The Infamous Stringdusters Wake The Dead in San Francisco

By nugs.net Staff Member and fan, Arya Jha
Photos by Kory Thibeault. Check out more of his work at @korythibeaultphot

On Friday, January 24th, The Infamous Stringdusters returned to the legendary Fillmore, bringing a high energy performance to a nearly sold-out crowd in San Francisco. The Grammy Award-winning bluegrass quintet started off the show with a “Shakedown Street” tease, igniting the audience into a roar. Moving quickly into fan-favorite “Carry Me Away” they continued on into “Wake The Dead” which ended in heavy jamming and a battle between the dobro player, Andy Hall, and fiddliest Jeremy Garrett. Set one continued on with ISD classics like “Let Me Know” and “Steam Powered Aeroplane” alongside Shakedown teases which continued on throughout the entire show. “Gravity” brought the audience to a standstill with a soul moving performance and an epic dobro solo. The set ended with the psychedelic, playful yet dark, “Echoes of Goodbye” leaving the audience wanting more.

Set two brought the heat with a “Midnight Moonlight” opener, yet another nod to the legendary Fillmore, which came to little surprise after they mentioned the venue as one of their favorite places to play in the country. Set Two highlights included “Rise Sun”, the title track off the Dusters latest album, and a 13-minute jam of “No More To Leave You Behind”. They kept the audience engaged with covers of the Band’s “Cripple Creek”, Phish’s “2001″, and finally a full rendition of the Grateful Dead’s “Shakedown Street”. Listening closely to the end of set one you’ll even find a “Dark Star” tease! The show continued on with a two-song encore, resting their instrument down after “Sunny Side Of The Mountain” which played well past the venue’s curfew.

Check out this show, and the rest of The Infamous Stringdusters’ live catalog on nugs.net.

Talking Dick’s Picks with Steven Hyden and Rob Mitchum

Last week, Steven Hyden and Rob Mitchum launched 36 From The Vault, a new podcast exploring the Grateful Dead’s celebrated Dick’s Picks live series. The show takes a deep dive into the 36 Dick’s Picks entries, the history of the Dead organization, and popular culture around each show. We caught up with Steven and Rob to find out more about the new series.

*

nugs: What makes Dick’s Picks unique amongst other official releases from the Grateful Dead? 

*

Rob Mitchum: One of the joys of doing the podcast so far is doing a deep dive into who Dick was and how he came to be associated with the Dead organization. His background and the whole process in selecting the shows is really sort of fascinating early on. The key thing about Dick, I think, is that he came to the Grateful Dead organization already a huge tape trader and fan. He had that fan’s perspective and brought it to the organization. Everybody who was working for the Dead from the band to the crew to the people running the business had been inside for so long that they kind of lost perspective about what the outside world wanted from them. And that’s especially important for this kind of archival release series.

Dick was giving the fans what they want. He had his own sort of peculiar pov on what needed to be put out there. He talked a lot in early interviews about the fact that the band, by ‘93 certainly, never listened to the tapes. The only one who was interested in even participating in choosing or rejecting shows was Phil and he was doing all rejecting and no choosing basically, so he really slowed down the release in the early days. But Dick was super enthusiastic about all this music and would come across something like the “Here Comes Sunshine” that’s on Volume One and say, “We have to get this out there! Deadheads have got to hear this.” He would just argue and argue that it needed to be put out there and finally ended up winning some of these arguments with Phil. We’re all very lucky to have had his perspective on the inside at that point. Certainly, they wouldn’t have put out as much without Dick advocating for it and what they would have put out maybe wouldn’t have been as satisfying. 

*

Steven Hyden: I think what makes the Dead unique in a lot of ways in terms of how their archive is handled is that they are probably the biggest example of fans stepping into the place of the band as stewards of the band’s history. The fans of the Grateful Dead have had such a big role in ultimately shaping the perception of how this band is perceived and I think mostly for the better. I think Dick is an example of this and there are lots of other people, lots of the Deadheads, who have much better taste in Dead music than the members themselves. If not for them there’d be a lot of great music that wouldn’t have been put out there for whatever reason. I think it’s a really interesting aspect of their history, the role that fans have played in writing and maybe correcting it in a lot of ways. 

*

nugs: You guys mention in the podcast that the Dick’s Picks shows are a sort-of medium between the studio sound of early official releases and the DIY sound of bootleg tapes. What is it that distinguishes the sound of a Dick’s Picks show? 

*

SH: It was kind of like the best of both worlds in a way where you could get something that sounded pretty good but it wasn’t overly professional or it didn’t have a ton of overdubs on it. It is interesting doing this show and realizing how much actually was done to these tapes in terms of just cutting songs out or like resequencing songs. The first Dick’s Picks record I ever got was Volume One and I wasn’t aware of how much had been taken out of there until I did this podcast. I heard you could stream the shows that they took that from and pretty much the whole first set is gone from Dick’s Picks Volume One. So it wasn’t quite as unedited as I assumed it was but still much less polished than a regular studio record would be.

*

nugs: On the note of live albums missing sections or being re-sequenced, what makes the six-song uninterrupted section in the second set of Dick’s Picks Volume One so special?  

*

RM: One of the cool things that I think Dick’s Picks allowed the Dead to do is put out some of these hour-long song suites that they used to do regularly live. For a lot of reasons, they hadn’t really represented that on their official “live” albums. I think Live Dead probably gets the closest to it but even that one is spliced between I think two or three shows. A lot of their other live albums were sort of grab bags of best versions from a particular tour or run. If they’re edited together it was done in the studio later on by combining versions from different shows and things like that. What was sort of revolutionary at time was finally having a pretty solid unabridged hour of music and segues from the show on an easy compact-disc format. Usually, that was the domain of tapes and not something you could get your hands on in official quality.

*

SH: It really is amazing how spoiled people are now with this kind of stuff. I was just thinking about myself with Phish for instance. I only started listening to Phish in the 2010s. I’m used to an era where the show ends and within a couple of minutes there’s an instant show to stream online that’s a master and sounds great. At your fingertips, there’s an entire show. We’re so used to that now. Revisiting the series is a reminder that even getting part of a show that sounded this good was kind of a unique thing. it was a much harder thing to attain than it is now.

*

RM: That’s going back to before a time nugs.net spoiled music fans. But yeah, I think one of the interesting things I’ve learned from the start of the series is how the Dead organization was very nervous about whether this would actually work, which is crazy in retrospect. Now the Dead put out like eight to ten live releases a year or something like that between Dave’s Picks and the other box sets they do. 

Dick, Kidd Candelario and a couple of other people that were involved in the start of the series really had to argue with the band, the organization, and the record label to do this. Even the permission they got was only to sell it through mail order and do a very low run for the time of only 25,000 copies each volume. Dick wanted to do complete shows but they wouldn’t commit at the time because they only wanted to do, at most, 2 discs. Of course, you can’t get a complete show on two discs. There were all these handicaps put on the project from the start just because they were worried that it might be a commercial bust. 

*

SH: I guess maybe the Dead’s defense back in the early ‘90s was that putting out something that’s pretty unvarnished risks being picked apart. Especially by a fan base as critical as the Dead’s. So I understand their trepidation from that perspective, they didn’t want to put out something that was maybe less than perfect. And in the show that we just did, there’s this whole thing about editing out this terrible Phil Lesh bass solo. When you listen to the show it’s actually kind of good that it’s not there because that part of the album flows so well, it’s like really the best part of the whole release. But there is a part of you as a purist that’s like “oh I wish that was in there because that’s actually what happened.” The fact that they were willing to release Dick’s Picks as they did is a little bit of a leap of faith, to expose yourself in that way. 

*

nugs: You guys have hinted that the show could explore some other artists along the way, what can we expect down the line from the podcast? 

*

RM: Steven and I are both fans of the live album format in general and the Dick’s Picks series is such a revelation in how live albums can work for a band, doing more archival releases than polished live album releases. So I think we’re interested in those types of archival releases from other bands. Like Steve was talking about earlier, telling the story of the band through this very particular kind of release is a concept that fits the Dead perfectly and they were the ones that set the template for that. But there are other bands that do that as well and that’s the kind of thing we’d like to explore down the line or in special episodes

*

nugs: In the first episode, you guys go deep into the context around the show. You even dive into how the venue was named after a corrupt Tampa mayor. Is that something we can expect more of in future episodes? 

*

SH: Part of the appeal for us doing this show was that it’s a chance to talk about the Grateful Dead, but it’s also an excuse to explore music history and pop culture history in a fun way. You could time travel back to December of 1973 and look at what’s happening in the world at that time and get a sense of what it would have been like to be at that show. Rob and I were both born several years after this show and I never got to see the Grateful Dead live at all. I’ve only ever experienced them through recordings. The time travel aspect of listening to live tapes is enhanced when you can look at the rest of the world at that time and see how that influenced what was going on. 

*

RM: Yeah, I think a lot of times people tend to consider the history of the Dead in sort of a vacuum. They were always an oddball in the music industry so people tend to consider the Dead and their different eras in a silo without thinking about the cultural context of the time. What was going on in the music industry? What was going on in film? What was going on in the news? 

Each show kind of gives us an opportunity to do that which is really fun. Looking at the different venues they played and seeing who else was playing that venue around the same time, It’s fun to be like “You know they played this show in Tampa not long after David Bowie was there on the Diamond Dogs tour.” A bunch of the shows in the ‘70s were within a month or two of like an Elvis appearance at the same venue. The other things that were sort of bobbing around in the culture at the time, of course, were going to have an influence on the Dead. They might have been doing their own thing but there’s certainly some bleed over you can hear from the bands, arts, and society that was around them. 

*

SH: Another thing for Rob and I with this show was to approach it as huge fans of the Grateful Dead without being too clinical or scholarly about it. I think that we both want to have a sense of humor about the band. They’re a brilliant band, but they’re also kind of a goofy band. Craziness and brillance always co-mingled with this band and it’s part of what makes them so much fun to talk about.

I think that spirit of fun and reverence that’s inside the Grateful Dead is something that we wanted to have on this show and I think that’s a pretty big part of what we’re doing. I always feel like the best kind of music criticism should feel like listening to music and I hope that we have a little bit of that element of the Dead in our show.

*

Check out the first episode exploring Dick’s Picks Volume One: Tampa Florida 12/19/73 today.

*

New Episodes of 36 From The Vault are available every other week wherever you listen to podcasts.


Railroad Earth ‘Lights Up’ The Fillmore

Railroad Earth: Saturday 1/18/20 Live at The Fillmore in San Francisco

*

Photos provided by concert photographer Kory Thibeault. Check out more of his work at @korythibeaultphoto

*

Recap provided by nugs.net staff member and Railroad Earth fan Arya Jha

*

Railroad Earth’s Saturday night performance at The Fillmore in San Francisco was a non-stop dance party. Perhaps it was due to a well-received performance the night before, but by the time the band hit the stage they were well past warmed up and ready to rock. Railroad’s first song of the night “Lordy, Lordy” quickly transitioned from high tempo drumming and long bass riffs into a multi-layered psychedelic jam, setting the tone for a night full of solos and melodies held together by a seemingly infinite rhythm.

Set one continued on, taking a journey through ebbs and flows of uplifting harmonies. The crowd started to settle in and just as the effects of a beautiful light show against the band’s custom made backdrop quieted and entranced the audience, the band busted into spacey but tight banjo-led twang, bringing the room into a knee-slapping roar. ‘Old Man and the Land’ segued nicely into ‘Black Bear’ and bassist Andrew Altman segued nicely into upright bass, maintaining the foundation and tempo of the set regardless. Fiddler Tim Carbone led the band into an upbeat ‘Cuckoo’s Medley’ to end the set as Bill Graham’s chandeliers lit up the ceiling of the venue in a wave of colors.

Railroad Earth’s more recent shows have defied the classical bluegrass and even jam-grass genres through their use of the funk forward B3 Organ, an instrument rarely used by projects whose core is also determined by fiddle and mandolin. It was a true pleasure to see Matt Slocum on keys, and even better to hear how well his Leslie Whirl paired with Mike Robinson’s steel pedal shredding. While set one provided a great deal of harmonic energy, set two opened up room for alternative leads, from Todd Sheaffer’s acoustic guitar to Carey Harmon’s drums, and everything between. Always a crowd-pleaser “Elko” jammed on as fans tossed cards high into the sky in tribute to the lyrics, a true testament to the fanatic Northern California community the band has bred through their annual headlining sets at NorCal’s Hangtown Music Festival. “Captain Nowhere” segued into “1759” segued into “Fisherman’s Blues” played more like ballads but kept the crowd moving. Finally, in an emotional tribute to the historic venue and Jerry Garcia’s San Francisco roots came the short but sweet encore “Old and In The Way”. This show will easily be a fan favorite to regular Railroad Earth listeners, but also a wonderful start to their catalog if you are not yet versed. Railroad Earth’s live show recordings live on nugs.net and you can listen to the two night Fillmore run today.

Start Listening

Like a Rolling Stone

Starting today, nugs.net subscribers can experience The Rolling Stones like never before. Filmed with stellar quality, a collection of vintage performances from The Rolling Stones’ Vault is now streaming in the videos section of the nugs.net app. There are currently three shows from the 1970s available to watch with more on the way soon. Now is your chance to watch Mick, Keith, and the rest of the band during the golden age of Rock’n’Roll.

*

Watch Now

The White Stripes and German Engineering

We’re back for the first Third Man Thursday of the year and this month’s release is a unique treat. Today, Third Man Records is releasing The White Stripes’ 2001 show at Orange House in Munich, Germany. The show is one of only two known White Stripes shows to be recorded on reel-to-reel tape. Third Man Records’ Co-Founder Ben Blackwell’s write up details the unique process of mastering this show from the 1/4″ tapes:

*

The White Stripes Live at Orange House 11/27/2001

*

This show is a remarkable performance in stellar quality. Boy do the Germans know how to record! Of particular interest was the fact that a radio broadcast in 2001 was recorded to 1/4” tape. Just seems like…such an anachronistic move. The fact that the tapes ended up in the Third Man Vault made it all the better to transfer at an appropriately-high bitrate and then share them here. But the tapes themselves were in an incredibly odd iteration which I had never even seen before. They weren’t on reels (or flanges) and instead the tape was all held together by sheer tension around a metal center piece that looks reminiscent of a 45rpm adaptor. I am told they are called AEG hubs. Additionally, the tape was wound with the reels magnetic side OUT. Leave it to our main man Bill Skibbe to track down a German Telefunken tape machine IN DETROIT and work magic on his end. The heads on Telefunken machines face IN, so he had to surgically unspool, respool, edit out dead space AND track down a step up converter as the machine only runs on 220v electricity. I wish everyone had their very own Bill Skibbe to solve technological quandaries like this. I mean, he IS for hire at Third Man Mastering, but I digress.

*

There are some songs missing here that are included in audio circulating amongst fans, in this instance clearly missed by engineers swapping out reels in real time. Rather than try to include from inferior sourced audio, we’ve chosen to just present the show exactly as it exists on these original tapes. Save for one EARLY gig (1997?) I am unaware of any other White Stripes performances that were captured on reel-to-reel tape, so this feels extra-special. Starting the set with “Death Letter” is peculiar and I love it…I can’t recall any other Stripes performance beginning with that song, but I’m sure some die-hard will take the opportunity to tell me otherwise! Coupled with rousing takes on “Love Sick” and “The Union Forever” the entire performance captivates. A prime example of the on-fire abandon Jack and Meg were brimming with in 2001.

New West Records’ Austin City Limits Performances Come to nugs.net

Since 1976, Austin City Limits has been providing Texas and the rest of the world with iconic live sessions. Over the holidays New West Records added more than 15 of the greatest ACL performances of all time to the nugs.net catalog. Experience legendary performances from artists like Guided By Voices, Kris Kristofferson, David Byrne, Steve Earle, and more. The performances span four decades with shows from 1976 through 2004. Each show is available to purchase in the nugs.net store and you can stream the whole collection with the nugs.net app.

Listen to Audio From Strings & Sol

We’ve got four action-packed shows from last month’s Strings and Sol festival now streaming. Listen to performances from The Infamous Stringdusters, Leftover Salmon, and Railroad Earth that feature tons of debuts and guests. There are two sets to check out from The Infamous Stringdusters. On December 13th they played a beach set and the next day they returned with a debut cover of “Stairway to Heaven.” The Leftover Salmon show features Del and Ronnie McCoury on a pair of tunes and multiple live debuts.

Leftover Salmon 12/13/19: Featuring Del McCoury, Ronnie McCoury, Jen Hartswick and Natalie Cressman

The Infamous Stringdusters 12/13/19: Beach set

The Infamous Stringdusters 12/14/19: Featuring Natalie Cressman and Jennifer Hartswick

Railroad Earth 12/15/19: Featuring Matt Slocum, Mike Robinson, and Jacob Jolliff