PHIL & FRIENDS | 4.27 & 28 | PHILLY

The weekends' sold-out Phil Lesh and Friends shows promised a great deal with those opening lines and did not fail to deliver. People flocked in from all over the country in this most current revival of the good time carnival scene the Grateful Dead cultivated from 1965-1995. The intimate Electric Factory in Philadelphia provided a multi-layered backdrop from the usual grilled cheese, veggie burrito and patchwork clothing vendors to the seedy nitrous purveyors. This diverse group of yuppies and natty-dreads congregated for one common reason, the music.

The interplay of the two guitarists and the way they weave their playing together is spellbinding. Many people told me they could not specifically distinguish either guitar, which is truly impressive in that Warren Haynes, known for often switching guitars song to song to get different sounds, primarily played slide on a Gibson SG, while Jimmy Herring put aside his hollow body Paul Reed Smith for a ‘63 Fender. As far as why the change, Jimmy Herring told me “I felt I was getting lazy playin’ the PRS, it was just so easy, the Fender is harder to play and makes me work, plus it was a gift from Phil.” The interplay and cohesiveness was of course not limited to the guitarists as the entirety of the band meshed together to create one sound.

The vocals of this band are far better than any other incarnation of Phil and Friends with Rob Barraco providing a soft Jerry Garcia type voice on songs like "Doin’ That Rag," "Dire Wolf," and "Ramble on Rose." Warren Haynes offered a powerfully soulful blues growl as a perfect complement on songs such as his own "Patchwork Quilt," and standards like Cream’s "Sunshine Of Your Love."

The first set on Friday night lasted about an hour and fifteen minutes and was highlighted by a rendition of "Dancin’ In The Streets" that got everybody moving all the way through the closing "Not Fade Away." The real treat though was the second set of the night which I maintain was the strongest single set from either night and lasted about two full hours. The set was highlighted by "Dark Star," which the band moved in and out of as it knit "I Know you Rider," "St. Stephen," and "The Eleven" into the folds and creases.

The evening concluded with Phil reminding the crowd of the blood drive across the street at the local Red Cross on Saturday afternoon proceeded by a "Cosmic Charlie" encore.

Saturday afternoon we went to the Red Cross to donate and hopefully meet Phil, who was greeting people and giving away free autographed posters from 11-2. We arrived for our 1:15 P.M. appointment but were told that due to the large turnout appointments could not be honored and that the wait would be over two hours. This is an amazing philanthropic act by Phil, giving back to the community ten fold what he has taken and I encourage all to continue giving blood in their own communities and complete organ donor cards. While many were disappointed with their inability to meet Phil at the blood drive, the area was still energized with the anticipation of that evening's show.

The second night began with another wonderful selection of songs which started with the feel good "Here Comes Sunshine" flowing seamlessly into a tight extended "Cumberland Blues." "Uncle John’s Band" further delighted the crowd with sweet harmonies and the first set concluded with a moving version of Van Morrison’s "And It Stoned Me."

The second set commenced with a cover of "Tomorrow Never Knows" which Warren had teased in the first set and progressed into the classic "Doin’ That Rag" highlighted by Rob Barraco’s lithe piano work and vocals. The intentionally unevenly written "Unbroken Chain" threw off dancers who had a much easier time with the rhythmic "Fire On The Mountain" and "Turn On Your Lovelight." The show concluded with the appropriately titled new song "Celebration" as an encore.

Peace,
Mir Ali

Without the sluggish commute from New York to contend with, I was in line early and sidled up just off the rail and ready for round 2!

Set I: Jam > Here Comes Sunshine > Cumberland Blues, Lay of the Sunflower, Uncle John's Band, Rock and Roll Blues > And It Stoned Me

Set II: Tomorrow Never Knows > Doin' That Rag, Unbroken Chain > Passenger >> Fire On The Mountain >> Lovelight > Sugaree

E: Celebration

Pretty much every Phil and Friend show I had seen up to this point had started with "jam." Friday night's show did not, and as the band becomes more and more comfortable, they seem to need less and less that 4 or 5 minutes of warm-up time. But then again, these musical calisthenics often contained highlight morsels and also worked wonders for the Tae-Bo work-out our ears would endure. Saturday night the band quickly sank into the stench once again. Beatles themes were abound as they were on Friday, as well as early hints of "Help On The Way."

Like one of those 3-D stare-until-your-head-hurts pictures, the music began to take form and flesh out in three dimensions - "Here Comes Sunshine." The vocals were a bit rough, and this seemed to throw off the pace at the beginning of the song. By the time they got launched into the middle jam, though, they were firing on all cylinders. I can't even say I can call what they do "jamming" any more. That seems to short-change what they are doing, because the results are so perfect (for lack of a better word), that it is more like real-time composing. With Phil whispering tempo and key changes through the on-stage PA, and Warren often at the helm, the band conjures up stunningly beautiful melody that puts many other bands' long-pondered songwriting to shame. It is just too easy, I guess.

I have just three words for the magic they conjured up mid- "Sunshine" on Saturday - SICK, SICK, SICK. It was obvious from the get-go that Warren was going to be a tad more assertive than Jimmy. On Friday, there was a balanced attack, but for whatever reason, Warren was full-in-control. Shifting between slide, finger- picking and just straight-up guitar-god mayhem, Warren was doing it all. He lead the band up and down, in and out of each verse.

Finally, Phil made his presence felt, the paternal instinct kicking in to rein his family with his booming voice. Lesh and Molo seem to be one entity now, locked into each other zapping unseen instructions like gossip over Instant Messenger or something. The two corralled the jam and lifted the pace bit by bit until Phil took over completely and launched them into Cumberland Blues. Again, Warren took the first jam and just wailed on it. Jimmy was next up after the second verse was sung and finally took some initiative. Sizzling guitar work that made my neck stiff trying to contort it and bob along with Herring's licks. I don't think I've ever looked at Jimmy Herring and not seen him smiling - his guitar playing exudes that mentality, even at it's most frenzied insanity, there is a sweet smile lurking that warms even the most evil of riffs. Rob and Molo took inspiration from this solo as they fell into a duet of scintillating rambling.

After the third verse the band became whole and engaged creating the truly egoless ear candy which distinguishes this band from all others. When they really cook, terms like "lead" and "backing," "melody" and "rhythm" seem infantile. There is a full-band aura - an energy that is created only when each musician is participating equally.

The jam somersaulted and Warren brought them full circle, forcing me to do a double-take as he crunched out the themes to "Here Comes Sunshine" again, if only briefly. Before making it a full sandwich, he convolved that theme with the "Cumberland" theme bringing back the band for the end of the song. Very cool.

"Lay of the Sunflower" was next. My first time hearing this one - a new Lesh/Hunter composition. I couldn't comment too much on the song, except to note that although Phil wrote it, Warren sings it. If you ever had any doubts that the Phil Lesh concept has evolved and this is the final result - that fact should clear up most of them. Nice song, looking forward to having it grow on me.

"Sunflower" lay in isolation, silence preceded and followed it. Little did I realize that the silence did not imply inaction. The stage was a frying pan over a flame with a thick layer of cooking oil sitting in it. To the naked eye there seemed to be nothing going on, but instantly the batter of "Uncle John's Band" was splashed into the pan and the silence was immediately drowned out by the hot sizzling of a torrential jam. BAM! The intro was long and tight as the band worked to a precursory climax in full assault.

"Uncle John's Band" was controlled completely by John Molo who quickened and abated the speed of the music as the band entered and left each verse. The in-between jams were a high-paced creature bouncing off the walls, while the lyrical sections were deliberately slow. Each jam was a continuation of the previous one, with the band weaving lines to and through each other. It was a spirograph of music, as lines of interaction twisted from one member to another, each connected for a split second and then switched to the next creating a sonic floral pattern on stage. First Haynes then Herring then everyone all at once in an overwhelmingly intense explosion.

This all finally segued into the new "Rock and Roll Blues." This was a diverting song that couldn't have a more appropriate title. Simpler, but no less engaging, playing in a blues. Warren wined and dined with his slide as Rob whirled on the organ in a very nice outro. The set ended with "And It Stoned Me" which reminded me more of the Widespread Panic version than the Van Morrison one. Warren's powerful vocals were the highlight there.

The second set began in what sounded like another Beatles vamp- along. I was thinking "wow, they're jamming the hell out of 'Tomorrow Never Knows'" until Warren started singing the song. The pre-jam was the highlight of the night. Again, Warren and Jimmy were in conjoined twins mode, there seemed to be no discerning the guitar work of the pair. Surely, they must share organs at some level!

After the first "verse" was sung, the band simmered into neo- psychedlica. Molo thumped on a fractured interpretation on the Ringo Starr drum-line for this song. He held that beat while flailing melodically, as usual, all over his kit. Phil's bass swallowed everything, booming heavily. Warren played a distinctively non-bluesy slide guitar that warped with wild effects. This is a jam that he played with Gov't Mule, but here, with Phil and Friends, he has immersed himself in the mid-70's tripadelic Garcia style, embracing colorful noodling, even when playing slide. This gives a refreshing spin to the whole Grateful Dead repertoire, from the sixties to the nineties.

"Tomorrow Never Knows" chugged a bit awkwardly into "Doin' That Rag." Not one of the smoother segues, but they got there and made the most of it once they got rolling. I've always loved the funky changes in this one and Rob Barracco handles the vocals really well. The jam out of it unfolded marvelously with Rob and Phil laying down the groove for Warren's evil funk machine.

After a short pause, "Unbroken Chain" was next. Jimmy completely ripped rough-shod over this one. A discombobulation of notes emanate from his guitar as his fingers contort over his Strat - you never knew this song could sound so good. The song form, as is often the case, is just a framework - a suggestion for where the musicians might want to go. When the band is cooking, they just attack with determination and external combustion is the result. In contrast to the first set, the second set was more of a collection of individual soloing.

For the first time all weekend, Jimmy and Warren backed down and chorded rhythm guitar while the other was soloing. "Unbroken Chain" was a prime example of this as Warren followed Jimmy's solo with some heavy lifting of his own. Taking the outro of the song, he infused the Gov't Mule heavy rock mentality over the jam, changing gears completely. It was an interesting experience for my ear which had worked so hard to engage itself in the 5-man full- band dogma, finally getting to relax and just listen to "solos."

Warren shifted his solo, clicking in his Jerry-Garcia-circa-1978- Estimated-Prophet funk effects. It is obvious from the evolution of Warren's playing over the past year or so, that he has become a student of Jerry and the Dead. Not even trying to imitate, he has allowed the volumes of recordings to transform Garcia to become his teacher from the grave. Like looking to Ben Kenobi's ghost, Warren has completed his training and his playing is now at Jedi- level.

The fiery solo out of Unbroken was heavy and intense and dropped into a slushy funk that brought "Shakedown Street" to mind (I even wrote it in my setlist). The segue was as hot as I've heard as the band meshed to Haynes and the band exploded into "Passenger." The band was locked in a climactic, high energy barn-burner of set- ending intensity. Warren's slide guitar was wailing like a banshee, frightening and powerful.

Another brilliant segue set the stage for the rocking finale triad of "Fire On The Mountain >> Lovelight > Sugaree." Not much to say about these that doesn't just reiterate what I've said up to this point. The audience was grooving very hard at this point as we were treated to some not-so-basic rock and roll jamming. A great ending to a monster show! I wasn't too fond of the encore of Celebration, seemed protracted and too vocal-intensive for my tastes. But it's another new one, and I won't swear it off yet.

Halfway home...

"Writing about music is like dancing about architecture" - FZ

Aaron Stein
JamBase NYC Correspondent
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