What’s that saying? Never miss a Sunday show… Well, never miss a Big Sur show either. That’s got to be my best advice. I’ve never been to heaven, but I’ve been to Big Sur. Lucky are the trip takers who’ve had a chance to see The CRB down in Big Sur in 2011, 2014 and again this year. 2011 and 2014 were held at the intimate Henry Miller Memorial Library, just a bit further down the road from the Loma Vista Gardens and Big Sur Lodge. Built in 1937, the Loma Vista Inn was built the same year Highway 1 was paved along the Big Sur coastline. Loma Vista translates to view of the hill in Spanish, and what a view it has of the Ventana Wilderness and Mount Manuel. Built to function as an Inn, diner and gas station, this property became a central meeting point for those who lived in the Big Sur area as well as for travelers just passing through. Max selling capacity may be set at 275 (total 300 but has to include the band, staff, etc.) so this is one intimate venue. Rumors told me Thursday’s show was not a sell out, but that by the time Friday morning rolled around, that evening’s show was. Seriously, I get it, it’s a Thursday and maybe you had to work on Friday. Ninny. I knew more than one who had to work on Friday and still made the trip down both nights. No regrets folks. Sleeping is for babies. You only live once so why not live it full? Again, never, ever miss a Big Sur show.
After a handful of years seeing these guys and getting to know their music and fans, I can tell ya, this is one traveling mystical circus you want a part of, even if just once…. Although, I’m not so sure if I’ve met anyone so far who has gone to just one show. It gets into ya, into your veins, into your nerves, into your being. Like any jamband who develops a bit of a fan base who is more than willing to travel far and wide to get some. There are the originators of it all, the Grateful Dead. Or, how about Phish. Widespread Panic. Government Mule. .moe. String Cheese Incident….. When I was in college and spending a lot of time and funds on spring, summer and fall tours seeing the Grateful Dead, my sister used to question, “How can you go see one band so many times? Don’t they just play the same songs over and over?” There is a way that this type of music scene just all comes together – it is hard to describe. Yes, you have to like the music, and who wouldn’t? A bit of rock and roll mixed with funk and soul, blues and jazz, relatable to almost spiritual, with a touch of psychedelic dance party. But it’s more than that. The music is central to it all, but there is a connection with the fans and the show that makes it complete. This is not a huge traveling circus like some of the other bands I’ve mentioned. This is a stripped down setting, nothin too fancy, just music, friends and good times. The band is more than accessible, and seems to enjoy the family feel of it all.
Arriving on the first night, not quite sure where this space was located, we hug the curves of Highway 1, just a bit past The Fernwood Resort and other campgrounds in the heart of Big Sur, deep in the Ventana Wilderness, amongst the trees of Julia Pfeiffer. There it is, the sign that tells you you’ve made it: Loma Vista Gardens. Big Sur Bakery and Cafe. The last gas station, the beacon of Shell lighting the sky – and ya better fill her up if your light is on, as the next one heading south is not for another 40+ miles. (Sidebar: At first I thought the sign all lit up like that was out of place, didn’t belong there in the wilderness. But, then I realized it had to glow in order to see it in the darkness of Big Sur, the only light made by the moon and stars). We high-five at our rock star parking spot and realize that we just have to walk a few feet up the driveway to find utopia. The sun was out, it was a warm night, the magical flowers a bloom all over, especially if you made your way through Begonia Gardens. The area of Loma Vista Garden would be the spot for the show. Walking through the welcome gate, you enter a wide space that was used for socializing or lounging with a cold libation and scoping out band merch; just the general set break area, people milling about. Looking towards a set of stairs where we checked in, there is a large spirit nest created by Jayson Fann, a artful bending and weaving of branches to create a nest, a resting spot, a tree house, a spiritual hideaway. Walk up the stairs to the music/venue area and you suddenly realize just how small it is. I gasped as I hit the top stair and looked to my left. The floor space seemed as cozy as my living room. Off to my right there a large dirt/earth floor space leading up to four tiers to stand or sit, and a pathway connecting the floor to two decks overlooking the stage. The stage was small, barely a few feet off the ground and just big enough for this 5-man band and their plethora of magical gear. Not a lot of fancy lighting that’s for sure, so most of the images were captured during the light of the first set. Two or three chandeliers hung above the stage, glowing string lights hung above the crowd and intertwined their way around the rails and banisters giving off a warm ambiance, a glow to the scene that just felt right. Gosh, a whole paragraph on the place – can ya tell I loved it?
We come for the music. We are blessed by the spaces this band selects, yes, but we come for the music. Spinning tunes before the show, during set break and after it was all done, was the one and only Ben Knight, again, the same guy spinning tunes at the Henry Miller Memorial Library shows! Chris was out there too, in the DJ Booth they placed within the Spirit Nest by the stairs, one view to the vast Ventana Wilderness and the other view into the not as vast but just as wild wilderness of the CRBeings. (Sidebar: There was a tune Ben spun last year that I never forgot. He played it agin this time, and I asked if he could just play it again and again and again…. “Spaced Cowboy” by Sly & the Family Stone. Can not get enough. “I can say it more than once, ’cause I’m thinking twice as fast… yodel-ayde-hee-hee…. Everything I like is nice, that’s why I try it twice, yodel-ayde-ayde-hee….. yodel-ayde-ah-heee-eeeeee”)
Opening up the first night with “Good Rockin’ Tonight”, this one is a bit of a rockabilly tune from back in the late ’40’s by Roy Brown. Before the night would end, we’d hear a few more from their influential repertoire, with “Never Been to Spain” from Three Dog Night, “Get Out of My Life Woman” from Allen Toussaint and Lee Dorsey, Bobby Mitchell’s, “Try Rock and Roll”, Dillard and Clark’s “Polly” – a song performed by Alison Krauss and Robert Plant, along with the Robinson Brothers – and that Slim Harpo, “Where the Music’s Hot” – the music is hot there ain’t no doubt, no doubt for sure. Not the only song of Harpo they kill either, with that “Got Love if You Want It” on the second night. Tosses to The Grateful Dead with, “Mr. Charlie” and “Hard to Handle”, although written by Otis Redding, this one was known as a tune Pigpen loved to get into. And, they’ll surprise you with covers, like Carl Perkins’, “Boppin the Blues” and The Rolling Stones’, “Sweet Virginia” as the second of two encores on Friday night, digging deep and showing you where their roots hold tight to the earth. All this big time party dance music was making the stage jump and the lights sway and the speakers breathe – on the edge!!!
The “Someday Past the Sunset” was all Muddy man, driving it down with those super deep and heavy beats on his bass. You can’t help but give yourself the OK to strut for this one. The entire band is grooving in the same pocket, keeping it steady; Adam slamming the keys, Tony punching the skins, Chris scratching the strings in a heavy and steady rip, and Muddy just circling up and down that fret kind of steering it all. And the slide from Neal is telling you something nasty in your ear. Not nasty in a nasty sense, but nasty in a good musical sense. You know. Stitch by stitch. This same deepness, heaviness, nastiness is carried through the next one, “Little Lizzie Mae”, but a bit faster on the rhythm and a little funkier on the Adam side of the stage. Until it gets jazzy. Super jazzy. Just the way they groove on it for a while, has you boppin in a smooth easy sort of way; feels good.
As the jazz slows down to a different space, you can hear the workings of, “Like a Tumbleweed in Eden” forming, ever so slowly, ever so quietly, ever so gently. Feels very melancholy and easy until Chris sings, “And there I’ll stay. Lock me away until the day that you love me.” Then Neal kicks in for a minute, giving a mere tease of the jam to come as they slow down one more time, playing ever so softly and gently, Neal so high up on the strings his two hands nearly meet. It was as if the stars had come down from the sky to dance around. And then they let it rip, get a bit heavier on the rhythm and driving beat, Chris strumming heavily on the strings, Adam playing on the low end of the keys letting Neal stay up there in the heavens, stirring up the atmosphere. This spirals down, slowly and gently into a rockin’ “Never Been to Spain”, a song they’ve always done more than justice with, and a song they really open the door for Adam on, as he takes over and conjures up a super funky jam.
Just having returned from Australia, Chris says something about their blood having to reroute itself back to the way it used to spin through their veins. A scientific fact. Um, no sir, that is water. Well, whether they believe it’s true or not, go ahead to Australia again if you’re gonna come back and play like this! “Son, where ya goin’? Where the music’s hot!” Man, they laid this Slim Harpo song down. Seems to be one they’ve added to their list this year, and that is just rather fine by me. Taking this old blues song and giving it their CRB vibe, it’s super danceable and another one they let Adam lay into the keys. Groovy. Funky. Hot.
Before closing the first set with a swampy, “Beggar’s Moon”, there is this beautifully slow and soulful, “Star or Stone,” another one that slows the world down and keeps you tucked inside with them, in their space and time, if just for a few minutes. Makes me want to take a long deep breath, hoping maybe I’ll inhale the notes from the air, keep the music inside for just a few notes longer. I wonder what it would feel like. I might never exhale… Mid-way, this song really peaks, takes you higher, the force of the entire band driving the music up to a crazy spot in the sky, next to Jupiter or Mars. “Telephone is ringing, heavy price on the line. Outside the window a comet shoots across the sky. Between love and hope and money, there’s loss and pain and honey, so take a spoonful every time. And if you don’t like what you see, don’t come running to me. Cause I’m bound to my own way. I’m a million miles away. I won’t, I won’t turn back, see my dreams burning on the side of the road. Sometimes it just goes like that. Falling or flying , star or stone.” The lyrics and the story they paint are just amazing.
The second set was scattered with familiar and not so familiar originals and covers, selecting to mix it up with pure rock and roll, a little southern americana, grooving blues doused in a little love and pain, a few covers, and a new song in “Roane County Banjo”. A tad on the side of new folk, it’s got an easy pace and a little more roll than rock, as the music weaves smoothly around the lyrics. Even the tone of Neal’s guitar takes on a new twang here and there. Roane County, just a place in Tennessee. Maybe made a bit famous in 2010 when the movie, “Get Low” came out, starring the likes of Bill Murray and Robert Duvall, based on a true story about a man from Roane named Felix Breazeale, who decided to throw himself a funeral while he was still alive. Letting out some new songs to be worked out before a crowd is exciting, especially in the beginning when it is raw, still being crafted in a way. It grows over time, may change a bit until it lands in it’s sweet spot. This one has just started busting through the earth and showing it’s colors.
Stand-outs for me in the second set were that “Get Out of My Life Woman”, “Last Place That Love Lives”, “Rosalee” and the special two-fer encore. I was not expecting that, “Polly”, as I recognized it from my Plant/Krauss disc. Very melancholy, it echoes in your soul. And, I seriously thought the stage was gonna break during, “Mr. Charlie”. I bet people just dance extra big and fun during the encore, knowing it’s the last tune of the night, making sure they get all their yah-yah’s out. I do. I believe a first time played, “Get Out of My Life Woman” was just so funky, so groovy, so good vibey if that is a term…. well, it is now. Slowed down just a tad, to their kind of groove, giving it that Adam psychedelic stretch, it was bluesy and rockin’, and another floor shaker! And who doesn’t love it when Chris whips out the harmonica? Love that shit. He good at it too, playing it raw and nasty. I almost expected him to hold it out, drop it on the stage and walk away, you know, like we got served.
Before, “Rosalee” we had a sweet moment to catch our breath, rest our bones, and offer a little soothing sound to our ears with, “Last Place that Love Lives”, a song they play that was pulled out of the Crowe storage. But wait, even before that, the end of “Tulsa Yesterday” was pretty awesome, almost sounded like a little jam on a Grateful Dead song, “He’s Gone”, I giggle to myself, sing the lyrics in my head and wonder if anyone else thinks the same. It winds down out of that, back into the “Tulsa” riff, soft and lingering, the guitars hold on to make every note last just a bit longer. Quietly, they begin, and Chris starts in, “Up high in a mansion, on a mountain of jagged rock. Behind two iron doors, so heavy they need no lock. Is that last place that love lives, where the sad woman cries? Is the last place that love lives, behind your eyes?” I get goosebumps every time for this one. The lyrics, the way it is sung, the harmonies, the deepness to the guitar offers a sadness that is almost beautiful. Right after they finish, I hear, “Good God I love California” and the place cheers. Not sure who said that, whether it came from the stage or audience (place was so small, sometimes hard to tell where the line was), but Chris gets up to the mic and says, “Tony’s first gig in California with us,” which again, generates a cheer. “We were, uh, we were gonna do it in Fresno, but we said, ‘eh, let’s just pick here’” which generates a bit of a murmur that Chris responds to with, “I’m kidding man!…. Gilroy next!” lightening the moment as we all take in the idea of just how awesome Big Sur is.
And, as usual (for me anyway) “Rosalee” was a perfect close to the second set, ending it on a super high note, leaving a taste in your mouth you’re not ready to have fade. That space they create towards the end, slowly teasing you, making you wait for it. Almost like the slow, purposeful draw back of the bow. A firm grip on the edge of the arrow that is pointed up, slowly, stretching it back as far as it will go until the band let’s go into a high-spirited jam, Chris at the top of his vocal reach, belting it out, “Rosalee!!!” Who doesn’t love this song? C’mon! (Rhetorical question….) According to song stats up on set list FM, this is their most played song. I’m good. I’m good with that. And with 300 under their belt, so are they. (Sidebar. “Poor Elijah” is another one of my favorite’s they do. Apparently, they’ve done this 107 times, but I’ve only experienced five. What up with that? #chasingpoorelijah)
Returning to the stage for a two-fer encore, they start off with, “Polly”, a very slow and soothing Dillard and Clark tune the CRB is just beginning to explore, breaking it out in January of this year. I did not recognize it at first, even though there was a familiarity to it, I knew it wasn’t via CRB. Reaching the chorus I realized I had heard this on the Robert Plant/Alison Krauss release, played much more hollow and somber in their take, the harmonies created by Plant and Krauss providing a deep sorrow. The atmosphere in the Garden created here, the soulfulness of Neal’s guitar, the deep darkness of Adam’s keys and Chris’s slow glide across the strings, Muddy and Tony supporting the story. You could almost envision the rain as the mourners march in time, leading someone home.
BUT, that “Mr. Charlie” Yeah, he told me so. Like I said, I was, we were jivin’ man, the whole place swingin’ back and forth to this one. And, again, Chris gets down on that harmonica. Down. I heard more screams, yelps and yahoo’s during this number than any other the whole night. Slam it home. Jubba-jubba, wolly bully. I say holy moly. What a night. I didn’t want it to end, but I sure was happy to have one more day.
Night two was a bit chillier out there in the Wilderness with that big ole’ fog bank just hanging off shore. Ah, but we were tucked inside that small venue, surrounded and protected by the tall redwood trees of Big Sur and feeling the warmth of other Beings around us, just eager to hear that first note be struck. The doors opened an hour before the show would start so ya show up early to enjoy the space, the flowers, the trees the bit of sun before it sank down towards the horizon. Oh, and the beer. Anchor Steam’s Brotherhood Steam was flowing on tap both evenings. That brew that is so yummy, tastes like cinnamon sunshine. The cans, like the CRB posters and other items are Alan Forbes designed. Dude is just amazing at his take on this outfit, the way he congers up the posters for the tours, or the venues, so unique and mystical, colorful and intricate. Hitting the stage ’bout 6:45pm-ish, they open up with, “Boppin’ the Blues”, their version of this Carl Perkins blues tune, giving it the funk it needs. Must be goin’ round. Must be. I really dug the way they got deep into the groove on this, set the tone for the rest of the night. Get ready to dance! This first set was like a cover sandwich, closing out with Slim Harpo’s “Got Love if You Want It,” another funky blues tune, this one maybe a little more blues than funk, and it may have gotten a bit down and dirty. But, there is that way that Adam add’s his outer-spaciness to it all, making it lean towards the weird side of the blues, you know, just good funky stuff. “Stop teasin’ me baby…..” Neal and that slide, just stop it. And I wasn’t the only one who thought that as I hear a deep, guttural, “Yeeeaahhah!” come from my left, somewhere in the crowd, someone was gettin’ it. Exactly.
The rest of the first set was a mix of old and new, songs plucked from the New Earth Mud days as well as more recent pulls from Phosphorescent Harvest (2014), along with one Bob Dylan tune in there for good measure. Kind of like a pinch to grow an inch. Oh and seriously pinch me for the way they played, “She Belongs to Me.” Again, it was the CRB take, that way they do it, you know, the blend of blues, funk, groove, jazz and a little psychedelic jamband stuff sprinkled on top. Something I could hear over and over, never tiring by the music, only by my own exhaust of energy.
Before they’d end it with, “Got Love if You Want it”, they’d take it down to those slow yet powerful ballads. I like the message they offer in, “100 Days of Rain” and the way it is delivered. Through the deep meaningful lyrics from Chris to the comforting chords out of Neal’s guitar, and the soft beat you’ve come to rely on. Like the lyrics, “There is what we’re given, there is what we gave,what you lose, what you gain. There is what must be broken, what must be saved, and what’s already gone…” It’s like there’s a lesson in life, and you will relive it over and over until you come to realize what you’ve been missing. The sun will rise the next day, the earth will spin, the moon and stars will shine, and you find comfort and safety in knowing that. Another deep ballad, “Last of the Old Time Train Robbers”, I sensed almost an exhaustion to Chris’ voice here and there, as if he was telling you a story from the road. There’s a fire burning at the campsite, his dirty worn face is lit by the glow of the embers and he’s telling you this story about what it’s like out there, on the tracks, the life of the train. There’s an eeriness to the music that matches his voice, the powerful refrain takes control, “If there’s one thing I’ve learned in this life of crime. When it’s all over, split the money and go your own way. If you get caught, don’t say nuthin’, just stay in line……” It’s got a deep pain to it, a dark bruise from the bumps on life’s road.
I look up to see Chris taking off his guitar and going off stage. Neal says, “Muddy’s gonna take over.” to a resounding cheer from the audience. From where I was standing in the back, I could see that Chris had gone up the hill…. and then I see him running back down the hill, really fast, hair blowin’ in the breeze he’s creating by his own speed. I think to myself, oh gosh, please don’t fall! Off to grab a wire or something, he’s back in a minute or two telling us all that made him feel like Mick Jagger, running all over the place like that. Slowing the beat a bit, they play a swampy and gooey “Wheel Don’t Roll”, another one of those steady and easy one’s, smooth grooves to move to.
Second set left me thoroughly extremely high on music. It was the high energy set for sure, opening up with “Shake, Rattle & Roll” and really didn’t let up until the first note of “Appaloosa,” song one of the encore. It was incredibly loud and rockin’, there was no holding back from anyone up there on that stage. All gave it everything they had, from the start of “Shore Power” though the last chord of “Sunday Sound”, it was just nuts. “Oh my word. Awe man, it’s all over the place, man. It’s all over my fingers, it’s all over the floor, it’s all over the cat….” wah-wah-wu-wu-wah-wah-wu-wu-wu-wah… And the craziness in “Hard to Handle”, Chris ad-libbing, scatting, convulsing, shuddering as he grabs the mic and goes at it. The pure funkiness, the deep grooviness, the craziness that was created in that small space. I’ve never seen this one outta Chris Robinson Brotherhood and man, it blew me away. It’s like he gave permission to everyone there, band and audience, to just go with it; and everyone responded! Its hard to describe this kind of energy, hard to put it into words, it was so out on the edge of the world. From Neal to Adam, the scratching and pushing on their instruments, the way Chris hammered on the rhythm with Muddy and Tony right behind. Oooooh yeah.
Not sure if this high energy blew something on stage but Neal was giving off feedback to Adam or something. Chris jokes, “Turn Neal down man….. But, uh, turn him up too….” A tweak here and a push there and all better. Just in time…. “Vibration Love & Light Suite” into “Ride” followed by “Sunday Sound” was unexplainable. Sorry. Can’t do it….. OK, I’ll try. I love this “Vibration” into “Ride” combo. The first part is light, easy and groovy, with a serious jazzy touch. Each one playing lightly around the other as Chris mans the microphone, “Vibration, love & light. Peace through your darkest night. Vibrations, light & love. Peace in the valley…. Beyond the hills, beyond the dales. Beyond space, arriving there….” And then it changes on ya, from a nice jazzy number to a little head game, taking you to the far reaches of outter space, the stars and comets are flying by you as you fly forward to a new galaxy. Reminded me a bit of the space out of drums, about mid-way through a second set of the Dead. Taking over your head as they give your body a bit of a breather before they all kick back in, setting fire to the place, running the ship aground and letting what ever be…. You hear that familiar funky lick that starts you off, getting you ready, getting all the people ready for that ride. Get ready, ready, ready to get down and ri-i-i-ide! “Just close your eyes and let the song take you away. And don’t look back, don’t try and stop it. Keep pushing on, life in the moment, yeah…..” This, THIS song just leaves me at a loss. I can’t explain the way Neal plays, it’s shredding but so much more. Chris on the rhythm, glaring at the strings, pushing them up and down, hoping they don’t bust. Muddy with head down, eyes closed, standing in that way he does when he’s laying into it. Adam giving off crazy weirdness, his hook-ups all firing off each time he hits a key, making it sound like we’re lost in a pinball game, bells and buzzes going off in your head, lights flashing as you wait in anticipation, watching the ball bounce from pin to pin, waiting for it to drop to the bottom so you can slam the sides and shoot it back to outter space. And, when it hits bottom, man, it hits bottom. So hard, your clothes vibrate and you get the wind knocked out of ya. Another opportunity for Robinson to scat, ad-lib, make it up as he goes along, whatever you want to call it, it’s his thang man. No one does it like he does, that’s for sure. Shit.
The set closer, “Sunday Sound” is one of my favs of the Crowes that they’ve brought into their music house. It just makes me smile. The whole thing is uplifting, fun, makes ya move and sway with that sound they create. I love it when they pause in the middle, open up the door for Adam to walk through. He doesn’t walk, though, he struts; big steps too, bouncing and dancing his way through that door. A light beat by Tony to keep the lights on as Muddy waits in the wings, ready for a supportive and thunderous beat where it might feel right. I notice Neal moves off to the side of the stage to watch and take it all in and Chris faces him to dance and just really get into it, as if he was down on the floor with us, thoroughly enjoying it, grinnin from ear to ear. And there it is; Adam, Muddy and Tony just funkin it up man. Just at the peak, Neal yells out, “Yeah!” as he heads back towards the front of the stage to lend his guitar to the funk. “Hallucination Nation, we got our vaccine” and it comes in the form of this band.
Another two song encore (yay), starting out with “Appaloosa”, such a soulful soothing song off of the Crowe song list. Take me home. Beautifully written lyrically and musically, it is one of those songs that the whole place will quiet down for, so we can all hear the sad angels sing. But, the real surprise, and another first-time played, was that “Sweet Virginia”. I was not sure what it was at the start, not expecting it. The southern sounding soulful sound of Neal’s guitar starts it, Chris on the harmonica making it sing sweetly this time. I dig the way they cover The Rolling Stones. They do it their way, but such a homage to the original it sounds like it should be theirs. Every twang was in the right spot. Every swing and sway of the refrain, honey child…. Perfect.
If 2014 was all about their Phosphorescent Highway release, then 2015 may be all about continuing to vet those while starting to share and work through new songs penned, such as, “Roane County Banjo”, the only one played twice over their two-day stay. Definitely a new song this year, amongst a few others that may grow and change as they are aired and played live, figured out, jammed out, reworked and renewed. And, a new drummer at the kit, Tony Leone joined the band early on in the year, taking over for George Sluppik who’d been with The CRB for more than a few years. You may recognize Tony’s name from the band, Ollabelle, which unfortunately is no longer…. Or maybe fortunately, as this left Leone up for new gigs. He’s also played at many a Midnight Ramble, at Levon Helm’s barn in Woodstock, sat in with Shooter Jennings (son of Waylon), Phil Lesh, Anders Osborne, Donald Fagen, David Bromberg, Keb Mo, Steve Earl, Bruce Springsteen and The Allman Brothers, um, just to name a few. Yeah, he’s been around the kit a few times…. Welcome Tony. (And, if you want to know what George is up to, visit his site to find out!)
I’ve said it before and I’ll say it again, why not. You know what? I’ll probably say it again sometime too, so, yeah, I know, is there an echo. There’s a reason we call it a “scene”, cuz it is. This scene we have in the jamband world; heck, in any other musician or band’s world I suppose there is a scene. It has to start somewhere and that is with the music. But the music draws a certain kind of person based on the connection to it all. The next thing ya know, you’re chatting with that person as if you’ve known them for longer than just a few minutes, a few songs. Kinship. It’s developed through the music, the band, the spaces and times we spend together absorbing it all, relating. Fans. Gypsies. Freaks. CRBeings. All my friends are boppin’ the blues, it must be going around. I’ve really come to know and love these folks, and think of them whenever I listen to the music, as it generates a memory from a show not long past, where maybe there was a moment in the song where I caught their energy as it seemed to flow with mine.
This is some adventurous music, with some fun loving adventurous fans. Gypsies willing to travel far and wide to get it. So, check out the rest of their tour, they’ve got a full spring/summer planned, so check ’em out if they are near you. And, by “near” I mean within a few hours. Go get it. Blessed are the trip takers.
Thursday, April 30th, 2015
1st Set: Good Rockin Tonight, Someday Past The Sunset, Little Lizzie Mae> Tumbleweed In Eden> Never Been To Spain, The Music’s Hot, Star or Stone, Beggars Moon
2nd Set: Try Rock n Roll, Roane County Banjo, Tornado, Get Out of My Life Woman, Meanwhile In The Gods, Tulsa Yesterday, Last Place That Love Lives, Rosalee Encore: Polly, Mr. Charlie
Friday, May 1st, 2015
1st Set: Boppin’ The Blues, Jump The Turnstiles, Badlands Here We Come, She Belongs To Me, 100 Days of Rain, Wheel Don’t Roll, Train Robbers, Got Love If You Want It
2nd Set: Shake Rattle & Roll, Tomorrow Blues, Roane County Banjo, Shore Power, Hard To Handle, Vibration & Light Suite> Ride, Sunday Sound Encore: Appaloosa, Sweet Virginia