This Feelings Called Cold Roses

If I has to choose, I’d say Ryan Adams’ Cold Roses and Brothers Pasts’ This Feelings’ Called Goodbye were my top studio albums of 2005. Oddly enough, both fall somewhere between jam and indie (Ryan is a hipster who wants to be a hippie; Brothers Past are hippies who wish they were hipsters, go figure). Also oddly enough, I got to see both bands play last night in New York. The BPs played a solid show aboard the Rocks Off Boat, while Adams found himself playing to an intimate crowd at the Bowery Ballroom just before 2 AM. Both were well attended---Adams' being the most crowded show I've ever seen at the Bowery---proving once and for all that hippies and hipsters can make nice in the big, bad city.

Bonnaroooooooooooo

Above: Jon Bahr's vision on Bonnaroo....

It's been a while. I case you missed me, here is a look at where i have been....

It takes a few days to truly settle in: the blurry-eyed enthusiasm, the unpredictable collaborations, and, yes, the deodorant masked odor that can only be described as “feteroo.” But, before you know it, Bonnaroo is in full swing and Thursday night’s festivities feel as distant as last year’s SuperJam (not to mention last Wednesday’s shower).

As the final note of Friday night’s late night sets gently segued into Saturday, Manchester awoke with temperatures nearing the 90s and predicted rain on the horizon. Yet, throughout Centeroo’s maze of dust balls and bobble heads, the afternoon’s conversation quickly shifted to less weather-related forecasts: a possible late-night performance by Trey Anastasio and Mike Gordon, a surprise appearance by Southeast icon Travis Tritt and, above all else, Radiohead’s first American festival date since George W. Bush’s first term.

Saturday’s schedule mixed new faces (Mute Math, who offered a set of its carefully calculated future-rock in the Troo Music Lounge), old friends (Les Claypool, one of the only artists to appear at every Bonnaroo since its inception) and first time visitors who performed like Bonnaroo stalwarts (we tip our hats to Blues Traveler, who helped lay the groundwork for the weekend’s festivities by spearheading the traveling H.O.R.D.E. tour). While firmly rooted in the idea of escapism through its success, Bonnaroo has blossomed into a fully functioning society. With relative ease one can register to vote, update a My Space profile or catch the final goal from the weekend’s eagerly anticipated World Cup matches (the US tied Italy 1-1). Falling just short of commanding its own ZIP, Bonnaroo’s city has also expanded to include a number of stylistic boroughs. In fact, depending on one’s interests, Bonnaroo can be broken down into several genre specific mini-festivals, each characterized by is own headliners, surprise guests and late-night offerings.

A fan of New Orleans’ trademark funk/soul could start his day with an early-afternoon set by the Neville Brothers, enjoy a traveling Big Easy tribute curated by Elvis Costello and Allen Toussaint (highlighted by the pair’s Katrina eulogy “The River in Reverse”) and stay up until dawn with Louisiana icons like Dr. John, the Preservation Hall Jazz Band and the Rebirth Brass Band. Similarly, indie-rock aficionados had the opportunity to catch a high-energy set from New York/Philadelphia darlings Clap Your Hands Say Yeah, the Swedish psychedelic swirls of Dungen and the late-night burlesque of the Dresden Dolls. The Magic Numbers and Gomez fought for the somewhat oxymoronic title of England’s best Americana act; the former favoring harmony laced California-pop, the later blues-inspired fish n’chips rock.

For fans who favor improvisation, DJ Logic jammed with MMW, Rusted Root teased “Watchtower” and Claypool rolled out his sitar-happy “Fancy Band.” World music fans were also in luck, whether it was the infectious dance-beats of blind African sensations Amadou & Mariam or the cross-generational, multi-genre beats of Damian “Jr. Gong” Marley. The younger Marley also offered two of the afternoon’s most memorable anthems (while proudly uttering the j-word): his father’s “Jamming” and his own “Welcome to Jamrock.”

Perhaps the weekend’s most enjoyable left field addition, Cypress Hill inflated a festival- size Buddha onstage near the end of its set, simultaneously encouraging its audience to pull out that “sticky green stuff.” Its hit-filled set also featured a number of cuts from 1993’s Black Sunday, including “Insane in the Brain” and “Hits from the Bong.” Though a far cry from the hippie-ethos of “peace, love and understanding,” the group’s stoner raps felt strangely familiar. Falling squarely into a genre of his own, Beck danced alongside miniature mannequin and offered a showstopping rendition of “Where It’s At.” Earlier, Beck nodded to his onetime backing band, the Flaming Lips, performing the art-rocker’s “Do You Realize?” The semi-acoustic Sonic Stage also offered its share of highlights, ranging from Tom Hamilton’s rendition of the Beatles’ “Eleanor Rigby” to moe.’s “Happy Hour Hero.” Recalling its on-point performance from Friday night, the Disco Biscuits managed to sneak, not one, but two segues into its abbreviated 30-minute Sonic Stage set.

Of course, Bonnaroo has long served as a launching pad for tomorrow’s festival favorites and Saturday’s lineup featured a number of able bodied contenders for next summer’s big thing. Steel Train – who graduated from its Thursday night showcase to a coveted Saturday afternoon spot – veered toward to eclectic, shifting from the lullaby-like harmonies of “Road Song” to the Arcade Fire energy of “Alone on the Sea” with striking ease. Somewhere in between, the quintet also snuck in a choice cover of Wilco’s “I Got You,” a staple on Steel Train’s spring tour. Welcomed in any number of crowd shots like fro’d Waldos, the group offered a campground busk following Saturday’s main stage festivities. Likewise, Recent New Groove Jammy winner Grace Potter showed off her band, the Nocturnals, opening the day’s activities in That Tent and her rapidly maturing vocal abilities with a duo performance alongside Scott Tournet for XM Radio.

Since Bonnaroo’s initial artist announcement, all eyes have been on Radiohead, perhaps England’s most important export since Pink Floyd. Offering a well-balanced mix of classic anthems (“No Surprises”) and material from its forthcoming solo project (“Body Snatchers”) Radiohead turned the weekend’s intense performance, opening with Hail to the Thief’s “There There” and closing its proper set with its signature ballad, “Karma Police.” In certain ways, Tom Petty and Radiohead are a study in contrasts. One is the embodiment of summertime idealism, the other industrial realism. Petty speaks in broad guitar strokes, Radiohead minimalist paranoia and synthesized beats. Yet, both acts produce equally anathemic music, seemingly designed for a festival of Bonnaroo’s magnitude.

Bonnaroo’s first English headliner, Radiohead’s appearance continued a cross-pond dialogue stretching back since the 1960s. Performing its lone festival date on a stateside theater tour, Radiohead arrived with a subdued light show, characterized by primary hues and dim backlight. Fans added their own colors, however, throwing glowsticks and sparking lighters during decade old hits like “The Bends.” It wasn’t until the frantic buildup of “Paranoid Android” that Radiohead unveiled the Andy Warhol kaleidoscope characteristic of its past arena-outings. Yet, perhaps the group’s naked performance was a blessing in disguise, stripping the space-rock stars down to the core unit that still serves as Radiohead’s bedrock.

If Friday night’s debauchery felt akin to a wookified Gettysburg, then Saturday evoked the spirit of New Orleans during Mardi Gras (or Spring Break). Previewing their upcoming summer tour, Trey Anastasio and Mike Gordon took the stage with the Benevento/Russo Duo for Saturday’s high profile SuperJam. Anastasio, who flew back to Bonnaroo after opening for Petty in St. Louis earlier in the evening, arrived in top form, as if driven to win back fans who questioned his direction since Shine.

Opening with a reworked version of the Duo’s anathemic sing-along “Play Pause Stop,” the title track from its forthcoming studio disc, the group mixed new originals like “Dragonfly” with material from each player’s solo canon. A year after many claimed the former Phish guitarist “jumped the shark” with a cover-heavy late night set on the Which Stage, Anastasio appeared focused and energetic, rearranging solo cuts for “Mr. Completely” and “Goodbye Head” for his new project (unofficially referred to by many as G.R.A.B.).

For those who have spent the weekend debating the merits of hippies versus hipsters, the quartet’s set offered a comfortable middle ground: using the Duo’s hard-edged rhythms to focus the Phish pair’s improvisations, G.R.A.B. sounded hip, yet comfortable. Marco Benevento, who utilized a Page-like baby grand piano in addition to his own keyboard toys, proved to be a particular force, shifting the group into fresh atonal territory throughout the night. Lost in the excitement, the group’s future touring mate Phil Lesh stopped by early on in G.R.A.B.’s set, leading the all-star collective through “Casey Jones” and “Going Down the Road Feeling Bad.”

Meanwhile, several of New Orleans most important names filled This Tent with an evening long New Orleans tribute, tied into Bonnaroo’s annual float parade.

Draped in a full-on Night Tripper regalia, Dr. John opened his set with “Wade: Hurricane Suite,” handing over the stage to the Rebirth Brass Band and a Skerik-enhanced version of Dumpstaphunk (both Tony Hall and Raymond Weber, who perform in Anastasio’s solo band also traveled back to Bonnaroo with guitarist for their late-night performance). Meanwhile, moe.’s Chuck Garvey and Jim Loughlin teamed with Umphrey’s McGee’s Ryan Stasik and Joel Cummins for a costume-clad Masquerade Ball, recruiting Addison Groove Project’s Rob Marscher for the final portions of its set.

Saturday’s festivities not only firmly establish Bonnaroo as America’s answer to Glastonbury, but confirms that English and American acts will continue to swap ideas and push each other further into the 21^st century. As Thom Yorke said from the stage, “This is what I call a music festival.”

Me and MMJ: Click the Image to Find Me Like Waldo

Viv

Viv has been my best friend since 7th grade. She kind of beats to her own drummer, so I decided to make her first blog entry a bit off the wall or, um, more percisely off the page. I like visiting her in Park Slope because I feel like I am going on a mini-vacation, even though it only costs me $4 per trip. On Saturday, we went to the Brooklyn Museum for First Saturdays, where hipsters try to understand art through alcohol and the bar Great Lakes, where Trey, apparantly, also tries to understand hipsters through alcohol (and the Duo).

Vince Welnick: 1951-2006

One of the first interviews I did after college was with Vince Welnick, who played keyboards in the Grateful Dead from 1990-1995. On June 2, he passed way.

http://www.jambands.com/Features/content_2003_11_28.03.phtml

Here is an obit I wrote for Relix:

Former Grateful Dead keyboardist Vince Welnick died of unknown causes on June 2, 2006. He was 55. Welnick, who played keyboards in the Grateful Dead from 1990 through 1995, cut his teeth performing in the California shock-rock band the Tubes in the 1970s. During his tenure with the Grateful Dead, Welnick contributed a number of original songs to the group’s canon, most notably “Samba in the Rain.” Bruce Hornsby helped usher Welnick into the Dead, playing piano by his side through 1991. While Welnick did not participate in any of the Dead’s studio sessions, his work can be heard on both the experimental live albums Infrared Roses (1991) and Grayfolded: Transitive Axis , as well as a handful of Dick’s Picks releases. Following the passing of Jerry Garcia, Welnick urged the group to continue on, though his bandmates ultimately decided to retire the Grateful Dead name. While Welnick did not participate in tours under the Others Ones or Dead monikers, he did perform in both RatDog and the Mickey Hart Band. He also formed his own group, the Missing Man Formation, which featured Steve Kimock (guitar), Bobby Vega (bass) and the Tubes’ Prairie Prince (drums). More recently, Welnick clocked in time with Dead-inspired outfits Gent Treadly and Jack Straw. He is the fourth Grateful Dead keyboardist to pass, following Ron "Pigpen" McKernan, Keith Godchaux and Brent Mydland.

Welnick was not without his demons. In 2003, the keyboardist told Relix magazine, “I tried to off myself in the RatDog bus in ‘95, right before Christmas, right after The Dead died. I pretty much hit bottom there and I'm sure that hasn't helped my popularity with Bobby. I think that shook him up so much, and the other members of the band so much, that it contributed to why I am no longer being called to participate.” But Welnick did avoid certain trappings: “I coughed a pretty good attitude [laughs], but I didn't get into heroin,” Welnick says. “I never used needles, never used freebase and that kind of stuff. I drew that line as a kid. No needles, no freebase, no heroin and never broke that promise to myself.”

Welnick, who was set to play a number of festivals and solo dates this summer, leaves behind a wife, Lorie

Cold Turkey Turns 50

A shameless plug to start your weekend:

In 2005, respected rock scribes Benjy Eisen and Mike Greenhaus ventured past the written word and into the world of podcasting. Each week these nocturnal road warriors dig into the festival trenches, bringing you exclusive live sets, backstage interviews and rare recordings on Cold Turkey. You can hear them ham it up each week with everyone from Les Claypool to Matisyahu to My Morning Jacket at www.relix.com/radio. As part of Cold Turkey’s 50th Episode Special, Grateful Dead archivist David Lemieux has personally combed the vaults, bringing the best soundboard recordings you’ve never heard right to www.relix.com/radio.

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Check out these Classic Cuts of Cold Turkey:

American Babies featuring members of the Disco Biscuits and Brothers Past.

Exclusive Langerado Press Conference with Art Neville, Michael Franti, the Flaming Lips,
MOFRO and More!

The Del McCoury Band’s Thanksgiving Turkey!

G. Love Live at Langerado!

Michael Franti: Solo Acoustic Spearhead.

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Plus catch Cold Turkey at the following festivals:

Wakarusa	Bonnaroo Music and Arts Festival
High Sierra Music Festival	The All Good Music Festival
10,000 Lakes Festival	Lollapalooza
Gathering of the Vibes	Camp Bisco
moe.down	and more!

I Want to Text You Up

On Wednesday, my mom discovered the text message. I’m still not sure if that’s a good thing or not. Since it entered my world sometime in 2005, the text message has had its pros and cons for sure. On the one hand, it’s an easy way to locate lost comrades at crowded concerts, a surefire way to avoid longwinded phone conversations and, most importantly, a digital diary of last night’s drunken debauchery. But, at the same time, when placed in the wrong hands, the text message can be a rather dangerous device---some people will never understand that every thought that crosses their mind doesn’t need to be documented and delivered (don’t worry mom, that thought was directed at JFS not you). Plus, frankly, its kind of weird that my mom is delivering her daily parental reminders through a medium which cut its teeth advancing the booty call into the 21^st century. If only Seinfeld was still around to define cell phone edict for my generation.

Jam on the River : All Sorts of Inappropriate Angles

Above: I think this is what it would look like if the Biscuits played the Roman Coliseum

Above: Barber as James Dean (Stellaaaaa)

Above: I think I have seen more Biscuits shows with Eric than any other friend. We once did an interview together on the Bisco Bus. Sammy drank straight from a bottle of Wild Turkey the entire time

Above: The Besack Family is Serious (I mean Sirius) about Jam on the River

Above: Local Band Does O.K.

Above: My Favorite Part of Tour

Egg and Cheese Utopia

One of the benefits of eating the exact same thing every day is that you become something of a food connoisseur, albeit one with a limited range of expertise. Before Relix moved its headquarters uptown, I ate one of Rauel's egg and cheese sandwich every single day. Having now tried almost every egg and cheese Manhattan has to offer south of 14th St., West of Avenue B and east of Hudson St. (a wider sampling than it sounds), I still think its the best New York has to offer. Even though Rauel used the same ingredients as everyone else in the city, he figured out the secret to the perfect egg/cheese combination: cooking his cheese in his egg. Genius! Most people wait until the last minute to place cheese on their egg, resulting in a poorly melted product. Imagine what we could all accomplish if we all worked 11 years without getting a day off like Rauel.…….

Like, say, alt-rock bands in the late 1990s, it’s increasingly hard to keep track of all the jam & indie bands popping up on the underground rock scene these days. In fact, being a New Yorker with an attentive eye, I’ve found that the easiest way to document a band’s rise is by paying careful attention to the promotional posters plastered to the construction sites I pass on my way to work everyday. As the seasons change, new faces arrive, grow in size and, one Sunday night without explanation, disappear before I digest my Monday morning coffee.
Hopefully, these signs will have a bit longer staying power

Caity Tour

Caity trying to hide from an impending blog appearance. Either that, or doing the vogue.

Jammyland

The Headiest Place on Earth

A Visit to the BK

Seeing a concert in Brooklyn while the National is playing Manhattan is kind of like visiting Buckingham Palace when the Queen is away on summer holiday.

Phishin' for Music

In high school, one of my favorite pastimes was wandering aimlessly around my town's record store. I made lists of CDs I hoped to purchase, studied jewel cases that caught my eye, and figured out all sorts of new ways to piece my body by conversing with the store’s cashiers. Since the rise of the mp3, however, CD shopping has become a distant memory, a fading friend I no longer visit. But, before Dark Star Orchestra, I had some time to kill so I ventured across Times Square to visit the Virgin Mega Store. They'd already sold out of this month's Relix, but still had plenty of Phish in stock (go figure). Junta was actually stuck behind Round Room and Undermind, so I took it upon myself to reorganize the Phish section. Maybe some budding stoner will wander by and kick-start his collection, the right way. As for my personal Phish collection, It kind of grew like this:

A Live One (a gift from mom and dad for Chanukah)

Junta (purchased two days latter when I realized A Live One didn’t contain “Fee)

Hoist (I still hope to place “If I Could” on my wedding mix)

Lawn Boy, A Picture of Nectar and Rift (I joined once of those CD club to buy these simultaneously…kind of like Damn Yankees for music-dorks)

Billy Breaths (I had no idea what happened to Phish; now it’s my favorite album)

Story of the Ghost (I ran out of school during third period to buy it and spent all sixth period obsessing over it; I don’t think its hit my player this millennium)

Farmhouse (the first time I heard Sam Goody spin Phish through its PA)

Round Room (I heard it as the MP3s leaked to the web before I purchased the album)

Undermind (We got an advance at Relix; It was dark, dangerous and the beginning of the end).

It's A Small World After All

As a child, my parents encouraged me to ride It's a Small World whenever we visited Disney World. Its message seemed good-natured enough: despite our cultural differences, we are all just a bunch of Mattel manikins singing the same catchy song (which is conveniently
available for $12.99 at the end of the ride).

Years later, I its think its message still holds true. Maybe it’s because I've never lived outside New York for more than a summer tour, but the more people I meet, the more everyone seems the same. It’s a comforting feeling, though, to know that we're all in it together, though no one seems able to point-point exactly what it is exactly

Anyways, here are some random, small world reflections from the past week:

There are two tyes of New Yokers. Those who wait patiently for the subway to come and those who impatietly pull their necks trying to see its headlights in the distance. I definately fall into the latter catagory.
As I child, Planet Hollywood and its musical cousain, the Hard Rock Cafe, were destinations, reasons to venture into the city. Now, they are reasons to avoid human congestions on the sidewalk. Perhaps oneday my original copies of Relix will make it onto the wall---in the kosher section of course.

Most companies only encourage drunken interaction among co-workers on holidays like Christmas. At Relix, we encourage drunken interaction among co-workers on holidays like Tuesday. I took this picture at our Green Apple post-party last week. Since entering the Relix world is kind of like being inducted into a fraternity, we feel the need to assign everyone little nick names upon entry. Behind her back, I've started calling Jenny, the newest member of our dysfunctional family, Heady Jenny. She's really not that heady and it says more about how far Relix has drifted from its original hippie-rock tag, but it has a nice ring to it anyway. Heady days indeed.

I've discovered that the mozerilla and tomatto sandwhich is essentially pizza for adults I bumped into Ian at Sarah's graduation party Saturday. I'm not sure how I met Ian, but he seems to be friends with everyone I know and apparently reads my blog. At 1 Am, while trying to explain the difference between a goy and a shikza to some girl (see below ) Ian wandered into this party and I decided to document our encounter. So here is Ian trying, unsuccessfully, to hide from my blog.

Lunch Break

Sometimes---just somtimes---I love my job. I got to see Ambulance LTD in studio today. Amazing show, bad photo.

Earplug Alert!

Once again too many shows, too little time. In an ideal world we’d meet up a lot this week

5/18: New Riders of the Purple Sage @ Canal Room

5/19: Tom Verlaine @ Bowery Ballroom

5/20: Sharon Jones and the Dap Kings, Antibalas @ Irving Plaza

5/21: The National @ Webster Hall

5/22: Gov’t Mule @ Bowery Ballroom

It’s All in the Wording

Someone pointed this out to me recently: the main difference between being a “goy” and a “shikza” is that hooking up with a “shikza” has a mysterious “appeal” while marrying a “goy” is a surefire way to be written out of a Jewish will. Either way, I think I'll stick to what I know---or at least who I know will drive me slightly insane for many Rosh Hashanahs to come.

6/13=4/20?

6/13 is shaping up to be the new 4/20. In addition to packing for Bonnaroo, there are now four equally cool New York shows to choose from on a single day:

Widespread Panic @ Irving Plaza
Radiohead @ Theater at MSG
moe. @ Central Park
MMW @ Capitale (extra heady benefit as part of the Marijuana Policy Project's annual gala)

Since I don't smoke pot MMW is out and since I haven't recently had my heart slashed into a million pieces I can live without Radiohead. I'll try to get into Widespread Panic, but still feel kind of like a carpet bagger. So, I guess it's moe. for me, which works out just fine since the group's last Central Park show is still one of my favorite memories from 2001 (by the way, I lost my friend Tim at that show and still haven't found him...I guess he was swallowed by a moe.ron)

Happy Mothers Day

Above: Mommy and me. Neither of us has aged a day since 1987!

Of all the Hallmark Holidays out there, Mothers Day is the most genuine or, at least, most justified. My mom is the best: she corrects my typos, mixes my chocolate milk and takes it as a sign or endearment---I hope---when I say I aspire to marry a neurotic Jewish woman from Westchester. When I was a baby, my mother used to lull me to bed with folk anthems by Peter, Paul and Mary and Joni Mitchell. I may not have learned how to tie my shoes or properly part my my hair, but I certainly remember those lyrics she used to sing. In fact, I think I subconsciously plagiarize them on a daily basis...

The Circle Game:

Yesterday, a child came out to wander
Caught a dragonfly inside a jar
Fearful when the sky was full of thunder
And tearful at the falling of a star

And the seasons they go 'round and 'round
And the painted ponies go up and down
We're captive on the carousel of time
We can't return we can only look behind
From where we came
And go round and round and round
In the circle game

Then, the child moved ten times 'round the seasons
Skated over ten clear frozen streams
Words like, "When you're older", must appease him
And promises of someday make his dreams

And the seasons they go 'round and 'round
And the painted ponies go up and down
We're captive on the carousel of time
We can't return we can only look behind
From where we came,
and go round and round and round
In the circle game

Sixteen springs and sixteen summers gone now
Cartwheels turn to car wheels through the town
And they tell him, "Take your time. It won't be long now.
'Til your drag your feet to slow the circles down"

And the seasons they go 'round and 'round
And the painted ponies go up and down
We're captive on the carousel of time
We can't return we can only look behind
From where we came
And go round and round and round
In the circle game

So the years spin by and now the boy is twenty
Though his dreams have lost some grandeur coming true
There'll be new dreams, maybe better dreams and plenty
Before the last revolving year is through.

And the seasons they go 'round and 'round
And the painted ponies go up and down
We're captive on the carousel of time
We can't return, we can only look behind
From where we came
And go round and 'round and 'round
In the circle game
And go 'round and 'round and 'round in the circle game.