Philzone.org - Philzone Phansite Community Discussion Board: Setlists and Reviews: Non GD Related Reviews: Archive: Seattle(Moore Theatre) 2/17

See ya'll there tonight!!!!! Shots a the Nightlight(bar next door)on me!! FINALLY we get some Dead family music in the NW!!!!

Tonight at the Moore Theatre should be kickin' too! Great little legendary Seattle Theatre. Amazing bar in the basement..........
I'll be back later with my experience- gotta catch a ferry into the city in 15 minutes!!


***Van-Amsterdam, B.C. for Chinese New Years should be off-tha-hook.. Greatest city in the world IMO

I missed the beginning of the show and can only confirm this from "Tuesday Blues" on. The rest is as reported to me by others at intermission. It was a real solid show, with some nice jams. The pedal steel sounded good in spots, and the bagpipe player went OFF on Stuff, bringing along the bass and drum player in an old Celtic reel reminiscent of Fairport. I'll post a more complete review tomorrow, but this should more or less be the setlist:

Ratdog
Moore Theatre
Seattle, WA
February 17, 2007

1st Set

Shakedown Street
Ramble On Rose
Friend Of The Devil
Tuesday Blues>
The Last Time
Some cheesy new Bobby song>jam>
Eyes Of The World>
King Solomon's Marbles

2nd Set

Jack-a-Roe@*
Please Don't Play Eleven (Buck Owens' song)@*
The Weight@*
Lost Sailor>
Saint Of Circumstance
He's Gone>Jam>
Stuff*#>
Wharf Rat*#>
One More Saturday Night*

Encore: U.S. Blues*

@ acoustic
* w/pedal steel playera
# w/bagpipes

I posted this in other stuff too, but here's one person's view of the old Dog show:

I spaced the Liberty when I posted late last night, then woke up humming that song and remembered they'd played it! I don't recall the K.C. Moan though. I thought Bobby and crew were singing She Says but it was hard to tell. It's not the Beatles tune "She Says, She Says", but apparently some new tune.

This show was advertised as "doors at 7" so I was banking on a 7:45 start, and was surprised to get inside and realize they were deep into the first set already. Oh well, someone else can comment about the Shakedown, Ramble, FOTD opener. The girl who told me about it at set break emphasized that the FOTD arrangement was extremely slow.

When I got in they were playing a tune I'd never seen before, "Tuesday Blues." I was wondering if they were talking about how all the working folks might be feeling after the long three day weekend. Mark Karan played the first of what would be many excellent guitar leads here. He really has connected with Robin Sylvester. Robin's bass playing is really becoming a decent approximation of what Phil does. Playing creative lead runs up and down the bottom end. He doesn't drop as many bombs as Phil, but it might be that they don't turn him up as much. Both he and Karan clearly enjoy playing this material. It's refreshing to see a different "fat man" in black rocking up there. Unlike Warren, who usually seems so mortally serious, Karan seems to really get off playing this stuff. He was dancing back and forth while mining his leads all night. Of course, he's an easy 50 pounds lighter than Warren (he's not really fat, just sporting a paunch), so he's more fit for it.

The segue into "Last Time" was really smooth, they had been out there in that "Truckin'" in the key of E territory and reeled it back in to the Stones tune. I was so accustomed to seeing this post-drums with the GD that I briefly worried that I'd missed the whole first set and this was the second.

The "She Says" tune is a slow burning soulful crooning tune that gives the sax player (Ellis?) a spotlight. He blew his lungs out and the tune actually developed into a decent jam vehicle, kind of how "Eternity" used to work.

I think this was the first "Liberty" I'd seen performed since the Katrina fiasco. The opening lines about walking to New Orleans gave the Hunter tune some added poignancy.

I think they segued right into the beginning jam of Eyes, but I was kind of baked then and might be imagining that. Anyway, the "Eyes" was real nice. The sax player adds a lot of the elements Branford did on his famous versions, and Jeff Chimenti, Robin and Mark were all right on top of this one. Bobby familiar slashing rhytmic counterpoint sounded great in the mix. One familiar comedic moment happened when Bobby spaced the beginning lyric of one of the stanzas, and quickly shook his head and hit himself on the side of his noggin' before diving back into the song. This "Eyes" was fully extended, going into the old 70's breakdown jam that I've dubbed "King Solomon's Marbles". I think that's the name of the jam on Blues For Allah", and it sounded alot like that. They played that theme for a solid five minutes.

At intermission I finally caught up with my buddy Ross who was supposed to have gotten to the venue early, scored tickets and given me a call. Instead, he'd gone MIA, waylaid by a pickup basketball game followed by getting baked at his place and had gotten to the venue after the first set had ended. It had become a free for all by then. The Moore had way understaffed their security. While they were busy scanning tickets for smokers to go out and come back in, people were walking right around their backs through side doors that had been left open. The ushers on the floor seemed a little too overwhelmed to make people stay in the section they were supposed to be in (a two balcony theatre, you were supposedly restricted to GA on the level your ticket said). The puffing was pretty laxly enforced inside too. I didn't see one person get told to put out their kynd comestibles or have their works confiscated. Of course, there are lots of wily old stoners in these parts, and discretion seemed to be the word of the evening.


I walked back down to the left side of the main floor right as they kicked into "Jack-A-Roe". They had been joined by a pedal steel player. I didn't catch his name and didn't recognize him. He sounded great during the acoustic part of the second set, but while he remained on stage for most of the set, he was not too audible in the mix when everyone plugged in. I honestly don't recall a "K.C. Moan". Maybe they played it, again I plead the fifth, I was baked. Bobby then said they were going to play a Buck Owens tune. I'd discovered this tune playing one of Buck's records a month before he died, and had both played it and heard it on the radio a few times more when he passed on. Bobby obviously digs it too. Kind of cool to see him digging back into the Bakersfield country songbook. Channeling Jerry for sure. "The Weight" was also performed with Bobby on acoustic and Robin on his standup, but Mark switched to his electric for this one. Bobby took the verse that Brent and Vince used to sing in the upper register. Really bizarre to see Weir singing falsetto, and although it was a stretch, he didn't fall on his face doing it, and quickly dropped back into his usual vocal register.

It was nice hearing a "Sailor>Saint" again. Since the boys had dropped it in the late '80s I hadn't seen one, and this one was very close to the GD arrangement, with the addition of the sax which works well on this song. "He's Gone" was fairly epic. The crowd had been suprisingly into it all night long (Seattle crowds are somewhat the handsitters these days, the moshing grunge era a distant, hazy memory), and was swaying and singing along to the "nothing's gonna bring him back" choruses. The band did a dozen a capella rounds or so of it, and then abrubtly switched gears into a monster jam that had Karan, Sylvester and Chimenti pushing Bobby along nicely, at times echoing "The Other One" riff. Bobby hung in the jam for a long time and then left the stage to the others, who were eventually joined by a bagpiper, at which point the sax player and Chimenti backed out of the jam. The piper went into a Celtic reel with Robin and the drummer supplying rhythm. Robin's British, so this must've been familiar territory, and was definitely reminiscent of some of Fairport Convention and Steeleye Span's groundbreaking British Folk/Rock work. The piper gave it every ounce of his breath in a true virtuoso performance, and the crowd responded with a loud standing ovation. He hung around for the Wharf Rat and actually gave that song an interesting new color as well. The show kind of abrubtly concluded then. Weir took the "Wharf Rat" jam into "Saturday Night", they came back out for a somewhat sloppy "U.S. Blues", and despite thunderous clapping, stomping, whistling and general hooting and hollering, the house lights went up and that was that, despite the fact that it was only 10:22, leaving plenty of time for a "Brokedown" or some other appropriate double encore.

Still a solid night at the historic old Moore Theatre. A big upgrade for Bobby over the Showbox venue he played here last. And no one jumped out of either of the balconies!

Have fun in B.C. tonight travellers. I'd love to go, but have to finish up my house move.

Gung Hay Fat Choy!