#barry sless

[krispyweiss]

Song Review(s): Bobby Weir & Wolf Bros featuring the Wolfpack - “Loose Lucy,” “When I Paint My Masterpiece,” “Only a River” and “Silvio” -> “Tequila” -> “Silvio” (Live, Dec. 12, 2023)

Whether purposeful or coincidental, Bob Weir provided cheapskates like Sound Bites with a primer on the full range Wolf Bros music with the sampler from the group’s Dec. 12 show in New York State.

From the solo-acoustic “Loose Lucy” to the segue of “Silvio” -> “Tequila” -> “Silvio,” performed by the Bros plus the Wolfpack strings and horns - 10 musicians in all - the giveaway was generous in both songs and substance.

“Lucy” was choppy; “Silvio” -> “Tequila” -> “Silvio” was smooth. The former seemed on-the-fly; the latter well-rehearsed, nearly perfect save for some mumbled words.

The audience was part of the band, too, handling “Loose Lucy”’s thank you …refrain and singing the one, titular, lyric in “Tequila.”

Weir, still on acoustic guitar, played with bassist Don Was and drummer Jay Lane on “When I Paint My Masterpiece,” joining “Silvio” as the teaser’s other Bob Dylan cover, while keyboardist Jeff Chimenti and pedal steeler Barry Sless added countrified color to “Only a River,” the lone Weir solo cut in the gratis chunk.

The take away? More is generally more where Bobby Weir & Wolf Bros featuring the Wolfpack are concerned.

Grade card: Bobby Weir & Wolf Bros featuring the Wolfpack - “Loose Lucy,” “When I Paint My Masterpiece,” “Only a River” and “Silvio” -> “Tequila” -> “Silvio” (Live - 12/12/23) - B-/B-/B/A-

12/13/23

#Youtube #bobby weir & wolf bros featuring the wolfpack #bob weir and wolf bros #bob weir #grateful dead #don was #was (not was) #jay lane #primus #ratdog #dead & company #jeff chimenti #barry sless #loose lucy #when I paint my masterpiece #bob dylan #only a river #silvio #tequila

[thebowerypresents]

Willie Nelson Brings Outlaw Music Festival to Forest Hills Stadium

Outlaw Music Festival – Forest Hills Stadium – September 17, 2023

You don’t so much attend a Willie Nelson concert these days as you conform to its warmly understated, sometimes leisurely, sometimes-invigorating pace. Then again, he’s always seemed to have that pause-a-sec-and-listen effect: Whether 30 or 90, delivering sad-eyed, tear-in-beer weepers, tender folk, inspiring hymns or outlaw country rousers, he’s got you. Hearing him play, surrounded by his adoring band, still has that time-stopping quality, and Forest Hills Stadium was in thrall to one of American music’s true and unimpeachable legends on a rainy but warm Sunday evening. 

The Outlaw Music Festival, a going concern for a while now, is Willie’s eclectic seasonal caravan, loading up a sprawling six-hour bill with a range of artists that don’t sound quite like Nelson but are at the same time just right for a show like this, underscoring his own lineage and place in the history of many potent strains of Americana. As ever, he and his impressive band crowned the show with an hour-long set of their own, setting a brisk but not workmanlike pace through his classics (“Whiskey River,” “Mammas Don’t Let Your Babies Grow Up to Be Cowboys,” “On the Road Again,” “I Gotta Get Drunk,” “Always On My Mind,” “Roll Me Up and Smoke Me When I Die”) and those of friends and favorites, including Billie Joe Shaver’s “I Been to Georgia on a Fast Train,” “Stay a Little Longer” from the Bob Willis catalog, “Move It On Over” from Hank Williams, and the immortal “Georgia on My Mind.” Willie’s sung these songs thousands of times, but each one still felt like a warm embrace, even the wistful ones, and even the ones for which he wouldn’t need to do more than go through the motions but is just too classy for that.

About the bill: There were plenty of willing conspirators and indeed, half the fun of a tour like this is the cross-pollination and spirit of collaboration that happens throughout. No less than Norah Jones — a surprise guest, unannounced — low-key sat in on keyboards for most of the Willie set. (It wasn’t even clear it was her until she took a few backing vocals and then a full verse of “I Gotta Get Drunk.”) Harmonica ace Mickey Raphael — a stalwart of Nelson’s band — joined for sections of earlier sets from Los Lobos, the String Cheese Incident and Bob Weir & Wolf Bros using a range of harmonica modes, from sawing roadhouse blues to sweet-’n’-tender folk. And as ever, Willie made his customary invite to many of the musicians, including a game and all-smiles Weir, to join in for the rootsy, hymnal “Will the Circle Be Unbroken” and several more selections, hootenanny-ing up the stage to close the night.

Weir’s Wolf Bros — one of the most interesting post–Grateful Dead bands and as oddly compelling a capture of Weir’s Weir-ness as any other group he’s been part of — got about 90 minutes to roam as the night’s coheadliner and more than made the most of it. The core trio of Weir, Don Was and Jay Lane has mushroomed on the road into a full ensemble, including Weir’s longtime swingman Jeff Chimenti on keys and ace pedal steel from Barry Sless, plus a sturdy horns-and-strings section called the Wolfpack. That bigness was well used here: “Jack Straw,” “Estimated Prophet” (neatly segued into its forever companion, “Eyes of the World,” which itself neatly segued into Marvin Gaye’s “What’s Going On”), the Sunday-special “Samson & Delilah” and a rollicking “Turn On Your Lovelight” were Grateful Dead staples all getting jammy workouts.

Earlier came a potent set from jam-bluegrass stalwarts the String Cheese Incident, somehow now approaching their own 30th anniversary. And earlier still came the mighty Los Lobos — themselves, whoa, 50 years along! — who played a ripsnorting 45-minute frame full of cumbia and full-boogie rockers, including the beloved “Georgia Slop.” 30 years? 50 years? So much beautiful longevity here, but the bar appears to be 90 years, gang. —Chad Berndtson | @Cberndtson

Photos courtesy of Silvia Saponaro | @Silvia_Saponaro

#Barry Sless #Bill Nershi #Billy Joe Shaver #Bob Weir #Bob Weir & Wolf Bros #Bob Willis #Cesar Rosas #Chad Berndtson #Conrad Lozano #David Hidalgo #Don Was #Forest Hills #Forest Hills Stadium #Grateful Dead #Hank Williams #Jason Hann #Jay Lane #Jeff Chimenti #Keith Moseley #Kyle Hollingsworth #Louie Pérez #Marvin Gaye #Michael Kang #Michael Travis #Mickey Raphael #Norah Jones #Outlaw Music Festival #Photos #Queens #Review

[deadheadland]

RATTLEBOX Live Stream Concert - Deadheadland Presents

Please Support Rattlebox and Deadheadland with the purchase of a Virtual Ticket https://deadheadland.com/rattlebox Become a Deadheadland Stream Team Member at https://patreon.com/deadheadland Shop: https://deadheadland.com/shop

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#barry sless #Doug Harman #Lorin Rowan #Mookie Siegel #rattlebox

[davidaron]

Phil Lesh and Friends - The Grate Room Terrapin Crossroads San Rafael, CA 12-14-2014 Set 2 from Davidaron on Vimeo.

Set II (1:36:25)

tuning China Cat Sunflower > Bird Song > The Wheel > This Wheel's On Fire > Iko Iko Panama Red Viola Lee Blues I Know You Rider

------------

Phil's donor rap The Weight

Phil Lesh: bass, vocals David Nelson: guitar, vocals Barry Sless: guitar, pedal steel Scott Law: guitar, vocals Jeff Chimenti: keyboards John Molo: drums, vocals Alex Koford: vocals

Hat Tip to SirMick =/;->

[unicornprincess-lost]

Moonalice Unplugs for Acoustic Guitar Sessions in Place

For this intimate Acoustic Guitar Sessions in Place outing, Moonalice guitarists Roger McNamee and Barry Sless are joined by the always-marvelous T Sisters for two songs. from Acoustic Guitar https://ift.tt/d3MU49V

[theloniousbach]

50 Years of Going to Shows, Pt. 2: The Grateful Dead Universe

Part one of this series extrapolated from the conceit that the 9/4/19 Hot Tuna show here at the Sheldon Concert Hall also marked the anniversary of my Fall 1969 Johnny Winter concert that was my first rock show.  50 years!!   That segment was about those early concerts in KC (well, a couple of Dylan shows in St. Louis and then Chicago).  

The glaring omission from that note was the Grateful Dead (11/11-12/72; 6/16/74 Des Moines; and 10/28/77).  I propose correcting that with this entry that can take up 7/26-27/94 and 7/5-6/95 (shows 4 and 3 from the end) plus visits with The Other Ones, The Dead, Furthur, Dead and Company, various Phil Lesh and Friends iterations (including the Q 3 times, the Campbell/Greene band twice, another time with Campbell, and this past summer with an Allison Krauss sit in); Ratdog maybe 5 times; Weir and Wolf Bros; and Joe Russo’s Almost Dead to whom I’ve passed the torch.

This is a quite modest Deadhead roll call, but it does include 1972, a Wall of Sound, and 1977.  So I’ve been around long enough to have opinions.  

And I do have opinions.

1972–The 11/11 show was all we thought we were going to get.  A Sunday night show after them always missing us.  There was a rumor then, pure fiction it turns out, that they opened (?!?) for Iron Butterfly (#@%!) in KC before I got on the bus (1969ish?).  I was transfixed—the long unfolding two sets, pauses including for a cigarette puffs), the wide range of songs, the stacks of speakers and Macintosh amps even if it wasn’t quite officially a Wall of Sound show—but that’s all I remember.  Set lists say there was a Box of Rain.  

The second show got added and I was going to go no matter what—two school nights in a row.  And that one is better fixed in memory because of an Owsley Stanley tape that captures a sprawling Playing in the Band to close the first set.  I don’t need that tape to remember the Dark Star>Morning Dew, though being able to revisit it sure is a treat.  It was in fact huge though I was beside myself from the opening notes announcing that the adventure was beginning.  In the moment, I just knew it was happening and that was good enough then.  It is a big big one though with lots of space travel before settling into the Dew.  I turned grumpy about Dew but this one was magic then and now.  

1974–I couldn’t get anybody to go to Des Moines to see them that June.  My dad, actually, was up for the drive and camping (him staying in camp while I and the other Deadheads went to the afternoon outdoor show.  He had a draft dissertation to read which he left somehow but we got it back).  The key parts of this show (another Playing with a gnarly breakdown) were released officially as part of the Road Trips series honoring the Wall of Sound.  That was a sight though I thought I’d seen a version of it inside in KC.  Also a sight was Garcia’s chin and upper lip as he had reduced the beard to mutton chops for a very short while.  The second set was where the meat of the show was culminating in the Playing.  I experienced it at the time as meandering and anxious, without the tranquil spaciness of some of their explorations, but it’s just fine and part of the oeuvre as per repeated listening AND a much broader experience with their music.

1977–When Steal Your Face and then Blues for Allah came out, my enthusiasm was waning.  To this day, I’m a pre-hiatus fan with a real focus on 71-74 when Kreutzmann was the only drummer.  They were more lithe, exploratory, and dynamic.  Still a good friend told me I was going back to Memorial Hall for a late 1977 show, so I got part of that magical year.  And what stood out was 1977 slinkiness even though there wasn’t a Dancin’ in the Streets.  But Lazy Lightning>Supplication, Samson and Delilah, and Passenger all caught my ear.  It was fun, but I was not on the bus much.

The taping scene pulled me back in in the late 1980s, though I’d been intrigued by Lowell George of Little Feat producing Shakedown Street.  I suppose in some ways I am a secondary Touch Head, though Without a Net too was welcome.

I was on the periphery of the Brent Mydland era and actually found Bruce Hornsby’s interlude a real boost to the creativity, particularly Garcia’s. That was spent really by 1994 and 1995.  I went to both nights that they were in St. Louis on those summer tours.  Still I was glad to see the break outs and covers (Here Comes Sunshine, Take Me to the River), but they were going through the motions, keeping Garcia in tow.  It was fun, I'm glad, I'm went, they are memorable in a general sense, but I won't go play recordings.  1995 was the third and fourth shows from the end as they headed from here to Chicago.  Within 5 weeks, Garcia was dead.

It was about the party or, ahem, the cultural experience. I'm glad I got that too with the originals (and subsequent Furthur Festival/The Other Ones/The Dead/Furthur/Dead and Company shows in big venues were as much about that as the music), but an advantage of the end of the big machine is that the shows got much smaller.  The party was still there, but the music was closer. Also as I have aged, I've been willing to pay for better seats (to see Phil Lesh at Willie Nelson's Outlaw Festival this summer we even paid for premium parking.  Sheesh.) so that helps put the music to the fore.

So has couch touring—and that is how my concert gang and I saw the first night of Fare The Well—GD 50 from Levi Stadium in the Bay Area as well as the Friday and Sunday from Chicago.  We also saw a Phil Lesh Quintet reunion.  Being in real time, I count those as shows which indicates that experiencing the music live is what counts for me.

The GD Meet Up at the Movies don’t, but they do remind me that I like to be in the presence of those songs and their creators. And that has pulled me along so far to shows that have included at least Phil Lesh and/or Bob Weir.  I actually am a fan of Drums/Space and stay in my seat to watch the spontaneous magic happen, so having Kreutzmann and Mickey Hart along for The Other Ones, The Dead, and Dead and Company is just fine.  But those operations felt a little bloated.  They have to be in large spaces to accommodate the party, so the gestures are equally grand and the rituals are observed.  Furthur (Lesh and Weir’s operation) was a bit more nimble—one drummer, Joe Russo, and more flexible set lists.  But I saw them in a small arena (12 K) and The Fox Theater (almost 5 K), so those were big concert experiences.

Bob Weir is an indefatigable road warrior, sometimes when he shouldn’t.  St. Louis was an early stop of a Fall 2004 tour that was aborted.  But we got to see him and it was awfully good, one I return to.  It jammed into Jack Straw into the opening of a Terrapin that would be concluded in the second set and the rest of the suite in the encore into Dark Star (my first since 1972 and the only one of two more I saw in person, both from Ratdog) that concluded at the end of the set before back into Jack Straw.  The second set had Peggy O, The Winners, and Friend of the Devil for a can’t be beat acoustic interlude before firing up The Other One and Uncle John’s Band (its reprise after Terrapin proper closed the second set.  With the exception of Playin’, he rehearsed all the big tunes and was energetic and in good voice.  That one was a treat.

Ratdog was always fun, a solid band and a showcase for Weir’s quirkinesses which help make the GD experience.  I like many of his songs more than Garcia’s, excuse the heresy, but I confess that I probably haven’t given up being angry at him not just for being dead but for dying, for giving up which probably started in the 1980s.

Ratdog shows were chances to hear the songs and Weir’s take on them, including Garcia’s at the heart of the canon were always good to hear.  He brought most things into circulation.  The bands were not the all star configurations that Lesh’s were, but they were effective.  St. Louis shows reflected his connection with Johnny Johnson (a 2003 The Dead Show had Johnson and Willie Nelson jam on Little Red Rooster (overplayed over the years, but the way to do a 12 bar blues) and Lovelight that was historic).  After Johnson’s death, it was his horn section sitting in, usually for one of the big jam tunes.  A Dark Star stands out, but there must have been a Sailor>Saint or Eyes another year.

But it is Lesh who is the curator of the part of the universe that matters to me—the invention, the opportunity that any tune can unfold into a world of possibility.  That was most clear with the Q—John Molo, Warren Haynes, Jimmy Herring, and Rob Barracco whom I got to see in their prime three times.  They played the big barn with Weir’s Ratdog to open in July 2001, with a Weir sit in to open set one.  The feature of that one was a Viola Lee Blues sandwich that wove out of that primal jam vehicle from the GD past four times with interludes of Lovelight, Tons of Steel, and Into the Mystic.  Lesh would pull out tunes that had fallen out of the rotation—Alligator and Doin’ That Rag that night, Caution with Furthur at the Fox, Cosmic Charlie with the Q that November, and Viola itself.  The Q revival Couch Tour show we saw had a Mountains of the Moon which suggested a potential (not developed) for that tune as a subtle jam vehicle just as it was the last night of Fare The Well.  They did Beatles tunes, Brent Tunes, Van Morrison.  The second show at the Fox for some reason doesn’t leap out as magical.  But the third one, also at the Fox, on what would have been Garcia’s 60th birthday was.  The first hour was Bird Song>Here Comes Sunshine>Not Fade Away and had me riveted.  The second set had Sunshine of Your Love and a transcendent Low Spark of High Heeled Boys with Haynes somehow capturing the piano parts on guitar.

My only quasi bit of touring was to run over to Indianapolis to see Lesh in a hybrid band of Molo and Barraco with Larry Campbell, Barry Sless on pedal steel, Greg Osby on alto, and Joan Osborne on vocals.  It was a hot hot day but good adventurous stuff.  The Peggy O  as a story with Lesh narrating, Osborne being the fair maid, Campbell as our captain was very cool.  Bertha, Viola, and Shakedown stretched things out too.

With the Molo/Larry Campbell/Jackie Greene/Steve Molitz band, I got to see the premiere of the Ritter Eyes of Horus bass.  A dark stage, the fretboard LED lights on, a solo into The Other One and then Truckin' made quite an impression.  It didn't have the heft/power of the Modulus instruments he used before and after (a possibly smaller one) and it was more striking then pretty, but it was a moment of GD lore that happened on my watch.  Those were two good shows with Campbell showing a range I hadn't expected.  He could dig into the jams whereas I thought he would be more of a Robbie Robertson fills and one chorus solos player. It was also fun to watch Greene grow.  It was like he went to grad school or maybe a post doc in that band.

I have seen Greene at least 5 subsequent times (Duck Room, Old Rock House twice (band and "acoustic," Delmar Hall, and as an opener for Gov't Mule).  He has tasty covers including but not exclusively GD ones and some damn good tunes.  It's good to see his efforts to extend the GD universe.

But I'm putting my money on Joe Russo's Almost Dead as where the legacy will reside.

I saw them earlier in the year and they strike me as not just a Dead cover band, but a PLQ cover band--anything can be jammed out, the tunes can be played in any order in any part of the set.  Russo is a dynamo of energy on drums and his alter ego Marco Benevento is an inventive player.  It's cool to see the varied opportunities the music presents.

My shows this year with Weir (the Wolf Bros trio) and Lesh at Willie Nelson’s Outlaw Festival felt valedictory.  Weir was an interesting disappointment in that his wonderfully idiosyncratic guitar was at the fore, but too often through a too thin toned D’Angelico Bedford guitar.  He had that jangled tone in Ratdog but it went away during Fare The Well and beyond when he used Fender Stratocasters. His voice too was thinner.  So, while I wanted to see him in the spare setting, I don’t need to do it again.

And, though I’m likely to succumb to peer pressure if Dead and Company comes to town, I don’t need that party.

So, I’m content to go out on the Phil and Friends set at the barn with Willie Nelson as my last time seeing an original member.  There was Molo once again, Jason Crosby and Stu Allen from the Terrapin scene, and a new other guitarist Cris Jacobs.  The set had Jack Straw, Brown Eyed Women, Sugaree, and a Cumberland Blues (a favorite) as the closer.  Eyes was the jamming tune, but so was Help>Slip>Morning Dew.  And what a Dew it was as Alison Krauss sang it as she did on To Lay Me Down.  Amazing and what a rare moment in the Dead universe.

Dead music is magical and so it has been for me right to this end.

But long live JRAD too.

#Grateful Dead #Phil Lesh #Bob Weir #JRAD #Ratdog #2019

[stslivemusic]

Green Leaf Rustlers Announce Debut Album - 'From Within Marin'

Green Leaf Rustlers, the cosmic-country quintet comprised of Chris Robinson, Barry Sless, Greg Loiacono, Pete Sears, and John Molo will release their debut album, From Within Marin, in March 2020. From Within Marin is a live collection of re-imagined country-rock staples recorded by engineer and Grateful Dead archivist Betty Cantor Jacksonat a handful of Green Leaf Rustlers early 2019 performances…

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#Barry Sless #Betty Cantor Jackson #Chris Robinson #From Within Marin #Green Leaf Rustlers #Greg Loiacono #John Molo #Pete Sears

[pgoeltz]

https://www.youtube.com/watch?v=Z6qgAwBeavI -- DONATE -- http://bit.ly/NVAnimalDistasterGroup http://bit.ly/NorCalUnitedWay Donate to the above charities if you enjoy this free webcast! Love Will See You Through: A Musical Benefit for Victims of the Camp Fire - featuring Phil Lesh, Stu Allen, Ross James, Alex Koford, Dan "Lebo" Lebowitz, Grahame Lesh, Greg Loiacono, John Molo, Elliott Peck, Melvin Seals, Barry Sless YouTube nugsnet Love Will See You Through: Live from Terrapin Crossroads 12/19/18

https://www.youtube.com/watch?v=Z6qgAwBeavI -- DONATE -- http://bit.ly/NVAnimalDistasterGroup http://bit.ly/NorCalUnitedWay Donate to the above charities if you enjoy this free webcast! Love Will See You Through: A Musical Benefit for Victims of the Camp Fire - featuring Phil Lesh, Stu Allen, Ross James, Alex Koford, Dan "Lebo" Lebowitz, Grahame Lesh, Greg Loiacono, John Molo, Elliott Peck, Melvin Seals, Barry SlessYouTubenugsnetLove Will See You Through: Live from Terrapin Crossroads 12/19/18

#https://www.youtube.com/watch?v=Z6qgAwBeavI -- DONATE -- http://bit.ly/NVAnimalDistasterGroup http://bit.ly/NorCalUnitedWay Donate to the

[bringinbackpod]

Interview with Pete Sears of Moonalice

We had the pleasure of interviewing Pete Sears of Moonalice over Zoom video! San Francisco-based psychedelic soul group Moonalice is set to release their latest studio EP, ‘Full Moonalice Vol. 1’, on the high holy day of April 20. The six song record is the group’s label debut on Nettwerk and features the previously released single “Woo Woo” and an extended version of the band's first single, “Time Has Come Today.” ‘Full Moonalice Vol. 1’ is their first full body of work since transforming into a ten-piece in 2019 through the addition of Lester Chambers and Dylan Chambers of the New Chambers Brothers, and Erika, Rachel, and Chloe Tietjen of the T Sisters. Today, Moonalice shares “Let’s Get Funky,” the latest single from their upcoming EP. Mixed and mastered by 4x-Grammy Award-winning engineer Dave Way, “Let’s Get Funky” is a fresh take on the Chambers Brothers’ hit “Funky.” Originally released in 1970, the song was written by Lester Chambers, a co-founder and lead vocalist of the Chambers Brothers, who is now a member of Moonalice. “Funky” broke the Billboard Top 100 despite being deemed “too risqué of a song for the time,” explains the 81-year-old Chambers. Moonalice delivers a new version of the song with tight grooving from Pete Sears and John Molo on bass and drums, funky guitar riffs from Barry Sless, an electric synth solo by Jason Crosby, soulful harmonica playing by Lester Chambers, and lively backing vocals from the T Sisters and Dylan Chambers. Moonalice will spend the next few months on the road, touring across California, including festival performances at BottleRock and Skull & Roses. The group is also planning an extra special event in San Francisco to coincide with their annual 4/20 celebration. Stay tuned for more details and national headline dates to be announced soon. We want to hear from you! Please email [email protected]. www.BringinitBackwards.com #podcast #interview #bringinbackpod #PeteSears #RodStewart #Moonalice #JeffersonStarship #NewMusic #zoom Listen & Subscribe to BiB https://link.chtbl.com/BiB Follow our podcast on Instagram and Twitter! https://www.facebook.com/groups/bringinbackpod source https://www.spreaker.com/user/14706194/interview-with-pete-sears-of-moonalice

#podcast #interview #bringinbackpod #music #aspn #americansongwriter #americansongwriterpodcastnetwor

[krispyweiss]

Song Review(s): Bobby Weir & Wolf Bros featuring the Wolfpack - “Cassidy” (Live, Dec. 31, 2023)

The last “Cassidy” of 2023 is what happens when the rhythm section gobbles Quaaludes and the melodists partake in amphetamines.

As performed and streamed New Year’s Eve from Florida, “Cassidy” found Bobby Weir & Wolf Bros featuring the Wolfpack slowly unrolling the number as the Bros lay waaaaaaay back. But the ’Pack men, armed with strings and brass, were amped and took over the song’s instrumental section, weaving elements of classical, bluegrass and jazz into Weir’s brand of country-rock music.

The sagging tempo is a detriment. Thankfully, the lead players make the best of what they - and the in-person and at-home audiences - are given.

Grade card: Bobby Weir & Wolf Bros featuring the Wolfpack - “Cassidy” (Live - 12/31/23) - B-

1-1-24

#Youtube #bobby weir & wolf bros featuring the wolfpack #bob weir & wolf bros #bob weir #grateful dead #jay lane #primus #don was #was (not was) #jeff chimenti #barry sless #cassidy

[deadheadland]

Billy Strings & Les Claypool join Bob Weir and Wolf Bros. at Sweetwater for Rob Lawson memorial benefit concert.

Billy Strings & Les Claypool join Bob Weir and Wolf Bros. at Sweetwater for Rob Lawson memorial benefit concert.

Billy Strings & Les Claypool join Bob Weir and Wolf Bros. at Sweetwater for Rob Lawson memorial benefit concert. Billy played on China/Rider, and also came out for the encore, “Tomorrow Never Knows“, along with Primus lead singer and bass player Les Claypool. Bob Weir & Wolf Bros. w Billy Strings ” China Cat Sunflower > I know You Rider ” | video by Rah B Garcia Rob Lawson was Bobby Weir’s…

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#barry sless #Billy Strings #bob weir #bob weir and billy strings #Rob Lawson Benefit #setlist #sweetwater music hall

[davidaron]

Phil Lesh and Friends - The Grate Room Terrapin Crossroads San Rafael, CA 12-14-2014 Set 1 from Davidaron on Vimeo.

Set I (1:09:32)

tuning Alabama Getaway Henry The Shape Iím In Factory Girl * Cold Rain And Snow Dead Flowers Franklin's Tower

Phil Lesh: bass, vocals David Nelson: guitar, vocals Barry Sless: guitar, pedal steel Scott Law: guitar, vocals Jeff Chimenti: keyboards John Molo: drums, vocals Alex Koford: vocals

Hat Tip to SirMick =/;->

[thejoyofviolentmovement]

New Audio: Chris Robinson-led Green Leaf Rustlers Release a Gorgeous Rolling Stones Cover

New Audio: Chris Robinson-led Green Leaf Rustlers Release a Gorgeous Rolling Stones Cover @TheCRB @calabromusic @rollingstones

Marin County, California-based act Green Leaf Rustlers, comprised of Chris Robinson (a.k.a, the most soulful white guy on the face of the earth), Barry Sless, Greg Loiacono, Pete Sears, and John Moro have developed a reputation for being one of the area’s live music…

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#1970s #Arthur Big Boy Crudup #Arthur Big Boy Crudup That&039;s Alright Mama #covers #Gram Parsons #Gram Parsons Big Mouth Blues #Grateful Dead #Green Leaf Rustlers #Green Leaf Rustlers From Within Marin #Green Leaf Rustlers No Expectations #JJ Cale #JJC Cale Ride Me High #Johnny Cash #Johnny Cash Folsom Prison Blues #Marin County CA #mp3s #New Audio #New Audio: Chris Robinson-led Green Leaf Rustlers Release a Gorgeous Rolling Stones Cover #New Single #No Expectations #rock #Single Review #Single Review: Green Leaf Rustlers No Expectations #Single Review: No Expectations #singles #The Byrds #The Joy of Violent Movement: New Audio: Chris Robinson-led Green Leaf Rustlers Release a Gorgeous Rolling Stones Cover #The Rolling Stones #The Rolling Stones No Expectation #Waylon Jennings

[stslivemusic]

Green Leaf Rustlers Announce Ten Show California Run

Green Leaf Rustlers have announced ten shows in California this March. The band will also be making their Alaska debut with a performance at Alyeska Resort in April. Green Leaf Rustlers features Chris Robinson(Black Crowes), Barry Sless(David Nelson Band), Greg Loiacono(The Mother Hips), Pete Sears(Jefferson Starship), and John Molo(Bruce Hornsby & The Range). The band has become a reoccurring…

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