All Good Festival

I had high hopes for this year’s All Good Festival, but I was a bit worried in the weeks preceding the show. I knew that Walther Productions, All Good’s gracious hosts, have always presented a solid lineup with some exclusive acts and up-and-coming musicians. But this year, the pressure resulting from 2003’s tough summer concert market combined with the years upon years of horrendous weather had forced the event to migrate from a mid-May date to the middle of summer. Also, with a more ambitious lineup and more than 2000 more people than last year expected to attend, I was worried that the festival might loose its unmistakable charm and unique feel. Well, the one thing I realized over the three days of exceptional music, good friends, and a truly unbeatable vibe was that I need to spend less time worrying. The 8th Annual All Good festival delivered the goods and once again raised the bar for regional events by creating a diverse and eclectic festival experience.

Friday afternoon started off with an inviting set from Reid Genauer and the Assembly of Dust. Genauer had fun interacting with the band and audience, keeping the music very friendly and alluring as the gathering crowd started moving. Overall, the AOD has tightened up in the 14 months since last year’s All Good, and the set was very enjoyable – the perfect vibe for an opener at such a diverse festival. Deep Fried came on next, and played a scintillating set of their mixture of sweet Nashville soul, bouncing along on big bayou bass lines. Johnny Neel’s influence in the band is most apparent – his classic bluesman vocals take center stage (although, ironically, Neel’s actual setup hindered most of the crowd from seeing him at work, as his Hammond B-3 had him buried back behind itself). George Porter Jr. and Matt Abts have had some time to bond during Porter’s excursions with Gov’t Mule in fall 2002 and last summer, and they held down the rhythm section with a tight assortment of New Orleans stabs and sonic summersaults. Guitarist Brian Stoltz punctuated the rest of the band perfectly, heaping an extra couple of thousand calories on top of the already fat “Deep Fried” groove. Their set was short but very well received, and it gave a glimpse of the superb music to come, as this festival was truly just getting started.

Steve Kimock Band came up next and delivered their trademark psychedelic sweeps and gorgeous guitar-based soundscapes. Although some of their material just seems to fit better in clubs and during marathon sunrise sets, the group did a great job of catering their set list to the timeslot and crowd – in particular, “Malachi”, “Five B4 Funk”, and “Tounge n’ Groove” set a perfect mood. Maybe the band was tired, but some of the set sounded less than inspired, although the moments of genius more than made up for it. Stockholm Syndrome followed with a set of hard hitting material, a blend of everything from crunchy hard rock to reggae influenced, politically charged anthems. Lead singer Jerry Joseph was introduced by bassist David Schools by his comment that “the color of his shirt matches the nation’s terror alert level”, and Joseph’s stage presence almost serves as personification of the tough times we face these days. His exaggerated movements, fierce delivery, and unbridled personality seem to emphasize the uncertainty and desperation of the moment, all the while with some hope and confidence holding it all together. The band has apparently gelled together already, even though they’re only appeared together 20 or so times. Eric McFadden was amazing on the electric guitar and mandolin, as his punctuations and harmonies really seemed like some sort of transparent superglue, holding the band’s more dissonant and expansive moments together. Jerry Joseph served as both prophet and comedian at times, as his stage banter really pushed him beyond any preconceived nations I would have had. Highlights included a deeply moving “Sack Full of Hearts” and the crowd pleasing “Light Is Like Water> Gloryland> Light Is Like Water”.

After Stockholm Syndrome’s soundtrack to the revolution, it was time to get things swinging. To accomplish this, Walther Productions presented a real treat – the only summer show from the legendary (and somewhat disbanded) Greyboy Allstars. Saxophone player extraordinaire Karl Denson hit the stage and took over, as the group delved into their catalog of industrial strength rump shakers and bristling jazz-funk anthems. Guitarist Elgin Park shone through the thick mix, as his riffs and solos spun in pirouettes around the solid foundation Robert Walters anchored with his churning organ licks. This set would have been nothing special for the Greyboy Allstars of old, but it really showed how this band is still miles beyond the skill level some of their contemporaries are still trying to accomplish. “Jackrabbit” and the obligatory “Check Out Your Mind” highlighted the hour and a half session and received the most praise from the dancing masses. New Orleans’ singer/violinist/seductress Theresa Andersson and a stripped-down version of her group played the “tweener” set as Keller Williams tuned up. Andersson’s optimistic and semi-biographical tales sparkle with a genuine integrity that is so rare in songwriting today, and she was well received (to say the least; for a while it looked like someone was going to have to restrain several overly excited audience members who were pleading for a kiss or a group hug). She even took time to sing a verse to Keller, and he offered some drumming in return.

Now, keep in mind that Keller Williams is a staple at the All Good Festival. He is perhaps the biggest draw on the bill, and this is very familiar territory for him. Last year, his rendition of Robert Hunter’s classic “Standing on the Moon” was one of the highlights of the entire affair, and Keller started his time this year in great form with a few of the upbeat and quirky folksongs that have made him such a rising star on the music scene. As could be predicted, Keller’s unabashedly sing-song insanity settled over the crowd like a mushroom cloud of pure entertainment and “freakiness would often ensue”. Highlights included “Take me Home Country Road” and “St. Steven> William Tell Bridge”. Keller began his anthem “Kidney In a Cooler” with a smirk on his face that could only mean more surprises. He began to send filter sweeps and feedback through his mixing station, and even took the time to battle his trusty Theremin in a test of musical modulation. Keller apparently won the battle. “Gate Crashers Suck” was hilarious, as Keller sent a strong message to those who ruined the Dead’s last show at Deer Creek, and then he wrapped things up in classy fashion with a cover of Bob Marley’s classic “Redemption Song”. Well, those who had managed to emancipate themselves form mental slavery were in luck, as Ozric Tentacles followed with the surprise set of the weekend. The initiated knew what to expect, but the fans of electronic jam acts like Disco Biscuits, Particle, and STS9 were in store for a glimpse into the real deal – the best “live electronic” group in the world. The mountaintop was flooded with a chilly fog, as the psychedelic lights rose and sank with the music, surrounding the audience in flashes of color. Ozric combined dirty Detroit techno riffs with undulating crescendos of the flute and guitar. Those who chose to stay up for their set were rewarded with two hours of groundbreaking interplay by true visionaries; Ozric Tentacles proved that true passion can be expressed through technology with their stellar set.

Saturday morning began with the smells of the vendors’ breakfast wafting over the ravine towards the main campsite area. The sky threatened rain, but conditions were still dry as The Bridge took the stage for a pleasure cruise down the Straight of Funkiness. Mandolin/guitar player Kenny Liner did some impressive work, and the band really is growing into their own as purveyors of 21st century funk. The skies began to weep as the Hackensaw Boys brought their tales of intoxicating heartbreak to the stage but the crowd didn’t seem to mind. Hackensaw’s mixture of bluegrass instrumentation with clever yet offbeat song topics went over well, and the crowd seemed particularly intrigued by the percussion player’s homemade junkyard washboard-drum set, which he wore over his chest, creating a look reminiscent of a 5th grader’s homemade robot for science fair day. There was nothing that resembled garbage from the Jazz Mandolin Project, who followed with their luscious jazz-influenced numbers and beautiful mandolin-laden lullabies. Drummer John Fishman got a warm welcome from the crowd, who were clearly enthused to see the Phish member work out his jazz chops a bit. Keyboardist Mad Dog added some cool leads on his trumpet, while mandolin master Jamie Masefield orchestrated the ebb and flow of their harmonious currents.

Kenny Liner from The Bridge helped drummer Alan Evans introduce Soulive with a beat box vs. rhythm battle extraordinaire. As guitarist Eric Krasno and Evans’ brother Neil sauntered out, the most talented trio in the business took form and began to take over. Their infectious pulses of organ-driven grooves and climbing jazz guitar absolutely smashed the crowd over the head like an oversized Acme sledgehammer of funk. Their hour-long set was all hills – no valleys: what’s more, their newer material has achieved something extremely rare in that it sounds very mature but still as delightful as their earlier stuff. Krasno took the crowd to school with each solo, and the brothers Evans showed off the almost inhuman connection between their respective right hand and kick-drum foot. Soulive put on the show of the festival, hands down – hopefully their gained exposure and new fans will lead to more trips outside the New York – Philly – Boston triangle they often seemed self-confined to. Ohio’s own Ekoostik Hookah followed Soulive, in what can only be interpreted as a marketing move by the promoters to coax attendance from the Schwa Heads their neighboring state or, perhaps, a gesture to give tired dancing feet a rest for dinnertime. These guys look like they really enjoy what they do (which is more that I can say for many judging from the dissipated crowd, but I will applaud their genuine enthusiasm for their art); I just don’t think they have any business following two of the premier bands on the circuit. Their bland set was relatively uninspired, and they relied on mostly upbeat hoe-down numbers instead of their sing-alongs, some of which at least feature the excellent versing and penmanship of guitarist Dave Katz.

Tings got moving again when reggae legend Burning Spear took the stage to preach the teachings of Marcus Garvey to the freshly baked crowd. Spear’s spiritual lyrics rose and danced with the puffs of ganja smoke spilling from the crowd to the stage as he showed exactly what it takes to last 30 years as a prophet of Jah’s love. Alternating between playing percussion and gripping his red, green, and yellow microphone, Burning Spear worked the crowd into a frenzy with the power of his verses and the bounce factor of his band. Ending with a fantastic rendition of his anthem “African Postman”, Spear and his crew of remarkably dedicated musicians showed Marvin’s Mountaintop what reggae music is really all about. David Lowry and Johnny Hickman of Cracker played an acoustic set as a “tweener” and delved into their catalogue of hits. Highlights were “Take the Skinheads Bowling”, “Euro Trash Girl”, and the radio hit “Low”. They left the stage only to return three or four songs into Leftover Salmon’s set. The groups collided head-on with this performance, which broadened Leftover’s sound with the driving Guitar of Hickman and the vocal addition of Lowry. Longtime All Good veteran Leftover Salmon’s Vince Hermann seemed to be having the time of his life, but then again, when isn’t he grinning ear to ear? His interplay with Lowry was captivating, as the two picked and grinned their way through some seriously intricate and just plain amazing music. In the end, the Leftover Cracker set was a hit, and their earthy but danceable melodies translated into one of the most enjoyable sets of the festival.

With a day of satisfying music under their belt, many of the people in the crowd were satisfied but were ready for the headliners to step up and blow them away. New York City’s famed trio of Medeski, Martin, and Wood were up next, but their recent approach to their live shows didn’t translate well to their timeslot or to the pace of the festival. The members are all seriously talented musicians, but their conscious decision in the last few years to play more and more abstract pieces is becoming much more of a liability than an asset. Most people appreciate musicianship and it’s apparent that these three are amongst the best at their respective instruments, but they seem to go too far in educating a crowd that just wants to dance. The only highlight of their set was “Uninvisible”, which was cut rather short right when it really started cooking. The wind was sucked out of many sails with this rather inaccessible MMW set, but The Disco Biscuits were about to fill them back up. Their late night set was flawless and was the perfect timeslot for their high energy show. It seemed like over half of the show’s attendees were big TDB fans, and, from the opening notes of “In the Hall of The Mountain King”, it was obvious that they held the crowd in the palm of their hand. The unrelenting, driving nature of such tunes as “Confrontation” and “Jigsaw Earth” kept things lively, and bassist Marc Brownstein took over with his subsonic detonations. Guitarist John “Barber” Gutwillig seemed to be the member most behind the controls, but navigation was clearly a team effort as the Disco Biscuits’ spaceship of crunchy and cosmic delights blasted through the musical universe. At around 4:30, the group announced they were going to take a short set break, much to the delight of many fans who were fairly certain it would be a one set show. The second set was even better than the first – most amazing of all, was only two hugely jammed-out songs long. “7-11” featured Bill McKay from Leftover Salmon on keys, and “Helicopters” just exploded with its over-the-top breakdowns and irrefutable intensity. In true Disco Biscuits form, the show didn’t end until after morning broke, and the crowd dispersed to catch a few hours of sleep before the sun started to climb.

It didn’t take too long for the musical thermometer to indicate the signs of some serious heat on Sunday morning. The Campbell Brothers started things off with a wonderful set for the few that made it up and to the stage by 10:45. Their gospel-based sacred steel sound is moving for both the fans of the gospel and the guitar. Featuring the vocals of Denise Brown and the intricate and impressive guitar layers of brothers Chuck, Phil, and Derrick, the Campbells took the crowd to church, but did so in a way that wasn’t offensive or invasive to the non-faithful – the true magic of this group is their ability to offer different positive experiences to different listeners. They would make a very welcome addition to any summer festival looking to broaden the diversity of the music. For anyone who missed the divine Campbell’s set, Del McCoury Band followed with a slice of bluegrass heaven. Perhaps the most world renowned band on the bill, the legendary gentleman and his band of virtuosos have found widened popularity in the jam scene in recent years because of their honest and diverse repertoire. The group has been nominated for a Grammy and inducted into the Grand Ole Opry, but perhaps their biggest success is something that is ongoing – the process of preserving and expanding music with such rich heritage in a way that sounds so new and inviting. Their hour-plus set featured almost all killer – no filler; highlights included “Luckiest Man Twas Born”, “My Love Will Not Change”, “Black Jack County Chains”, “1952 Vincent Black Lightning”, and “I'll Dry My Tears and Move On”. The band even took a moment to send well wishes to a recently married couple before playing them a special encore – “Same Kind of Crazy as Me”. That couple should feel lucky to have their marriage blessed by McCoury, as he values family over all the success music has brought him. He quit the business to work in a sawmill in PA in the 1960’s so he could spend time with his family, and his sons Ronnie and Rob are premier musicians and members of the band. It’s true what they say – the family that plays together stays together!

A family of a different kind followed, as North Mississippi All Stars welcomed past “Word” collaborator and key guru John Medeski to the stage for their set. Kicking off with a great rendition of “Freedom Highway”, the band launched into a relentlessly driving set, full of favorites and a few new tunes. Medeski added a bunch to the mix, and bassist Chris Chew dropped some low-end bombs that threatened to blow over anything that wasn’t bolted down. Singer/guitarist Luther Dickinson was his normally exceptional self, diving headfirst into some great solos and sharing his soul through his continuously improving lyrical delivery. His little brother, drummer Cody Dickinson took the reigns for “Come Back Baby” and Luther took a turn on the drum kit. A psychedelic “Washboard Jam” followed as the All Stars took things to a new level with some cacophonous interplay between the traditional washboard and an electronic flanger. Their set was well received, but the crowd was noticeably thinned compared to the past few days. Those who stayed around witnessed a huge closing set from the best cover band in the world, Dark Star Orchestra. Their trip in time back to 1987 featured tons of favorites and some wonderful rarities that tend to fade but are never forgotten. Bassist Kevin Rosen looked like he was having an exceptional amount of fun, and the dual drummers teamed up with him to keep everything tight and together. The band sounded great and it was a perfect way to end the festival.

As I drove down the winding, one-lane country roads that would take me down Marvin’s Mountaintop and back towards home, I honestly felt that I had been a part of something special. There were a few wrinkles in the master plan, and some security concerns (which the promoters will be sure to address next year), but one can’t judge the success or failure of an event by the actions of the few who come to cause trouble. The music was exceptional, the crowd was always respectful and energetic, and it was apparent that All Good had grown but not without remembering its roots. Walther Productions again pulled off a successful event and have created what will surely become a summertime tradition for the Midwest for years to come. Will All Good be back in tip-top shape next year? No worries!

SETLISTS

Friday, July 9th

Steve Kimock Band:

I: Ice Cream Factory, Dr. Zaius, Tangled Hangers, drums > Malichi, Five B4 Funk, Tongue 'n' Groove

Stockholm Syndrome:

I: Announcements, Tight, Empire One, Introductions, Jacob Ladder, White Dirt, Sack Full of Hearts, Bouncing Very Well, American Fork, Crime And Punishment, Light Is Like Water> Gloryland> Light Is Like Water>AllGood

Greyboy Allstars:

I: ??, Soul Dream, Get A Job, The Weasel, Volcanic Acne, Happy Friends, Sunday School, Jack Rabbit, Cramp Your Style, 3/4 Small, Steelbender, Whole Lot Of Reasons, Check Out Your Mind

Keller Williams:

I: Tribe> Inhale, Portapotty, Night Fever, Instrumental > Up in my Cadillac > Breathe> Loop > Breathe, Ensuing Freakiness > Above the Thunder

II: Balcony Baby > Take me Home Country road > What I Be, Victory Song, Mullet Cut > Skitso,

St. Steven> William Tell Bridge > Ninja of Love > Crime still don’t pay like it used to > Elma Turl > Kidney In a Cooler > Theremin Loop, Gate Crashers Suck, Vacate

E: Redemption Song

Saturday, July 10th

Umphrey’s Mcgee:

I: Roulette, Nemo, JaJunk, Waiting Room, Utopian Fir > jam > Utopian Fir > Thin Air, Miss Tinkle's Overture > Bridgeless

Soulive:

I: Beatbox Intro, Cash's Dream, Aladdin, One In Seven, Lenny, Jesus Children>If You Want Me To Stay>New Song, Uncle Junior, Azucar, Tuesday Night's Squad

Ekoostik Hookah:

I: Chicago, Sun Goes Down, Sundial, ABDEGA GAGA, Goin' to the Country, Never to Return, Octofry, Dragonfly

Burning Spear:

I: Intro Medley, Free Man, Rocking Time, Marcus Garvey, Pick Up The Pieces, Over and Over, Jah Is My Driver, Wilderness, Jah No Dead, Nyah Keith, African Postman-> Outro rap-> African Postman reprise

Medeski, Martin, and Wood:

I: Improv, Anonymous Skulls, Mami Gato, Curtis, I Wanna Ride You, Queen Bee, Drums > Bass Solo, Bass Solo > Lonely Avenue, Uninvisible

The Disco Biscuits:

I: In The Hall Of The Mountain King, Confrontation> Basis For A Day, Jigsaw Earth> Pilin' It High> Jigsaw Earth

II: 7-1*> Helicopters

E: Humuhumunukunukuapua'a

*with Bill McKay (Leftover Salmon) on keys

Sunday, July 11th

The Cambell Brothers:

I. Intro, Oh Mary Don't You Weep &Martha Don't Moan, Chuck's Blues, Power, Power, Lord, A Change Is Gonna Come, I'm Goin' Home On The Mornin' Train, See The Signs Of The Judgement, Amazing Grace, Don't Let The Devil Ride, Jump For Joy

Del McCoury Band:

I. Intro, Travelin' Teardrop Blues, Count Me Out, Hillcrest Drive, Walk Out in the Rain, Luckiest Man Twas Born, Learning The Blues, ???, Nashville Cats, ???, It's Just the Night, My Love Will Not Change, Eli Renfro, Black Jack County Chains, Snake In The House, Gone but not Forgotten, Get Down on Your Knees and Pray, 1952 Vincent Black Lightning, I'll Dry My Tears and Move On, ???, All Aboard,

E: -wedding banter-, Same Kind of Crazy as Me

North Mississippi All Stars:

I: Freedom Highway > Deep Blue Sea > Po Black Maddie > Skinny Woman > Po Black Maddie, Be So Glad > Goin Home, Lord Have Mercy, Ship > Leavin', Come Back Baby*, Washboard Jam

-*w/ Cody on guitar and vocals, Luther on Drums

-Whole show with John Medeski on keys and no Dwane Burnside

Dark Star Orchestra:

Performing 9/12/1987 Capital Centre, Landover, MD

I: Bucket, Loser, Me &My Uncle> Big River, Ramble On, Tom Thumb Blues, Hey Pocky Way, Cassidy, Might As Well

II:Cumberland> Samson, Ship Of Fools, Woman Smarter> Drumz>Truckin> Miracle> Morning Dew> Lovelight

E: Saturday Night> Black Muddy River

(Filler: LTGTR> Terrapin, Music)

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