This will be a new feature on Nasti Thoughts, where I will review each new episode of Saturday Night Live within 24 hours of its airing.

The legendary NBC sketch show’s latest episode was hosted by Timothee Chalamet, now free to promote his bizarre looking Wonka remake, with supergroup boygenius as the musical guest. Here is a recap along with my thoughts on the sketches and musical performances in the episode.

COLD OPENING: Republican Debate / Trump Blasts Oponents

PREMISE: Lester Holt (Kenan Thompson) moderates a debate featuring candidates Chris Christie (Molly Kearney), Nikki Haley (Heidi Gardner), Vivek Ramaswamy (Ego Nwodim), Ron DeSantis (John Higgins), and Tim Scott (Devon Walker)

• I was hoping we’d see Che again as Lester Holt, but Kenan is doing a serviceable job.
• Molly as Chris Christie is a no-brainer, and the “my wife said I can try this one more time” was a great way to kick things off.
• Heidi as Nikki Haley’s “Excited to look good in comparison” line was hilarious.
• JOHN HIGGINS as DeSantis? Oh, I love this casting. His smile alone had me really excited to see him in action.
• Um, not sure how about I feel about Ego as Vivek Ramaswamy. On the one hand, it highlights SNL’s continued diversity problem; on the other hand Ego looked hilarious and gave a very funny performance.
• Rounding out a very solid lineup, Devon is fantastic as Tim Scott. His voice and mannerisms had me in stitches, especially his opening defensive spiel about having a girlfriend; the ‘human love’ part is especially hilarious.
• And…aw, this whole thing was fakeout for James to come in as Trump. I was very interested in seeing where this was going to go, because it up until he came out the sketch had noticeably sturdier writing than most political sketches these days and all of the jokes were really landing with me. 
• James does his usual great job as Trump, and he had some funny lines, but it also felt very ‘been there, done that.’ That made it doubly disappointing that we didn’t get to see an actual debate sketch.
• Ok, I do love the meta part where James calls out the castings of Ego and John in their respective roles. As a critique of the show’s penchant for stunt casting, I especially loved how they acknowledged Paul Rudd would be DeSantis if he actually had a shot.
• Some very funny sexist slams against Nikki Haley.
• “How do you forget about Chris Christie? Easy, just walk way” had me dying. 
• The line about pinning the fraud charges on “probably Eric” was very funny.

RATING: Not sure, honestly. This sketch was cruising to an easy **** if not higher, but the Trump fakeout killed its momentum considerably, despite some very funny lines peppered in here and there. I think I’ll round this out to a ***.

MONOLOGUE

PREMISE: Host Timothée Chalamet talks about shooting a Chanel perfume commercial with Martin Scorsese and celebrates the end of the SAG-AFTRA strike before rapping about having a baby face with Marcello Hernández.

• Right off the bat, Chalamet seems relaxed and very game, as he was last time.
• “Lorne kept calling me Wynona.” Heh, there is a passing resemblance to Wynona Ryder in him. 
•  The “Shameless Self Promotion” parody of “Pure Imagination” was great and had several funny lines.
•  Fun bit with Timothy interacting with the audience.
• Always fun to see Marcelo and the rap about them both having a Babyface was great and kept up the great energy this monologue has had so far.
• Punkie absolutely steals this with her Nicki Minaj-esque rap about her relief not having committed statutory rape and it continues what has been a very strong season for her. I’m so glad Lorne and the writers have FINALLY found material this woman excels. Punkie has inherited Tracy Morgan’s ability to walk into a sketch and score huge laughs with just one line delivered in their unique, manner.
• Not sure the Kenan part at the end was needed, but it didn’t take away from anything.
• Overall, a really strong and funny monologue.

RATING: **** ½ 

Sketch: Museum of Hip-Hop Panel

PREMISE: SmokeCheddaDaAssGetta (Chalomet) sticks out like a sore thumb in a professional discussion on hip hop.

• Chalamet brings back the character he did in that “Yeet” sketch with Pete the last time he hosted.
• A tired and unfunny ‘pun name’ trope with Ego’s Nunya Bizness.
• James’ Rick Rubin is hilarious to me. Having watched a lot of interviews with the man, James is nailing the incongruity of Rubin being a very zen, soft-spoken white dude yet a formidable figure in the world of gangsta rap.
• Timothee gives another very strong performance as this character, though I admit I’m really not a fan of it. It’s one of those characters I personally find annoying even when the point of the character is how obnoxious and annoying they are.
• Kenan’s dignified “What happened to Brother Guap Lord?” made me laugh out loud.

RATING: ***

SKETCH / COMMERCIAL: The Woman in Me Audiobook Auditions

PREMISE: Various celebrities audition to be the voice for Britney Spears’ autobiography’s audio format.

• This template is usually good for some laughs.
• As usual, Chloe Fineman’s Britney Spears is dead-on and funny.
• Heidi’s Allison Janey is another impression I always enjoy seeing and she scored her usual laughs with it here.
• I DID NOT need the return of Chloe’s annoying impression of Chalamet.
• Took me a minute to recognize it was Timothee playing Scorsese. He looked hilarious as him, although his part wasn’t much overall.
• I also didn’t need Mikey’s bit as Steve-O from Jackass, although it was a decent impression.
• The tradition of John Mulaney being played by women on SNL lives on in Sarah Sherman, who doesn’t get the voice like Melissa did, but she’s got his unique speech pattern and delivery down cold.
• Big laugh from Molly perfectly imitating that dumb Kevin James meme.
• Yet another ‘meh’ Chloe Fineman impression, this time an accurate but not particularly funny Natasha Lyonne.
• Bowen actually does a pretty dead-on Fred Schneider from the B-52’s.
• We get it Chloe, you can do impressions.
• Ego’s Jada reappears, with another very tired reference to ‘the slap.’
• Kenan’s Neil DeGrasse Tyson bit was very funny.
• James Austin Johnson’s Werner Herzog deserved a better reception, it was probably the funniest part of the entire sketch.
• No effort whatsoever given to Punkie’s Ice Spice.
• The other Chloe, newbie Chloe Troast, did a great Maggie Smith.
• What even was Longfellow’s Bill Hader? And this was Michael’s only appearance all night. I’m really disappointed along with many SNL fans about Longfellow not having any showcases this season. He came in pretty hot last year with scene-stealing sketch roles and some Update pieces that showcased a truly Norm-esque style of edgy, patience-testing comedy. But this season? Just bland supporting roles. Michael has so much potential to have a special niche in the show’s immediate future and he should be given more chances to carve it.
• Poor ending with a reprise of Chloe’s Chalamet.
• Yikes, a very weak edition of the usual fun ‘impressions showcase’ pieces. The writing was almost non-existent and while some of the performances scored laughs, there was nothing to write home about in that department, either.

RATING: **

SKETCH: Gym Call

https://youtube.com/watch?v=zFK59abDPGw%3Fsi%3Dt8lPrDW-Guqcvhzb

PREMISE: Gym employees (Timothee Chalamet and Mikey Day) help a woman (Heidi Gardner) find her gym bag.

• Not much to say about this one, the premise was okay, and the performances from Timothy and Mikey as the gym bros were funny initially but kind of grated on me as the sketch went on. I chuckled at some lines but nothing really stood out as particularly funny. Ultimately, I felt it went on too long and the part with Sarah added absolutely nothing.

RATING: ** ½ 

FILMED PIECE: Giant Horse

https://youtube.com/watch?v=1zoveF6y5tQ%3Fsi%3DvXQ9HxR3xml0dI6-

PREMISE: Earn (Chalamet) reconnects with his newly grown horse to help save humanity.

• A pretty good sequel to a very well received piece from Timothee’s first episode. This was not as good as Tony Horse, but it was still quite funny and a good continuation of the Tiny Horse video.
• James is hilarious once again tonight, this time as basically Emperor Palpatine.

RATING: *** ½ 

MUSICAL PERFORMANCE: boygenius performs “Not Strong Enough”

https://youtube.com/watch?v=5TtD9U2f1gs%3Fsi%3DetdBVU5B-wpBzafh

• Love the Beatles aesthetic.
• This was a wonderfully dreamy and emotive performance of a great song from a great band. Phoebe Bridgers especially possesses such a natural joy for performing that is utterly infectious.
• Gorgeous harmonies on the chorus. The sound mix is excellent for this performance.
• Great breakdown and crescendo towards the end of the song.
• Nothing bad to say here. Fantastic performance.

RATING: **** ½ 

WEEKEND UPDATE

https://youtube.com/watch?v=EJtMEoqFCmk%3Fsi%3DhcmwQEMsCDqY738K

https://youtube.com/watch?v=TaYWKMkQFBU%3Fsi%3DZYNPNPVm9CppLe2d

• Best Jokes: Biden Campaign, Bankman-Fried / Alternative Currency, Couples Who Go to Therapy, Barbra Streisand / Siri, Instagram Ap, Israel School, Jared Leto Promotional Plan 
• Another lazy slap joke.
• Some very weak and predictable jokes to start.
• Ok, things got better starting with the Biden joke.
• The Bankman-Fried jokes were very good.
• The “Israel School” joke is classic Che.
• Heidi brings back her “Extremely Busy Co-Worker” character, Crystal.
• As usual, Heidi is uber-committed to this character, but everything from the mannerisms to the evasive answers to Colin’s questions was completely redundant.
• Lame Britney Spear punchline to this piece.

RATING: ** ½

SKETCH: Troy Sivan Sleep Demon

https://youtube.com/watch?v=TzBvtMzWNL4%3Fsi%3D9smgtPqGw7ySXQTt

PREMISE: A woman (Sarah Sherman) has nightmares about Troye Sivan (Chalamet)

• Interesting premise, at least for me.
• Bowen is great as the doctor, and it’s good to see him doing more understated work.
• Chalamet is good as Sivan, but again the writing here is very weak.
• Bowen is saving the hell out of the sketch for me, which is saying something given how unrelentingly critical I’ve been of him lately. His lines about Sivan being “gay famous” and even him doing the Sivan dance gave me big laughs. Come to think of it, Bowen had a good night in more subtle roles in Nate Bargatze’s episode as well. Hopefully, this is the start of a comeback for Bowen, who started off as one of the most exciting SNL hires in recent memory but has since fallen into a bit of self-parody mode.
• The boygenius cameo at the end was funny, and the crowd really ate it up.

RATING: **

PLEASE DON’T DESTROY: JUMPER

https://youtube.com/watch?v=02sx1FayJ5s%3Fsi%3Dn5BKmoesvIzyXTuf

PREMISE: The PDD boys try to talk down a suicidal musician (Chalamet).

• Another very funny look to Timothy in this sketch.
• I absolutely loved this, as I do most PDD shorts. I liked how the humor in this was a bit darker than their normal stuff, and of course it brought back some flashbacks of that great Jumper sketch with Hader, Forte, and Paul Rudd.
• The fake, gurgly songs Timothy kept playing were hilarious, as were the reactions from John, Ben and Martin.
• “This song is about when my mom passed away. Then why does it sound like that?”
• There’s been some controversy around the Hamas joke, but I personally found it hilarious. It wasn’t poking fun at the tragedy, and the sketch didn’t glorify or try to humanize Hamas in any way. It was an extreme example of how profoundly out of touch Timothy’s character is.

RATING: **** ½ 

MUSICAL PERFORMANCE: boygenius performs “Satanist”

https://youtube.com/watch?v=hniH8I8c-m0%3Fsi%3DKO6AUCqLirWhtqtD

• Another wonderful performance of a fantastic song. Nothing else to say.
• Love the red lighting.

RATING: *****

SKETCH: Little Orphan Cassidy

https://youtube.com/watch?v=gDxYe2-8sI0%3Fsi%3DL0FKwdznPVMiOHMh

PREMISE: Unwanted orphan (Chloe Troast) communicates her plight to the moon (Timothy Chalamet) via song.

• Ooh, a Troast led sketch.
• Chloe’s deep singing voice caught me off guard and had me laughing out loud.
• Funny twist that Chloe is 26 and oblivious to the fact that she’s too old to be adapted.
• This entire sketch was absurd and hilarious. It just got funnier as it went along and was anchored by a fantastic breakout performance from Chloe, as well as very solid straight man work from Timothy.

RATING: *****

SKETCH: CALM SLEEP STORY

PREMISE: Chalamet participates in a Calm Sleep Story recording session.

https://youtube.com/watch?v=ZplXphqvDu4%3Fsi%3DRCB2zi5FeGq_NPGv

• Wow, where has Andrew Dismukes been all night? Shame that is his first appearance of the entire episode. I’ve been championing Andrew for a few years now to be the show’s lead, as he has shown he has the ability to be believable in both straight roles and his patented oddball pieces that we see too few of these days. On top of that, Andrew just has a warm, likeable presence that I enjoy seeing in sketches.
• Good to see Punkie in yet another lead role. She’s on her way to be an MVP this season, and she was once again great here, especially when she called Timothy “a chatty little bitch.”
• The story Timothy read was very funny and got better as it went along, as did his exasperated reactions.
• Good fakeout with Andrew’s “emotional breakdown” at the end.
• An absolutely shocking, out-of-nowhere Alec Baldwin cameo. Wow. I don’t know how to feel about this. On the one hand, I’ll always have love for Alec’s SNL work; his Trump aside, the man is probably the show’s greatest host. He has countless classics to his name and the range he always displayed in his episodes was ‘off the charts’ good. To me, Baldwin is an invaluable part of SNL’s legacy. That said, he just has too much baggage nowadays for me to find funny. I’m in no way part of the ‘Baldwin is a murderer’ brigade, but the Rust incident is just too dark to not be in the back of my mind whenever I see him now. Also, as pointed out by others, this incident has aged Alec tremendously. He looked haggard and worn here, though I will say his appearance didn’t lessen my opinion of this sketch.

RATING: ****

EPISODE MVP: A couple of people stood out tonight. As stated, Timothee was a fun, committed host who delivered some very good, likable performances in pretty much every sketch. Chloe Troast also deserves honors for a fantastic breakout sketch and the best sketch of the night. Finally, James Austin Johnson and Punkie Johnson stole their small moments and got big laughs out of some thin writing.

FINAL THOUGHTS: a pretty good hour of SNL, elevated by a very game Chalamet. The strong pieces were very strong, and the weaker material wasn’t offensively bad by any means. It was nice to see less of the cast members I’ve had issues with this season (Mikey, Bowen, Kenan) effectively used in smaller roles and more time be given to the likes of Punkie, JAJ and a breakout from Chloe Troast.

There come a time in every legendary rock act’s career when releasing new material is entirely superfluous: the legacy of their back catalog is so strong and timelessly influential that they can coast off the back of it through touring and endless ‘deluxe’ reissues and somehow maintain their freshness and relevance in the musical landscape.

Think about it; have Paul McCartney, The Who, or Elton John released anything in the last 15, 20, or 30 years that you listen to with the same regularity or sense of awe that brought you to them all those years ago? Probably not, aside from a stray latter day gem here and there. Yet we still line up to spend thousands to see them in concerts, watch their tv appearances, and yes, but their new albums even if they are going to collect dust within a few months.

Perhaps no act embodies this more than The Rolling Stones; one could argue that as far back as the early 1980s’, the Stones have been the equivalent of a museum artifact, something that you need to experience for bragging purposes but doesn’t really possess the same visceral thrill as when it was all brand new. Opinions vary, and some will defend their later work as being slept on, but most agree that they haven’t released a truly vibrant, essential Stones record since 1981’s Tattoo You.

The last Rolling Stones album of original material was 2005’s A Bigger Bang; since then there have been two original singles in 2012, 2016’s excellent blues covers record Blue & Lonesome, and the Covid-centric single “Living in a Ghost Town” in 2020.

For years, rumors have swirled about another album of original material from the Stones, but it seemed to be nothing more than that; the time spent touring, their respective ages, and the death of drummer Charlie Watts in 2019 all seemed to supercede any need to hunker down and release a new Stones album.

However, the tide began to turn after the band’s 60th anniversary tour in 2022; both Mick and Keith took photos of them heavily at work in the studios jamming on what sounded like new songs. Then, in an unprecedented move, the band elected not to tour in 2023. Initially, rumors began to swirl about the band’s health, but those were quickly supplanted by further images of the band hard at work.

Finally, the band began a very cryptic social media blitz hinting at something big, resulting in the announcement of their new album, Hackney Diamonds.

The album’s first single, “Angry,” came out to a fair amount of hype but quickly faded from memory; it’s the kind of slick ‘Stones by Numbers’ rocker they’be been putting out since 1989.

However, things began looking up with the release of “Sweet Sounds of Heaven.” The song, featuring stellar contributions from Lady Gaga and Stevie Wonder, recalled the sparse ‘street corner gospel’ vibe of Exile on Main Street. And with that, excitement began to build among the rock cognoscenti and Stones fanatics alike.

Several rock magazines who got an early listen have praised Hackney Diamonds, including ones that had been notoriously harsh on the band’s other post-Tattoo You efforts. Does the record truly live up the hype? Let’s see.

“Angry” is admittedly an underwhelming opener, but things immediately perk up with the sweet and catchy “Close to You,” a classic rough hewn Stones love song with a classic punchy groove and a vibrant Jagger vocal; the song ascends fully into the classic Stones motif with a brilliant saxophone led breakdown as Ron Wood and Keith Richards crunch away at the guitars like starving men at a smorgasbord.

“Depending on You” keeps thing at a surprisingly slow pace, but it’s not for the worse; it’s the latest in the canon of Stones country songs, an avenue which has produced classics such as “Sweet Virgina” and “Far Away Eyes.” “Depending on You” isn’t quite up to those lofty standards, but it’s a rock solid entry bolstered by Jagger’s surprisingly vulnerable vocals, as well as the lyrics which have surprising nods to mortality, a subject the Stones seemed to defy until the death of Charlie Watts in 2021.

The pace picks up big time with the grunge-y “Bite My Head Off,” a classic nasty Stones rocker dripping with attitude and swing. The lyrics are raw and nasty, Keith’s riff instantly gets stuck in your brain, and Mick’s barking vocals are amazing for a man of 80. It’s also significant for featuring none other than Paul McCartney on bass, a truly momentous union on a track befitting such an event. 

“Whole Wide World” continues the upward swing in tempo, with Jagger adapting some alternate accent as he spits out another string of surprisingly reflective and vulnerable lyrics that reflect the band’s defiance in the face of age and criticism, as well as a touching tribute to the enduringly frayed bond of Mick and Keith. “When you think the party’s over, but it’s only just begun,” Mick sings with true excitement and pathos as if it’s a promise to fans that the band’s story is far from over.

“Dreamy Skies” is another, more traditional country tune, and it’s a nice diversion after the punchier attack of the previous songs. It’s the kind of song you pour yourself a drink to at midnight and just take in the air around you, a perfect chill ballad delivered with surprising authenticity for guys from Dartford doing Amrerican country.

“Mess It Up” is significant as it’s one of two tracks to feature Charlie Watts on drums; it’s distinct in that the rhythm has more of the signature Stones ‘swing and swerve’ jazzy style that defined Watts’ style, and it’s a solid swan song for the man known as the Wembley Whammer that puts him front and center aboard a slinky, danceable groove that he embellishes upon beautifully.

“Live by the Sword” also features Watts, and again it’s very obvious it’s him driving the song along. This is another great classic sounding Stones rocker, one that could easily occupy a space on Black and Blue or Some Girls with its punkish aggression and snarly vocals.

“Driving Me Too Hard,” along with “Angry,” is one of the album’s weaker tracks, a typical mid-tempo Mick ballad whose hallmarks could be called from a mile away. Thankfully, the record picks right back up as Keith takes the mic with the soulful “Tell Me Straight”; Keith’s ballads have regularly been highlights of latter day Stones albums, and this song is no exception. It’s only issue is it’s a bit too brief, but Keith still gets a totally impactful little ballad out of it.

“Sweet Sounds of Heaven” is perfectly placed as the record’s climax; as mentioned it’s an excellent, powerful and life-affirming ballad with a classic Stones gospel sound and top-notch contributions from Lady Gaga recalling Merry Clayton’s classic wailing on “Gimme Shelter,” as well as Stevie Wonder on keyboards recalling the seminal contributions of Nicky Hopkins and Billy Preston on the band’s best 1970s’ records.

Closing the record is “Rolling Stone Blues,” the classic Muddy Waters blues number that gave the band its name 62 years ago. It’s appropriately stripped down, with just Mick on vocals and harmonica and Keith on guitar, and it’s a truly sublime experience to hear the Glimmer Twins take things back to basic and really vibe off each other on a song totally in their wheelhouse. If this is the last song the Stones ever release, it’s a fitting coda to their career.

Hackney Diamonds isn’t a perfect record, but it’s clearly a labor of love for the band and it easily eclipses almost anything they have done since 1981; it’s the first album since perhaps Undercover where the weakest tracks don’t dip below ‘solid,’ and at 12 tracks and forty eight minutes it lacks the bloat of Bridges to Babylon and A Bigger Bang. It’s not a crown jewel in their discography, but a nifty little gem you’ll want to dig up every so often.

RATING: ****

John Mayer’s career trajectory has been a curious one: he started off as the manifestation of every guitar playing nerd nesting under the tree of your college quad, before pivoting to a more introspective guise for his 2006 album Continuum. A series of ill-conceived comments and whirlwind affairs turned the tide against him and his music, with many labeling him as rock’s biggest douchebags. Mayer took the backlash to retreat and reinvent himself once more, honing his already exemplary guitar chops with an eight-year stint with Grateful Dead offshoot Dead & Company, which led Mayer to rediscover himself personally and musically. 

Mayer, now 45 and 22 years removed from his first album, has worn other hats throughout his career, but these are the most significant, and they’re the ones that helped Mayer become the humorous, thoughtful modern troubadour that was on display for the last of three solo shows at New York’s Madison Square Garden.

Armed with an arsenal of guitars, the show was an intimate, stripped down affair that made the vast arena feel like a small theater or club; it wasn’t just the bare-bones arrangements of the songs that created the vibe, but Mayer’s casual, disarming charisma and showmanship.

Mayer isn’t just a great musician, he’s a natural showman whose between-song dialogue often had the crowd in stitches; a sloppy attempt at “Vultures” on the piano had Mayer hilariously poking fun at his rudimentary piano skills, which he countered by following it up with a gorgeously rendered “You’re Gonna Love Forever in Me.” He even poked fun at his early lyrical immaturity in the prelude to his infamous hit “Your Body is a Wonderland,” which hit the crowd’s nostalgia button as they enthusiastically sang and swayed along to the endearingly cheesy 2003 hit.

He built enough trust with the crowd to play a new song (words Mayer said send “a chill down the spines of the audience”), “Drifitn’,” and acknowledged a fan’s request to hear “Wheel,” a song they had not heard despite having seen Mayer 20 times since 2004. The final round of applause was so rapturous that Mayer came back out for an unplanned encore, his cover of Tom Petty’s “Free Falling.”

Even in an acoustic setting, Mayer’s guitar playing is a force to be reckoned with: his playing was thoughtful, nuanced, and soulful on every song, particularly on the evergreen “Gravity” and a reinvented “Wild Blue.”

The show showcased the full depth of his artistry as well as his growth as both a musician and a person. If you have a chance to go see him, don’t hesitate. It’s a worthwhile 2 hours and 15 minutes.

Set list:

1. Slow Dancing a Burning Room

2. Whiskey, Whiskey, Whiskey

3. Wild Blue

4. Queen of California

5. Why Georgia

6. Who Says

7. Shouldn’t Matter But It Does

8. Neon

9. Driftin’

10. In Your Atmosphere

11. Vultures *

12. You’re Gonna Live Forever in Me*

13. Changing*

14. Stop This Train

15. New Light

16. Gravity +

17. Your Body is a Wonderland

18. Covered in Rain

19. Walt Grace’s Submarine Test, January 1967

20. If I Ever Get Around to Living ~

21. Edge of Desire ~

Encore:

22. Wheel

23. Free Fallin’

* Mayer on piano

+ Mayer on electric guitar

~ Mayer on double-neck acoustic

1) Phil Hartman (1986-94)  

Who else it could be? Hartman was the show’s sturdiest, warmest, most disciplined and deeply talented cast member of all time. From deftly developed original characters to a myriad of gonzo impressions that captured the essence of whomever he chose to embody, plus a ton of unforgettable one-offs, Hartman failed to hit a wrong note in his entire eight years on the show. It’s fitting that one of his most well known targets was Frank Sinatra, as both had the ability to take a throwaway word or phrase and give it far more meaning – and in Phil’s case, humor – than intended.

Highlight Reel: The Sinatra Group, Clinton at McDonalds, Reagan Mastermind, Don’t Pray So Much, Discover, Johnny O’Connor, Colon Blow, Mr. Belvedere Fan Club, Unfrozen Caveman Lawyer, The Rain People, Perot & Stockdale, Anal-Retentive Chef, Acting Workshop, Drill Sergeant, Peeping Tom, Subway Performer, Succinctly Speaking, Monologue (3/23/1996), Robot Repair, Anne Boleyn

2) Will Ferrell (1995-2002)  

No one knew how to work the mechanics of SNL better than Ferrell. He endeared himself to audiences almost instantly with a series of recurring characters that tipped into over-saturation but never crossed the point of irritation the way Mango or Mary Katharine Gallagher eventually did. Once he got those early crowdpleasers out of the way, Ferrell had enough of the audience’s trust to unleash his freak flag and commit to some of SNL’s most dastardly sketch premises and one-off characters ever. Only a pro could like Ferrell could find the funny as well as an odd like-ability in characters such as the evil, crass Mr. Tarkanian or his clueless takes on Neil Diamond, Robert Goulet, and George W. Bush.

Highlight Reel: Wake Up and Smile, Evil Boss, Robert Goulet’s It’s a Rap, Behind the Music: Blue Oyster Cult, Delco Cat Toys, 2000 Presidential Debate, The Devil Tries to Write a Love Song, Celebrity Jeopardy, Get Off the Shed, Space: The Infinite Frontier, Culps Drug Awareness Medley, Wade Blasingame, Janet Reno’s Dance Party, Patriotic Shorts, Roxbury Guys w / Jim Carrey, Dissing Your Dog, Inside the Actor’s Studio w / Charles Nelson Reilly, John Rocker on Weekend Update, Neil Diamond: Storytellers

3) Eddie Murphy (1980-84)  

The show’s biggest singular name, Murphy accomplished in four years what most don’t accomplish in ten. Not even old enough to drink when hired, Eddie’s energy and comedic instincts were that of someone who had been in the game forever. He not only saved the show, he enhanced it, forever leaving a mark on its direction that is still felt today.

Highlight Reel: James Brown’s Celebrity Hot Tub Party, Mr, Robinson’s Neighborhood, Buckwheat Sings, Merry Christmas Dammit!, White Like Me, Ronald Reagan’s Lost Son, Prose and Cons, Solomon & Pudge, Ebony & Ivory, Velvet Jones Infomercial, Doolittle Lounge, Christmas News Report, The Buckwheat Has Been Shot Saga, Black History Minute, The Lost Beatle, Milestones

4) Jan Hooks (1986-91)  

Forever the show’s most tragically underrated cast member; not even her untimely passing in 2014 sparked the renewed interest in her work that it deserves. She is often remembered as Phil Hartman’s sparring partner, but Hooks could command the room all on her own with her verve, tenacity and technical brilliance. She is SNL’s reigning queen; the gushing, overly mawkish praise Lorne continues to heap on Kristen Wiig should belong to Jan.

Highlight Reel: Sexual Tensions Diner, Church Chat w/ Tammy Faye Baker, Nancy & Barbara, The Sweeney Sisters & Paul Simon, Love is a Dream, The Sinead O’Connor Awards, One Night Stand, Attitudes, Sex Tonight, Tammy Wynette Sings the Classics, Happy Couple, Front Porch, Quiz Masters, Waikiki Hockey, Compulsion, Eternity

5) Dan Aykroyd (1975-79)  

I have to have an original NRFPT-er in the top 5, and Aykroyd is the one whose body of work has held up to modern scrutiny best and is likely to continue to do so. Similar to Eddie Murphy, Aykroyd’s youthfulness was contradictory to the nuance and smarts he brought to every role he played. He set the template for Hartman and Hader and holds his own against them and to this day.

Highlight Reel: AM/FM DJ, Fred Garvin: Male Prostitute, Ask President Carter, Bass-O-Matic, Mel’s Char House, Coneheads on Family Feud, Consumer Probe, Nerds & the Norge, Tomorrow w / Mick Jagger, The French Chef, Festrunk Brothers, The Pepsi Syndrome, Blues Brothers perform Rubber Biscuit, Nixon’s Final Days

6) Dana Carvey (1986-83)  

Forget the obsequious goon he is today, Carvey brought an instantaneous spark to the show that burned bright throughout his seven-year run. He was the show’s smartest impressionist, finding the funny in squares like George Bush and Tom Brokaw by lampooning their most inauspicious gestures and latching onto a comedic hook like a shark on prey. He didn’t quite have the subtle utilitarian qualities of Hartman or Hooks, but Carvey was a force unto his own whose status as an all-time great remains firm in spite of his largely embarrassing post-show career.

Highlight Reel: Brokaw Pre-Tapes, Church Chat, The 1992 Presidential Debate, George F. Will’s Sports Machine, It’s a Wonderful Life: Alternate Ending, Wayne’s World, Massive Head Wound Harry, Il Cantore Restaurant, Waikiki Hockey, Quiz Masters, Derek Stevens’ Audition, Pepper Boy

7) Bill Hader (2005-13) 

Like Aykroyd and Hartman before him, Hader seemed to be designed in a lab for the sole purpose of being on Saturday Night Live. He was perfectly in his element in Hartman-esque anchor roles such as commercial pitchmen or game show hosts, but also had an off-kilter streak that recalled Aykroyd’s darker roles. His recurring characters – Greg the Alien, Anthony Peter Coleman, Stefon – are some of the show’s most uniquely crafted and exciting, largely thanks to the subtly changing characterization choices Hader brought to each installment. Points off for a latter-day breaking habit and having to muddle through some unbearable recurrent pieces (Vogelchecks, Californians), but Hader otherwise has the show’s widest ranging palette of skills of anyone hired post-Hartman’s departure.

Highlight Reel: Game Time with Randy & Greg, Puppetry Class, I Drink Your Milkshake, You’re a Rat Bastard, Charlie Brown, Don’t You Go Runnin’ Roun’ to Re Ro, Vinny Vedecci w / Shia LaBeouf, Stefon’s Farewell, Alan, What’s That Name, Herb Welch, Vincent Price’s Halloween Special, Girlfriends’ Game Night, Back to the Future Screen Tests, What’s Wrong with Tanya?

8) Gilda Radner (1975-80)  

To this day, Gilda remains the show’s most lovable performer; watching a Gilda Radner sketch makes everything seem right in the world. Long before Tina Fey helped drive the final nail in the coffin of the ‘women aren’t funny’ movement, Gilda was drawing huge laughs on a regular basis with her warm, inviting, and endearingly goofy presence. She was fearless, going as far to injure a rib in a Judy Miller Show sketch, and she was the first performer to bring pathos and vulnerability to the show, a trait later expounded upon by the likes of Chris Farley and Molly Shannon.

Highlight Reel: The Judy Miller Show, La Dolce Gilda, Dancing in the Dark, The Nerds, Jewess Jeans, Rock Against Yeast, Nerd Prom, Emily Litella on Violence on Television, Laundromat, Roseanne Rosaennadanna on Smoking, Baba Wawa at Large, Olga Korbut, A Message from the Right to Extreme Stupidity League

9) Chris Farley (1990-95)  

There’s temptation to excise Farley from the highest echelon due to a disappointing and often embarrassing final year and a half, but the shadow of his influence continues to be far too vast to ever discount him for such ultimately minor indulgences. Farley took Belushi’s physical bluster and married it with a Radner-esque sincerity that continues to inspire new talents to this day. He deserved to be remembered as more than just ‘the fat guy who falls down’: few if any were able to milk bigger laughs out of their more minor moments, and his dynamics and timing in his prime were second to none.

Highlight Reel: Matt Foley: Motivational Speaker, Chippendales, Schillervisions: Folger’s Columbia’s Coffee Crystals, Gap Girls at Tater Junction, Mr. Belvedere Fan Club, The Chris Farley Show w / Paul McCartney, Lunch Lady Land, Japanese Game Show

10) Will Forte (2002-10) 

The sleeper of the list, Forte’s status as an all-timer only becomes truly apparent when looked at in context. The post-Will Ferrell years were some of the show’s most listless, lacking a true leader who could help the rest of the cast rise above the era’s worst writing. Forte may not have ever been that leader, but he was an oasis in a desert of increasing blandness, a quality that seeped into the sturdier years of the early Wiig / Hader / Sudeikis / Samberg epoch. His absurdist  mentality brought real danger and unpredictability to a show whose beats could increasingly be called from a mile away; what he lacked in star power he made up for in unparalleled commitment and bravery.

Highlight Reel: Dancing Coach, Closet Organizer, Potato Chip Thief, MacGruber, Boyfriend in a Box, Jeff Montgomery on Halloween, Time Traveling Falconer, Fly High Duluth, Spelling Bee, Poland Spring Salesmen, Fartface, any Tim Calhoun commentary, Mother’s Day Song, Zell Miller on Hardball

Two weeks ago, Rolling Stone founder and media magnate Jan Wenner ignited a maelstrom of controversy over his new book, The Masters: Conversations with Dylan, Lennon, Jagger, Townshend, Garcia, Bono, and Springsteen. In an interview with the New York Times, Wenner has taken to task over including seven white guys to represent what he felt were his best subjects in over 50 years of running the famed publication. Jenner, in an Olympian level gesture of inserting foot into mouth, has this to say:

“They [black and female artists] were not in my zeitgeist…they didn’t articulate enough on this intellectual level.”

The next day, Wenner’s publicist killed himself….ok, no he didn’t, but it did set off a powderkeg of a PR disaster, one that resulted in Wennber being removed from the board of the Rock and Roll Hall of Fame foundation, an institution he founded. It also forced many to reevaluate Rolling Stone as a cultural bastion, as many have only now have realized how dismissive and exploitative it has been in its representation of minority and women artists.

Growing up, I wanted to work at Rolling Stone magazine more than anything in the world; I saw Almost Famous when I was 15 and it remains my favorite movie of all time. It perfectly captured the world I wished I had lived in and set me on a journey that, much like the movie’s protagonist, removed a lot of the mystique and romanticism and instead revealed the ugly underbelly of my once-dream career.

Being 15, I only knew Rolling Stone as the go-to music magazine. I was raised on classic rock and was excited to see guys like Springsteen and the Stones still gracing the cover while MTV and VH1 were in the process of phasing out older artists (and later music in general). I liked that kids my age still had access to the thoughts and ideas of music’s elders. As a boy, going through puberty, I thought little of the exploitative nature of the Britney Spears or Jessica Simpson covers; in fact a poster of the Simpson cover hung in my room for years.

It wasn’t until my late 20s’ that I began reading up on Jann Wenner and what an arrogant, self-serving, hypocritical star-fucking twat he really is. He claims the magazine was founded an answer to the status quo. and maybe that was true for about 5-10 years; eventually, rising damp set in and Wenner become the exact same suit-wearing, gala-throwing, yacht-galavanting empty figurehead he thought he was railing against. He cozied up to Jagger, Springstee, Bono and numerous other megastars and perhaps put a dent in their iconoclastic authenticity by seducing them with praise and glamour.

The benefit of hindsight and the modern cultural lens both show just how flawed Rolling Stone has always been as a publication, even in the post-Wenner days. The exploitation of women, the ignorance of minority artists, etc. It’s all out there and reveals a very ugly truth.

I can still separate Rolling Stone’s writing from Wenner; I still love what guys like Hunter S. Thompson and Cameron Crowe had to offer. But the overall institution as well as the Rock and Roll Hall of Fame represent the watering down of rock and roll as a form of rebellion, and one that has too often airbrushed its proper history at the expense of personal glory.

Good riddance.

Top

Post Reply 

For eighteen years the Rolling Stones’ fans have waited with baited breath for the followup to 2005’s A Bigger Bang, their last album of original material to date. In the interim, the band launched successful tours for both their 50th and 60th anniversaries, released a well acclaimed album of blues covers (2016’s Blue and Lonesome) and tragically lost drummer Charlie Watts in August of 2021.

Earlier in the year, the Stones announced that they would not be touring in 2023, but promised that their first original album in nearly two decades would be ready by the end of the year. After a long tease via a rogue marketing campaign, the Stones have finally announced the release of their 24th album, Hackney Diamonds, and have officially released the first single from the album, entitled “Angry.” 

“Angry” begins with a stuttering open G riff that is trademark Rolling Stones, with a vocal refrain of “don’t be angry with me” that may not be their most clever but will instantly get stuck in your head. The groove is punchy and infectious, with the band’s signature ‘swing and swerve’ rhythm in full effect. It builds to a great crescendo, finishing on a solo that is the most melodic Richards has played in years. Vocally, Jagger sounds incredibly vibrant and confident, with his trademark boorish delivery unphased by the sands of time as he sneers out the lyrics of a relationship gone bad; subject-wise, the song recalls the dark days of Dirty Work, but with a more breezy, contrite attitude befitting of the mostly peaceful waters the band has been sailing on since reuniting in 2012.

Production-wise, the song sounds crisp and has a perfect ‘end of a summer’ sound, a great soundtrack for rolling down the windows and singing along to on the highway. 

The song isn’t an instant classic Stones tune by any means, but it certainly gets the job done in building anticipation for the October 20th release date of the album in full; in the meantime, crack open a cold one, sit by the pool, and tap your foot along to this catchy, crunchy ear worm from a band that somehow manages to stay fresh and vital after all these years.

Last winter, I watched Annie Hall for the first time, and subsequently went down a Woody Allen rabbit hole where I watched approximately 25 of his films in the last eight months. Allen became my favorite filmmaker, and several of his films wormed their way into my favorites of all time.

I realize this isn’t the most accepting time to get into Allen’s filmography; public opinion of him has shifted dramatically towards the negative due to renewed interest in his infamous child molestation case lobbied against him during the fallout of his marriage to Mia Farrow. While the jury is quite literally still out on whether Allen is guilty, there is no doubt his personal transgressions have overshadowed his artistic contributions.

The purpose of this list is not to engage anyone in a debate on Allen’s innocence or guilt, but simply to dissect some films that have had a profound impact on me and that brought me great joy in some dark times in my life. I hope those that read can separate the art from the artist and enjoy learning about some endearing American classics and perhaps find new favorites.

10. Love & Death (1975)

1975’s Love & Death is in some ways a spiritual sequel to its predecessor, Sleeper; both films pay tribute to the silent film era ‘slapstick’ style of physical comedy a la Buster Keaton, both are early vehicles for Allen and Diane Keaton’s endearing chemistry, and both feature similar plots involving the takedown of vicious dictators whilst satirizing both the oppressor and the oppressed. More importantly, it marks a shift in Allen’s writing, as it is the film where his signature views on existentialism, religion and philosophy are first presented in biting and hilarious context; the scenes featuring Allen and Keaton’s philosophical ramblings are some of his most brilliant, loaded with hilariously meaningless doublespeak about topics neither really comprehend. It’s one of his most intelligent films, despite Allen’s repeated insistences that he is not an intellectual.

9. Zelig (1983)

Zelig is one of Allen’s most unique films: it’s shot in a mockumentary style, consisting of interviews with parodies of scientists, scholars and other academic types as they dissect the life of Leonard Zelig. Zelig has a miraculous gift: he can shape-shift into anyone he wants and blend into any social situation. Does he want to be a Democrat or a Republican? A Muslim or a Jew? Wherever Zelig is, his adaptability knows no bounds. However, Zelig’s gift eventually becomes a curse, one that Dr. Eudora Fletcher (Mia Farrow) hoped to break. In addition to being incredibly funny and unique among Allen’s films, it’s one of his most human: it speaks to the desire we have within all of us to fit in and be loved and accepted, as well as the lengths some of us go to achieve such means. Despite its absurdity, Zelig belies a warm spirit that is often not found in Allen’s films.

8. Husbands & Wives (1992)

Barring his dramatic efforts, Husbands & Wives is Allen’s angriest and darkest film; it was, perhaps appropriately, his last film with Mia Farrow. Husbands & Wives was filmed congruously with the disintegration of their personal real life romance, brought on by the discovery that Allen was having an affair with her stepdaughter from her first marriage, Soon-Yi Previn. The knowledge of the ‘behind the scenes’ turmoil adds an additional layer to a film that already feels all too raw, visceral, and real. It also was the breakthrough film for the great Judy Davis, one of Allen’s most dynamic and exciting regular collaborators. Filmed in a documentary style about two couples navigating the decay of their respective marriages by juxtaposing the issues of each pair with the other’s revelations, Husbands and Wives is all at once brutal, sad, and hilarious. It was also Allen’s first great film of the 1990s’, signaling that his third decade would be every bit as artistically fortuitous as his previous eras.

7. Manhattan (1979)

In retrospect, Manhattan has become perhaps most controversial, solely due to the key plot point of Allen’s Isaac having an affair with high schooler Tracy (Mariel Hemingway); those who believe the allegations against Allen submit as air tight proof of his real life proclivities. While perhaps not as easy to swallow in today’s climate, it’s one of many richly developed and delicately handled sequences that make Manhattan one of Allen’s all time greats. Diane Keaton once again shines as Mary, the woman Isaac thinks is perfect for him, an intelligent and eccentric writer. Meryl Streep makes her lone appearance in an Allen film as well, as his ex-wife who wants nothing to do with him despite sharing a child together. Like the city it is named after, Manhattan is exciting, sprawling, discouraging, and ultimately hopeful and promising. Its ending is one of Allen’s best, showcasing his ability to marry warmth and cynicism like few are able.

6. Hannah and Her Sisters (1986)

Allen’s most life affirming film is one of his most multi-layered, handling deftly four different plot lines that coalesce beautifully. Hannah (Mia Farrow) is married to Elliot (Michael Caine in an Academy Award winning performance), but he feels disconnected and dissatisfied at this stage in their relationship. He strikes up an affair with Lee (Barbara Hershey), Hannah’s sister who is at the breaking point of her relationship with Frederick (Max Von Sydow), an older professor who she struggles to find common ground with. Meanwhile, Holly (Dianne Weist, in her first of two Academy Award winning roles for an Allen film) is a recovering drug addict trying to make it as a restaurateur. Finally, Mickey (Allen) is Hannah’s ex-husband and a hypochondriac struggling to find meaning in a world where he feels people are living only to die eventually. Existential dread and mid-life dissatisfaction are Allen’s most common themes, and they coalesce beautifully through the intertwining stories in ways that are both dire and hilarious. Unlike many other Allen films, the film wraps up without compromise, resignation, or cynicism, a rarity for the notoriously dower Woody.

5. Broadway Danny Rose (1984)

The screwball caper “Broadway Danny Rose” has something of a cult following among Allen fans; Alec Baldwin and Chris Rock both rank it among their all time favorite movies, and others love it for its zany plot, bizarre characters and Allen’s charismatic turn as hapless talent agent working with the bottom feeders of New York City performers. It also features Nick Apollo Forte as Lou Canova, one of the most hilarious and memorable supporting roles in any Allen film, whose songs such as “Agita” and “My Bambina” give the film much of its charm and quirkiness. Of further note is perhaps the best Mia Farrow performance in any of her 12 films with him, as tough talking mob darling Tina Vitale. But what really makes “Broadway Danny Rose” sparkle is its crackling script full of terrific one-liners, snappy dialog and madcap situations that make it one of Allen’s most entertaining efforts.

4. Sleeper (1973)

The first true classic of Allen’s, “Sleeper” is a glorious hybrid of sci-fi, slapstick comedy, and political commentary. Allen plays Miles Monroe, a health food store owner who dies during a routine ulcer operation. He wakes up 200 years in the future, where he is informed the world is now under totalitarian rule after a nuclear incident. Initially reluctant, Miles becomes part of the resistance when he falls for Luna Schlosser (Diane Keaton, in the first great pairing), a wealthy wannabe poet who he inadvertently kidnaps while escaping from military police. The film features some of the funniest scenes in any Allen movie, including a daring madcap chase scene as Miles escapes from custody and Allen and Keaton’s uproarious sendup of A Streetcar Named Desire in order to cure the former of their brainwashing. Equal parts parody and tribute to a variety of genres and stories (HG Wells’ The Sleeper Awakes was the main inspiration, along with 2001: A Space Odyssey), Sleeper is the first truly great Allen film and remains one of his very best films.

3. Annie Hall (1977)

It is here that I am going to make the distinction between best and greatest: I do not think Annie Hall, for all its acclaim and enduring legacy, is Woody Allen’s ‘best’ film. It’s a masterpiece, without question, but I feel the two films ahead of it affected me more and went in deeper with their themes and overall presentation.

However, there is no debating Annie Hall’s ‘greatest’ film; it’s the film that has defined Woody to the general public, the one people point to instinctively when asked to describe what a Woody Allen film has to offer.

Few films have redefined an entire genre like Annie Hall did with the romantic comedy; Woody took the ‘boy meets girls, loses girls, gets girl back’ structure, threw in acerbic philosophical commentaries and pointed satire, and completely subverted expectations with its bittersweet ending.

And you simply can’t talk about Annie Hall without talking about Diane Keaton as Annie, the film’s flighty, wistful heart. She has never shined brighter, and her charm is so infectious that she drew out of Woody the most affecting performance of his acting career. They are a match made in Heaven, brought together by one of the finest scripts ever written.

Maybe Annie Hall really is his best, maybe it isn’t. Maybe Woody really is so good that he doesn’t have a ‘best’ film. Whatever the case may be, Annie Hall has stood the test of time, and I won’t argue with anyone who has a problem with me ranking it where I do.

2. Deconstructing Harry (1997)

The most caustic of Allen’s comedies, Deconstructing Harry is in many ways his last classic. Allen plays Harry Block, the most misanthropic, irresponsible, and insufferable of all his protagonists, so much so that deeming him one is a bit of a stretch. Still, the story is centered around the ongoing and often hollow struggle for satisfaction within the creative process, complete with meditations on Judaism, relationships, and other bracing existential themes presented in several unbelievably hilarious scenarios.

The supporting cast is one of Allen’s best: Kirstie Alley, Billy Crystal, Judy Davis, Demi Moore, Elisabeth Shue, Julia Louis-Dreyfuss, Stanley Tucci, a debuting Jennifer Garner, Tobey Maguire, and Robin Williams add serious star power and give some of the most original and dynamic performances of their careers. As his ex-wife and sister-in-law / mistress, Alley and Davis particularly shine when confronting Block about his extramarital transgressions and general disregard for the feelings of others. It’s a deeply layered film, often blurring the lines of fantasy and reality when Block’s fictional creations step into the real world to dish him some harsh realities on the consequences of his actions.

While Allen has made several strong films in the twilight era of his career (Midnight in Paris, Match Point, Vicky Christina Barcelona, Blue Jasmine), Deconstructing Harry is the last full-on masterpiece of his career to date, and it’s criminal that it is so damn hard to find.

1. Crimes and Misdemeanors (1989)

Allen’s best film is this darkly grossing morality tale; themes of existential angst, moral ambiguity, and spirituality loom large throughout his entire oeuvre, but their shadow has never been more enveloping. than in 1989’s Crimes and Misdemeanors.

Martin Landau stars as Judah Rosenthal, an optometrist highly respected for his philanthropic work. His seemingly stable personal life is threatened by his mistress Dolores (Anjelica Houston), who is growing tired with his indecision on leaving his wife for her. Threatening to go to his wife with the affair, Judah consults with his shady brother (Jerry Orbach), who suggests having her killed. Horrified at having his personal life and reputation tarnished, Judah does the unthinkable and goes through with the suggestion. Never a spiritual man, Judah suddenly has to wrestle with the possibility of God’s judgment as the consequences of his decision weigh heavily on him.

In contrast, the innocuous marital strife of idealistic documentarian Cliff Stern (Allen) is juxtaposed with the darkness of Judah’s storyline; Cliff is trapped in a wholly loveless marriage. While following his pedantic brother-in-law Lester (Alan Alda) around for a project, he falls in love with Halley (Mia Farrow), a producer on the film. Cliff constantly tries to woo Halley with jokes about his brother-in-law’s smugness and reminders of how unhappy his marriage is, ultimately to no avail.

Allen’s married comedy and drama numerous times throughout his career, but never as seamlessly as with Crimes and Misdemeanors. It is the definitive testament to his ability to take seemingly incongruous ideas and styles regarding philosophy, morality, and storytelling and make them work together in a cohesive fashion. It is Allen’s best film, which given the quality of his work over the years, is nothing short of a triumphant title.

Last month, Vermont and upstate New York were hit by devastating flash foods that took lives and wrecked businesses in a way that they may never recover from. Relief efforts immediately sprung up in response, including a call to action from the Green Mountain State’s favorite sons, Phish.

America’s second favorite jam band rolled in for two special benefit concerts for the Waterwheel Foundation at Saratoga Performing Arts Center, a.k.a. SPAC, a favorite venue for those in the ‘jam band’ scene.

Night 1 opened with a first set that featured solid versions of fan favorites such as “The Moma Dance,” “Ocelot,” and “Punch You in the Eye,” as well as the fairly rare Gordon solo number “Mull.” Coming off the summer tour, Phish sounded relaxed and well oiled, but nothing in the set harnessed the ‘X’ factor where the jams really go to the next level; the exception was a 14 minute “Sand” where Anastasio really cut loose, taking a long extended solo that included a long interpolation of the “Munchinkinland” theme from The Wizard of Oz.

Set 2 was more of the same: solid, but the jams were largely mannered and reserved. That all changed, however, with a 22 minute version of the blissful “A Wave of Hope,” an appropriate number for the evening given both its aquatic motif and its message of recovery from hard times. The set ended with a white hot “Chalk Dust Torture,” which featured Trey once again returning to Oz for his ending solo. 

The encore began with the poignant “Wading in the Velvet Sea,” another number that encapsulated the reason for the evening; it was the emotional high point of the evening despite sounding a tad hesitant musically. The show closed with a solid but perfunctory “Say it to Me S.A.N.T.O.S.”

Night 2 began with “Free,” and it was immediately that the band was ready to show up this night: the jam was winding, freewheeling and totally unpredictable in the best possible way. The fan favorite “Tube” shot out like a pressure bullet and had the entire band hitting psychedelic pay-dirt as they funk-strutted their way into “Twist” and “Harry Hood.”

“Maze” lived up to its title, with a twist-y, turn-y jam that explored a variety of kaleidoscopic landscapes, leaving the audience just enough time to take in each excursion before the band pivoted towards the next destination.

The previously discussed ‘X’ factor was fully captured in set 2, which featured some of the band’s most beloved songs delivered in exquisite fashion. “Down with the Disease” is a contender for the ‘top of the pile’ as far as the band’s most beloved exploratory vehicles, and this was a pantheon version that led into an equally magnificent and unpredictable “Ghost.” The band’s instrumental take on “Also Sprach Zarathustra” (the theme from 2001: A Space Odyssey) bridged a special appearance from jam band royalty Derek Trucks, who meshed beautifully with Trey throughout excellent versions of T.V. on the Radio’s “Golden Age,” a sublime “Everything’s Right,” a beautiful “Life Beyond a Dream,” and finally an epic “First Tube,” capping a truly triumphant set that blew away every second of the previous evening.

For an encore, the band brought out another fan favorite, “Possum,” and it was the perfect cherry on top for a show that ranks among the finest shows the band has pulled off in recent memory. Both nights are worth listening to, but the second one encapsulates so much of what makes Phish’s appeal so uniquely special and unpredictable in the best possible way. You never know what you’re going to get with this band, except a good time is guaranteed and that it is impossible to leave without a smile on your face.

To donate to victims of the flooding, go to https://www.waterwheelfoundation.org/

Usually when a renowned singer-songwriter releases a ‘covers’ album at a late point in the their career, it can go one of two ways. Some, such as Willie Nelson and Bob Dylan, are able to to put a unique spin on them with their own finely honed interpretive skills. Others, such as Rod Stewart’s notoriously bland takes on the Great American Songbook and 1970s’ MOR ballads, show an artist who’s run out of ideas and the effort amounts to little more than glorified karaoke. Bruce Springsteen, the New Jersey heartland rocker whose most recent original album came out just two years ago, is the latest artist to tackle such a task with his album of soul covers, Only the Strong Survive. 

On paper, Springsteen & soul music should be a match made in Heaven: his raspy howl, histrionic live shows and melodramatic anthems all owe a debt to soul legends such as James Brown, Sam Moore, and Sam Cooke. Throughout his career, he’s covered R&B classics such as “Twist and Shout,” “Shout, “The Dark End of the Street,” “Dancing in the Streets,” and several other classics to great effect in his live shows, and has even mastered the genre through his own original compositions such as “Back in Your Arms” and “I Wish I Were Blind.” 

Only the Strong Survive is a 16 song collection of some of Bruce’s favorite songs of the genre, covering legendary classics from artists such as The Temptations, The Supremes, Aretha Franklin, and The Commodores. The songs speak for themselves: “Only the Strong Survive,” “Turn Back the Hands of Time,” “I Wish It Would Rain,” and “What Becomes of the Broken Hearted” are defining classics so indelibly associated with their original artists that few have attempted their own takes.

For the most part, Only the Strong Surive is a pleasant if inessential listen; Bruce’s voice is in fine vintage, and he’s certainly qualified to provide his own special touch to these classics while retaining what made the originals so great in the first place. That’s the main problem with the record: Bruce performs these songs well, but he doesn’t really add anything to them. At its worst, the record feels like one long karaoke track with Bruce providing a guide vocal; the songs sound almost too faithful to the originals, save for the occasional key change to accommodate Bruce’s less agile 73 year old voice. He’s aided in that department by backing vocalists and Ron Aiello’s crisp production adding some heft to the proceedings. 

The song selection gets point for veering off the beaten path at times; while most of the songs date from the classic Motown / Stax period of the 1960s’, two of the songs were comeback hits in the 1980s’ for veteran acts who had been struggling for some time: the Commodores’ “Nightshift” and the Four Tops’ “When She Was My Girl,” both of which are among the better tracks on the record. He also teams up with the great Sam Moore on two tracks, including Willam Bell’s obscure “To Be a Lover,” best remembered for being a hit for Billy Idol. These tracks make up the most successful, 

It would be inaccurate to call Only the Strong Survive a phoned in effort; the production, the arrangements and the song selection all indicate that Bruce approached this project with the same level of passion and attention to detail that he gave to his previous covers album, 2006’s The Seeger Sessions. However, it is much easier to leave your mark on traditional Irish folk songs than songs already defined by their originators, and one can’t help but notice a feeling of sterility and vanity permeating throughout Only the Strong Survive. It won’t make you forget the originals, and if anything will make you want to revisit them. While Bruce never ascends to Rod Stewart levels of blandness, he doesn’t leave his own unique mark on them, either.

10. Red Rocks Amphitheatre, Morrison, CO. 10/19/21

This was a significant show, as it was Dead & Company’s first full show without original drummer Billy Kreutzman, who wound up missing a significant chunk of shows for the remainder of the year and much of the 2022 leg. Filling in for Billy was Jay Lane, drummer for Weir’s Dead adjacent projects such as Ratdog, Wolf Bros, and Furthur. The show opens with “Not Fade Away,” the Buddy Holly classic that the Dead turned into one of their most beloved jam vehicles throughout their career. In the context of Kreutzman’s absence, it’s a stunning statement to the band’s endurance and legacy, and its chorus – “You know our love will not fade away” – sounds like the world’s most badass ‘Get Well Soon’ card. 

The entire performance is top shelf Dead & Company, with Lane’s relative youthfulness adding some pep and punch to a band often derided as ‘Dead & Slow.” But it’s John Mayer and keyboardist Jeff Chiamenti’s ever blossoming musical bromance that takes center stage on the evening’s most sublime moments, particularly a splendiforous “Eyes of the World” that moves like a magic carpet to the stars.

9. Wrigley Field, Chicago, IL. 6/24/22

https://archive.org/details/dac2022-06-24.AKGmix.toaste.flac16

The original Grateful Dead rarely took political stances as explicitly as Bob Weir has in recent years. While the drug-fueled, ‘free love’ attitude more than hinted at a liberal philosophy, many conservatives and libertarians latched onto the ‘personal freedom’ motifs present in some of their work. Weir no longer embraces this neutrality, making his views on various ‘culture war’ issues such as LGTBQ rights and gun control loudly known at Dead shows, often in the wake of a specific incident or tragedy associated with these topics. 

The band’s first of two nights at the legendary Wrigley Field came in the wake of the Supreme Court’s unprecedented decision to overturn Roe v. Wade, which protected a woman’s right to choose for over 50 years. The band constructed a set list that was thematic in nature, opening with “Man Smart, Woman Smarter” into “Eyes of the World.” A song celebrating the intelligence and authority of women into a song that champions self-actualization and personal freedom? That should be more than enough of a statement. The band doesn’t stop there, beginning the second set with “Throwing Stones,” their most politically explicit political song that condemns poverty, corporate greed, and the exploitation of the most powerless among us. Weir even changes the words to condemn the Supreme Court explicitly.

8. The Gorge Amphitheatre, George, WA. 6/23/2016

https://www.nugs.net/live-download-of-dead-and-company-the-gorge-amphitheater-quincy-wa-07-23-2016-mp3-flac-or-online-music-streaming/14549.html

2016 was the year Dead & Company fully blossomed into a tight, cohesive unit. The shows on the summer tour showed a band playing with confidence, precision and a real sense of adventure. While the pairing of “Touch of Grey” and “Hell in a Bucket” looks standard on paper, these still rate as the band’s best takes on these respective songs. “Hell” is even performed at the original fast tempo instead of the slower, bluesier arrangement they had previously adapted. Mayer showcases his blues chops on a searing take on “Next Time You See Me,” and in general has fully adapted his playing to the Dead’s often challenging improvisational style. The second set features thoroughly jammed out versions of “Eyes of the World,” “Shakedown Street,” and “Uncle John’s Band,” three of their ‘big ticket’ exploratory vehicles that rarely if ever all appeared in the same set. Weir also uses his shredded rasp to great emotional effect on a powerful “Wharf Rat,” the band’s tale of a man down on his luck looking for one last shot but can’t escape the rut he’s gotten himself in. 

7. Wrigley Field, Chicago, IL. 7/1/2017

The 2017 summer tour ended on a high note with the two shows at Wrigley Field, which is a venue where the band reliably plays spectacular shows. They mix things up in the first set with an acoustic take on “Dark Star,” but it’s the second set where this band truly shines; in particular this is their finest pairing of “Scarlet Begonias” and “Fire on the Mountain.” This version rivals many of the original Jerry led outfits best versions, with a questing transitional jam that hits a number of great peaks and a “Fire” for the ages with John using his guitar as a flamethrower as he ascends to what is still the most intense peak of any Dead & Company song ever performed.

6. TD Garden, Boston, MA. 11/17/17

A watershed show during the excellent Fall 2017 tour, the Dead built on the newfound momentum they gained on their summer tour and delivered outstanding shows night after night. Boston witnessed one of the absolute best of the run; from the top they blast off with their best “Jack Straw” to date, as well as a blazing hot “Scarlet -> Fire” and a haunting, extended “He’s Gone” that delivers goosebumps once John and bassist Oteil Burbridge take over the vocals. It’s all punctuated by a gorgeous encore of “Ripple,” the band’s most touching benediction of all.

5. Wells Fargo Arena, Philadelphia, PA. 11/16/17

Another heater from Fall 2017, this show is wall to wall highlights and slightly outclasses the stellar Boston show with a quirkier song selections that include the band’s disco-fried take on “Dancing in the Street” and Weir’s environmental odyssey “Let it Grow.” The second set is where this show really shines, beginning with a kaleidoscopic “Dark Star” and soaring renditions of Dead bellwethers such as “Deal,” “Eyes of the World,” “Uncle John’s Band,” and rollicking “Going Down the Road Feeling Bad.”

4. Hollywood Bowl, Hollywood, CA. 10/31/21

All incarnations of the Dead have played inspired Halloween shows where they tap into the energy of the season. These shows are often spooky, with jams that go to dark places and song selections that compliment them. The third and best show of their Hollywood Bowl run from last year contains such thematically appropriate picks as “Dire Wolf,” “Hell in a Bucket,” “Dark Star,” and the classic country murder ballad “El Paso.” Also significant is the first ever post-“Space” “Scarlet -> Fire,” which has a very different, edgier energy coming this late in the set and segues into the apocalyptic odyssey “Morning Dew,” where Mayer puts on a clinic in how to properly shred in a way that is emotive and complementary rather than masturbatory.

3. The Gorge, George, WA. 6/29/18

You could throw a dart any of the stellar 2018 summer tour and land on a terrific show, but ultimately I went with the Gorge show because of the stellar set list and the wonderful song selection, which includes the debut of “Mr. Charlie,” the ethereal and mysterious “Crazy Fingers,” and Garcia’s tearjerking anthem “Comes a Time” among the highlights. Playing-wise, the band is a tight groove throughout, with Burbridge having dosed for the first time prior to going onstage. It’s also not often that I praise a “Black Peter,” but this version is absolute gold and goes the distance as it reaches a fantastic, Mayer-tastic finale.

2. BB&T Center, Sunrise, FL., 2/26/18

In the wake of the Marjorie Stoneman Douglas shooting, this show was a healing ceremony of sorts; it’s also the angriest show they’ve ever played. The song selection was deliberately designed to send a message. There are obvious choices: “New Speedway Boogie,” “Eyes of the World,” and “Throwing Stones” all have very obvious connotations in the context of the show. But then there’s the opening “Shakedown Street,” with special emphasis placed on the refrain “Don’t tell me this town ain’t got no heart…” “They Love Each Other” feels like it’s being sung directly to the surviving students who banded together and supported each other in the aftermath. The closing “Touch of Grey,” with its classic “we will survive” chorus, is as hopeful a message that they could possibly end with. An all around magnificent show, one played with a clear purpose and motivation. 

1. Citi Field, Flushing, NY. 6/23/2019

I admit that I have attendance bias, as I was at this magnificent show on a beautiful summer night. And no doubt this night’s legacy gets slightly inflated by the fact that John Mayer played the Wolf, one of Jerry Garcia’s signature guitar rigs. I can also be objective: this show is as air tight and inspired as this band gets, and the set list really helps take it over the top. Giving Mayer one of Garcia’s guitars seemed like the ultimate confirmation that he was now part of the band’s ongoing legacy, and it pushed him to do justice to the many signature Jerry tunes that graced the set list: “St. Stephen,” “High Time,” “Sugaree,” “Terrapin Station,” “Scarlet -> Fire,” and “Morning Dew” all found their way to Citi Field that night and were played with precision and the utmost respect by Mayer. There’s also a magnificently punchy “The Other One” with Burbridge imitating Phil Lesh’s signature rolling bass bombs, and a touching “Brokedown Palace” encore.