We are getting closer and closer to the first winter dates of 2017 and I’m just as excited as anyone. Recently I’ve been revisiting the 2012 Great American Music Hall run, so today I’m focusing this entry on the numerically aligned 12/12/2012. All 5 nights at one of San Francisco’s most famous venues were captured by our space station house mother Betty Cantor Jackson. Betty’s Blends Volume 1 was also pulled from these shows and each one is worthy of it’s own place in our Almanac. But if I had to pick just one this would be it. Neal had the honor of playing one of Jerry Garcia’s most famous guitars, “Wolf”, for the entire show. Then passing it over to CR for the 3 song encore where they were joined by a very special guest, Ethan Miller. This is one you’re going to really dig and one I know like the back of my hand so let’s jump right in!
The first blast is the slow boogie of Someday Past the Sunset, as “stitch by stitch we work to tear the seam”. There’s just a grit and density to the music right away that is undeniable. Turnstile follows, with Neal and “Wolf” sounding off, giving us our first real taste of its fall 73′ sound. The sets laid back lope continues on through a beautiful, harmony filled Reflections. CR’s powerful rhythm guitar driving this one while Neal and the band float along like smoke, winding and reaching for more at every turn. The pace picks up a bit as they shuffle into Roll Old Jeremiah with a nice groovy workout on the end that slows and transitions nicely into the soulful ache of Do Right Woman/Man. CR burns it down quick and we hit one of the show highlights. A set closing stretch of Tulsa Yesterday, Barefoot By The Cherry Tree, and Poor Elijah/Robert Johnson. Tulsa starts out with its usual gradual climb towards the jam, the band firing delicate flourishes back and forth, crashing into each other somewhere behind CR’s skull. Then, Neal lets Jerry’s guitar howl, as it all explodes into the songs glorious peak. Barefoot/Cherry Tree has always been one of my favorite New Earth Mud tracks and I loved seeing it show up in these early 2011/2012 shows. CR’s vocals are simply unmatched when he roars through the chorus and on this night it was down right magical. So much so that it ended up on Betty’s Vol 1. along with the set closing Poor Elijah that follows. Neal wastes no time getting his slide going and they take everyone down to the delta for a big dance floor of dreams party. Adam provides the sci-fi soundtrack with his lasers penetrating far into our consciousness, reminding us the cosmic call is always a beat away.
~setbreak~
The hallowed halls couldn’t hold the excitement back any longer and they return “in a flash” and bound through the Fats Domino classic I’m Ready, echoing the sentiments of those in attendance. For me there are a few songs in the show that allow Jerry’s guitar to really shine and one of those is 100 Days. Neal stated in a 2012 interview that it didn’t take him long to adjust to the guitars unique characteristics, such as its weight. He also remarked how he could “go places” with this guitar that he hadn’t been able to with any other. Noting the guitars accessibility into the 24-fret zone. In 100 Days it gets a workout as he glides through some truly spellbinding and melodic passages. You can easily sit back and close your eyes from this point on and let the band pull you in to a narcotic, dreamlike state for the remainder of the set. What may be the nights deepest groove comes in Never Been To Spain. Right from CR’s opening riff this version just drips with an effortless stroll. Played at a slower pace than we would get in 2014, this one a perfect match with the overall feel of the show. The slower tempo also leave lots of “space between the notes” as they say, and the entire band takes turns filling them up with cosmic California cool. Adam with some very understated organ, just beneath the beat, building a layer of funkiness for it all to rest upon safely. Those familiar 4 thumps, signal it’s time for us to bask in the glory or our anthem, Sunday Sound. Here it seems to leap forward, you can hear it making its way around the room, gaining energy from every smile it finds. Eventually erupting into a cauldron of sound back on stage. Our Wizard leaning heavy on his effects in what I call the “Underwater” section on this night. Once he surfaces he seems to be sending beams of light out before switching back to a more traditional sound. Leading them into the big, comeback finale. It’s not the longest Sunday Sound but it’s sure precise and one of my favorites. Another song where Jerry’s guitar really stands out is Appaloosa. Neal’s solo at the halfway point has a very fall 77′ tone, starting slow, then unfolding beautifully. Always serving the song, he’s one of the best doing it today and we are so very lucky and grateful to have him. A studio clean They Love Each Other is the first Dead cover of the evening, setting up our CRB guided tour through the outer reaches of the solar system via Vibration & Light Suite. We move forward through the verse/chorus, which I always think of as the orbit section of the song. Floating along, checking off all our gauges and controls. Making sure all is well before making the jump into light speed and deep space. The best nights are when we find that something has gone wrong with the ship and the music that follows carries that ominous spacey vibe. That’s what we get here, as we are passed the point of no return and have no choice but to hang on as we soar along the edge of time and space. Adam typing in codes keeping the ship from tumbling off course, while the band gathers and gains control. We suddenly splash down onto the planet of California, greeted by a great Rosalee that bring the set to a roaring close.
The Brotherhood’s good friend and Bay Area ripper Ethan Miller straps in for this three song encore that also sees Neal handing Jerry’s guitar over to CR. This 3 guitar attack does just that as Ethan’s heavy, distorted and dirty leads push the band and what’s always been my favorite Bright Lights Big City. They power through a gritty Seventh Son that threatens to tear the roof off the GAMH at times. The last song and second Dead cover of the night is Mr Charlie. Letting the sets closing party ring out until the final notes. “Chuba chuba, wooley wooley, lookin’ high, lookin’ low”.
All 5 nights of this amazing run are must haves in my opinion. But like I said in the opening, if I was held down and forced to pick one, at least today this would be it. The setlist, the performance, Wolf, and the great Ethan Miller taking the stage for the encore, make this a force of a show. One of the best nights of Brotherhood on the books. Grab one or all 5 at the link below and revisit this all time great CRB run anytime the vibe hits ya. I’m so proud of all my fellow humans and how we are letting love take over. We are all leaning on each other so stay strong. And as always Freak On brothers and sisters.
#crb #chrisrobinsonbrotherhood#letthecrbsetyoufree #freaktransmissions#crbismagic #crbeings #spaceisonthephone ✌️️👁
🔮
🌟
🌙
🍄
🚀
💫
🌘
☀️
Chris Robinson Brotherhood
12/12/2012
Great American Music Hall
San Francisco, California
SET ONE:
Someday Past The Sunset
Jump The Turnstile
Reflections On A Broken Mirror
Roll Old Jeremiah
Do Right Woman Do Right Man Tulsa Yesterday
Barefoot By The Cherry Tree
Poor Elijah
SET TWO:
I’m Ready
100 Days Of Rain
Never Been To Spain
Sunday Sound
Appaloosa
They Love Each Other
Vibration & Light Suite
Rosalee
ENCORE:
Bright Lights, Big City
Seventh Son
Mr. Charlie
