http://www.news-press.com/article/20081122/ENT/81122002/1075

RatDog review: Classic rock a refreshing change for local audience

MARK S. KRZOS • MKRZOS@NEWS-PRESS.COM • NOVEMBER 22, 2008


In my 15 years in Southwest Florida, I don't think I've ever used the word
"face-melter" to describe a concert -- mostly because concerts here are
never as musically adventurous and fierce as what the sold-out crowd at
Barbara B. Mann Performing Arts Hall experienced last night.

Long before Bob Weir - the rhythm guitarist for the Grateful Dead and now
frontman of RatDog - plucked his first guitar string, any local resident
could tell that this show was going to be unlike any other in the long
 history of Barbara B. Mann Performing Arts Hall.


Hours before the 8 p.m. start time, the west-side parking lots began filling
up with fans from all over the southeast who, like Deadheads, have followed
RatDog from show to show. Vendors selling glass pipes, T-shirts emblazoned
with the famous Grateful Dead skull and Jerry Garcia lined rows and rows of
cars while the music of the Grateful Dead blarred from car speakers.

Some fans were still stuck in their work suits while others in dreadlocks
and carrying the aroma of patchouli, pot and body odor scrambled for tickets
and other concert "necessities" like beer, weed and nitrous oxide. In fact,
you couldn't weave your way through the parking lot crowds without seeing
someone carrying a balloon.

Yes ... The circus was in town last night and it only got better as the
night wore on.

Inside the refined Mann auditorium, concert tapers with microphones and
recording equipment set up while the Deadheads in their tie-dyes waited
patiently for the band to take the stage and when they did, not a soul was
sitting for entire three hour performance that spanned each era of the
Grateful Dead's history.



The concert kicked off with a groovy jam that found its way into the
Grateful Dead's "The Music Never Stopped." When Weir launched into the
lyrics "There's a band out on the highway, They're high steppin' into town
It's a rainbow full of sound, It's fireworks, calliopes and clowns," I
couldn't help but this event was a welcome departure from the ho-hum acts
that usually play Southwest Florida.

With fans wiggle-dancing and using their hands to follow the music, Weir and
RatDog spent the next 15 minutes covering Bob Dylan's "Maggie's Farm" and
"She Belongs to Me" before delving into the first Jerry Garcia song of the
night, a bopping version of "Loose Lucy."

The 1 1/2-hour first set ended
with a rockin version of "Hell In a Bucket" with Weir, now fully gray,
screaming into the mic, "At least I'm enjoying the ride ... ride ...ride"
while saxophonist Kenny Brooks wailed.

The second set -- always the special set for the Grateful Dead -- also held
true with RatDog. Weir started things off acoustically with one of the
Dead's earliest numbers "Stealin'" before bringing the tempo down a bit with
a pretty version of "Friend of the Devil." Psychedelia took over with Weir's
"Victim of the Crime" and didn't skip a beat before taking on the reggae-ish
"Estimated Prophet."

With everyone still standing, the slow beginning notes of "Terrapin Station"
wafted through the theater culminating in a massive sing-along with the
crowd screaming the lyrics, "inspiration, move me brightly ... Light the
song with sense and color, hold away despair ...

Continuing the epic song Weir delivered the lines, "In the shadow of the
moon" while crowd screamed back "terrapin station."

"And I know well get there soon," Weir cried out.

"Terrapin station," the dancing crowd shot back before the band once again
delved into a Garcia favorite, "Sugaree."

The second set ended with Weir's barnstormer, "Sugar Magnolia" -- a song
that had people dancing from the front row to the very back.



And if that wasn't enough RatDog concluded with night with a song the Dead
only played on an album -- never live, the complex "At A Siding" which
featured sax man Brooks blazing, and lead guitarist MarK Karan with his down
making sure every not was hit just exactly perfect.

For those locals who were there last night, this will be one local show they
won't soon forget. The band was tight and those from outside the area
praised the theater and its staff. Here's to hoping we get more of this kind
of adventurous music and less Englebert Humperdicnk in the future.








Ever consider what goes into creating a logo?
Check out Jamie's blog about recreating the Head Count logo for 2008 at her blog
http://www.bittersweetcreations.com/blog/2008/11/headcount-needed-new-logo.html

http://www.news-press.com/article/20081121/ENT12/311270008/1013/LIFESTYLES


RatDog to bring Deadheads to Mann Hall with former Primus drummer in tow
BY MARK S. KRZOS • MKRZOS@NEWS-PRESS.COM • NOVEMBER 21, 2008
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Jay Lane, a founding member of the experimental metal band Primus, just completed drumming work on jazz guitarist Charlie Hunter's debut album when he first met Bob Weir.



"It was back in 1993 when we met," said Lane, who'll join RatDog - the band Bob Weir started following the 1995 death of Jerry Garcia - at Barbara B. Mann Performing Arts Hall tonight. "Back then my musical interests were very narrow. For example, I couldn't tell you the difference between bluegrass and zydeco.

"I was playing hyped up funk, jazz and R&B," Lane said during a RatDog tour stop in Boston. "I think that's why Bob took a chance on me."

THE BUS CAME AND I GOT ON ...

Like the lyrics of Weir's psychedelic face-melter, "The Other One," Lane knew becoming part of Weir's band meant an introduction to a whole new world of sight and sound.

In the early post-Grateful Dead years, audiences wanted more of the same, Lane said.

But Garcia was gone and Weir wanted to pay tribute to his past work without trying to clone it.

"It was a challenge for me," Lane said. "I didn't know how to play slow. It took me a number of years to learn how to slow down. I had to really break myself down and had to learn all this Americana music that was out there.

"What I really liked about RatDog and this music is that it's so inclusive," Lane said. "I had to learn to love the music to get it and get Bob's style."

LET THE WORDS BE YOURS

Unlike most rhythm guitarists, Weir has his own distinct style of complex voiceleading, which adds more depth - and a new dimension to rhythm guitar-playing.

"He's like a puzzle piece," Lane said. "You look at him and he's someone who crafted his style by playing with the same guys for 30 years. There is no one who plays like Bob. Guys like Les (Claypool) and Charlie (Hunter, a seven and eight-string jazz guitarist) were taught by themselves in their own room. Bob was playing in the Grateful Dead at 17.

"It took me a long time to figure out what he was doing," Lane said. "Even today, every few gigs, I'll feel like I've had another breakthrough."

THEY'RE BEYOND DESCRIPTION

Legendary concert promoter and Grateful Dead fan Bill Graham once said this about the Dead: "They're not only the best at what they do, they're the only ones who do what they do."

Today, some 13 years after the band called it quits, the groundwork the Grateful Dead laid for future generations of experimental rock bands keeps expanding through rock festivals such as Bonnaroo, live music downloading Web sites such as archive.org and bands who search for more than three chords and three-minute songs.

"The Dead fans that come see us want to hear the Dead," Lane said. "But we're not the Grateful Dead. When we play some of those old songs, we're paying homage while at the same time giving them something new."

SHALL WE CALL IT BY A NAME?

While a RatDog show is often comprised of plenty of Grateful Dead songs RatDog is no Dead cover band.

Recent performances illustrate the wide variety of songs ranging from rarely played Dead tunes to Bob Dylan to the Beatles and Rev. Gary Davis.

"I think what we're doing is turning a lot of younger people whose parents were Deadheads on to this music," Lane said. "If people can come to this music through that rap album 'Jay-Z is Dead,' great. People are finding music in other ways than listening to the radio."

Yippeeee!

I've had all sorts of problems posting here!
No clue why because my other blogs seem okay but anyhow;

Here's an online article containing some quotes from Senor Bobby.

Save Sweetwater Saloon!
Click Here!

New article click it->http://www.newhavenadvocate.com/article.cfm?aid=2421






{{{Jared}}}
Only a year but still a long time to be gone

Alan Hess has designed a wonderful shirt in support of Mark Karan.
The shirt features a beautiful photo of MK which til now, hasnt been seen.
The shirt can be customized as to colors & styles and even quality of fabric1
CHECK IT OUT shirt here!

Hmm? I'm not sure what this about but nice Bobby pix click here


...

Ratdog delivers freewheelin’ show

By Christopher Blagg / Music Review
Thursday, July 12, 2007 - Updated: 04:20 AM EST

No, Bob Dylan didn’t make a surprise appearance at the Bank of America Pavilion Tuesday night. Confusion is understandable considering a good third of Ratdog’s set highlighted tunes by the legendary songwriter. For at least one night, Bob Weir’s post-Grateful Dead project transformed into the Bob Dylan Rolling Revue.
Dylan covers aren’t new for Ratdog, but on this night Weir, who once again sported his Wild West handlebar moustache/ beard, must have been feeling particularly keen on Mr. Zimmerman. After opening with Weir’s own “Feel Like a Stranger” and the jug band stomp of “New Minglewood Blues,” Weir ambled into Dylan’s sweet midtempo ballad “She Belongs to Me.” You just don’t hear jam bands or any kind of improvisatory rock bands play ballads anymore.



It was also nice to see Weir unafraid of tackling tunes historically associated with his old running buddy, ripping into Jerry Garcia’s moaning blues tune “Loser” and the Stax-styled soul workout “Loose Lucy.” The latter mobilized the devoted crowd packing the Pavilion into fits , stoking the fires of nostalgia for the graying Deadheads swarming the floor.
The Dylan tribute kicked into high gear halfway through the show, with Weir strapping on an acoustic guitar for a rousing interpretation of “A Hard Rain’s A-Gonna Fall.” Opening act Keller Williams then joined the band to trade verse with Weir on the back-porch bump and shout of Dylan’s classic “Quinn the Eskimo.” The centerpiece of the set also featured Dylan, with the rock ’n’ soul boogie of “Silvio’ providing ample space for Weir and his cohorts to stretch out and do what jam bands do best.
Despite all the Dylan worship, the night’s highlight found Ratdog in Crescent City mode, with the New Orleans street beat of “Iko Iko” eliciting rabid call-and-response participation from the crowd.
Though billed as an opening act, Williams played the part of co-headliner, as his “opening” set lasted more than 90 minutes. Williams did his usual goofy humor, frenzied guitar looping shtick for the crowd, but after a while all the tricks and toys began to get show-offy and tiresome. There’s a reason why Weir is still playing to thousands of people well into his 60s. It’s called melody, and if Williams wants to play until his Social Security checks start coming in, he’d better learn to write one.
RATDOG with KELLER WILLIAMS at Bank of America Pavilion, Tuesday night.

christopherblagg@gmail.com


...
From GDSTOO:

Bob Weir and RatDog will play a show in Celebration
of Jack Kerouac on Sunday, August 12 at the Boarding
House Park, French and John Streets, Lowell, MA.

Gates will be open at 4:00 PM. Show time is 6:15.
All ages welcome. The Park will be open all day.

This is a General Admission show. Since tickets won't
be issued this is a will/call only show. Admissions will
be collected at 4:00 PM and thereafter.

Mail order tickets are available at $33.00 per ticket.
Please include your email on your 3x5 card so we
can email you a confirmation. If you would prefer
confirmation by mail please send the S.A.S.E.

First postmark dates for this show are Thursday
July 12 through Monday July 16. As per usual mail
order will remain open until further notice.
=======
RatDog and Keller Williams's July tour:
Mail order is over for this tour through June 20.
If you want to do some late adventuring beyond that date
please email or call first.
=======
ABB/RatDog shows:
We have started processing these shows. Camden
PNC and Burgettstown are all done.
We hope to have the remaining shows done within the
next 2 weeks. All orders can be filled, so not to worry.

Tickets are still available for all shows on this as per details
on our web site www.gdtstoo.com.

The Crew of GDTSTOO
7.12.2007

--

"Lost now on the country miles in his Cadillac
I can tell by the way you smile he's rolling back
Come wash the nighttime clean
Come grow this scorched ground green...."

Weir/Barlow

Web Site: http://www.gdtstoo.com
email: GDTSTOO@gdtstoo.com
Customer Service Number: (415) 898-2364
Monday-Friday,9 am-6pm, PST.
To subscribe to our email announce list, send empty email to
GDTSTOO-subscribe@yahoogroups.com
__._,_.___

article

From Dead to Dog
Bob Weir receives a crash course in freak-folk.
By Justin F. Farrar 
Published: July 11, 2007

Next time you're out drinking, tell your friends that the Grateful Dead rocks. Most of them will shape-shift into rabid Dobermans and tear into your musical taste, frothing rebukes that include the words dirty, fuckin', and hippie.


Bob Weir: A bodhisattva for freak-folk, and he doesn't even know it.
Where:
The Time Warner Cable Amphitheater at Tower City
Details:
6:30 p.m. Monday, July 16, $33.50, 216-241-5555
Subject(s): Animal Collective, Skygreen Leopards, Blues Traveler, San Francisco, neo- hippie, jam band, Grateful Dead, Bob Weir & RatDog, acid


It's a common ailment among music fans, this anti-jam-band rage: the zealous belief that any stoner who trucks through life in a dancing-bears tee is one of mankind's most reprehensible by-products, right up there with Joseph Goebbels and the six-dollar beer.

"I'm well aware of that phenomenon, but I could never really figure out why that was," says former Dead guitarist Bob Weir, who now tours constantly with his band RatDog. "Maybe hippies offend their sense of order."

Phoning from his home in Marin -- a county north of San Francisco that's heavy on redwoods, chakra work, and big money -- Weir also professes ignorance about a new wave of Dead-inspired hippiedom. Over the last several years, a collection of indie rockers, who used to be nothing but punks with degrees, have sprouted Manson beards and embraced the Dead's earthy, psychedelic vision.

Most music dorks tag this trend "freak-folk." They probably would've called it "neo-hippie," but that label was already snagged by fans of Phish and Blues Traveler (whom the freak-folkies don't dig, by the way).

Some of these freakers, such as the image-conscious Devendra Banhart, merely dress like the early Dead: love beads and fringed buckskin. Others -- Oakley Hall, the Skygreen Leopards, and Cleveland's Dreadful Yawns among them -- are more serious, studying the band's synthesis of acid rock, free jazz, and country-folk.

Then there's Animal Collective: This quartet sounds nothing like Garcia and the boys, but it has consciously mutated the Dead's jam-band ethos into a strange new hallucination, one that melts together noise pop and minimal techno like a Dalí painting.

The freak-folk movement and its admiration for the Dead has nabbed the attention of music's chroniclers: Two magazines, Arthur and The Fader, recently published articles binding the genre's present with its past. Both pieces serve as perfect gatekeepers, introducing outsiders to the band's colossal discography. But they also spout naive testimonials from hip freakers, who gush as if they've just smoked weed and spun Workingman's Dead for the first time.

"He was a real dude, and he was a dark guy," writes Ladyhawk singer and guitarist Duffy Driediger, trying to convince incredulous Fader subscribers that, yes, Jerry Garcia really was cool, man. "I think people should have more respect for him."

The Dead's rural pop and love for experimentation haunt several freak-folk bands, but few of them possess their chops. "[The Dead] were much better musicians," admits Glenn Donaldson of the Skygreen Leopards, whose Disciples of California disc sways like an American Beauty in full bloom.

Like most indie kids, freakers grew up through the punk movement and were conditioned to believe amateurism was cool. It's a logic that proved revolutionary in the late '70s, when the Ramones challenged the mainstream dominance of sterile professionals like Boston and Journey. But in recent years, it's turned into just another dogma.

And that, says Weir, is the problem intrinsic to all movements, flower power included. "Renaissance eras can only last so long," he explains. "It'd be nice if musicians could move beyond movements and just be eclectic."

Although Weir and RatDog approach jamming like skilled jazzbos, not primitive rockers, he's an authentic hippie with a wide-open mind. The dude wants to hear some of this freak-folk stuff.

Schooling a former Dead guitarist on modern psychedelia sounds like the groundwork for a new pan-granola nation. But how much of this stuff would he actually dig? Few musicians inspired by the Dead's extended family can strike the teetering balance that Weir has with both the Dead and the Dog: a wonderfully acidic mix of avant-garde weirdness, jazz-influenced virtuosity, and rock and roll craftsmanship.

Spout all the anti-hippie trash you want, but name another band that has journeyed from bluegrass pop to free-form feedback within the span of a single concert. Over the years, Weir and the Dead have personified eclecticism, avoiding alliances with fleeting trends while slyly cribbing new sounds. That's why the freak-folkies now reach out to them: They see a band who coolly whipped the Joneses and their dogma.