish off this tight knit band.  Trey seems to always have a great time, and his stage presence always finds his inner youth.  By bringing some early TAB songs back out, dusted off and polished brightly, this fall tour has proven to be a real treat.  As you can tell from the setlist below, a good arrangement of old and new originals, as well as some solid-and-fun covers, makes the TAB show one not to be missed. 

Set One:

Cayman Review

Gotta Jibboo

Ooh Child

Burn That Bridge

Sweet Dreams Melinda

Money Love and Change

Burlap Sack and Pumps

Pigtail

A Case of Ice And Snow

Push On 'Til The Day

Black Dog

Set Two:

Simple Twist Up Dave

Shine

Sand

Let Me Lie

Valentine

Plasma

Magilla

Heavy Things

Liquid Time

Alaska

Mr. Completely

First Tube

Encore:

Show of Life

Hey Ya

Sultans of Swing

Review by: Brad Worsham

Edited by: Rosemary A.W. Roberts

Photos by: Brad Worsham

Deluna Festival, October 14, 15, 16, 2011, Pensacola Beach, Pensacola, FL

The second annual Deluna Fest on gorgeous Pensacola Beach was nothing less than FANTASTIC!  Imagine a music festival on the beach, with hotels located on the festival grounds, with music stages on the beach, and music stages in the front parking lots of the hotels.  Can you picture that?

The hotels made for a fantastic barrier of sound between the stages, so the music was never muddled with another act playing.   With musical acts such as Jane’s Addiction, Weezer, Mutemath, Cake, Matt & Kim, Manchester Orchestra, Toubab Krewe, Anders Osborne, Honey Island Swamp Band, and so many more, how could this festival not be awesome?!  The hotels provided great amenities such as pools, and one even had a lazy river near the main stage, so you could literally float in the lazy river on an innertube while enjoying your favorite act.  If pools were not your thing, the many hot tubs were sure to rest those weary bones.  All the while the beautiful Gulf of Mexico was just a few feet away from the beach stages if you needed to jump in and swim with the dolphins.  

The Gulf and Heritage stage that housed many acts from New Orleans provided sheer excellence, portraying the rich music that flows from this sister city.  The other stages brought both familiar and newer acts for all to witness and experience.  With this unique festival, as you wandered the grounds you could always find some new music that caught your ears, and might have even made you late to an act you were planning to see.  Sometimes it felt as if you needed two of your own self just to experience it all. 

The management behind the Deluna Fest was top notch, and the cross promotion between the media and the artists produced a positive outcome for a success story.  We are excited to learn of the return of Deluna Fest in 2012, and can’t wait to see what next year will bring. 

Review by: Clayton Roberts

Edited by: Rosemary A.W. Roberts

Photos by: Clayton Roberts

Buckethead, October 13, 2011, The Soul Kitchen, Mobile, AL

It had been around ten years since I had last seen Buckethead, and on October 13, 2011, I was pleased to find that he still puts on a great show.  His performance is truly one to catch, to witness the creative master in action.  As the show progressed through teases of Jimi Hendrix, The Star Wars Theme, The Robot, and Buckethead’s own version of Mardi Gras, the crowd soaked it all in.  It felt to me that an influence of Yngwie Malmsteen is a large contributor to Buckethead’s style.  It was a solid one long-set show and YES, the full costume of KFC bucket and mask were in order.  I liked that on his truly custom built guitar he had these sound effect buttons that he let the crowd participate in by offering the guitar to them to press the effects as they saw fit; Buckethead filled in the rest from the strings.  If you get the chance to check out his act, I would highly suggest it.

Review by: Clayton Roberts

Edited By: Rosemary A.W. Roberts

Photos by: Clayton Roberts

Bayfest, Mobile, AL,  October 7-9, 2011

The 17^th annual Bayfest in beautiful downtown Mobile, AL kicked off on a stunning sunny afternoon Friday, October 7.  This year’s event saw some changes that would make the festival an overall success on many levels.  The decision to not sell day tickets proved to be a hit as the crowds stayed an even keel throughout the weekend and made for an extremely pleasant weekend for fans and families.  Bayfest 2011 had something for everyone, with national acts such as Toby Keith, Blake Shelton, Ludacris, B.O.B., 3 Doors Down, Duran Duran, Need To Breathe, and Korn; and local acts such as Wet Willie, Mob Towne Revival, Church Boy, Miranda Mixon, and The Ugli Stick, plus many, many more.  The broad variety of music made Bayfest a hit amongst fans, and the compact area in which Bayfest is held makes for easy access to experience new music on the seven stages.  Crowds were able to get close and personal with their favorite acts without a feeling of being over crowded, which is largely due to no single-day tickets sold.  The overall feel to the weekend was fantastic as crowds were able to hear the hits of their favorite acts as well as witness the new songs from current and upcoming albums.  When all was said and done, and the downtown area was dismantled and cleaned up, we were left with excitement to see what next year’s Bayfest has in line for us.  As Alabama’s largest music festival, we give Bayfest high props on a job well done.

Review by: Clayton Roberts

Edited By: Rosemary A.W. Roberts

Photos by: Clayton Roberts

Dr. John with Lower 911 - October 9, 2011 - The Alys Stephens Center, Birmingham, AL

Such A Night.  There was no confusion on who was playing this evening at the Alys Stephens Center in Birmingham, AL.  As he always does, Mac Rebennack: Dr. John, The Night Tripper, strolled onto the ASC stage with his signature swagger.  Cane in hand, fedora on top, and snake skin shoes stomping to the beat; Hall of Fame inductee Dr. John played to a very quiet crowd on a Sunday evening the 9^th of October.  Having seen him in past years at different venues, I was surprised to see very few people up in revelry.  Actually, there were about two.  The first of two 75 minute sets for the evening, Dr. John started off before a fan majority Cyndi Lauper took the stage.  This was an evening of two separate shows with no overlap in performances.  Dr. John maybe the star of this show but it was his band, the Lower 911, who truly shined throughout the performance.  As a fan of Dr. John, I could see the admiration of the band for him during each song. We were pleased with songs like Guilded Splinters, Rite Place/Wrong Time, Monkey Speaks, and Such a Night.  The 75 minute set went by too fast for my taste.  

Set List:

1. My Indian Red
2. What goes around
3. Cabbage Head
4. Jinky Jinx
5. Love 4 Sale
6. Mama Roux
7. Splinters
8. Rite Place
9. Mama + Papa
10. St. James
11. Monkey Speaks
12. Such a Nite
13. Goin Back
14. Big Chief

Review by Jason Biggs

Edited by Jams Plus Media

Photos by Jason Biggs

10-07-11 Alvin Youngblood Hart’s Muscle Theory and North Mississippi Allstars, Tipitina’s Uptown, NOLA

New Orleans is guaranteed to be a great place for live music, and Tipitina’s Uptown is one of the most renowned small venues in town.  The wide open floor and upstairs overlooking balcony make for an intimate music hall built for gettin’ down.  Tipitina’s was ready to rock when Alvin Youngblood Hart took the stage and began strumming his guitar.  A slinky-smooth groove worked its way off the stage and got the crowd warmed up.  What followed was a hard-rockin’ set full of energy.  Alvin’s soulful voice and soaring guitar are perfect for dancing enjoyment.  The deeply resonant bass playing of Bill Blok, and the skillful sharp drumming of Joe Gelini provide a solid soundscape for Alvin to accentuate.  The Muscle Theory lineup of Hart, Blok, and Gelini is a strong combination, and was a great way to start the evening!

When the North Mississippi Allstars strolled onto Tipitina’s stage, the roar of the crowd made it very clear:  this New Orleans audience LOVES this band!  And when the opening chords and lyrics of “All Night Long” came creeping through the room, it was clear we were in for a long, hot night!  Luther Dickinson made full use of the guitar arsenal on Stage Right; I counted at least six guitars on the rack, and I think he played them all during the show.  “Shimmy” featured Luther’s slick slide work and Chris Chew’s full and funky bass.  “Crazy Bout U” had deliciously slow dirty-blues bookends, with a speedier section in the center.  Cody Dickinson’s drums drove the rollicking rhythm of “New Orleans Walking Dead”, a great tune off their newly-released album Keys to the Kingdom.  Another song off the new album followed; “Jellyrollin All Over Heaven” is a happy toe-tapper, sure to make even angels smile.  Later in the show we would also hear the fun and lively new “Jumpercable Blues”.

NMAS is definitely on top of their game right now; if they come your way, do yourself a favor and go see them.  There were very few full-stops during this set, as Cody would immediately bring the next number around.  “Shake (Yo Mama)” was smoking hot, dare I say salacious, and the “JR->Lord Have Mercy” was a nice way to cool off.  Then violinist James Hausman was invited onstage, bringing with him a friendly vibe and depth of emotion; Luther and Hausman played well together, exchanging leads, having a good time.  The groove fest continued with Chris showing how “Funky” his bass can be; we got to “Boogie”, and I think I could dance to “Po Black Maddie->Skinny Woman” every day!

Luther performed a soulful Junior Kimbrough solo piece, and when Chris and Cody came back to play, Cody was playing a guitar while kick-drumming!  Luther played a cigar-box guitar for “Drinking Muddy Water”, before he and Chris left Cody onstage with his electric washboard.  Cody’s ‘Woogie Board’ is quite a unique instrument that packs a fiery intensity and sounds like nothing else I’ve ever heard!  For the audience-demanded Encore, Chris sang “I’d Love to Be a Hippie”, and everyone got to “Shake ‘Em On Down” before heading out.  What an incredible night to be at Tipitina’s in NOLA, with Alvin Youngblood Hart’s Muscle Theory AND North Mississippi Allstars…thanks, guys, for an amazing show!

Review by: Rosemary A.W. Roberts

Edited by: Rosemary A.W. Roberts

Photos by: Tarver Shelton

Widespread Panic

Biloxi Coliseum, Biloxi, MS

10-2-2011

NEVER MISS A SUNDAY SHOW!

Sunday afternoon on October 2, 2011, a couple of friends and me drove over to Biloxi, Mississippi to see Widespread Panic and Yonder Mountain String Band. The weather was PERFECT and this was the first time Panic had played in Mississippi since George McConnell was the lead guitarist. That show was in Jackson, MS at the Mississippi Coliseum October 21, 2005. We arrived to the IP Casino Resort and Spa around two thirty to check in to our room. I ran into a handful of people I knew while we were checking in and I realized that I was going to know so many people at the show! It is always a good time when you know many people at a show, it makes the show a thousand times better! Also, it was Sunday and you never miss a Panic Sunday show, NEVER!  

Doors were at six and Yonder was scheduled to play at six-thirty. The venue had a music festival in the parking lot for us called The Day Tripper Music Fest, which lasted from two until six. We got to the lot around four-thirty and we went inside the festival. The festival had three local bands and vendors inside.

 I had to wait for my friend to get to the lot so I could get my ticket from him, so I got inside the show around seven. Yonder was finishing a song when I walked in and the next song they played was Grateful Dead’s “Althea”! “Althea” is one of my favorite songs by the Grateful Dead, so that was a perfect way to walk into a show! They were getting the crowd pumped up and ready for Panic! They played a couple more songs and finished around seven thirty-five. When the lights came on, I realized that the coliseum was cut in half. The stage was in the middle of the floor and there still was not that many people there. I overheard someone talking to a security guard inside who said he thought there was around four thousand people there. So not only was it a Sunday show, but it was a very intimate show. I never found out how many people were there, but I knew it was not many. Panic came on stage at eight twenty-seven and they opened with Jerry Joseph’s “Chainsaw City”. Dave Johnston, Banjo player from Yonder came out during “C. Brown”. I thought that he was a PERFECT fit for “C. Brown”. It sounded like a flowing river during the slow and peaceful song. “Who Do You Belong To” was next and they switched from Johnston to Jeff Austin, the mandolin player from Yonder. “Who Do You Belong To” is fast paced which was good for Austin to get up there and have some fun! When they played “Bears Gone Fishing”, they finally started to get their groove. They went into a great jam which, morphed into “Protein Drink”>”Sewing Machine” to close the set.  

They came back on around ten-fifteen and hit the opening licks to Warren Zevon’s “Lawyers, Guns, And Money”! The crowd went NUTS and so did I because I had been chasing that song since the first time I saw them! Even though it is a cover, I still love the way they play it! After that was “Thin Air (Smells Like Mississippi)”, which was a crowd pleaser, given that we were in Mississippi. The next ten songs were one BIG jam without any stops. They started with “One Armed Steve”>”Jack”>”Stop Go”>”Good People”>”Dark Bar”>”Good People”>”Disco”>”Diner”>Driving Song”>”Breathing Slow”. After the crazy jam of songs ending with the slow “Driving Song” and “Breathing Slow”, the band decided to rock the house with “Pigeons” and “Give” to end the second set. The Encore started with a old favorite “Papa’s Home” and went into Blind Faith’s “Can’t Find My Way Home”, which is one of the only slow songs you can end a show with and not have the crowd wanting more. NEVER MISS A SUNDAY SHOW!!! After the show was over, it was all about partying at the CASINO'S!

10/02/11 Mississippi Coast Coliseum, Biloxi, MS

1: Chainsaw City > Thought Sausage > Travelin' Light, True To My Nature, C. Brown*, Who Do You Belong To?**, Walkin' (For Your Love), Crazy > Bear's Gone Fishin' > Protein Drink > Sewing Machine

2: Lawyers, Guns, And Money, Thin Air (Smells Like Mississippi), One Arm Steve > Jack > Stop-Go > Goodpeople > Dark Bar > Goodpeople > Disco > Diner > Driving Song > Breathing Slow, Pigeons, Give

E: Papa's Home, Can't Find My Way Home

* with Dave Johnston on banjo
** with Jeff Austin on mandolin
[Yonder Mountain String Band opened]

LISTEN HERE

Review by: Stuart Wimpee

Edited by: Jams Plus Media

Photos by: Clayton Roberts

Widespread Panic ~ September 30, 2011 ~ Tuscaloosa Amphitheatre, Tuscaloosa, AL 

     Celebrating 25 Years of  Music, Widespread Panic rolled into Tuscaloosa, AL after a three-night *Sold Out* run in Knoxville, TN.  This show would mark the first time that Widespread Panic had played Tuscaloosa in 15 years.  Their last show there was 10/04/96 at the Coleman Coliseum, and they were accompanied by another great band, Leftover Salmon.  The history of Widespread Panic and Tuscaloosa goes back to the early days when Panic was just getting started.  Their first show they played at this college town was 02/24/87 at The Chukker.  This show would be followed by many other shows that played out at Fraternity Houses, College Station (w/ Blues Traveler), the Ivory Tusk, and a few other local places.  In fact, the Fire Marshall showed up at a couple of those shows, and shut one down on 03/04/93 at the Fairgrounds because so many people were there.  The other time was at the Ivory Tusk 05/29/92 show for overcrowding during 'Rock' and 'Hatfield'.  This showed that the band was growing in strength and numbers.  There was a reason for this: Panic was starting to capture audiences not only in college towns, but fans of the Grateful Dead and other great bands of that time that were still around.  Widespread Panic played original songs, but when they would play covers of other artists, there was new life to those songs they were playing.  Many people might say that Panic is a *Great Cover Band*, but their original songwriting has produced captivating tunes that their fans love.  Many fans celebrate Panic by making shirts, koozies, and artwork with favorite songs, both original and cover, that they sell in the lot.  It’s always fun to see someone wearing their favorite WSP Lot Shirt and hear that song at the show.   

     John Bell, singer/guitarist of Widespread Panic was recently quoted saying, “Down south, the vibe is more like an SEC football game.  It’s laid back. There’s a little more settling in that takes place beforehand.  There’s more of a city vibe up north.  It’s so densely populated and that vibe kind of creeps into the show. Initially you might have more of a ‘Let’s rock’ kind of attitude that you bring from the street, but once you start playing that familiarity of the band settles in and that outside atmosphere fades away.”   

     This show in Tuscaloosa, AL on September 30, 2011 would not only mark fifteen years since the band played there, but also the first time they played there without Michael Houser.  Jimmy Herring would be taking his place due to pancreatic cancer that ended Houser’s life on August 10, 2002.  What would a Tuscaloosa show be like without Michael Houser? Tonight’s show would provide the answer.  Not only had Widespread Panic suffered a loss, but the town of Tuscaloosa on April 27, 2011 suffered one of the worst catastrophic moments in history from being put in ruins by a line of tornadoes that swept through Alabama and other states that day.  The band and fans at this show would not only have a Panic Fans for Food Drive, but would also give money from each ticket purchased to this *Sold Out* show for relief efforts due to the tragedy of what had happened. 

     It was a beautiful day on September 30, 2011 with a nice gentle breeze blowing and blue skies.  Fans from all around would be gathering once again to hear a band that hadn’t played here in quite some time.  ‘Greta’ was the opener for the show, quite a fitting start, since part of the lyrics in the song is the line “Mother Nature's come to arms ~ She’s in a Fighting Mood” as if Mother Earth needs help in this town and is fighting for it.  That’s what the fans and the band were there for, the recovery of this town.  Another song that was very fitting for the first set was ‘I’m Not Alone’, thinking about the loss of what had happened not just to the band in the past but the town here recently.  Proving Ground was spot on, always love it when they play that song, always love that verse, “How did I find myself just this way ~ My Body keeps Moving ~ But my Thoughts get in the Way”; how fitting, once again.  They ended the first set with a tune that was originally written by Jerry Joseph called ‘Climb to Safety’ which is a very uplifting song. “I Promise You’ll be Dry and Never be Alone”... how great to feel that after all that Tuscaloosa had been through. 

     Second set would start off with another crowd favorite ‘Ribs & Whiskey’, not to mention the fact that John (Jo Jo) Herman (keyboardist/organ) was wearing a Moe’s BBQ shirt that read, “BAMA STYLE”.  How fitting for Tuscaloosa, being home to the Alabama ‘Crimson Tide’ Football team, very much a crowd pleaser for sure in this town.        

They would then ‘Summon the Holy Ghost’ with ‘Tall Boy’, another crowd pleaser, followed by an onslaught of non-stop jamming without a pause with the start of ‘Shut Up and Drive’, hold on let’s go on this ride.  It would merge into Impossible > Chilly Water > Drums > Jam > Maggot Brain > Chilly Water > Surprise Valley > Pilgrims.  What a treat to have all this thrown right into your face and ears, with pure excitement taking you over, the sounds of an ‘Honest Tune’ lifting you up, and rejoicing the sound.  The band would take a pause and come back out for an encore, which would be quite sweet to end the night.  ‘Baby, Let Me Follow You Down’ was up first, which was originally written by Bob Dylan, played by Ric von Schmidt.  Bob Dylan would eventually make this song one of his masterpieces.  'Ain’t Life Grand', an original by WSP, would end the show; how appropriate to let you know after all you have done to get to the place you are now that it is ‘Grand’ to have life, and live amongst others through trials and tribulations.  Widespread Panic really showed their love for the town of Tuscaloosa that night, and they did put on one hell of a show.

09/30/11 Tuscaloosa Amphitheater, Tuscaloosa, AL

1: Greta > Porch Song, Clinic Cynic > Airplane > Jaded Tourist > I'm Not Alone, Walk On The Flood, Proving Ground, All Time Low > Climb To Safety

2: Ribs And Whiskey, Tall Boy, Shut Up And Drive > Impossible > Chilly Water > Drums > Jam > Maggot Brain > Chilly Water > Surprise Valley > Pilgrims

E: Baby, Let Me Follow You Down, Ain't Life Grand

[Yonder Mountain String Band opened; Last 'Baby, Let Me Follow You Down' - 03/23/07, 353 shows]

LISTEN HERE 

Review By:  Tarver Shelton

Edited By:  Rosemary A.W. Roberts

Photos By:  Tarver Shelton

Lettuce ~ September 25, 2011 ~ Tipitina’s  Uptown, New Orleans, LA 

      “Too Funky In He’e!!!  Ow!  Gimme Some Air!”, as James Brown once sang in the day.  Well there was no better explanation than what the band LETTUCE brought to Tipitina’s  on this Sunday night.  It was a great night to get down and listen to the groovin’ funky sounds as this band “Raged” the crowd, coming in from the Saints win. There were also a few Special Guests amongst the crowd hanging out watching Lettuce play.  Papa Mali, Billy and Tara Iuso, and Paul Levine(Bear Creek) were all there supporting this awesome band.  Yeah You Right!!!!  

     This 7-Piece band had its origins in 1992, when the members attended a teen summer camp at Berklee College of Music in Boston.  They would all return in 1994 as undergraduates at the college.  Over the years this band would bring out other groups, such as Soulive and Chapter 2.  Eric Krasno, the front man for these groups, is an extraordinaire when it comes to the rhythm and lead of the influential jazzy guitar riffs.   Neal Evans keeps the crowd entertained with his non-stop twisting of sounds on the organ and keys, sending you into a spacious place of mind.  Erick “E.D.” Coomes on bass is the most raging musician I have ever seen on stage. He gets the crowd pumped, making their feet lift off the ground from the bass flowing through the floor into the air.  Sam Kininger & Ryan Zoidis on saxophone send notes flying through the air that you want to catch and hold.  Adam “Shmeeans” Smirnoff on guitar comes next, trading licks and riffs with Eric Krasno, then “Rages” it out w/ Coomes on bass, as if they are in competition to see who will strike the other one down. Finally, Adam Deitch on drums keeps the group going and following his lead, unifying all the sounds on stage.  His talent on drums has to be one of the best I have seen and heard in quite a while.  

     Overall, this has to be one of the best shows I have seen LETTUCE play, since Bear Creek 2010 when they were joined by members of James Brown’s band the J.B.’s which consisted of Maceo Parker, Fred Wesley, and Pee-Wee Ellis.  I have seen Lettuce in the past, but they have gotten so much tighter and more funkalicious since the first time I saw them at a New Orleans, Late-Night Jazz fest show years ago.  I totally recommend seeing these guys, or any side projects of Royal Family Records when they come to a town near you. 

     Good Enough For Good Times opened for Lettuce, featuring Jeff Raines & Robert Mercurio of Galactic, Simon Lott (Charlie Hunter Trio) and Joe Ashlar.

Review By:  Tarver Shelton

Edited By: Rosemary A.W. Roberts 

Photos By:  Tarver Shelton 

Stanton Moore Trio at The Independent - San Francisco 9/15 and 9/16 2011 

San Francisco got a double dose of the Stanton Moore Trio when they ended their cross country tour with not one but TWO shows at The Independent. Luckily, I was in the Bay Area visiting family at the same time. I’m a huge Stanton Moore fan and was anxiously awaiting the Friday night show. I’ve seen him play countless times on the Gulf Coast with Galactic, Garage A Trois, as well as SM3 and he never fails to blow my mind. The first act for night 1 was Soul Rebels who are undoubtedly one of my favorite New Orleans brass bands so I was excited to see them as well. They were the perfect opener! There is nothing like a good brass band to put you in a NOLA state of mind. Their explosive sound and high energy had the crowd pumped and ready to go. They finished their incredible set to huge applause and then it was time for the main event. After a short break the lights dimmed again and Robert Walter (organ), Will Bernard (guitar) and Stanton Moore (drums) all made their way to their respective instruments. Stanton, with his signature black rimmed glasses and ever present smile, greeted the crowd. The Trio kicked the evening off with “Pot-Licker” and away we went. Next were “Pie-Eyed Manc”, “Layer Cake” and “Neeps and Tatties”. Partway through the first set, Soul Rebels joined them for “Tchfunkta” and “Sprung Monkey”. That stage was packed! I felt like I was watching a Jazz Fest after dark show where the musicians just keep piling on. It was fantastic and the crowd went crazy! The Trio continued on with “Special", ”Angel Nemali”, "Knocker”. They finished out the first set with “Bigguns” then took a short break. Stanton signed some cds and had a little “meet and greet” at the merch table, then hopped back on stage and the flurry of funk continued with “Over (Compensatin’)”, “Maple Plank”, “Awana”, “Live Wire”, and “The Yodel”. We were grooving along into the night, then they slammed us with “Proper Gander” followed by “Keep on Gwine” and “Who Took The Happiness”. As always, I was mesmerized by the incomparable Mr. Moore thrashing on his Gretsch kit. Adding to that, the sweet sounds of Robert on the keys and Will’s killer guitar riffs made for a show that was a truly magnificent experience. It was clear they were having as much fun playing as we were listening. These three artists, all masters in their craft, have blurred the genre lines of jazz, blues, funk and rock to create a unique musical fusion. For the final song of the night they took us back down to New Orleans with “Late Night At The Maple Leaf”, one of my favorites for many reasons. It was the perfect song to end an incredible evening of music.

 As a lagniappe, I was invited to SM3's second show so I went back to The Independent after photographing Joan Osborne at The Fillmore Saturday night. I arrived just in time to hear their version of “A Closer Walk With Thee” which made you want to dance down the street in a second line. They followed that up with a heavy hitting cover of Led Zeppelin’s “Good Times Bad Times”! Although I missed opening act The Shotgun Wedding Quintet (Jazz Mafia), I did get to hear them play with the Trio and would highly suggest checking them out. I also had the pleasure of catching the phenomenal Will Blades sitting in on the B-3 for a couple of tunes as well! This was another stellar night of music by Moore, Walter, Bernard and special guests! Thanks to SM3 for a fantastic time and an extra “Thank You” to Stanton for providing me with setlists!

Setlist Night 2

Adelita

Kickin' Up Dust

Licorice

571

Magnolia

Root Cellar

A Closer Walk With Thee

Good Times Bad Times

*Break*

Hung up

Aquafresh

Dunkin' In The Deep

Squash Blossom

Who Took The Happiness

Proper Gander

Keep On Gwine

32nd Street

Photos and review By Ali Kerr

Edited By: Rosemary A.W. Roberts

Southern Exposure Photography

www.gulfcoastmusicpics.com

Joan Osborne - September 17, 2011 - The Fillmore, San Francisco, CA

An Intimate Evening With Joan Osborne

I first heard Joan Osborne in 1995 when she opened for Widespread Panic at the Riverfront in Nashville. Her voice had the power to make a bunch of rowdy college kids stop and take notice. I was blown away by the timbre of her voice so rich and pure. So, when I found out I was going to be covering Joan Osborne at the historic Fillmore in San Francisco I had to pinch myself. It meant the end of a nearly 16 year wait to see her in concert again. Joan looked absolutely radiant as she stepped out on stage in an elegant long black dress. She opened with “This Is Where We Start” and I was overcome with emotion as her perfect voice filled the ballroom. Accompanied by Keith Cotton on piano the sound was truly magical. The next song was “St. Theresa” which is one of the songs I remember from the Nashville show and an absolute favorite of mine as well. Then she paused to talk a little about her love of San Francisco and a funny story of how she had been the victim of a pick pocket that day. “They got my iPhone” she laughed, then went on to say she’d gotten a new one and found an app in the process called Funk Box which she then used to accompany her on “Work On Me”. Next was a cover of Grateful Dead ‘s “Brokedown Palace” which she explained had always been a song she hoped to sit in on while she was touring with them but never got to. “So, I’m going to sing it now.” she said with a big grin. Followed by another favorite of mine “Spider Web” where she kept time with the mic stand and a drum stick. Then she belted out two beautiful renditions of Van Morrison’s “Tupelo Honey” and Jimmy Ruffin’s “What Becomes Of The Broken Hearted”. Finally, she closed out the amazing set with “One Of Us” which brought the entire room to a standstill! She left the stage to huge applause with the crowd cheering and whistling for more. She returned for an encore bringing her opening act singer/songwriter Dar Williams to the stage to join her on guitar and vocals. Together they brought down the house with Johnny Cash’s “Long Black Veil” and Pink Floyd’s “Comfortably Numb”. This was one of the most amazing nights of music I have ever experienced! 

Setlist:

This Is Where We Start

St. Theresa

Work On Me (iPhone)

Brokedown Palace 

Spider Web

Tupelo Honey

What Becomes Of The Broken Hearted

One Of Us

Encore:

Long Black Veil

Comfortably Numb

Review and pictures by Ali Kerr

Edited by: Jams Plus Media

Southern Exposure Photography

www.gulfcoastmusicpics.com

Ivan Neville's Dumpstaphunk represented New Orleans proudly when they left their phunky mark on San Francisco. Headlining at The Great American Music Hall, SF's's oldest and grandest music venue, Dumpsta gave the crowd a heavy dose of the thick nasty musical goodness that NOLA is famous for. Ivan Neville, Nick Daniels, Tony Hall , Ian Neville  and newest member Nikki Glaspie (replacing Raymond Webber). All uniquely masterful musicians in their own right they have combined their talents to create something that is distinctly New Orleans yet very much a sound all their own. (Think Funky Meters mixed with Parliament Funkadelic with a side of rock and roll.) I have had the pleasure of seeing Dumpstaphunk many times in New Orleans so it was a rare treat to see them laying it down on a different coast. They started the evening off with "Paper Chasing Britney" and it was on! The crowd relished every minute of it. Moving and grooving to Ivan on his B3, Ian on guitar, a double dose of bass by Nick and Tony, and Nikki banging it out on the drums. They followed by "Everybody Want Some" and "Greasy Groceries". In true Dumpsta fashion, half way through the show Tony Hall invited all the ladies up on stage to shake it while they played "Standing In Your Stuff". They brought the evening to a close with "Meanwhile" (one of my favorites). It was one phunkin' good time! Thanks for a great show!

Setlist:

Paper Chasing Britney

Everybody Want Some

Greasy Groceries

Fight The Power

Blues Wave

Lt. Dan

Standing In your Stuff

Sheez Music

Betty Davis

Deeper/Dumpsta

Meanwhile

Review by:  Ali Kerr

Edited by:  Jams Plus Media

Photos by:  Ali Kerr

Along the banks of the gently rolling Red River, the third annual Head Jamz Music Festival was held over Labor Day weekend.  The festival, held 30 miles from Nashville, is the brain child of the Thompson family.  Becoming disenchanted with the larger festivals that were only getting larger, they wanted to create a festival that harkened back to the grass roots of festivals. That is what drew me to this festival.  Quality over Quantity.

The festival began earlier this year than in the past with a pre-party on Thursday night.  Fellow photographer Michelle and I arrived early hoping to get a prime spot beneath the trees.  If you are a southern festival goer, you know how critical it can be to get shade for those hot summer festivals. However, we need not have worried.  The campground is covered in trees and very few spots were without shade.  We were placed in the back area of the Red River Campground with several other early birds around a communal bon fire area.  With our tent set-up under the cover of tall trees, along the river, and only just few moments walk away from the stage, we were set for the weekend.

One of the things that I love about music festivals is discovering new bands.  This weekend would be no exception.  Canago from Bowling Green, KY kicked off the weekend of music with an eclectic mix of original dance tunes, a Steely Dan cover and ending with a fun instrumental called “Australia” from their 2010 Fun LP.  Following Canago was The Coolin’ System.  With tight instrumental funk off of their self titled first album, they got the early birds dancing and bobbing their heads in no time.  Chris West’s Junkyard Horns were up next.  With its unique mix of jazz and New Orleans funk and opening with “Onomatopoeia” this Nashville based group sounds like it would be right at home in New Orleans Mardi Gras parade.  Rounding out the night on the Mystery Stage was Eumatik (pronounced “you-mat-ik).  Completely unlike the first three bands, Eumatik was a fuse of electronic and live instrumentation. Coupled with a vivid light show from Herm Productions and Mac driven electronics, live keys and drums would seem to draw campers out of their hiding places and toward the stage…some for the first time all day.

Day two’s music would not begin until 4pm.  We opted not to build a fire for breakfast because at 100 degrees the Tennessee heat had us warm enough.  Instead we headed down to check out the Red River as we would do every morning of our weekend.  Although only waist deep, we waded in to cool off and watch as fellow campers hung out or floated by in tubes.  The afternoon started off with Asheville, NC band Jahman Brahman and Nashville based Deep Fried Five with there take on 60’s and 70’s funk.  My favorite of the second day was The Ragbirds.  With Mark Twain’s quote “nothing so liberalizes a man and expands the kindly instincts that nature put in him as travel and contact with many kinds of people”, Lead vocalist Erin Zindle spoke of expanding one’s perspective as one expands their horizons.  The Ragbirds incorporate many sounds in their highly energetic show. From a Celtic sounding fiddle to African drums, the Head Jammers were bouncing, clapping, and repeating after Erin as she sang originals such as “Panoramic Camera” and “Moribayassa".  The headliner of the second festival would follow The Ragbirds, Keller Williams & the Keels.  For those expecting to hear Keller’s “one man jam band with familiar looping were in for a surprise.  Keller’s side project of blue grass versions of unconventional songs were quirky and fun.  As Larry Keel exclaimed at one point in the show, “Aww, pick it Keller!” and I agree Aww! Pick it!  Where else can you hear Cee Lo Green’s “F@&* You”, Steve Millers “Take the Money and Run”, Waylon Jennings “Good Hearted Woman”, and a mash up of Beck’s and the Grateful Dead’s “Loser” all in bluegrass?  Such a fun show!

Day Three was a full day of music with such local favorites as the Blow Jays, the master fiddle playing of Ryan Cavanaugh, and the country-rock-folk of Donna the Buffalo.  My most memorable moment of the day was when Dorothy Daniels of The Danberrys sat in with the Blow Jays.  Her rendition of “Dazed and Confused” was the best that I have ever heard.  Everyone standing near said that they also had chill bumps. Well done Dorothy!  Big Sam's Funky Nation brought down the house at the end of the night. Formerly with the Dirty Dozen Brass Band, trombonist Sammie “Big Sam” Williams now leads his own band in the tradition of New Orleans Funk.  A definite crowd favorite! Papadosio completed the bands on the Mystery Stage for the night.  Self described as “a combination of eclectic musical traditions with modern Electronica to stir the heart and fuel the mind”, their futuristic funk kept the Head Jammers hopping.  Although not the last band of the night on the schedule, the rain started falling in earnest and drove most of the campers back into their tents after this set.  However, as we popped our heads back out of the tent around 3am, the Mousetrap Tent was rocking so we could resist following the music back up the hill to listen to more music and watch as the hoopers and fire artists entertained the late night crowd.

Day Four began cloudy, but the rains would only hold off until late afternoon.  Today however, the sprinkle of rain didn’t stop anyone from getting out to see the music.  Perhaps one of my favorite bands of the weekend wasn’t really one band but a combination of many musicians from the weekend and they called themselves The Nashville Acoustic Jam with the Danberrys and Friends.  The Danberrys are the husband and wife team of Dorothy Daniels and Ben Deberry.  With their folk and bluegrass sounds, the Danberrys created beautiful harmonies.  Joined on stage by Ethan Ballinger, Charles Butler, Ryan Cavanaugh, Geoff Henderson, Mikie Martel, Andy Wilmouth, and Jake Winebrenner, this group of friend created the best jam of the weekend.  Captain Midnight was also a fun band.  Although dressed in costume, pink wigs, and blowing bubbles there were serious about the music.  Another new favorite for the weekend was Cornmeal.  I had heard that they were a band not to missed and will now have to agree. With their stand up bass, banjo, and strong lead fiddle of Allie Kral the Southern bluegrass band had people dancing and having a good time.  Their “Slip Sliding Away” was top notch. The big draw for most Head Jammers was the last band on the bill: The New Mastersounds. With songs such as “This Ain’t Work”, “Hot Dog”, and “Talk is Cheap”, the four piece funk band based in Leeds, England, closed out the weekend with an extra long set.  Similar in style to The Meters, but considered a leading band on the “New Funk” scene, the meters delivered gritty grooves and funky vibes and were a perfect way for me to close out the weekend.

All in all, it was a great weekend with a diverse selection of music that would appeal to a range of tastes.  From bluegrass to Electronic dance, young and old found their groove.  A special thanks to Mrs Gia Thompson… the hardest working woman of the weekend..for allowing us to hang out behind scenes and giving us a place to charge our batteries and recharge ourselves.  We had a great time with you and your wonderful family and we shall definitely see you next year.
 

Review by:  Cindy Neal

Edited by:  Jams Plus Media

Photos by:  Cindy Neal

Hippiefest – The Saenger Theatre, Mobile, AL 09-01-11

If you’re going to the Saenger Theatre, be sure to wear some flowers in your hair…if you were going to Hippiefest, that is!  On the night of September 1, 2011, it was as if we were transported back to 1965; with Hippiefest 2011 on the agenda, Mobile music fans dressed the part, wearing tie-dyes, flowing dresses, and emanating vibes of peace and love, man.  Even the Saenger staff donned flowerchild apparel, it was quite an event!

For this debut of Hippiefest in Mobile AL, there were five seasoned acts, each of which found much success during the Hippie era, and who still have loyal fanbases around the globe.  First onstage was Felix Cavaliere of The Rascals, and he brought much enthusiasm with him as he manned his Hammond organ.  From the first verses of “I’ve Been Lonely Too Long”, it was amazing to hear how smooth his voice has remained.  The band provided a nice full sound, as Felix treated us to soulful renditions of “Til the Midnight Hour” and some #1 hits like “Groovin”, “People Got to be Free”, and the rocking closer “Good Lovin”.  Felix’s passion for his music shone brightly throughout the set, with full heart and soul.  A shoutout to the overseas troops was warmly received and applauded.

Next to take the spotlight was Rick Derringer, who started in The McCoys and played with The Edgar Winter Group.  He opened his set with a Christian-themed re-take on “Still Alive and Well”, and then offered gratitude for our freedom fighters before “Real American”.  An amusing anecdote about state rock songs (or lack thereof) led into the State Rock Song of Ohio, The McCoys #1 hit “Hang On Sloopy”.  For his electric closer “Rock and Roll Hoochie Koo”, he invited Gary Wright to join him.  Before leaving the stage Rick delivered a blistering guitar solo with fancy fretwork; the man is still rockin!

The evening continued with Gary Wright of Spooky Tooth.  Gary has a commanding stage presence, and is one of the few performers I’ve seen playing a giant keytar!  He used the mobility provided by the sparkly-strapped keytar to take full advantage of the stage, giving the whole audience quite a show with rollicking songs like “Waiting for the Wind” and “Better By You, Better Than Me”.  He then told the crowd how he played on George Harrison’s first album, and how George gave him a book to read that contained a line which inspired him to write his well-loved classic “Dreamweaver”; and his voice sounded incredible as he sang it to us.  He closed with the funky “Love Is Alive”, and the crowd loved it.

Next up was Mark Farner of Grand Funk Railroad, who set the stage and crowd ablaze with his strong energy.  He was so entertaining, hopping and dancing and strutting all around the stage with his guitar.  Even though the Saenger crowd preferred to sit during the show, Mark got a few folks on their feet for “Locomotion”.  A mid-set “Sins a Good Man Brother” found him and the other guitarist squaring off, totally feeding off each other, and Farner’s phrasing on the guitar was working well.  “Bad Time” and “Some Kind of Wonderful” were crowd pleasers, and I was especially pleased to hear him close with “I’m Your Captain (Closer to Home)”, which he performed expertly.

At last, it was time to hear one of my favorite guitarists of all time, Dave Mason, formerly of Traffic.  He sauntered onstage with a slick black acoustic guitar to play his hit song “We Just Disagree”.  Switching to a cream-colored electric guitar, we heard “Let It Flow”, and then a nicely rearranged “Dear Mr. Fantasy”, which included some smoldering fretwork from Dave.  “Only You Know and I Know” also showcased Dave’s fantastic guitar talents.  Then he told us the tale of his good friend Jimi Hendrix, and how Hendrix first heard “All Along the Watchtower” at one of Dave’s parties, where Bob Dylan was playing…sounds like a really awesome rock-and-roll dream, doesn’t it?!  Hendrix instantly loved the song, and that night they went to the studio, where Dave Mason played the acoustic backup on Hendrix’s famous recording of the song.  Dave proceeded to play it for us, and perhaps Jimi Hendrix’s spirit was with him, because this version definitely paid him homage.  To close the show, all of the musicians came out on stage, and instructed the crowd to get on their feet so we could all dance to “Feelin Allright”, the song Dave Mason wrote that Joe Cocker made famous.

It was wonderful, and we certainly were all “Feelin Allright” as we watched Mason, Farner, Wright, Derringer, and Cavaliere, and the other supporting musicians all onstage making music for us to enjoy.  Hippiefest 2011 was a terrific taste of the music that made the Hippie era so culturally rich, and Mobile was fortunate to have this display of talent at the beautiful Saenger Theatre.

Review by:  Rosemary A.W. Roberts

Edited by:  Rosemary A.W. Roberts

Photos by:  Jams Plus Media's Clayton Roberts & Tarver Shelton

Matisyahu - August 28, 2011 - The Alys Stephens Center, Birmingham, AL

Trevor Hall opened the show a little after 7pm.  He has a cool groove and sound.  It felt like alternative music with a slight reggae flair.  At points I felt the musicians backing him weren’t in sync during their jam session but over all his music is light and fun.  He did experience a bland crowd sitting down and barely clapping.  The venue was hardly a third full during his performance.  Most of the concert goers didn’t arrive until moments before Matisyahu came to the stage.   

Matisyahu strolled onto the stage not long after a light spray of smoke from the ceiling drifted down towards the stage.  His band, the Dub Trio, started playing as he started singing notes that sounded more like a call to prayer.  After listening to songs like Jerusalem and One Day, you can really understand why he says,

I don’t feel that calling him a reggae rapper gives him or his performance any justice.  This was a great family atmosphere with not only parents and children in the audience but from what I was told, Matisyahu’s own family off to the side of the stage. 

Seeing Matisyahu’s show in the Alys Stephens Center was very subdued from other places he has played I’m sure.   Most of the crowd stayed seated until the third song. Taking their cue from the few people upstairs behind the stage, a few finally gathered at the foot of the stage which was only about four feet in front of the first row of seats.  Dancing and hands waving ensued.  You could feel the mood change immediately after people realized that this venue was a place that could be enjoyed while dancing.  Matisyahu had a great swagger about him as he danced across the stage is his multi colored sneakers.  Mostly keeping his eyes closed almost as if he was not performing but just into his music.  Sometimes you could catch a slight smile behind the salt and peppered beard.  He finished the evening with his song "One Day."  At the end he started grabbing the fans who decided to gather and dance up on the stage.  By the end of the song men, women, and children alike sang the remaining lyrics and holding their one finger in the air.  At this moment Matisyahu had the biggest smile on his face. 

Review by Jason Biggs

Edited by Clayton Roberts

Photos by Jason Biggs

Jams Plus Media had the opportunity to sit down and chat with Americana artist Grayson Capps; see what he had to say with our own Tarver Shelton, at a local restaurant in Mobile, AL, over lunch.


TS: What Is A Lost Cause Minstrel?

GC: Well I know the history, but I like the name of the Lost Cause Minstrel, because I feel like me and a lot of people don't claim to be in with anything like a Republican or a Democrat. Just kind of trying to remind people of what they already know... from Eastern Religion to all kinds of things. There are lots of musicians out there who try to avoid preaching but their message seems to get lost sometimes, and that's why I feel like a Lost Cause Minstrel, because a lot of the metaphors I use get thrown away and people prefer to hear "Big Ol' Woman" for their entertainment purposes. Instead of possible education at the same time...
The history of it comes from Joe Cain. The Group of musicians that resurrected Joe Cain in 1866 were called the Lost Cause Minstrels. My only concern about the name is now I didn't really think about it so much, but Lost Cause is so tied up with the confederate soldiers who lost the war, so they were soldiers for the lost cause. I'm on the fence about it being politically incorrect. I don't want to be misconstrued as taking on the role of the "South Is Gonna Rise Again", but I started thinking about it the other day, was like that's not what I meant. The South was considered The Lost Cause.

TS: Who Are Your Band Members?

GC: Chris Spies on Keys, Corky Hughes on Guitar, John Milham on Drums, Christian Grizzard on Bass

TS: Who are your Influences?

GC: Really the first song I latched on to was "(Old Dogs, Children and) Watermelon Wine" by Tom T. Hall. My dad was my primary influence because he had a collection of eclectic records. I would listen to a Leon Redbone, Eartha Kitt, Bob Dylan, and when Tom Waites came out, my dad was aware of it, never anything mainstream. A lot of things led to another; you know that Hank Williams of course was the influence, but then Bob Dylan, when I first heard him I started reading about him, then I went right to Woody Guthrie. Lightning Hopkins kind of went... I got fascinated with the pivotal point in American history where blues and country separated because you had Charlie Patton and Jimmy Rogers out at the same time. Jimmy Rogers was called the "Blue Yodeler" and did, "T for Texas, T for Tennessee" and Charlie Patton was a major influence of Robert Johnson. They were doing popular music at the time if you look at their repertoire, it had a lot of the same songs as, "Coo Coo the Little Bird". So I'm heavily influenced by Old Blues and Old Country in all forms all the way to AC/DC...

TS: How would you describe your music to people or the fans?

GC: Louis Prima sits down with Son House, and Mississippi Fred Mcdowell hangs out with Hank Williams, Tom T. Hall, and John Prine and they are all getting loaded on Tequila listening to AC/DC records.

TS: What Are Your Immediate Goals?

GC: Get a Pimped out Sprinter Bus so I can travel comfortably. I would like to be able to write when I am on the road, be able to sit back on the bus during dead time and write.

TS: Your New Album is on European Americana and #1 on Italian Blues on Amazon Charts, How did that come to be?

GC: I've done a lot of festivals over there, due to the movie, "Love Song for Bobby Long" anything with John Travolta being Italian. I'm just ready to be Big in Japan.

TS: What was your Major at Tulane?

GC: Theatre was my major, I have a Bachelor of Fine Arts in acting.

TS: Did Hurricane Katrina Affect your Music?

GC: Oh yeah, I kinda enjoyed my set up in New Orleans, because I was running a landscaping crew, doing installations and designs for clients. So I'd work 2-3 days a week doing that. I had a regular show at El Matador on Fridays and would keep the music changing, sometimes I would have two violin players, an upright player, and maybe a horn player, then next Friday have all my amps up there with two drummers, just rockin' out. It was whatever I wanted to do on Friday, then Saturday have something different. It was fun for music because, it was like, come out with your fingers raised up and do exactly what you wanna do, cause you already made your money for the week. Then the Hurricane hit and the movie came out at the same time; it helped my career a good bit, not by a lot, just enough to differentiate me from everybody else in the country doing exactly what I was doing. So that's when I had to make a living of music is after the hurricane, so yeah, it influenced me a lot.

TS: Katrina influenced the lyrics that you wrote or songs that you wrote?

GC: Well yeah, immediately at the time I would write stupid stuff like New Orleans Waltz; can't sing that song now, doesn't really make any sense in a continuance up to "Paris France" of this record. It will always influence me. Jesus, when I go up to Tennessee it floods up there too, but nothing like New Orleans. The main influence was I had to make a living with music, kind of focused solely on music.

TS: What does your family think about you being a musician?

GC: Everybody is supportive, really supportive, the only opposing force comes from me, cause I've been wanting to see my kids more, figure I can hit the road hard when they turn 18...

TS: What does your son think about you being a musician?

GC: Well he comes to shows every once in a while, and I said, "Waylon, is it ok what I do, are you embarrased by me, are you proud of me?"  He said, "I am proud of you."

TS: When are you gonna be going back over to Europe?

GC: I really thought about that, I need to go there soon.

TS: Are you gonna take the Lost Cause Minstrels with you?

GC: I'm working on gettin into some festivals, but I would have to get into 3-4 good festivals that pay 4-5000 euros a piece to finance it and come to a tour. Unless a certain amount of festivals come through I'll go solo either with a violin player, or there is also a band over there that I could possibly hook up with that knows a lot of my stuff that I brought over here, called Bradley's Circus. I would love to take the Lost Cause Minstrels, but its so expensive and I mean, I make a living at solo shows, but I have lost so much money taking a band on the road in the past 5-6 years. Unless something breaks its more of a promotional thing to go out. I am about to go up to the North East, this is strictly, no record label behind us, no money coming in from anywhere, other than what we're making.

TS: The Lost Cause Minstrels will be playing Nectar's in Vermont?

GC: Yes.

TS: What do you think about the Southern Music Scene?

GC: I think from Pensacola to Ocean Springs, there's a cool scenery cause like if you play guitar, not many places you can stay and make a living, there's people who stay right here and make what they need. Jesus, if I wanted to I could play 5 nights a week between Pensacola and Mobile just because of the beach. There are so many little bars you can go in and get paid a hundred bucks play for 3 hours 5 nights a week and be etching by, a lot of people can do that. I think it's good, it's a really good scene, beats the hell out of the middle of Iowa.

TS: What's your favorite venue to play in the South?

GC: Pirates Cove, even though Cathe (Steele) left. She is the "Blue Moon Farm".

TS: Who's your favorite fan?

GC: Glenda the Good Witch of the East. There's this lady named Glenda from Pensacola; within a 6-7 hour range she'll be there. We played Pascagoula, MS, the other night and she was there. It means a lot to her, so because of that it means a lot to me. So when she is there it means even more, she's an older lady and knows what she's gone through, don't want to be a bullshitter cause she drove 5 hours to get there.

TS: How would you define the term success?

GC: What I am doing now, cause I am making a living and playing music. Even when I started playing music I wanted to make a living at it, and I 'm making a living at it. Sometimes just like anything I have to keep playing you know, get the hit song like Garth Brooks and turn into the Godfather. Success for me is making a living and playing music.

TS: Now that you are living in Fairhope, AL (moved from Franklin,TN) are you doing the father stuff, like watching your kids go to school?

GC: Oh yeah, took Waylon to school this morning. That's what I wanna do, and play Friday-Sunday. Already thinking about the 3 week tour in September through October, thinking this is gonna suck cause, I want to be a part of them. When they get out of the house I'm buying a..., I don't know if you ever read John Steinbeck's "Travels with Charley", he has a truck with the camper on the back of it, that's me, I'm out.

TS: If you had the offer to go on David Letterman or Conan O'Brien, would you?

GC: Oh yeah, I would wear a shirt that says "Rolling Stone Sucks and Offbeat too", cause they have not helped me at all. I would love to be successful without talking to the Rolling Stone.

Coming up on October 29th will be the Halloween Show at Blue Moon Farm on the Frog Pond Stage. There will be camping available also... Kelly Harville will be dressing them. She owns a vintage shop in Pensacola. Nobody can say, "NO" to what they have to wear. It will be a fun time to be had by all.
 

Interview by:  Tarver Shelton

Edited by:  Rosemary A.W. Roberts

Photos by:  Clayton Roberts

Stockholm Syndrome - August 20,2011 - Tipitina’s – New Orleans, LA

      What better way to spend the “Dogs Days of Summer” than by spending them in New Orleans, LA, for a night of music listening to Stockholm Syndrome! This group, otherwise known as a ‘Super-Group’ was founded by Dave Schools (bass player of Widespread Panic) & Jerry Joseph (Musician, Song Writer).  I came across a DVD a couple weeks ago of an acoustic set of these two musicians at Smith’s Olde Bar in Atlanta, GA from April 14, 2006 and watched it.  I was thinking to myself, “I wish I could go see Stockholm Syndrome play somewhere while on their tour”.  Well about a week later I was talking to some people about going to Tipitina’s to see them play; I was completely taken by surprise by this conversation.  So I made plans and I came to New Orleans to see this band play at the ‘Historic’ Tipitina’s known for great music and a positive vibe.  When I was looking at the dates for Stockholm Syndrome, I noticed that this was the last show of their tour; no doubt this is the show I want to go to.  This show is not going to be like that DVD I just watched, it’s gonna be live and in-your-face amongst friends and followers; loud sounds, that are going to control your thought process and take over your sense of hearing.  With the help of Eric McFadden (a San Francisco-based guitarist who has worked with Keb Mo’, Les Claypool and George Clinton’s P-Funk All Stars), Danny Louis (an Upstate NY based keyboard virtuoso widely known for his role in Gov’t Mule and Cheap Trick) and drummer Wally Ingram (an L.A.-based drummer who has worked with Jackson Browne, Sheryl Crow, Tracy Chapman and David Lindley), Dave Schools and Jerry Joseph become Stockholm Syndrome. 

The opener for the night would be “Apollo", the title track of their new album.  Following that song would be the second song “Empire One” off their first album “Holy Happy Hour”.  The night would be filled as well by other originals, such as “Emma’s Pissed” and “Purple Hearts”.  Of course everyone there wanted to hear the cover “Couldn’t Get It Right” by the Climax Blues Band, a song that was written in 1976 the year I was born.  After “Bouncing Very Well” would be Robert Hunter’s “He’s Gone” that became more popular by Jerry Garcia & The Grateful Dead.  It was very inspirational to say the least. “He’s Gone” was followed by “Road to Damascus”, a song written by Jerry Joseph. Overall, the show was a great time to be had by all, everyone seemed to be captivated for a while.  In other words, Stockholm Syndrome lived up to their definition. “In psychology, Stockholm Syndrome is a term used to describe a real paradoxical psychological phenomenon wherein hostages express empathy and have positive feelings towards their captors, sometimes to the point of defending them. These feelings are generally considered irrational in light of the danger or risk endured by the victims, who essentially mistake a lack of abuse from their captors for an act of kindness.” 

Review by:  Tarver Shelton

Edited by:  Rosemary A.W. Roberts

Photos by:  Tarver Shelton

Aquarium Rescue Unit - Col. Bruce Hampton, Jimmy Herring, Oteil Burbridge, Jeff Sipe, & Matt Slocum - Georgia Theatre Athens, GA - 8-8-2011 

     Three friends and I drove up to Athens, GA on August 8th, 2011 to see the ARU reunion show at the rebuilt Georgia Theatre. The Georgia Theatre burnt down June 19th, 2009. They were having the Grand Reopening August 1-14. I had never been to Athens, never seen ARU, and this was part of the Grand Reopening of the theatre, so I was extremely excited! We got to Athens around four o’clock and the show started at nine, so we had time to enjoy downtown. We went to a couple of bars and restaurants and had a great time. Athens is a cool town to visit.

Around eight forty, we decided to head inside and get ready for the show. When we got inside, you could tell the theatre is new. Looking around, I was amazed at how awesome this place is. Right when you walk in you have two bars, one on the left and right side. The floor and the stage are right past the bars once you walk in. There are stairs on the right side of the theatre when you walk in to get to the second floor and basement. The basement is where the bathrooms are located.

When you go to the second floor there is a nice lobby area, where they have pictures of the old theatre and pictures from the destruction caused by the fire. When you walk out of the lobby, the second floor is a 3-tiered balcony. Also, there is one more part of the theatre that makes it really cool and that is the roof top bar. When you go up to the roof top bar, it is the entire roof covered with tables, chairs, and a bar with drinks and food. It is one of the highlights of the theatre! You are on the roof of the Georgia Theatre drinking and eating, overlooking downtown Athens! 

By now, I was getting really excited for the show to start! At nine-oh-three Jimmy (Guitar), Oteil (Bass and Vocals), Jeff (Drums), and Matt (Piano) walked on stage and started to jam without Col. Bruce (Guitar and Vocals). Of course, after a couple of minutes of jamming, Col. causally walked on stage and everyone started going CRAZY! He immediately sat down on his stool and started to sing. After singing a couple of verses, he introduced everyone in the band. When he got to Jimmy Herring, he stopped and asked the crowd “who is this man?”

Everyone started to SCREAM! The first song they jammed slow for a couple of minutes, then they went into this big jam that got everyone’s blood pumping. During Bruce’s song “Basically Frightened,” Col. got off his stool and started dancing around the stage, singing to everyone in the band. He would make these crazy faces at each member of the band, which would make them all laugh. That turned into a nice jazz jam session, which reminded me I was seeing some of the greatest jazz musicians around. One of Col.’s favorite songs “Fixin’ To Die,” a Booker T. Washington White song was next. The band jammed so hard and fast, I could barley see Jimmy and Oteil’s fingers moving! While they were jamming, Jimmy started to tease “Space Is The Place,” then the rest of the band went into the song and the crowd started to go wild!

Willie Dixon’s “Spoonful” was next and during Col.’s jam, he walked off stage while he was jamming. Everyone was wondering where he went, then you heard a pop and Col.’s guitar was off. Col. came back on stage with his guitar chord in his hand, stabbed Jimmy with the chord and then Jimmy started to solo! It was something only Col. Bruce would do! Skip James’ song “I’m So Glad”  had a jazzy touch to it and I thought it sounded pretty good. One of the highlights of the night was when they played Bobby Bland’s “Turn On Your Love Light!” It had an ARU twist to the song and during the jam Col. and Oteil put down their instruments and proceeded to dance with each other around the stage! Everyone in the audience was laughing and cheering! To end “Turn On Your Love Light,” Col. threw his towel up in the air and when it fell the band stopped. They walked off  stage after that around eleven thirty. At eleven thirty-two, Jeff came on stage by himself and “pulled” the band back on stage like he was a mime! The band went into a ROCKIN’ version of “Yield Not To Temptation” to start the encore. They ended at eleven fifty-three and most of the crowd went across the street to this bar called the Nowhere Bar. A band called Vertigo was having an after-party there and they were really good! Jeff Sipe and Matt Slocum came out and played with them! What a way to end a GREAT night in Athens, GA!

Review by Stuart Wimpee

Edited by Rosemary AW Roberts