Dead & Company Deliver Deliberate But Danceable Goods At Deer Creek [Recap/Videos]

first_imgDead & Company, the Grateful Dead spinoff band consisting of rhythm guitarist/vocalist Bob Weir, drummers Bill Kreutzmann and Mickey Hart, keyboardist Jeff Chimenti, bassist/vocalist Oteil Burbridge, and lead guitarist/vocalist John Mayer resumed their summer tour at the venue known and loved by Deadheads since 1989 as Deer Creek Music Center, but whose current corporate sponsor has deemed it the “Ruoff Home Mortgage Center.” This was the first show after an initial run of six performances on the west coast as part of their ongoing summer trek that contained a few new songs and some nice peaks, and Midwestern fans were excited for their first in-person taste of this tour.While the traditional Appalachian murder ballad “Cold Rain & Snow” was not an accurate reflection of the 70-degrees-and-humid weather at showtime, the Mayer-sung tune was nonetheless a well-received start to the show, and his mid-song guitar solo hit several satisfying notes to get things off to a solid start. Weir quickly followed with, the New Orleans classic “Iko Iko”, giving the Indiana crowd an early treat by moving this one forward to the first set after last week’s prominent second-set appearance at the Hollywood Bowl.The party continued with the tour debut of Weir’s “Minglewood Blues”, one of the oldest and trustiest first-set numbers in the repertoire, and a song that was born in the 1920s as a Memphis jug band tune. The first Grateful Dead original came next in the firm of the “Tennessee Jed”, and this Jerry Garcia/Robert Hunter classic fit the varied, but very American run of songs.Then came a detour into back-to-back love songs, always a rarity in the live catalog used by the Dead and its various spinoffs. Mayer got the first shot at it with “Sugaree”, a timeless ode to a woman who has to remain secret, and an ode with three opportunities for Mayer to churn out bubbling guitar solos as the band swayed behind him. Not to be outdone, Weir responded with the tour debut of his classic “Looks Like Rain”, which was co-written with the late, great John Barlow and remains Weir’s most emotional lyric.The American vibe soon returned with the mysterious world of “Row Jimmy”, which seems to be back in the band’s favor this summer. For the second time this show, a song whose tour debut was in the second set (this time at Saturday Shoreline), John Mayer’s vocals give Dead & Company versions and earthier, woodier flavor and he also played a beautiful solo, but by its end the band had aired four consecutive slower songs and a tempo change was needed.Some familiar-sounding chords soon ushered in the first “Let It Grow” of the tour, and the first performance of the song since Shoreline last year. It was played at a slightly slower pace to start, but that didn’t affect Mayer’s ability to scatter beautiful, delicate leads throughout the verses and bridge. When it came time for the song’s larger jam that’s split into three distinct sections, Mayer’s smooth and subtle leads continued through the first section and maintained the slower pace, but as Weir led the band into the “quieter” second section, the band picked up the pace with Mayer’s leads growing more authoritative as Chimenti added thick piano chords behind him. The third and final section reverted back to a slightly slower tempo once again. The music quickly started to bounce thanks to Oteil’s heard-and-felt bass line. The jam soon regained full momentum when Chimenti was given an extended piano solo that he made the most of, only to hear Mayer returned the favor from a few minutes earlier by strumming some subtle power chords in support. All in all, a welcome closer to a generous and thematically consistent first set.Watch the opening performance from set one below.Dead & Company – “Cold, Rain & Snow” [Pro-Shot] – 6/12/2019[Video: Dead & Company]The second set started with a bit of a surprise in “Fire On The Mountain”, which for the second straight appearance was disconnected from its traditional partner “Scarlet Begonias”. The song got off to a quick, upbeat start as Oteil quickly dove into his first lead vocal of the evening, to a loud cheer from the crowd. Mayer’s solo after the final verse soon hit a nice groove as he stared into space and bobbed back and forth, allowing himself to just get lost in the music for a couple of minutes before circling back to the famous descending guitar solo line made famous by Jerry Garcia.After “Fire” came to a full stop after 10 minutes, the mood changed dramatically with Weir’s opening chords to “Lost Sailor”, and a languorous vibe quickly washed over the crowd. It was a beautiful version of a song where Dead & Company’s style is perfectly suited to its every hook and melody. After the nice, expected crescendo, Weir led the band into “Sailor’s” longtime companion song “Saint Of Circumstance”, which was well-played but suffered from a slower tempo that affected the waves of momentum that this song can generate on its best nights.The relaxed vibe continued with “He’s Gone” as Weir and Mayer traded vocals on the Garcia/Hunter classic that debuted way back on the incomparable Europe ’72 Tour. Chimenti’s piano added some bluesy flavor in between the vocal lines as the crowd sang along with all the big verse and chorus parts. During the vocal outro, Mayer’s bluesy solos slowly increased in intensity and prompted a gathering of band momentum, and after a minute or so it quickly became obvious that the band was heading right for one of the most tried-and-true options to flow from “He’s Gone”: the Grateful Dead’s signature song, “Truckin’”. After a spirited romp through the song, which started unusually by using its outro jam as the intro, the band served up another familiar and welcome progression, drifting into the Howlin’ Wolf classic “Smokestack Lightning” in a surely unintentional repeat of this pairing that occurred at the Dead’s first show at Deer Creek in 1989. There was further toying with the “Truckin’” riff during an outro jam that lasted several minutes before yielding the stage to the two drummers after almost an hour of music.The “Drums” segment got off to a quieter start as Kreutzmann played syncopated beats on his kit while Hart gently pawed at the beam, and within a couple of minutes, Burbridge was out there using a pair of mallets to make it a trio. The relative lack of electronics gave the drums an “80s Dead” feel at times, but the closing salvo of the trio pounding away on drums with phased effects and an electronic sequence under it was very much a reflection of the drums segment as it exists in 2019. After Hart made a short return to the beam the frontline musicians returned for a brief “Space” segment, highlighted by Mayer’s use of a thick, dirty tone while playing short, sharp bursts of notes.Soon the drummers returned and laid down a gentle beat while Mayer noodled for a couple of minutes, backed by Chimenti’s chords and giving no clear hint as to what was coming next. Eventually Weir sprung the three-chord progression that comprises Bob Dylan’s “All Along The Watchtower”, but this version opened at a slower tempo until Mayer’s quick solo after the first verse prompted a welcome increase in velocity. Mayer’s final solo hit a nice peak before a reggae-style vocal outro led by Weir slowed the tempo to allow “Stella Blue” to make its drifting entrance. This is one of the Garcia ballads where Weir’s vocal phrasing really works effectively, and rather incredibly. Back out in the real world, the NHL’s St. Louis Blues won their first Stanley Cup since their inception in 1967 during the song’s final minutes.The set came to a more upbeat close by circling back to the show’s opening Americana themes via a spirited “Goin’ Down The Road Feelin’ Bad”, Woody Guthrie’s Great Depression-era lament that was somehow recast as an optimistic song once the Grateful Dead got hold of it. Weir, Mayer, and Burbridge each sang a verse and both Chimenti and Mayer delivered hot solos before the final choruses brought the set to a close. All things considered, while “Fire On The Mountain” served as a fun opener to the set, it was an outlier as it was a stand-alone version that didn’t feel connected to the at-times slower but certainly cohesive run of music that followed.Watch the second set-opening performance of “Fire on the Mountain” below.Dead & Company – “Fire on the Mountain” [Pro-Shot] – 6/12/2019[Video: Dead & Company]For the encore, the band made a wise choice with the tour debut of “Black Muddy River”, which fit the overall vibe of the evening perfectly and allowed the crowd to gently drift back to earth. This was Dead & Company’s first performance of the song since last year’s experimental version at Alpine Valley which featured guest artist Justin Vernon’s falsetto vocals, but this time Mayer was on his own. And just like with “Row Jimmy”, Mayer’s rough-but-somehow-polished vocals give this one a different, welcome flavor that the crowd could savor on the walk back to the parking lot after the band took their bows.Dead and Company’s summer tour continues this weekend with performances scheduled for Friday and Saturday at Chicago’s Wrigley Field.Setlist: Dead & Company | Ruoff Home Mortgage Center | Noblesville, IN | 6/12/2019Set 1: Cold Rain & Snow, Iko Iko, Minglewood Blues, Tennessee Jed, Sugaree, Looks Like Rain, Row Jimmy, Let It GrowSet 2: Fire On The Mountain, Lost Sailor > Saint of Circumstance, He’s Gone > Truckin’ > Smokestack Lightning > Drums > Space > All Along the Watchtower (Bob Dylan cover) > Stella Blue > Goin’ Down The Road Feelin’ Bad (Woody Guthrie cover)Encore: Black Muddy Riverlast_img read more

Ginebra sets up finals showdown vs San Miguel with Star drubbing

first_img[av_one_full first min_height=” vertical_alignment=” space=” custom_margin=” margin=’0px’ padding=’0px’ border=” border_color=” radius=’0px’ background_color=” src=” background_position=’top left’ background_repeat=’no-repeat’ animation=”][av_heading heading=’Ginebra sets up finals showdown vs San Miguel with Star drubbing’ tag=’h3′ style=’blockquote modern-quote’ size=” subheading_active=’subheading_below’ subheading_size=’15’ padding=’10’ color=” custom_font=”]By ADRIAN STEWART CO[/av_heading][av_textblock size=” font_color=’custom’ color=’#0a0a0a’]Wednesday, February 22, 2017[/av_textblock][av_image src=’×400.jpg’ attachment=’97489′ attachment_size=’portfolio’ align=’center’ styling=” hover=” link=” target=” caption=’yes’ font_size=’14’ appearance=’on-hover’ overlay_opacity=’0.4′ overlay_color=’#000000′ overlay_text_color=’#ffffff’ animation=’no-animation’]Kings titan Sol Mercado (3) rallies past the Star Hotshots to pave the way for a Barangay Ginebra San Miguel versus San Miguel Beermen showdown in the 2016-2017 Oppo PBA Philippine Cup finals.PBA [/av_image][av_textblock size=” font_color=’custom’ color=’#0a0a0a’]MANILA – The Barangay Ginebra San Miguel Kings marched into the finals of the 2016-2017 Oppo PBA Philippine Cup with an 89-76 victory over the Star Hotshots in Game 7 of their best-of-seven semifinals on Tuesday at the SM Mall of Asia Arena in Pasay City.Sol Mercado led the way with 23 points, including four three-point conversions, for the Kings, which has set up a best-of-seven titular showdown with defending champion San Miguel Beermen slated to start on Friday.LA Tenorio chipped in 21 points, with three outside hits, while Japeth Aguilar and Earl Scottie Thompson had 19 and 10 points, respectively, for the Kings, which is eyeing its second straight PBA title.The Kings zoomed to an 11-2 start behind hits by Aguilar, Mercado and Joe Devance. The lead grew further to 21-7 on five straight points by Thompson before the Hotshots cut it to 26-16 on back-to-back hits by Mark Barroca.The Hotshots came to within seven early in the second period after a triple by Aldrech Ramos but the Kings managed to pull away anew with three-pointers from Tenorio and Mercado.The Kings maintained the double-digit lead in the third quarter but the Hotshots went on a huge surge behind Jean Marc Pingris and Rafael Reavis to come to within 65-61 at the end of the frame.The Hotshots came to as close as three points early in the final quarter at 68-65 but the Kings quickly widened it to 10 points, 80-67, on consecutive hits from Tenorio, Aguilar and Thompson.The Hotshots had its last push to come to within 82-74 on back-to-back hits by Ramos and Barroca but six straight points from Tenorio sealed the win for the Kings as the lead went up to 13 with just under a minute left in the game.Allein Maliksi top-scored with 22 points, while Pingris and Ramos added 17 and 14 points, respectively, for the Hotshots, which got another sub-par game from Paul Lee, who was held to just four points./PN[/av_textblock][/av_one_full]last_img read more

Chelsea Youngster, Hudson-Odoi Offered Eden Hazard’s No. 10 Jersey

first_imgChelsea will offer Callum Hudson-Odoi the No 10 shirt vacated by Eden Hazard this summer in a bid to persuade him to sign a contract, with fresh talks between the board and his advisors scheduled for this month.The 18-year-old England star has Bayern Munich, Paris St-Germain, and Juventus keen to sign him this summer or in January, when he will have just six months left on his deal and can then commit to a European team with only minimal compensation due to Chelsea.There is a possibility the forward, currently injured with a ruptured Achilles, will consider signing a deal if the club show they are planning to build the team around him in the future.The player and his advisers have always said the reluctance to sign was not about financial issues but concerned the lack of playing time in 2018 and his development at the club.The Belgian is set to leave Stanford Bridge for the Bernabeu this summerWith Hazard leaving when a fee can be resolved between Real Madrid and Chelsea — with the Spanish club still understood to be well below Chelsea’s £100million asking price — there is an opportunity to pass the creative leadership of the team on to Hudson-Odoi.That is the pitch Bayern made to him. They made it clear he would wear the No 10 shirt of Arjen Robben, who is leaving the club, when they made their £35m bid in January, and wanted him to play centrally as well as wide as their key creative player.Prior to last month’s injury, Hudson-Odoi was becoming a more prominent member of Maurizio Sarri’s first team.Though the manager’s future is in doubt, if Chelsea can demonstrate that whoever is in charge next season will make Hudson-Odoi a key figure, in terms of playing and in the financial offer, there is a possibility he would commit to a long-term deal.However, at present, there is a feeling his development would be better served at a club such as Bayern.RelatedChelsea drop Higuain pursuit for another strikerDecember 27, 2018In “England”FIFA Bans Chelsea, Drops Heavy Fine On English FAFebruary 22, 2019In “England”Hudson-Odoi Agrees £100,000 Per Week Deal With ChelseaJuly 23, 2019In “England”last_img read more

Marvel Studios head says “Black Panther 2” already has “a pretty solid direction”

first_imgMarvel Studios(HOLLYWOOD) — Black Panther has only been in theaters for three weeks, but Marvel Studios head Kevin Feige says he’s already planning a Black Panther 2.“Nothing specific to reveal, other than to say we absolutely will do that,” Feige told Entertainment Weekly of the sequel. “One of the favorite pastimes at Marvel Studios is sitting around [while filming] a Part One and talking and dreaming about what we would do in a Part Two.”Feige continues, “There have been plenty of those conversations as we were putting together the first Black Panther. We have ideas and a pretty solid direction on where we want to head with the second one.”Not only that, but Feige says he wouldn’t rule out the idea of stand-alone sequels focusing on characters other than Chadwick Boseman’s T’Challa. “I think Shuri’s astounding, and you’ll see much more of her in our universe,” Feige says, referring to the character of T’Challa’s sister, played by Letitia Wright. As for Danai Gurira’s character Okoye, Feige says, “I think I’d watch three action films just Okoye. I’m not saying we’re doing that, but I’m saying that we’re intrigued by them.”Although there is no word on a potential release date for the Black Panther sequel, the original is moving towards the billion-dollar mark at the box office. While we wait, you’ll be able to see Boseman and some of the other Black Panther stars in Marvel’s next movie, Avengers: Infinity War, which opens April 27.Marvel is owned by Disney, the parent company of ABC News.Copyright © 2018, ABC Radio. All rights reserved.Powered by WPeMatico Relatedlast_img read more