Next Friday, April 8th, a special Beats, Rhymes, & Phife tribute is coming to The Joy Theater in New Orleans, LA. The Low End Theory Players featuring Mr. Smoker, M@ Peoples, MC Koan, Gravity A, & Jermaine Quiz will be gathering to celebrating the life and music of the late Phife Dawg. Phife was a member of A Tribe Called Quest, who passed away recently at the age of 45 from diabetes related issues. This stacked event will include a performance by The Low End Theory Players performing a tribute to A Tribe Called Quest, a screening of the documentary Beats, Rhymes, & Life: The Travels of a Tribe Called Quest, and a second line by Soul Brass Band!The proceeds of this event will be going to The New Orleans Musicians’ Clinic. The New Orleans Musicians’ Clinic is a patient-centered medical clinic which cares for more than 2,500 local musicians in New Orleans. Primarily donor funded, its mission is to keep New Orleans music alive by treating performers in body, mind and spirit with comprehensive health care and mental health/social services. All New Orleans musicians and cultural industry workers may use the clinic’s services, regardless of their insurance status or ability to pay. Currently, 82% of their patients manage one or more chronic illnesses, including diabetes, which is among the most common conditions of the musicians they serve. Their culture of care and community advocacy has made a difference in the lives of local musicians since 1988.For tickets and more information, head here.
Some of the most influential names in rock n’ roll are reportedly slated for a new festival put on by the organizers of Coachella. According to several sources, including the artists’ managers and PR reps, the star-packed lineup will consist of Bob Dylan, Paul McCartney, The Rolling Stones, The Who, Neil Young and Pink Floyd’s Roger Waters. The event is being planned for October 7-9, and will take place on one stage at the Empire Polo Field site in Indio, CA.LA-based Goldenvoice and its corporate partner AEG Live are behind plans for the mega-concert, which are nearing completion as negotiations with some performers are still being worked out.Neil Young’s longtime manager Elliot Roberts told the LA Times, “It’s so special in so many ways because you won’t get a chance to see a bill like this, perhaps ever again. It’s a show I look forward to more than any show in a long time.”All six artists have never appeared on the same bill before, making it a truly landmark event. It will also be the first time that Dylan and McCartney will appear on a bill together. Dylan toured with the Rolling Stones in South America in 1998, and teamed up with the band in 1965 to record a version of Dylan’s “Like A Rolling Stone”. McCartney, Waters, the Who and Young have appeared with each other over the years at large-scale benefit concerts.The Stones, McCartney, The Who and Waters are still ranked among the highest-grossing concert tours today.
Last night marked the opening of the prized Mountain Jam Music Festival, featuring some choice performances for a Thursday night celebration. Among those was the great pianist Marco Benevento, who continues to turn heads with a combination of showmanship and musicianship. For his first of two scheduled Mountain Jam sets, Benevento gave fans something they wanted to hear: a tribute to the late great David Bowie.The connection between Benevento and Bowie is an interesting one actually, as Bowie was on hand for Benevento’s graduation from music school. Benevento’s and Bowie’s paths would only cross the one time, when David Bowie handed Marco Benevento his diploma. The pianist returned the favor by putting Bowie’s music on full display last night, rocking through the classics with support from Superhuman Happiness.Umphrey’s McGee Welcomes Warren Haynes, Marco Benevento At Mountain JamCheck out a video of “Jean Genie,” below, thanks to Josh Timmermans. The band also welcomed out a number of great special guests throughout, including Warren Haynes, Aaron Lieberman, Woodstock Day School Choir,Andrea Diaz, Karina Rykman, and Mikaela Davis.Mountain Jam continues throughout the weekend with Wilco, Beck, Gov’t Mule and more! Check out the full setlist from the tribute below:Setlist: Marco Benevento + Superhuman Happiness Tribute To David Bowie at Mountain Jam, Hunter Mountain, NY – 6/2/16Set 1: Andy Warhol, Soul Love, Jean Genie (w/ Aaron Lieberman), Oh You Pretty Things (w/ Aaron Lieberman), The Story Of Fred Short (parts 1-3), Kooks, Life on Mars?, Limbs Of A Pine, Young Americans (w/ Woodstock Day School Choir)Set 2: Rebel Rebel (w Warren Haynes + Aaron Lieberman), Let’s Dance (w Warren Haynes + Aaron Lieberman, vocals by Andrea Diaz), Queen Bitch (w/ Karina Rykman, vocals by Dave Dreiwitz), Dropkick At The Show (w/ Aaron Lieberman, )Heroes (w/ Mikaela Davis), Let’s Spend The Night Together (w/ Mikaela Davis), Changes [Photos by Patrick Hughes]
For the second year in a row, David Shaw is bringing the Big River Getdown to his beloved hometown of Hamilton, Ohio. The Revivalists’ frontman will be hosting the musical event on Saturday, September 10 along the Great Miami River at the RiversEdge Amphitheater. With every detail hand-selected by the man himself, the one-day festival is sure to be something special.With The Revivalists leading the show, Shaw will also be performing a solo acoustic set. Performances from longtime NOLA friend and Galactic collaborator Maggie Koerner, Nashville-based rockers The Wild Feathers, young blues and funk masters The Marcus King Band, British blues-rock band The Temperance Movement, and Richmond-based jammers The Trongone Band, will round out a day of music to satisfy the likes of every need. David Shaw almost always has something up his sleeve, so we can’t wait to hear more about the special guest he has in store.Bringing a music festival to Hamilton, Ohio might seem like an unlikely move for someone who lives in the city of sound, but the New Orleans local felt strongly about bringing the music to his hometown. “We had been coming and playing at the city’s new outdoor amphitheater every year since it opened in 2013 and I saw that there was room for something more. Not just room for another concert but an event that the entire city could rally behind and feel good about. My friends, family, and fans always came out in droves and would ask me about this band and that band and if they would ever make a trip to little ol Hamilton, Oh. So I got to thinkin… (which is usually a bad idea) but this time it worked out. I asked friend and city official Adam Helms if the city would be into something like this and he said YES! So we got to work,” Shaw told us.Coming off a strong first year, he adds that this year will be much different from the inaugural event — especially with this lineup, hand-selected by the man and for the people. “The Wild Feathers are a band that I’d been seeing here and there on the scene and really liked what they were bringing to the table so it’s going to be a real treat to see them live. Furthermore, we are bringing back Hamilton favorite Maggie Koerner. I must’ve received at least 20 messages from people telling me to pleassssse bring Maggie back. We were happy to oblige. I’m also super stoked up about The Marcus King Band coming to town. That kid is going to be a star. He’s a natural born killer with his axe in hand. It’s going to be fun to watch him grow. Also this year we have a band from England called The Temperance Movement. They just straight up rock. There’s really not much else to say about them,” Shaw explains.With food vendors, arts, crafts, and future plans to expand the park, David Shaw’s Big River Getdown is certainly turning in the right direction.“This event is extraordinarily special to me because I believe that music can be the foundation and catalyst for big change and growth. Not just for the city but for the people deep inside at their core. When others from around the tri-state area get wind of what we’re doing here, they’re going to take notice. A city like Hamilton has a rich history filled with a lot of interesting characters, twists, and turns. I believe that The Big River Getdown will serve as a turning point for the city in terms of togetherness, morale, and pride. I can’t wait to see what the future holds for both the city of Hamilton and BRGD. We’re in this as one, we’re in this together,” he concludes.Pre-sale tickets go live tomorrow at 10AM EST, with general admission starting at $20 on June 10th. Prices increase at the gate for $25. More information can be found on the festival’s website. Check out the announcement video and show poster below. Don’t miss out!
Phish returned to Wrigley Field in Chicago, IL for the second of two sold-out performance, hitting the storied home of the Chicago Cubs with passionate performing. The shows marked Phish’s first-ever trips to the venue, and the band seemed truly in awe of the stadium’s historical legacy. They treated fans to a few surprises and big-time jams throughout the finale as well, keeping fans on their toes for a great show.The band opened up with a funky “The Moma Dance,” getting the energy up high from the opening notes. The groove got the crowd dancing, ready for a great set of music ahead. From there, they rocked with an “AC/DC Bag” that got everyone singing along. Trey Anastasio hit the song hard, letting his new Languedoc shine throughout.The band continued with a pairing of Fuego tracks, “555” and “Waiting All Night.” Giving the fans a taste of the 2014 release, Phish then kept the mood uplifting with a great version of “Heavy Things.” Page McConnell shined on the keys, helping to lead the happy jam section. After “Heavy Things,” the group took a moment to honor tour manager Richard Glasgow’s birthday.The band then rocked into a funky “46 Days,” taking the great tune for a first set ride. Anastasio really kept the jam together, leading with some soaring melodies and fretwork. From there, it was Jon Fishman’s turn to shine, as he took his first vacuum solo of the summer in “I Didn’t Know.” Anastasio commented that he was “Feeling the suction,” a reference to Fishman’s new Bernie dress. Anastasio then talked about remembering when Fishman would clean the floor with a vacuum before using it to play. Fishman declared it was “all for art!” After the playful banter, gave way to one of the band’s greatest compositions, “Divided Sky.” The 40,000+ in attendance let out an incredibly loud cheer during the longer-than-usual pause in the song, as the band watched on in true appreciation.Following the incredible instrumental, the band ended the set with two straight up rockers, “Cavern” and Led Zeppelin’s “Good Times Bad Times.” The venue was absolutely electric, as the stadium crowd roared for the band to close out their great first set.The second set showcased Phish’s diverse musical abilities, as they opened with a rock and roll “Carini” before sailing into an upbeat major key jam session. The group was locked in tightly through the whole set, letting the “Carini” float in space before bringing the house down with a segue into “Tweezer.” Uncle Ebenezer was certainly welcomed at Wrigley, as the band kept the jams flowing throughout the great “Carini” > “Tweezer” combination. From there came the first big bust out of the night, the formerly-desonged, now-resonged “Fluffhead.” After 52 shows and two years, the song is finally back in the rotation, and the band played it flawlessly. “Fluffhead” felt like an old friend coming back to visit; it was a truly celebratory moment of the performance.The band wasn’t anywhere near finished with the second set, however, and led “Fluffhead” into a breezy “Piper.” The upbeat song grooved into a truly carefree jam session, fluttering in the ether before settling into a funk fueled “Steam.” This was the only “true segue” of the set, as the band went cleanly into the funky jam. The stadium was filled with incredible energy as steam poured through the stage, as the band ripped through the jam. The music segued into a solo piano moment, and McConnell led the band into “Wading in the Velvet Sea.” The cool down moment provided a nice calmness before the rest of the show.Phish brought the energy level right back up with “Harry Hood,” bringing the great composition to the Chicago fans. One day earlier, a fan had handed out fliers requesting that fans chant “Caray” instead of the usual “Hood.” (Harry Caray was a famous Chicago Cubs announcer for decades, and you can see the flyer below thanks to TheJamFather). A nod to the origins of the “Hood” chant itself, the venue seemed to be split between “Hood” and “Caray” chants. The band kept the song short and sweet, bringing the jam to new heights before concluding the song proper. Finally, the set closed with an all-out rager, “Tweezer Reprise” itself.For their finale, Phish closed out the show with a major bust out: “I Am The Walrus.” The Beatles cover was played for only the second time, and the first time since 2010 (229 shows). The band nailed the cover note for note, bringing their Phish energy to the classic rock tune. It seems that covers are back in Phish’s rotation more regularly this summer, and songs like “I Am The Walrus” are truly welcomed in their sets. It made for a great ending to a great two-night run. Check out the full setlist from the show, below.Setlist: Phish at Wrigley Field, Chicago, IL – 6/25/16Set 1: The Moma Dance, AC/DC Bag > 555, Waiting All Night, Heavy Things, Happy Birthday to You, 46 Days, I Didn’t Know, Divided Sky, Cavern > Good Times Bad TimesSet 2: Carini > Tweezer > Fluffhead > Piper -> Steam > Wading in the Velvet Sea, Harry Hood > Tweezer RepriseEncore: I Am the WalrusNotes: This show was webcast via Live Phish. Happy Birthday was played for Phish tour manager Richard Glasgow. I Am the Walrus was played for the first time since June 29, 2010 (229 shows).[Setlist via Phish.net, Photo via Kristine Condon Photography]
Now more than ever, the phrase “all in all you’re just another brick in the wall” has significance in our lives. The famed Pink Floyd song was penned for Roger Waters’ opus, The Wall, the second in a three part series of wall-building tracks from the album. Though The Wall was released at the end of 1979, “Another Brick In The Wall (Part 2)” came out a couple months later as a single in the U.S., where it skyrocketed to the #1 position on the charts. To date, the song is the only #1 hit for Pink Floyd.The song itself holds an iconic place in Floyd’s catalog, segueing in from “The Happiest Days of Our Lives” with a powerful scream and its memorable hook refrain, “we don’t need no education.” Producer Bob Ezrin immediately recognized the song’s potential, both within the album and as a stand-alone single, and begged the band to extend the song past its original run time of one minute and twenty seconds.Waters, with his trademarked smugness, reportedly replied, “We don’t do singles, so fuck you.” Ezrin then went behind the band’s back, doubling the band’s recorded instrumental tracks and recruiting a school choir to sing the verse and chorus of the song. Ezrin was inspired by Alice Cooper’s “School’s Out,” which is also about children rebelling and also features children. When Waters heard what Ezrin had done to the track, his eyes lit up. It was only then that Waters and Ezrin together knew just how important the song would be.Additionally, it was Ezrin that influenced the song’s readily apparent disco beat, telling guitarist David Gilmour to check out local dance clubs to see what was popular at the time. The song’s familiar rhythm is directly inspired by that unique rhythm, which sounds like nothing else in Floyd’s catalog. It also ties into the album’s overall message of rebellion and building walls, countered drastically by the famous line “If you don’t eat your meat, you can’t have any pudding, how can you have any pudding if you don’t eat your meat!” “You! Yes, you! behind the bikesheds, stand still laddie!”In honor of the song’s anniversary, take a listen to it amid the great Pink Floyd album, The Wall, streaming below.
Thriftworks is one of the most prolific producers today, and he’s set to prove that once again with a new EP, The Feather and the Sword, set to drop on March 6th. The first single, “Flap Jack’s Revenge,” is an early indication that this release could shape up to be his best yet.Thriftworks seems to specialize in thumbing his nose to traditional pop music, while constructing supremely detailed soundscapes that conjure lush and swampy imagery. “Flap Jack’s Revenge” is an engaging and original sound that ruffles feathers and sends shivers down your spine. As with anything that breaks new musical ground, sometimes it takes more than a first listen. Each track is densely layered, drawing the audience into a state of contemplative meditation. Beautifully strange, The Feather and the Sword represents the maturation of a wholly unique sound. Ghostly lyrics that tickle the senses are nestled into futuristic instrumentation and deep intonations of bass.Preview the new album with lead single, “Flap Jack’s Revenge,” below.To celebrate the new music, Thriftworks is embarking on an extensive two month national headlining tour, starting on March 9th to coincide with the release of The Feather and the Sword. Highlights include a four night Colorado run, a long anticipated return to the Midwest including the Miramar in Milwaukee, plus select dates in the Northeast and Southeast regions. A few special dates have yet to be announced, but the tour schedule can be seen below. Further information can be found by keeping up with Thriftworks on Facebook!
Unless you have been living under a rock, then you know that future funk/acid jazz legend Jamiroquai has returned with new music after a seven-year layoff, with the ultra-hyped album Automaton. The highly anticipated tour in support of the album began this evening at Paris, France’s Salle Pleyel, and it appears Jay Kay & Co. most certainly delivered a high-powered performance, with a tasteful touch of both older and new tracks.The ever-so-slightly stripped down unit, sans horn section, provided those in attendance with plenty of opportunities to get down and join in the magic happening on stage. Jamiroquai opened the show with new numbers “Shake It On” and “Automaton” before making their way into “The Kids” from 1994’s Return of the Space Cowboy.Tracks such as “Space Cowboy,” “White Knuckled Ride, and “Cloud 9” witnessed plenty of crowd participation as Jamiroquai effortlessly worked the room. “Canned Heat” and “Love Foolosophy” closet out the set proper, with the group coming back for a “Supersonic” encore with a deep groove percussion jams. If this upcoming tour can be gauged from just one show, then fans of Jamiroquai can expect a very enjoyable summer and fall. Check out some videos from the performance below.[via superunknown62][via Grégory Iaquaniello][via superunknown62][via superunknown62]Jamiroquai | The Salle Pleyel | Paris, France | 3.28.17 | SetlistShake it On – Little L, Automaton, The Kids – Dr. Buzz, Space Cowboy, Superfresh, White Knuckle – Cosmic Girl, Corner of the Earth, Morning Glory, Mr Moon, Cloud 9, Something about You, Emergency, Runaway, Hot Property, Carla, Canned Heat– Lovefool FoolosophyE: Supersonic
The world’s finest Disco Biscuits cover band — Tractorbear — took the stage at American Beauty in midtown Manhattan on Saturday, June 17th to deliver a set of their customary smokin’ re-works of the Biscuits’ best, as well as a special treat: the debut of a whole set of original music, under their new moniker Microcave. The group’s songwriting shows a lot of the traits that define The Disco Biscuits, writing compact, tight riffs that can unpack into elaborate, almost-Byzantine medleys, as well as orchestrally-inclined numbers that resolve themselves into blissful, stripped-down, thematic dirges.A Chill Briefing On The Events That Transpired At Tractorbear, The Disco Biscuits Tribute“Merkaba” is a complex, classical piece — perhaps most reminiscent of the Biscuits’ Bazaar Escape — with a darker sensibility characterized by its minor chords and restrained yet tense guitar playing. “Party In A Paper Bag” opens sounding almost like a synth-pop version of “Down To The Bottom,” as if Devo or Kraftwerk decided to try on the Biscuits for size. As Microcave worked its way into the song’s first jam, the patience of the group shone through. Each member seemed to feel comfortable dropping into the back of the sound with a simple riff to let another take the lead. Paul Katz’s lead bassline set a tone with a sort of Running Man tenacity. Jason Cohen’s hammering MIDI pads turned the affair briefly into a trap rock sound. And slowly, in between the back-and-forth of quickly scratched out guitar riffs from James Dellisanti and bending chords from Steve Lasker on keys, an expansive, driving, determined jam arose — one that really seemed to stretch the group into territory none had been before. As the cascading lines of four perfectly in-sync musicians echoed off of one another, it gradually dawned on audience members that they were witnessing something truly unique and special.No one would have known it between the two instrumentals, but listening back now, one can say that “Party In A Paper Bag” cuts off as the escalating interaction between Lasker and Dellisanti duo. The next song, “Cosmos,” was a more tranquil composition. As it comes to the fore, Lasker’s keys take on a xylophone tone, and the driving Lunar Pursuit-reminiscent bassline fades to reveal something steeped in the Island Biscuits sound. The tone on Katz’s bass seems to slowly ratchet itself up, and then, in turn, so does the resonance of Cohen’s consistently innovative fills. As the jam multiplies in its complexity, its Shpongle-esque loops and arcing guitar notes double back on each other to form a Celtic knot of interwoven and replicating lines, all of which converge on each other until eventually coming to a head with the return of “Party In A Paper Bag.” “Lucy’s Stone” is a simple call-and-response diddy during its chorus and verses. As the song picks up into its jam though, it turns into a different beast, beginning with a sort of Moshi Fameus-influenced freeform synth-based jam before blasting off behind a devilish guitar line. You can watch the full set of Tractorbear’s originals as Microcave below or listen the audio here. However, for Tractorbear’s second set, the group returned to its Biscuits-tribute form. Opening with “Devo Frog Legs” — a cover of The Perfume’d version of the song — the band got crowd-members’ hips swinging in sync. They came out of this first number into “Big Wrecking Ball,” a song off of the Biscuits’ widely panned ‘09 release, Planet Anthem, and that is almost reminiscent of Muse with its Art-Rock, college-radio, Power-Pop sensibilities. Tackling it with an aplomb not easily applied to the number, its jam developed with vigor, turning it into more of the rock and roll anthem it was intended to be. That, in combination with the Biscuits’ recent exploration of ‘”Loose Change” at The Cap Theater makes the listener wonder if all of the songs from that album were classics and merely waiting to be given the proper and full treatment. Tractorbear came out of “Big Wrecking Ball” to play the end of “Munchkin Invasion,” a song the group left incomplete at their last show, at Evolution of Jam at The Hall At MP on May 19. Its frenetic energy led to a perfect segue into “Caterpillar” — a smoking demonstration in electronic madness whose complex BPM and synth lines make it no easy stallion to tame.After the glorious conclusion of “Caterpillar” and a quick chant for Mr. Shlappy (Katz’s bass-heavy producer alter-ego), the band picked up with a heavenly “Highwire,” altogether soaring and electric with their rendition. The song was originally a jam vehicle — on They Missed The Perfume, the Biscuits essentially used the feel-good tune as a glue to stick together a wide variety of disparate explorations. Though it’s often used as an encore by the Biscuits these days, when “Highwire” is played by Tractorbear, it takes on the sort of freeform everywhere-and-nowhere sort of song it once was. As Tractorbear continued their high-energy rendition of the tune, the audience could feel the room’s temperature rise. Soon, Jared (the guitarist from the opening band Baked Shrimp) joined the band on-stage, returning the favor to Lasker, who’d joined Baked Shrimp for their “Once The Fiddler Paid” encore. Jared and Dellisanti worked the song’s energy up into a fever pitch, where it turned itself into a ripping “Tricycle.” Jared seemed to have new riff to back up each new chorus, and the song’s complexity redoubled every couple bars as it heated up. After a cascading finish on the end of “Highwire,” the band left the stage to a resounding roar from its devoted audience.The final, ripping “Trooper McCue” worked itself into the conclusion of their original, “Cosmos,” and the band walked off the stage into the arms of some of their best friends, beaming with adulation as they looked out on the group of loons whose wild dream they’d encouraged for years up until this moment.
On January 7th, 1979, The Grateful Dead debuted at the iconic New York venue, Madison Square Garden, going on to perform at MSG a mind-boggling fifty-two times between 1979 and 1994. The band played many classic shows at MSG, delivering countless memorable moments at the “World’s Most Famous Arena” over the sixteen year period before the band broke up in 1995. However, one show stands out as a wild, guest-filled extravaganza, and it took place 29 years ago on September 24th, 1988.Always a forward-thinking band, The Dead organized their fans in an attempt to raise one million dollars to help save the world’s tropical rainforests, putting the show at the tail end of an unprecedented nine-show run at the beloved New York City venue. The band hadn’t typically mixed their political views with their music, but they felt that the importance of saving the world’s rainforests was worth the break in tradition. To mark the occasion, the group brought several musical friends—many of whom had never played with the band before—along for the ride, making for a truly special night at MSG.After an opening set by Bruce Hornsby and the Range, the Dead took the stage for a fairly typical first set that featured only one guest—one-time Rolling Stones guitarist Mick Taylor—who joined the band for a two-song run of “West L.A. Fadeaway” and “Little Red Rooster.” It was during set two that the guests really made themselves welcome. Suzanne Vega joined the band for the set-opening run through “Chinese Bones” and “Neighborhood Girls,” before the band performed solo versions of “Crazy Fingers” and “Women Are Smarter”. Then, the most exciting and out-of-left-field guests joined the fray, as Darryl Hall and John Oates jumped on stage and led the Dead through their ballad, “Every Time You Go Away” before launching into a topical cover of Marvin Gaye‘s “What’s Goin’ On”.The song would fizzle out into a “Drums” -> “Space” segment, which featured African percussionist Baba Olatunji and guitarist Michael Hinton. To close things out, Bruce Hornsby joined his friends in the Grateful Dead for a set-closing version of “Not Fade Away,” which brought the house down. The band then encored with “Good Lovin’” and “Knockin’ On Heaven’s Door”, and for both of the tunes, former Jefferson Airplane and Hot Tuna member Jack Casady joined in.On the anniversary of this awesome performance, you can watch a full video of the Grateful Dead’s Rainforest Benefit on September 24th, 1988, below, courtesy of Kevin Tobin. You can also listen to the full audio of the show below, courtesy of David Minches and Kevin Tobin.The Grateful Dead | The Rainforest Benefit | 9/24/1988 | Madison Square GardenSet 1: Iko Iko, Feel Like A Stranger, West L.A. Fadeaway*, Little Red Rooster*, Box Of Rain, Ramble On Rose, When I Paint My Masterpiece, Don’t Ease Me InSet 2: Chinese Bones%, Neighborhood Girls%, Crazy Fingers, Women Are Smarter, Every Time You Go Away$, What’s Going On$-> Drums^-> Space-> The Wheel-> Throwing Stones-> Not Fade Away&Encore: Good Lovin’#, Knockin’ On Heaven’s Door#%* featuring Mick Taylor | % featuring Suzanne Vega | $ featuring Daryl Hall and John Oates | ^ featuring Baba Olatunji & Michael Hinton | & featuring Bruce Hornsby | # featuring Jack Casady9/24/1988, Set One9/24/1988, Set One [H/T deadheadland.com] 9/24/1988, Full Show Audio