Jesse Jarnow


new art by ned lagin.

The California musician and artist Ned Lagin returns with his first public work since his 1975 Seastones LP, collecting art, photographs, and writing from the past decade of his long and decidedly non-public career. With a long series of poetic Notes acting as deeply psychedelic grounding texts for the visual works, Lagin’s art (and words) tease out the threads between his circuit drawings in the sand and natural landscapes, his nude self-portraits and light-time geographies. Together, they make for a kind of personal ecology of creation, a worldview whose component parts reflect on one another and cast a light backwards on the sounds and concepts behind Seastones.

I’m pulled most strongly to Lagin’s sand drawings, a personal miniaturized form of land art, ecologically sustainable if artistically ephemeral (and a bit similar to some of my father’s recent work). It’s not hard to feel the connection between beaches and time, from the metaphoric standard of an hourglass, to the long and short-term change of tides, erosion, and other natural forces. And it’s through Lagin’s overt threads between his beach-works and his 1970s recordings (right down to the LP’s title) that his opaque-seeming music begins to make more sense as (in Lagin’s phrase) “moment-forms” realized and washed away by time, memory, and a half-dozen varieties of organic and synthetic obsolescence. At least, that’s part of what I got out of reading through Lagin’s 30 pages of carefully considered Notes, which are probably worth going through in conjunction with the work.

For those curious about Ned Lagin’s music, the website presents some answers, too, but also questions. Alluringly, there are hints of future releases, both of a new album and of an expanded and remixed Seastones. But Lagin’s art and writing will have to do for now, materials that (when absorbed) might provide some kind of conceptual remastering on his music for anyone who cares to look/listen/read, new moment-forms waiting to be found in the listening. Ned Lagin’s is an unexpected hello from a long silent voice.

#deadfreaksunite 1974

#deadfreaksunite 1974
show-by-show notes

Originally posted on Twitter on each show’s 40th anniversary and edited here for readability. All shows streamable via

[1972] [1973] [1974]

2/22/74 winterland: a long soundcheck spent working on 3 new songs, the retired ATTICS OF MY LIFE, & a proto-ESTIMATED PROPHET jam. show opens with the proper debut of U.S. BLUES, ex-WAVE THAT FLAG. nice & punchy, though band doesn’t seem quite done practicing it. the 1st IT MUST HAVE BEEN THE ROSES, the only GD tune credited solely to hunter, is an instant winner, though fast & a bit clunky. garcia plays fully articulated SLIPKNOT! inside PLAYING IN THE BAND, uncharacteristically forcing it discordantly into the jam. 1st SHIP OF FOOLS, a major new jerry tune, is likewise uptempo compared to future versions, but dramatic & funny & wonderful. not a lot of compelling jamming, the band’s overexcitement best encompassed by non-sequitur bass bombs in CHINA DOLL.

2/23/74 winterland: final HERE COMES SUNSHINE until the (shudder) ’90s revival. farewell big blissy jam, we hardly knew ye. ’74 model mellowness seems way less lethargic & more pleasing than the ’73 version, probably mostly due to the warm piano/rhodes mix. even-keeled LET IT GROW with sweet weird-swing by kretuzmann. subtle jerry/keith SLIPKNOT! counterpoint in OTHER ONE.

2/24/74 winterland: another U.S. BLUES opener, clearly the new anthem, more confident than its debut, now beaming & exuberant & goofy. great show all around, with vivid foregrounded piano/rhodes in CUMBERLAND BLUES, PLAYING IN THE BAND, WEATHER REPORT SUITE & more. 1st DARK STAR of ’74 starts & stops a few times before coalescing into a short, jaw-dropping coda & a long, drippy MORNING DEW.  1st IT’S ALL OVER NOW BABY BLUE since 9/72 & last ’til ’81. slightly uptempo, but graceful, unrushed, & nice. g’bye.

3/23/74 cow palace: hello, wall of sound! the 1st proper show for owsley’s legendary, crystalline PA. greetings, as well, to SCARLET BEGONIAS & CASSIDY, last major pre-hiatus debuts. SCARLET’s open-ended bounce is sloppy & irresistible. CASSIDY, released 2 years earlier on “ace,” has even more potential. a real shame they shelved it again ’til ’76. my fave weir song? final PLAYING IN THE BAND  > UNCLE JOHN’S BAND > MORNING DEW > UNCLE JOHN’S BAND > PLAYING IN THE BAND sequence, led by magical soft-edged garcia attack that could last forever. unexpected beatles-y counterpoint vocal on SHIP OF FOOLS’ final chorus, not articulated during 3 previous versions.

5/12/74 reno: the wall of sound hits the road. 3-set outdoor show amid crazy washoe zephyr winds that phil references. lulz whenever the dead use gazillion-watt WoS to play polka-boogies. appropriately surly lesh vocals on MEXICALI BLUES & everywhere. high-speed details & thrilling MIND LEFT BODY-like descent before the only lyric-mangled verse of quick-dissolving OTHER ONE, a fully developed MIND LEFT BODY jam & 2 more jerry ballads, though SHIP OF FOOLS is sly & perfect in early uptempo version.

5/14/74 missoula: 1st & only time the dead played montana. “sweet susie” returns to LOSER for 1st time since ’72. garcia sounds confused. bubbling SCARLET BEGONIAS jam, too short, kreutzmann pushing the band outside the structure. a pleasant landing into IT NUST HAVE BEEN THE ROSES. 27m DARK STAR features unparalleled space-swing, highwire JG/BK dazzle, stereo fuzz conversations, flexatone, & ample cosmic boredom. dense & unsettling CHINA DOLL with insane overloaded guitar solo amid a drippingly psychedelic soundboard mix. fratboy hits weir on head with plastic beer pitcher & weir responds appropriately with cheesiest ONE MORE SATURDAY NIGHT yet.

5/17/74 vancouver: debut of a new faster arrangement of LOOSE LUCY. still a throwaway, but now with refreshing bonus pep. weir’s MONEY MONEY, on the other hand, is unsafe at any speed. the worst dead tune not written by a keyboardist? IT MUST HAVE BEEN THE ROSES & SHIP OF FOOLS both slow down even more & get even better. played almost every night & rightly so. top notch PLAYING IN THE BAND & TRUCKIN’ > EYES OF THE WORLD > CHINA DOLL jams but, except for hard-driving EYES outro, nothing exceptional.

5/19/74 portland: big cheer for 3rd ever SCARLET BEGONIAS. does the crowd possibly know it or is it just instinctual 1st reaction? band makes a point of cutting off the SCARLET jam (why?!) & ending together crisply, an oddity by itself. thankfully, it won’t stick. 4 big garcia ballads, including beautiful 1st PEGGY-O of ’74 & a powerful CRYPTICAL-like WHARF RAT that keeps expanding as it spirals. fast, fun TRUCKIN’ unwinds into an unusual funk-slop MIND LEFT BODY, the closest kreutzmann ever got to breakbeats.

5/21/74 seattle: a monster show highlighted by a 46-minute PLAYING IN THE BAND, 3rd longest standalone jam in the band’s history. good omens: donna jean’s SCARLET BEGONIAS wail is kind of nice & low-key, karen dalton style. last of 3 MONEY MONEYs. fuck that song. no, really. it’s so hateful & un-deady. 1st set ends on unusual elegiac note with an unfussy CHINA DOLL. works really well. A+ PLAYING soars with bizarre internal logic, earns its brief space-outs & is bookended by some of the more brutal donna screams ever. the 23m EYES OF THE WORLD > WHARF RAT that follows might be seen as unnecessary by some. i am not among them.

5/25/74 santa barbara: one of my 1st killer soundboards (thanks, compuserve tape tree!) & my personal definitive CHINA CAT SUNFLOWER > I KNOW YOU RIDER segue. TRUCKIN’ bends swiftly from blooze boogie to fast zagging & drumless space where keith plays subtly sun ra-y monophonic synth & into the only ’74 LET IT GROW unattached to rest of WEATHER REPORT SUITE & capped by 3rd big WHARF RAT in 3 shows. also the show where a taper snuck in his deck by burying it in the stadium the night before.

6/8/74 oakland: a sun-stroked bill graham day on the green at oakland stadium w/ the beach boys, new riders, & commander cody opening. strong candidate for the all-time most of out-of-tune dead show, due to heat. for mucho excellent baseball banter, check @NotBobWeir. SCARLET BEGONIAS feels slightly off-kilter, with garcia unwinding a cool inverted version of the melody to signal the end of the jam. 40m PLAYING IN THE BAND > WHARF RAT > PLAYING IN THE BAND wanders early but goes molten. even keith steps up during A+ darting full-band improv.

6/16/74 des moines: 4 hours over 3 afternoon sets at the state fairgrounds. pictures show grand piano, but keith plays mostly rhodes. good fun throughout. SCARLET BEGONIAS is short but big. sounds like it could go anywhere. uncharacteristically clangy CHINA CAT SUNFLOWER > I KNOW YOU RIDER. bodacious EYES OF THE WORLD > BIG RIVER segue. refreshing to hear the band keep uptempo momentum instead of resolving into a ballad. weir & donna finally nail nifty beatles-y SHIP OF FOOLS outro harmony. 30m PLAYING IN THE BAND with chiming disassembly & abstruse zapping. keith uses fuzzed rhodes for garth hudson-style country-funk on ME & MY UNCLE. many-themed TRUCKIN’ capped by smooth MIND LEFT BODY as a confident bridge into sweeping WHARF RAT. weir loses his voice & doesn’t sing after the big jam. also refreshing.

6/18/74 louisville: a stone classic. rich sound, punchy bass, mucho piano, quiet dynamics. like my old tape, slightly sped up. PSA by weir: “you’re probably wondering why we called you all here tonight. the upshot of it is that one of you is a Venutian spy.” an all-time great EYES OF THE WORLD, crisp & roaring, godchaux taking the 1st solo & adding triumphant harmony to the 7/8 outro. 20m LET IT GROW sparkles into mutant swing & a 19m OTHER ONE, dissolution, odd pockets, & space-blooze prelude to STELLA BLUE. rare MORNING DEW encore. long & exquisite quiet valley before the final peak, filled with piano/guitar/bass droplets.

6/20/74 atlanta: debut of the weir/garcia guitar harmony intro to JACK STRAW. 1st TO LAY ME DOWN of the year. ineffable LSDC&W. more sweet godchaux piano throughout. especially breathtaking quiet filigrees on MUST HAVE BEEN THE ROSES. you were right, @jimmyjacktoth. EYES OF THE WORLD opens into a runaway garcia solo; an early version of SLIPKNOT, everyone else half-successfully figuring it out as they go. CHINA DOLL features the return of the awesome overloaded split-signal feedback guitar solo from the missoula version.

6/22/74 miami: super-fine 29m PLAYING IN THE BAND with shimmering jazz dance, soft-fuzz guitar, & sudden invention in the clouds of unknowing. comfortably far-out CHINA CAT SUNFLOWER with a half-baroque rhodes part. odd tempo disagreements on BERTHA, WHARF RAT, more.

6/23/74 miami: only dead version of chuck berry’s LET IT ROCK. started by phil, sung by jerry, outside garcia/weir rotation. fun but wut? the 1st setbreak SEASTONES duet between phil lesh (on quad bass) & ned lagin (on e-mu modular synth) zapping thru the wall of sound. 13m of disorienting & increasingly piercing full-body biomusic burble & scream around the jai-alai fronton. deadheads applaud politely. lagin plays rhodes on JAM > SHIP OF FOOLS & is fully present on a wordless 22m DARK STAR > SPANISH JAM, conversing with garcia & lesh. or this is the busiest godchaux playing ever? garcia deploys split-signal feedback-fuzz during SPANISH JAM & destroys.

6/26/74 providence: A+ mix of soundboard with jerry moore audience tape. dude in the crowd really wants people in front to sit down. frenetic LET IT GROW jam cooks for 4m & evaporates. SEASTONES is mostly gentle bio-voltage. heads seems receptive, even enthused. another abnormally long CHINA CAT SUNFLOWER, starting with a noodle-y prelude & a quizzical diversion before garcia starts to sing. big thumpin’ TRUCKIN’, but quad bass solo, OTHER ONE riffage, SPANISH JAM, other themes feel restless & disconnected.

6/28/74 boston garden: an old fave with setlist shenanigans & a fun, consistent up-ness; big jam is more scattered than i remembered. split-up SUGAR MAGNOLIA/SUNSHINE DAYDREAM bookends a set for 1st time. SCARLET BEGONIAS moves to 2nd set & nearly breaks free. short soundboard SEASTONES excerpt erupts from vivid oceanic static to screaming flares. crisp TO LAY ME DOWN; best since its revival 42m WEATHER REPORT SUITE > MIND LEFT BODY builds, hovers near DARK STAR with brilliant themes, fuzzy dead air & long build to U.S. BLUES. surly phil intros SHIP OF FOOLS: “a quiet, tender, meaningful, sympathetic, heavy-duty ballad in the key of b-flat.”

6/30/74 springfield, MA: superb PLAYING IN THE BAND > UNCLE JOHN’S BAND > PLAYING IN THE BAND delights with mondo keith, dime-turn transition, & thoughtful reprise. 2 more spots where almost all drop out but garcia, including a jerry/phil feedback-fuzz bridge into UNCLE JOHN’S BAND & 6m prelude to STELLA BLUE. most cogent SEASTONES yet courtesy of the 1st complete soundboard. seems like phil harshing the noise & ned bleeping more consonantly. nice l’il charge from U.S. BLUES > TRUCKIN’. killer EYES OF THE WORLD (again: keith!) with wild kreutzmann drumming during end break.

7/19/74 fresno: right-on 30m PLAYING IN THE BAND marked by straight jazz, dancing rhodes by birthday boy keith, flowing de- & reconstruction. annoyingly chatty audience-only tape of SEASTONES punctuated by friendliest taper ever. “are you taping this?” “absolutely!!” 1st HE’S GONE since february is long & shaky, with dixieland blues coda by garcia that is sweet & mournful but never takes off. LET IT GROW, peaks atop peaks, a brief space-canyon, glorious patient SPANISH JAM, full-flight EYES OF THE WORLD. enthralling.

7/21/74 hollywood bowl: generally sweet audience tape with another lazy summer MISSISSIPPI HALF-STEP > IT MUST HAVE BEEN THE ROSES & another talk-marred SEASTONES. 21m PLAYING IN THE BAND with brisk note-chasing & a mini-MIND LEFT BODY/NOBODY’S FAULT/SPANISH JAM collision to set up WHARF RAT.

7/25/74 chicago: just noticing that ROW JIMMY has gradually sped up since slow-ass ’73 versions, back to refreshing SUGAREE-ish lilt. a pleasant vocal-less DARK STAR. nothing jarring, just satisfying linked jams, harmony guitars, drum/keys break, proto-SLIPKNOT, more. JOHNNY B. GOODE has weir shouting like it’s already the ’80s. donna gets brassy on a new part of SHIP OF FOOLS. :( .

7/27/74 roanoke: besides conversational 25m PLAYING IN THE BAND & garcia forcing U.S. BLUES into uneventful 5m boogie jam, oddly improv-less show. weir sings 5 songs in the 2nd set, all covers, 4 from the ’50s. no ONE MORE SATURDAY NIGHT even though it was a saturday. thanks?

7/29/74 landover: rare DC area show. the hep place to be for swinging beltway liberals at the height of watergate, per reports. straight-ahead & great. many enthused whoops throughout U.S. BLUES. especially assertive IT MUST HAVE BEEN THE ROSES. missing SEASTONES. compact & articulate 49m HE’S GONE > TRUCKIN’ > NOBODY’S FAULT > OTHER ONE > SPANISH JAM > WHARF RAT & bonus PEGGY-O.

7/31/74 hartford: 3 sets, all cracking & on point. 1st SCARLET BEGONIAS show opener, purdy rhodes cascades, concise but far-reaching. extraordinarily animated & delightful garcia vocals throughout. 1st time he punches the line “let my eyes no LONGER see” in ROSES. 1st onstage acknowledgment of SEASTONES? “we’ll be for another set in a few moments,” sez jerry. “…& additional weirdness,” adds phil. 2nd full SEASTONES soundboard is the harshest phil/ned custy blastage yet. “get off the stage,” someone yells audibly. #noiselife. curling, primo 40m TRUCKIN’ > MIND LEFT BODY > SPANISH JAM > WHARF RAT. even ONE MORE SATURDAY NIGHT kinda glows a little.

8/4/74 philadelphia: fairly ripsnorting JACK STRAW thanks to strident phil vocals, a completely tasty solo, & over-saturated mix. 20m LET IT GROW churns, goes supernova, & reforms for a fast, weird 2 minutes before garcia slashes into WHARF RAT.

8/5/74 philly: sparkling soundboard. another golden MISSISSIPPI HALF-STEP > MUST HAVE BEEN THE ROSES. not a natural segue, but a nice pairing. nearly gentle SEASTONES, woman desperately screaming “jerrrrrrry!” on audience tape. last 3m is a burbling annihilation & denouement. big bouncing SCARLET BEGONIAS, 1st to break 10m. half-hour TRUCKIN’ thrills & opens up without resorting to jam motifs.

8/6/74 jersey city: summer tour finale ends an era: the last east coast show (& final U.S. jaunt) ’til mickey hart’s return in ’76. 2 big 1st set jams. jeweled 19m EYES OF THE WORLD with atypically mellifluous bass solo. weir PSA: “don’t climb on the fence, idiot!” PLAYING IN THE BAND bubbles into syncopated space-funk & a totally-like-WOW segue into a semi-off-kilter SCARLET BEGONIAS & on back to PLAYING. rare HE’S GONE prefaces a 31m TRUCKIN’ swerve through SPANISH JAM & only the 5th OTHER ONE of ’74, bookended by SUGAR MAGNOLIA/SUNSHINE DAYDREAM. U.S. BLUES’s “summertime done come & gone” refrain caps the tour & the epoch. see you in a month for europe ’74.

9/9/74 london: the wall of sound takes europe! 1st of 3 nights at alexandra palace starts hours late, earning ill-will from UK heads. 1 set, scant improv. ugly coked-up vibes, per mcnally’s bio. nice SCARLET BEGONIAS, though, with audible cheer for “grosvenor square” line. 16m TRUCKIN’ packs big & bigger thrills with aggressive OTHER ONE bass orbits but instead parachutes into WHARF RAT.

9/10/74 london: excellent 1st set garcia, including dramatic LOSER & nuanced PEGGY-O. LET IT GROW finds edge of space & pulls back. weir opens show with tepid AROUND & AROUND & hijacks early 2nd set with interminable & ultra-lame 16m NOT FADE AWAY. thankfully, 31m DARK STAR flashes between heaviness, confusion, & killer keith. serious post-verse meltdown into bass-crazed MORNING DEW.

9/11/74 london: good: SCARLET BEGONIAS getting longer & more intricate. bad: donna now wailing/whoaing/la-la’ing deeper into the jam. set 2 consists of 69m SEASTONES > EYES OF THE WORLD > WHARF RAT. probably my all-time most-played sequence, still rewarding & weird. garcia & kreutzmann join for deep, lysergic SEASTONES, jagged figures transforming to silver valleys, floating blurps, buddha-guitar. ned’s strident melodic piano dominates EYES, unrushed themes unfolding before a 10m SEASTONES reconstruction into WHARF RAT. lagin remembers garcia erupting into “a prolonged loud belly laugh” after the jam’s conclusion, totally audible on tape. bonus 3rd set. garcia/weir/donna master the counterpoint on final SHIP OF FOOLS chorus, setting up dramatic finish.

9/14/74 munich: weirdly off. SCARLET BEGONIAS has cool counterpoint & high-speed garcia but awkward grooves & rare sloppy ending. SEASTONES achieves a mellow vibration & builds to quad-fuzz detonation finale. germans sound way riled. PINBALL WIZARD comes on PA. last of 6 lovely MISSISSIPPI HALF-STEP / MUST HAVE BEEN THE ROSES pairings, always a nice oasis in a desert of bob weir cowboy songs. no big jam, though 16m TRUCKIN’ hits laser focus for last few minutes, resolving to uptempo MIND LEFT BODY descent into WHARF RAT. more quicksilver garcia during EYES OF THE WORLD encore, but not enough to save show. backstage, bad vibes.

9/18/74 dijon: smallest dead show in years, only a few hundred people. 1st set is ragged but even UNCLE JOHN’S BAND opener stretches casually. tiny french crowd even gets 1st FRIEND OF THE DEVIL since 12/72. jerry ballads aplenty & jam delights all over. both SEASTONES & 2nd set drums/bass break have lesh playing something like free jazz. EYES OF THE WORLD dips into a magical mood, wistful & quiet, lots of gorgeous lead bass & hints of SLIPKNOT; CHINA DOLL grows cool busy drum part. HE’S GONE burns into my new fave TRUCKIN’: 23m of fuego garcia, free DRUMZ, stereo bass, & a “CAUTION JAM” that’s something even better: 10m of shifting, sustained invention & cracking snare turnarounds, melting to SHIP OF FOOLS. thrilling, cohesive set.

9/20/74 paris: a shaggy night in the city of light. midtempo & loose FRIEND OF THE DEVIL. overheard on drum mic pre-BEAT IT DOWN THE LINE: “are you crazy? i can’t count that high, you dumb shit.” 14(?)-beat intro nearly collapses. bizarre SCARLET BEGONIAS gets quiet with slide guitar, off-mic donna la-la’s, off-key monophonic synth (ned?), subtle cowbell details. TRUCKIN’ fans out into squiggly space with neat results, eventually a long garcia/kreutzmann duet, & noise bass bridge into EYES OF THE WORLD. does EYES have bad mix or is it falling apart? unrelated(?), billy k. throws moped through a window.

9/21/74 paris: a sometimes brutal conclusion to 7-show europe ’74 tour & the last dead show outside of san francisco ’til 6/76. or it could be another weir-less mix that just feels off. solid EYES OF THE WORLD outro sounds ready for “blues for allah” sessions. full band on 11m SEASTONES, a fun & dense mess that loses steam. great shattering-glass blasts & a nice ned/keith piano duet, though. 18m PLAYING IN THE BAND stays low stakes with small lurvely garcia/lagin dialogues, dissolves into DRUMS, & screeches awkwardly into final chorus. kreutzmann starting to get into cowbell, including on ROW JIMMY break. maybe the ’80s weren’t only mickey’s fault?

10/16/74 winterland: 1st of 5 eventful “retirement” shows, longest all-time gig (4+ hours of music) & probably the furthest out. camera crew starts shooting “the GD movie.” last ME & BOBBY McGEE. always dug the way garcia bark-crooned the high part on the chorus. weir’s 27th birthday, but happy overbalance of jerry songs; back-to-back TENNESSEE JED & crackling CUMBERLAND BLUES both stretch subtly. 24m SEASTONES, ambient washes sound like (or possibly are?) nearby humans screaming; into dope 25m garcia/lesh/lagin/kreutzmann quartet. too much even for SF deadheads, who clap impatiently during last space-out &, disbelieving maybe, slow to cheer when WHARF RAT starts. and then: 36m WHARF RAT > EYES OF THE WORLD, each with an elliptical solo jerry break. on EYES, thick double keys by lagin & godchaux. and still 45m more: TRUCKIN’ mini-suite &, before encore, phil endearingly & atonally singing HAPPY BIRTHDAY to weir.

10/17/74 winterland: the last shows before mickey hart’s return, containing final streamlined 1-drummer versions of many faves. last RAMBLE ON ROSE ’til 9/76. goodbye phil vocals, goodbye subtlety on the bridge. rare FRIEND OF THE DEVIL sounding comfy. last kreutzmann-only OTHER ONE, forever the best jam for his inside-out gang-of-one free drumming. it really tied the room together. 30m OTHER ONE gets both verses, quick SPANISH JAM & MIND LEFT BODY (last ’til 12/83). last BK-only STELLA BLUE. :( .

10/18/74 winterland: final 1-drummer SUGAREE & PEGGY-O, spare & uncomplicated tunes served well by spare & uncomplicated drum parts. last WEATHER REPORT SUITE PRELUDE/PART 1. among my fave weir songs, sad & autumnal no matter the season. love garcia’s faux steel. last of 4 jams out of SEASTONES with ned lagin on keys. kreutzmann comes out swingin’, leading modal jazz dances that fold back into the last DARK STAR ’til 12/78. end of an era. quiet & lilting 1st half & post-verse jam that stays mostly inside, almost funky. nice bounce. and into patient MORNING DEW that goes supernova, last ’til 9/76. 3rd set seems unnecessary, but why not? g’bye billy-only SHIP OF FOOLS. an audience mic isn’t synced or this is worst-clapping crowd in dead history, often just totally unrelated to music.

10/19/74 winterland: almost too many comings/goings to note. final fast, crisp version of FRIEND OF THE DEVIL before ’76 slowdown. last LOOSE LUCY & BLACK THROATED WIND ’til 1990. final 1-drummer SCARLET BEGONIAS. sigh. randomly, 1st MAMA TRIED since 8/71. sloppy! rare BIG RAILROAD BLUES, fun bakersfield break in intro. final TOMORROW IS FOREVER (1st since 12/72), underrated garcia/donna C&W. so many songs go on ice: CHINA DOLL (until 5/77), UNCLE JOHN’S (12/76), RACE IS ON (10/80), DIRE WOLF (9/77), BLACK PETER (10/77). before vocals, TRUCKIN’ (9/77) veers into 1st legit CAUTION JAM since pig’s death (fire!), DRUMZ, & solo jerry space.

10/20/74 winterland: “the last one” before the dead’s break from the road, end of the 1st epoch. sweet typo on the ticket, even. as usual, bill graham both cheered & booed but nails intro: “as it should be on a sunday night in san francisco, the grateful dead.” weir garbles every single syllable of the 1st verse of MAMA TRIED, psychedelic in its own way. besides that, whole 1st set sparkles. lesh getting raspy, but BROKEDOWN PALACE (last ’til 5/77) is a stunner, final “american beauty” tune sung with its original harmonies. SEASTONES (last at a GD gig) starts with ned solo, making tangible bleep grids, moist & tonal. then phil & white noise washes arrive. garcia joins for last 15m of SEASTONES, adding subliminal melodic swells & noodles to lesh & lagin’s unsettling, sparse vibrations. mickey hart returns for last 2 sets, quietness refined since ’71 instantly swallowed by big busy beat. band’s balance audibly shifts. new possibilities in propulsive hippie fusion & deep messiness emerge in 61m 4-song PLAYING IN THE BAND sequence with lagin on aggressive 2nd keys. 1st GOOD LOVIN’ since pigpen’s death, led by weir, only dead cover with 3 lead singers at different times (garcia in ’66/’69, pig in ’69-’72). and it’s way blown-out, the dawn of a new era of rhythmic clusterfuck, drifting between locked-in brilliance & aimless textural float. last EYES OF THE WORLD with 7/8 ending break. SLIPKNOT! riff links into STELLA BLUE, now swollen with overbearing tom-tom fills. cutting in mid-solo, a jawdropping MISSISSIPPI HALF-STEP 2nd encore. perfect call with nearly every lyric apropos. it even reigns in hart. WE BID YOU GOODNIGHT to close it out, the last until 1978. dudes in crowd still shouting for ST. STEPHEN.

dead tapes at baby’s allright, 22 june 2014


all cassette Dead set
Baby's Allright
22 June 2014

5/2/70 Binghamton: Don't Ease Me In, I Know You Rider, Friend of the Devil, Dire Wolf, Beat It On Down the Line, Black Peter, Candyman > Cumberland Blues, Deep Elem Blues, Cold Jordan
4/28/71 Fillmore East: Morning Dew
5/26/73 Kezar Stadium: Eyes of the World > China Doll
2/18/71 Port Chester: Dark Star > Wharf Rat > Dark Star (with Ned Lagin)
12/18/73 Miami: Brown Eyed Women
5/8/77 Ithaca: Scarlet Begonias > Fire On the Mountain
5/26/73 Kezar Stadium: Here Comes Sunshine, El Paso, Loser
5/25/74 UC Santa Barbara: Promised Land, Ship of Fools
5/2/70 Binghamton: Dancing in the Street
10/19/74 Winterland: Scarlet Begonias, To Lay Me Down
6/18/74 Louisville: Eyes of the World > China Doll
9/28/75 Golden Gate Park: Help on the Way > Slipknot! > The Music Never Stopped
3/2/80 Jerry Garcia Band at The Stone: After Midnight > Eleanor Rigby Jam > After Midnight
5/2/70 Binghamton: The Other One > Cryptical Envelopment reprise > Cosmic Charlie
11/17/73 Los Angeles: Playing in the Band > Uncle John's Band > Morning Dew > Uncle John's Band > Playing in the Band
5/19/74 Portland, OR: Peggy-O
2/24/74 Winterland: China Cat Sunflower > I Know You Rider
5/2/70 Binghamton: Viola Lee Blues > We Bid You Goodnight

fallout from the frow zone

fallout from the frow zone
the frow show with jesse, 2013 WFMU fundraising marathon premium

available for all pledges of $75 & above

in approximate order of 1st appearance & not limited to:
Billy Martin, multiple “Stridulations (for Temple Block Ensemble)”
Mickey Hart, Airto Moreira, & Flora Purim, “Ice of the North”
Hugh Le Caine, “Dripsody”
Dustin Wong & Matt Papich, “Blue Moon”
Thomas Block, “Sweet Suite 1 (for Ondes Martenot)”
Annea Lockwood, “Bottle Tree Shattered with Fragments” & other pieces
The Music Tapes, “Kolyada #3″
Stephan Mathieu & Ekkehard Ehlers, “New Year’s Eve”
Daniel Menche, “Rainmix”
Robert Wyatt, “Experiences No. 2″
Rolf Julius, “Music For the Air”
Andy Hofle, “Arcade Ambience 1981″
frogs recorded by Tom Reid, Merritt Island, FL, 4/5/89
Funny Cry Happy, “Inside the Casino Cloudbank”
Robert Hunter, “Rainwater Sea”
Orange Twin Fields Works, v. 1
Little Girl Laughing… SLOWED DOWN
The Dirashi Tribe, “Syncopated Panpipes”
Dombrowski, “Synthesis”
Al Jarnow, “Facial Recognition (soundtrack)”
Alexander Liebermann, “Music For 40 Typewriters”
Nancy, “Super Delicious Crunchy Forest Critters”
Francisco Meirino, “Untitled Phenomenas In Concrete”
Greg Davis, “Fourteen Locations Along Hunter Creek”
Edgar Froese, “Aqua”
The Beach Boys “Caroline No (vocals)”
Bee Mask, “Moon Shadow Move Moon Shadow Move”
“Wat Saket Temple Bells”
Chris Corsano, various from “Cut”
32 Out of Sync Metronomes End Up Synchronizing
Little Richard, “Goodnight Irene”



I’m totally elated to announce that I’m working on a new book project for Da Capo. Heads: A Biography of Psychedelic America, slated for publication sometime in 2015, will be a history of the Deadhead continuum and very far beyond. If you’re a Goodreads user, you can follow along with some of my research over there as I plow through the hippie bibliography of my dreams, plus occasional bits on ye olde Twitter feede. As always, #deadfreaksunite.

yo la tengo, hanukkah 2012, night #3 setlist

[ If reposting, kindly credit Frank & Earthy: / @bourgwick ]

“The Room Got Heavy” with Weckerman & Demeski

Yo La Tengo at Maxwell’s
10 December 2012
*(Hanukkah, night 3)*

The Feelies and John Mulaney opened
benefit for the Food Bank of New Jersey
mix disc by James

The Feelies:
Deep Fascination
For Now
For Awhile
On the Roof
Let’s Go
Higher Ground
The Final Word
Slipping (Into Something)
Way Down
When You Know
Doin’ It Again
Time Is Right
Raised Eyebrows
Crazy Rhythms

Yo La Tengo:
Paul Is Dead
Time Fades Away (Neil Young) (with Glenn Mercer of the Feelies on guitar)
Barnaby, Hardly Working (with GM)
Tears Are In Your Eyes
Something To Do
The Point of It
Tom Courtenay (Georgia version)
Tired Hippo (with Dave Weckerman and Stan Demeski of the Feelies on percussion)
The Room Got Heavy (with DW & SD)
False Alarm (with DW & SD)
The Story of Jazz (with DW & SD)
Double Dare (with DW & SD)
Little Honda (The Hondells)

You Ain’t Goin’ Nowhere (Bob Dylan) (with The Feelies’ Bill Million on guitar & Brenda Sauter on vocals)
Sister Ray (Velvet Underground) (with GM & BM)

[ If reposting, kindly credit Frank & Earthy: / @bourgwick ]

yo la tengo, hanukkah 2012, night #1 setlist

[ If reposting, kindly credit Frank & Earthy: / @bourgwick ]

Yo La Tengo at Maxwell’s
8 December 2012
*(Hanukkah, night 1)*

The Raybeats and Emo Philips opened
benefit for Fund to Rebuild Hoboken
mix disc by Tom Scharpling

Night Falls on Hoboken
Seven Day Weekend (Doc Pomus) (sung as “Eight Day Weekend”)
The Evil That Men Do (Craig’s version)
Stockholm Syndrome
Paddle Forward
Before We Run
Beanbag Chair
Big Day Coming (acoustic)
Tom Courtenay
Artificial Heart
The Kid With the Replaceable Head (Richard Hell) (with Jody Harris of the Raybeats/Contortions on guitar)
Pass the Hatchet, I Think I’m Goodkind (with JH)

Drug Test
Take A Giant Step (Carole King and Gerry Goffin)

[ If reposting, kindly credit Frank & Earthy: / @bourgwick ]


frow show, FMU-85

(Archive, with listening links.)

1. Wreckless Eric – “Take the Cash (K.A.S.H.)” – The Wonderful World Of Wreckless Eric (Stiff)
2. Theoretical Girls – “U.S. Millie” – Theoretical Girls (Acute)
3. David Watson – “Pneumatic” – Skirl (avant/disk union)
4. The Sea Shells – “Hit the Surf” – Surf & Drag, v. 2 (Sundazed)
5. The Oh Sees – “Carol Ann”
6. Insect Surfers – “Surfin’ Senorita” – Surfin’ Senorita (wildebeest)
7. Frankie Rose and the Outs – “Little Brown Haired Girls” – Frankie Rose and the Outs (Slumberland)
8. Roy Briggs and Alton Tew – “You Know I Love You” – Local Customs: Lone Star Lowlands (Numero Group)
9. Sir Mack Rice – “Dynomite” (Stax)
10. Millie – “My Boy Lollipop” (Fontana)

11. Stephan Mathieu & Ekkehard Ehlers – “New Year’s Eve” – Heroin
12. Reynols – “Blank Tapes”
13. Gregory Lenczyscki – “Variable State Optical Amplifier” – Swarm of Drones (Aspohodel/Sombient)
14. Atsuhiro Ito – “Acousmatic 9″ – Improvised Music from Japan, v. 4 (Improvised Music From Japan)
15. Soegaard Ensemble – “Polymetrix II” – Soundmapping the Genes (Leo)
16. Can – “Bel Air” – Future Days (Mute)
17. Grateful Dead – “Mind Left Body Jam > U.S. Blues” – Dick’s Picks, v. 12 (28 June 1974 Boston Garden) (Grateful Dead Records)
18. The Beach Boys – “Disney Girls 1957″ – Surf’s Up (Capitol)

19. Kris Kristofferson – “Getting By, High, and Strange” – Please Don’t Tell Me How The Story Ends: The Publishing Demos 1968-72 (Light In the Attic)
20. Ween – “I’m Holding You” – 12 Golden Country Greats (Elektra)
21. Andore Kandore, alias Inoue Yosui – “Kandore Mandore” – Japanese Folk, Rock & Enka 1969-1972
22. Arthur Verocai – “Caboclo” – Arthur Verocai (Continental)
23. Cooper-Moore – “Crow Shit on the Window” – 7″ Box (50 Miles of Elbow Room)
24. Uncle Woody Sullender – “Part III” – 22 May 2010 Issue Project Room (Free Music Archive)
25. Elaine Radigue – “Onward/Backward” – Vice Versa, etc… (Important) [feat. Mauricio Bianchi, "Secondo Ciclo" from "Endometrio" (Dais)]
26. Henry Wolff & Nancy Hemmings – “Crossing the Line” – Tibetan Bells III – The Empty Mirror (Celestial Harmonies)
27. steffen basho-younghans – “Rocky Mountain Variations” – We Are All One in the Sun: A Tribute to Robbie Basho (Important)
28. Peggy Seeger – “Freight Train” – Joe Meek: The Lost Recordings (United States of Distribution)
29. The Fugs – “Morning, Morning” – Second Album (ESP-Disk’)

The Frow Show with Jesse playlists:
RSS feeds for The Frow Show with Jesse:
Playlists RSS:
MP3 archives RSS:
Generated by KenzoDB ( ), (C) 2000-2010 Ken Garson

frow show, FMU-53

Detailed playlist (with listening links).

1. The Flaming Lips – “See the Leaves” – Embryonic (Warner Brothers)
2. J. Spaceman & Matthew Shipp – “Outer” – SpaceShipp (Treader)
3. Roj – “Inhale. Exhale. Love!” – The Transactional Dharma of Roj (Ghost Box)
4. Chris Weisman – “B.O.A.C.” – Tape Walk (Autumn)
5. Real Estate – “Suburban Dogs” – Atlantic City Expressway EP (self-released)

6. Anthony Braxton – “Opus 58″ – Around the Horn: Doug Schulkind 2009 Premium
7. Tyondai Braxton – “Central Market” – Central Market (Warp)
8. Tristan Perich – “qsqsqsqsqqqqqqqqq (for 3 toy pianos & 1-bit electronics)” – 18 March 2009 Issue Project Room
9. Maryanne Amacher – “Head Rhythm 1 and Plaything 2″ – Sound Characters (Tzadik) [Maryanne Amacher, 1943-2009]
10. Skyramps – “Last Time I Saw You” – Days of Thunder CD-R (Wagon) [feat. "Aladdin and His Lamp" read by Anthony Quayle (Caedmon)]
11. Bell Orchestre – “Water – Light – Shifts (Tim Hecker Remix)” – Who Designs Nature’s How (Arts & Crafts)
12. Canadian Pacific #228 & #5370 – Doubleheader: A Double Feature of Steam Railroading Thrills (Semaphore)
13. William S. Burroughs – “Crab Nebula (excerpt featuring Proctor & Bergman)” – Nova Express
14. Black Joker – “Watch Out (part II)” – Watch Out CD-R (Pacific City)
15. Hermetic Sunsets – “Kopf Geben” – Aroma Club Paradox (Dekorder) [feat. "Skeleton Dance" by Carl W. Stalling]
16. Allroh – “Kein Cm” – Ha Dec (Graumann)
17. CSC Funk Band – “Sugaree” – Racket (Mass Distribution)

18. Aislers Set – “Clouds Will Clear” – Attraction Action Reaction 7-inch (Suicide Squeeze)
19. Apothecary Hymns – “Half of What Is Seen” (Jugendstil)
20. The Selmanaires – “Beneath the Lights” – Princess Illusions Frankenstein 7-inch (Rob’s House)
21. The Cords – “The Lesson” – Get Ready To Fly: Pop-Psych From The Norman Petty Vaults (Big Beat UK)
22. The Group – “The Feed-back” – Psych Funk 101: A Global Psychedelic Funk Curriculum (World Psychedelic Fun Class)
23. Evangelista – “Tremble Butterfly” – Prince of Truth
24. John Pilcher / Martin McKelvey – “Track 1″ – A Bun Dance (Dungeon Taxis)
25. Muhal Richard Abrams – “The Bird Song” – Levels and Degrees of Light (Delmark)
26. Georgia Fife and Drum Band – “Why Sorrow Done Passed Me Around” – Fire In My Bones: Raw Rare + Otherworldly African 27. American Gospel [1944-2007] (Tompkins Square)
28. Hawaiian Orchestre – “White Birds” – Mata La Pena: A Compilation of International Music (MRI)
29. Roger Lewis – “Autumn” – Wayfaring Strangers: Lonesome Heroes (Numero)
30. Henson Cargill – “It’s Over” – Skip A Rope (Monument)
31. Johnny Paycheck – “Wherever You Are” – Nowhere To Run (Omni Recording Company)
32. Lee Hazlewood – “Come On Home To Me” – Movin’ On (Ace)
33. Robert Hunter – “Box of Rain” – Jack O Roses (Relix)

The Frow Show with Jesse playlists:
RSS feeds for The Frow Show with Jesse:
Playlists RSS:
MP3 archives RSS:

Generated by KenzoDB ( ), (C) 2000-2009 Ken Garson

steal global, buy local. (faster times, 7/09)

Steal Global, Buy Local

by Jesse Jarnow

Faster Times, July 2009

The music biz ain’t dead. It doesn’t even smell funny. Not even jazz. Sure, labels are tanking, magazines are closing, and–like Gillian Welch sang in one of the most effectively heartbreaking laments about modern culture–everything is free. But music itself is perhaps more present at every level of society than any other time in human history. It is more disposable, too, achieving a level of ephemera not known since before recorded sound.

For musicians, it brings new creative challenges, to create something that requires an experience greater than itself, more three-dimensional than a simple recording can allow. For listeners, especially voracious ones, it brings new moral bounds. But, mostly, delicious, awesome gluttony.

It is, of course, a cosmic dick move to never pay for one’s tunes. On the other hand, it’s a total rube job to always fork over cash. (Parking lot hippies slinging grilled cheese and nitrous call square people “custys.” No one likes a custy.) But where is the line? What is the line? The problem is no longer whether or not it is permissible to download music–of course it is–but who to steal from. Or, more practically speaking, who to pay.

If one’s goal (as it should be) is a sustainable musical ecosystem, the answer is–as with food–to go local. Given music’s now usual expression as bits, usually housed on some distant server, the definition of “local” is entirely up in the air, gone to the ether.

It could be you are a resident (in Bill Wasik’s terminology) of the hipster archipelago. Maybe global psychedelic weirdoes like the recently reunited Os Mutantes seem like kindred spirits, or maybe cough syrup-chugging Houston hip-hoppers. Perhaps your Facebook network describes the arc of your locality. Perhaps your apartment building, your block, your college friends. Maybe you belong (in Kurt Vonnegut’s phrasing) to a karass, its fellow members unknown to you until spontaneous discovery. What’s your scene, man?

No matter where you are (or they are), it is more fun and satisfying to buy your friends’ albums than to spend money on (say) the new Wilco record or a Rolling Stone subscription. Unless you happen to be friends with Wilco, of course, or strongly identify with their mission. (One of the reasons I was happy to pay $10 for Radiohead’s In Rainbows is because their pay-what-you-will gesture seemed a clear indication that we were of the same locality.) Local could be local, spending money on music that is only available in your immediate vicinity — like buying a neighbor’s home-pressed CD-R, or going to one of his gigs, checking out the other acts he’s playing with.

It is not that one’s immediate vicinity is better than anywhere else (which would be nationalist) or that he should exploit the music of musicians in far away countries (which would be imperialist). Simply, it is never bad to think about one’s consumption. In the case of music–as opposed to say, wondering how the proverbial sausage gets made–thinking local can only make the experience richer.

Very often, especially now that one doesn’t have to enter the commerce-based community of a record store to acquire it, music can feel beamed in, created someplace far away, by other people. The internet is more than the celestial jukebox, it is the celestial big box store, sucking everybody into the vast Everywhere. The disappearance of regionalism in American culture is as old as the interstates, but it is a mistake to think of that transformation as anywhere near complete, that life is effectively the same all over the place. Of course it’s not. But only you know where you’re at.

‘the time has come,’ the walrus said, ‘to speak of the FROW SHOW this wednesday.’

Dearest Frowsketeers:

The time has finally arrived for me to stay up very late.

Should you find yourself awake between the hours of 2 and 6 am EST this Wednesday night/Thursday morning (Sept. 17th/18th), the Frow Show will be filling in for Sue Per on WFMU.

The program will likely include some weird shit from an Indonesian cassette tape my friend Michael hipped me to, some Richard Manuel solo cuts, at least three songs about Richard Nixon, a dignified celebration of the 22nd anniversary of the ’86 Mets’ Eastern Division championship, and three-and-a-half hours of other material. But who’s to say, really?

You can listen live at, 91.1 FM in the NYC area, or in your iTunes under the ‘eclectic’ section.

See you then, I hope.


Should you not be up then, you’ll be able to hear it here later.

“jungle drum” – emiliana torrini

“Jungle Drum” – Emiliana Torrini (sorry, nastygrammed by Rough Trade–first time ever!–despite the fact that this is the album’s single! WTF? See below. Good promotion, dudes.)
from Me and Armini (Rough Trade) (out 9/8)

(file expires August 25th)

I have a silly crush on this song. It’s not particularly complicated, but at least one–if not both–of the chorus’s twin hooks were stuck in my head for better parts of a glorious New York weekend. There are all kinds of little appeals: Emiliana Torrini’s ESL cuteness, the kitschy escapism of drums in the jungle, the perky electro groove, the soaring title refrain, and–of course–the onomatopoeic thump of Torrini excitedly sounding a cartoon heart-pulse. The modulation for the final chorus is rather pleasant, too. It feels kind of like a reduced version of Björk or MIA’s foreign otherness: a whiff of the weird to propel it, but–unlike those two–hardly challenging pop’s international, institutional grammar. Who cares, really? It’s just a silly crush.

running into stonehenge

Running Into Stonehenge

by Jesse Jarnow

Paste, June 2008


I had a totally normal childhood. There was the time I ran into Stonehenge. Knocked myself out. I have no memory of this, of course, but it became something of a family joke, in as much as my father sometimes reminds me that this is something I once did.

The other family joke to come out of our trip to England in 1982, when I was three, is the line (spoken in a Monty Pythonesque chirp) “I’m sorry, sir, but can’t you film Stone’enge someplace else?” to be repeated whenever an event is threatened by inclement weather.

Its originator was a British weather services operator whom my father had asked for the conditions at the mythological site, where he was to shoot an experimental film titled Celestial Navigation. The result, as John Luther Schofill of the Experimental Film Coalition would proclaim, “captures, first person, the experience of being, in the words of Buckminster Fuller, ‘a passenger on Spaceship Earth.’”

To me, the filmmaking only meant chaos in the weeks leading up to our departure, which included setting up Dad’s high school buddy from Brooklyn, Paul, as a housesitter in our Long Island home. His duties included feeding the cats and operating the time lapse cameras tracking shadows across Dad’s attic studio, while Dad marked similar solar-seasonal changes across the ocean. “These are the means by which space describes its meanings,” Dad’s reverb-laden voice explains in the narration. “Touch, sight, and the echoes of distant walls.”

More exciting to me was the animation he did for Sesame Street and other PBS programs. On occasion, I even got to be in them, making my hip-hop debut in a series of number raps. (Yeah, they’re on YouTube.) Stuff from around the house turned up regularly — a toy train chugging with tumbleweeds across the frame, or even our cat, Banana, appearing in Real Cat Drinks Milk.

I wish I could say that being an animator’s son made me think all animation came from mysterious attic studios filled with zoetropes and homemade orrerys, or that any old toy could lurch into magical movement like a Michel Gondry movie, but this is not the case. I knew the harsh realities of children’s television.

Once, Dad brought me to the Sesame Street set (a place he rarely ventured), then located in Manhattan. Where I once imagined winding catacombs in the depths of Oscar’s garbage can, I saw a tangle of wires. Later, I saw Snuffalapagous hanging on the wall. True story. There are pictures of me sitting on the set’s central stoop, looking quietly mortified.

A parade of undergrad assistants became family friends. College students, perhaps, they were also filmmakers in their own right, members of a very real community, whom Dad was, in a sense, welcoming in. We attended their weddings, went on family trips with them.

In Santa Cruz, we stayed with another of Dad’s friends at a synagogue-turned-studio purchased with money made animating Luke Skywalker’s targeting computer in Star Wars. Below a mantel displaying chunks of the original Death Star, we watched a video of folk collector Harry Smith’s painted-on-film abstractions. In Boston, we visited Manhattan Project physicist (turned humanist peacenik) Philip Morrison and his equally brillaint wife Phyllis, who Dad worked with on their 1987 PBS series, Ring of Truth.

Had I been more conscious, I might’ve observed that culture — be it abstract animation or atom bombs or 4,000-year old stone calenders — isn’t a thing so much as it is people. But sometimes that can be hard to notice when art is life and life is art (and science and literature and history) and all are rushing towards you in the shape of monoliths in the British countryside near Salisbury.

Indeed, our trip abroad — partly underwritten by an American Film Institute grant — was worked into a family vacation with my parents, grandmother, aunt, uncle, and two cousins. After several days, crappy weather or no, Dad befriended the guards at Stonehenge. When Mom and I arrived, he asked if I could touch the plinths. The guard let me through.

At which point — perhaps drawn by the ancient power of the rocks — I apparently charged, knocked myself out, and made a family memory just as worthwhile as any experimental film, not to mention concisely answering the question of why one can’t shoot Stonehenge someplace else. If only I remembered it.

For more information about Al Jarnow, see Much of his animation has been collected on the Numero Group DVD Celestial Navigations: The Short Films of Al Jarnow.




“summerteeth” & “spiders (kidsmoke)” – wilco

“Summerteeth” – Wilco (download)
“Spiders (Kidsmoke)” – Wilco (download)
recorded 19 February 2008, Riviera Theater, Chicago, IL

(files expire March 1st)

It was a pleasure to arrive home the past two nights to discover Wilco webcasting from Chicago. Their five-night stand at the Riviera, during which they attempted to play every song from their primary albums, seems to mark a new phase for the band. By forcing that many songs back into the repertoire, many of which were probably dropped initially for some practical reason, some quite necessarily were a bit looser than others, like “Summerteeth.” Where Wilco’s sets at least once played at stateliness, there is now a Dead-like comfort, especially taking into account the two-set format of the shows. It works both ways, though, and the nooks have never been more detailed, like the 10-minute Neu-groove of “Spiders (Kidsmoke),” in which the band pushes decidedly out from Glenn Kotche’s elastic/metronomic krautrock.

times square, 11/07

have read/will read dept.

o Indie rock is white. No, it’s not. It’s just classist.
o Wes Anderson is white. Uh, yes, he is, but so what?
o The Coen brothers in conversation with Cormac McCarthy.
o Chuck Klosterman on Harry Potter.
o Clappy on post-DIY indie rawk.