Republicans grew their small majority in the House of Representatives after state Sen. Michael Rulli won a special election for a vacant seat in eastern Ohio. According to Roll Call, Rulli defeated Democrat Michael Kripchak 52 percent to 48 percent. “Rulli will serve the remainder of former Republican Rep. Bill Johnson’s term, which runs through January. When he is sworn in, Republicans will hold 219 seats to Democrats’ 213,” Roll Call stated. Johnson resigned from Congress to become president of Youngstown State University. Rulli and Kripchak will face each other again in November’s election. Some individuals suggest the GOP should worry after Tuesday’s results. The Ohio 6th CD special election results should be a major alarm bell for the entire GOP. Bill Johnson won this seat by 35 points in 2022. It’s a Trump +30 district. The Republican will win, but it is a 4.4 point race with 65% of the vote in. That’s insanely bad. pic.twitter.com/y7A6dTCqDE — Peter Henlein (@SwissWatchGuy) June 12, 2024 Donald Trump won this #OH06 Congressional district by +29 in 2020. Tonight, the Republican who won the special election by only +8 is an Ohio State Senator who spent over $700k, … while the Democrat is a first time candidate who only spent $25K. h/t @sjclermont pic.twitter.com/0rKFCL7b0r — Fernand R. Amandi (@AmandiOnAir) June 12, 2024 Per Roll Call: Rulli comes to Congress from the Ohio Senate, where he was elected to two terms starting in 2018. His state Senate seat encompasses many of the same eastern Ohio communities as the 6th Congressional District, and he beat state Rep. Reggie Stoltzfus by less than 9 percentage points in a March special primary. Rulli grew up in Poland, Ohio. His grandfather and great-uncle established the Rulli Bros. grocery store in 1917, which the family still operates at two locations in the Youngstown area. Rulli left his home town to attend Emerson College in Boston and played bass in a Boston-area grunge band called Red Bliss. Afterward, Rulli returned to Ohio and worked in the family business. He’s been in politics since winning a seat to the Leetonia School Board in 2009. In Congress, Rulli says his focus will be on growing the local economy, including manufacturing and energy industries in eastern Ohio. He plans to take up his predecessor Johnson’s legacy as a champion of oil and natural gas. As expected, Republicans will win this special election for Congress in Ohio – but the margin will raise eyebrows. In 2022, the GOP won this seat by 67-33 https://t.co/4s1a1uADV6 pic.twitter.com/AoGwiL1Ygv — Jamie Dupree (@jamiedupree) June 12, 2024 From the Associated Press: Rulli’s victory by roughly 10 percentage points was much closer than earlier GOP performances in Ohio’s 6th District. Johnson won his last four elections by more than 30 percentage points. Trump also carried the district by around 30 percentage points in 2020. While this was a special election held in the summer, when turnout traditionally dips, the results could offer hope for Democrats looking to be competitive this fall in Ohio and neighboring Pennsylvania. “We knew the polls were gong to be close, and the guy I ran against really worked. He’s a really hard worker,” Rulli said. “But this is a blue-collar district, this is Bruce Springstein, the forgotten man, ‘Joe Bag of Donuts.’ They don’t trust the Democrats and Republicans, and they look at the individual. And I’m really good at retail politics.” The second-term state senator is from Salem in Ohio’s Mahoning Valley, where he directs operations for his family’s 100-year-old chain of grocery stores.

Former Donald Trump adviser and War Room host Steve Bannon filed an emergency motion Tuesday evening asking the U.S. Court of Appeals for the District of Columbia to overrule a lower court’s order that he report to prison by July 1st. Bannon is seeking sufficient time to appeal to the U.S. Supreme Court, if necessary, over his contempt of Congress conviction. He was sentenced to four months in prison for defying subpoenas from the J6 Committee. JUST IN: Steve Bannon files an emergency request at the D.C. Circuit, asking them to prevent him from having to report to prison on July 1 for his contempt of Congress conviction. https://t.co/3nUbFwzNdX pic.twitter.com/OHzmF2PTx2 — Chris “Law Dork” Geidner (@chrisgeidner) June 11, 2024 NBC News reports: Bannon’s attorney argued in Tuesday’s filing that his imprisonment would block him from acting as a “meaningful adviser” in the campaign leading up to the November election. “The government seeks to imprison Mr. Bannon for the four-month period leading up to the November election, when millions of Americans look to him for information on important campaign issues,” wrote Trent McCotter, a new addition to Bannon’s legal team. “This would also effectively bar Mr. Bannon from serving as a meaningful advisor in the ongoing national campaign.” A three-judge panel of the D.C. Circuit last month upheld Bannon’s contempt of Congress conviction, prompting the trial judge who presided over Bannon’s case to rule that he must report to prison at the end of the month. U.S. District Judge Carl Nichols, an appointee of former President Donald Trump, said last week that the “original basis” for his stay of the imposition of Bannon’s sentence no longer applied after an appeals court upheld the conviction. “There is also no denying the political realities here. Mr. Bannon is a high-profile political commentator and campaign strategist. He was prosecuted by an administration whose policies are a frequent target of Mr. Bannon’s public statements,” the motion says, according to Fox News. Per Fox News: The motion Tuesday comes after Trump was convicted on 34 felony charges in his New York City hush money trial and faces a sentencing hearing next month just four days before the Republican National Convention, where the GOP will likely declare him their official 2024 presidential nominee. Bannon “intends to vigorously pursue his remaining appeals in this case and has retained experienced Supreme Court counsel,” his lawyers wrote Tuesday, asking the court to allow him to remain on release given there is “no dispute that Mr. Bannon ‘is not likely to flee or pose a danger to the safety of any other person or the community if released’ —indeed, he has been out on release for years now without incident, and his ‘crime’ was non-violent.” “Mr. Bannon faced what the Court has described as a novel scenario: Congress was pursuing documents and testimony from a former executive branch official, yet counsel for the former President himself required Mr. Bannon to protect executive privilege in responding to the subpoena,” the motion says. “Mr. Bannon followed the advice of his counsel and requested that the Committee resolve the privilege issues with the holder of that privilege, or have the matter resolved in a civil suit.” Bannon’s lawyer at trial argued that the former adviser did not ignore the subpoena, but was still engaged in good-faith negotiations with the congressional committee when he was charged. Read the full motion HERE.

The US will stop at nothing, including the use of neo-Nazis, to damage Russia, Kremlin spokesman Dmitry Peskov said on Tuesday. Peskov made the remarks following Washington’s decision to lift a ban on supplying weapons [...] The post Kremlin Says US Is ‘Flirting With Neo-Nazis’ In Ukraine appeared first on The People's Voice.

Review & Photos by Joe Schaeffer The historic Saban Theatre in Beverly Hills reverberated with the electrifying sounds of Mr. Big. The iconic rock band, known for their fusion of melodic hooks and technical prowess, delivered a memorable performance that left fans both nostalgic and exhilarated. Mr. Big, the iconic US rock band, embarked on their Big Finish Tour and are celebrating nearly 40 years of making records. The tour kicked off in Japan last July and took them across Asia, East Coast US and South America. They are currently back in the US for more dates before heading into Europe and the UK into the summer. During this swansong tour, Mr. Big is performing their breakthrough 1991 album Lean Into It in its entirety, along with other tracks from their distinguished career. The setlist this evening was a trip down memory lane. From the opening riff of “Addicted to That Rush” to the soulful ballad “Just Take My Heart,” the band showcased their timeless sound. The electric drill-infused anthem “Daddy, Brother, Lover, Little Boy” had the crowd on their feet, while the bluesy groove of “Colorado Bulldog” resonated through the venue. The chemistry between the band members was unmistakable. Billy Sheehan’s thunderous bass lines, Paul Gilbert’s lightning-fast guitar solos, and Nick D’Virgilio’s precise drumming created a sonic tapestry that enveloped the audience. Eric Martin’s vocals soared effortlessly, capturing the essence of Mr. Big’s signature sound. Mr. Big didn’t shy away from surprises. Their cover of Cat Stevens’ “Wild World” was a heartfelt tribute, and the crowd joined in to sing every word. The instrumental switch during “Good Lovin’” showcased the band’s versatility, with Martin on bass, Sheehan on vocals, Gilbert on drums, and D’Virgilio on guitar. And when they launched into The Who’s classic “Baba O’Riley,” the energy in the room reached a fever pitch. The Saban’s intimate setting allowed fans to connect with the band up close. The venue’s acoustics were spot-on, ensuring that every note resonated beautifully. The crowd’s enthusiasm was infectious, and Mr. Big reciprocated with their high-octane performance. Whether you grew up listening to their hits or discovered them recently, this show was a testament to their enduring legacy. As the final chords echoed through the venue, it was clear that Mr. Big had left an indelible mark on the music scene.

The Doobie Brothers have weathered enough styles and changes in personnel to deserve recognition as the sturdy and successful unit they are. Embracing an easy-going, country-infected stance that has always been at the foundation of their sound, Sibling Rivalry, released in 2000, didn’t exactly set the world on fire. It did, however, satisfy those who yearn for the simple rhythm and lightly textured harmonies that the Doobies have always been known for. Without Michael McDonald in the fold, the band reached beyond the blue-eyed funk/jazz leanings that, to many of their early fans, almost killed off their credibility as a viable rock and roll band. The album opens with the swinging “People Gotta Love Again.” Much in the vein of “Listen To The Music,” guitarist Tom Johnston’s message addresses everybody who needs to take a look around and start respecting each other a little more. The country-blues “Leave My Heartache Behind” from Patrick Simmons is reminiscent of the 1974 hit, “Black Water”. The band succumbs to mellower strains with the rather ordinary, “Ordinary Man,” but bounces back with the upbeat “Jericho.” It doesn’t last long as the band falls into the meager “On Every Corner” that only sustains itself with a blend of Doobie-like lush harmonies and decent guitar work by Johnston, Simmons and John McFee. It grows even more placid on Michael Hossack’s “Angels Of Madness,” which could have used a boast from someone like McDonald. Thankfully, Johnston kicks things back into place with “45th Floor,” a politically charged ode that somehow shifts the entire outfit into high gear. After that, things settle down again with “Can’t Stand To Lose,” co-written by Poco’s Rusty Young and sounding more like the Eagles than the Doobie Brothers. “Higher Ground” shuffles along aimlessly but finds its voice with a catchy refrain. “Gates Of Eden” doesn’t bring much to the table while “Don’t Be Afraid” trips into a contemporary jazz booby trap. Drummer Keith Knudson, whose songwriting credits appear through-out the more somber tunes of the CD, finally manages to let loose on “Rocking Horse.” With Johnston and McFee tearing into some wailing leads, this song manages to lift the album out of the slumbers. Finishing off with the solid and breezy acoustical instrumental, “Five Corners,” Sibling Rivalry, following 1991’s Brotherhood, is everything you’d expect from a group of 70s rockers at the top of the new century. It would be another 10 years until The Doobie Brothers delivered another studio album. That is another story altogether. ~ Shawn Perry

When it comes to Little Feat’s Sam’s Place, their first new studio album in 12 years, there are a lot of firsts. It’s the first blues album by the group. It’s the first to feature guitarist Scott Sharrard and drummer Tony Leone. And it’s the first with Sam Clayton handling lead vocals on every song. The band’s conga player since 1972, Clayton sang background vocals on most of Little Feat’s albums from the 70s. In more recent times, he’s stepped out front, so it only makes sense he gets his shot at carrying a whole album. Brought to life by a stellar lineup that also includes keyboardist Bill Payne, guitarist Fred Tackett, and bassist Kenny Gradney, Sam’s Place apprises the purity and value of one of America’s finest rock and roll bands. The album was recorded at Sam Phillips Recording in Memphis, except for the live version of  “Got My Mojo Working,” captured during one of the band’s shows in late 2022. Though the nine songs are mostly covers by the likes of Willie Dixon and Muddy Waters, “Milkman,” the opening track, was penned by Clayton (with lyrics by his wife Joni), Tackett, and Sharrard. It’s an easy-going blues-and-brass-soaked number that suitably sets the pace for what’s to follow. A swift run-through of Willie Dixon’s “You’ll Be Mine” measures up to Little Feat standards. Clayton’s interpretation of the two Muddy Blues songs are also definite stand outs. A duet with Bonnie Raitt on “Long Distance Call” catches the spark of the spirit, while a rollicking bounce through “Can’t Be Satisfied,” long a staple on the band’s setlist, lifts Clayton’s bluesy roar to new heights. The song also finds Payne at his very best, driving the tempo with his mad chops on the piano while Michael “The Bull” LoBue cushions the corners with his harmonica. Clayton owns the melody on Little Walter’s “Last Night,” which is dedicated to the late Ed Bradley of 60 Minutes fame. Bobby Charles’ Cajun-flavored “Why People Like That” chugs along to a slab of tasty slide work from Sharrard that dutifully complements Clayton’s throaty vocals. It may take the live version of Preston Foster’s notorious “Got My Mojo Working” to convince any doubters in the room to appreciate the vocals, the players, and everything good and magical about Little Feat. This is the band operating to the max, fueled on adrenaline, sweat, and love for the blues. While Little Feat continue touring the States, Sam’s Place is a great reminder of just how great they still are in the studio. Sharrard and Leone both sing with the band, so perhaps there’s a song or two they could sing on the next record. Of course, whatever else Clayton, Payne, Tackett, and Gradney bring to the table is even better. With Little Feat, one can never get enough of what each player adds to their unique elixir of sound and symmetry. ~ Shawn Perry

Review & Photos by Joe Schaeffer In the heart of Las Vegas, the Venetian was abuzz with anticipation as fans of all ages gathered to witness a musical legend — Ringo Starr & His All-Starr Band. Tonight’s show kicked off a six-night residency at the hotel (as well as a Spring tour), so there was a real sense of excitement in the air. Hitting their marks, the ensemble opened with the Carl Perkins classic “Matchbox,” setting the tone for an evening that was as much about classic rock as it was a showcase of Starr’s charisma and talent. The setlist was a carefully curated mix of Starr’s solo hits, Beatles favorites, covers, and songs associated with the members of His All-Starr Band. Ringo, ever the showman, was in his element. His voice, seasoned yet spirited, carried each song with the comfort and familiarity of an old friend. The crowd couldn’t help but sing along to “Yellow Submarine” and “With A Little Help From My Friends,” songs that have become anthems across generations. The band, a rotating group of rock veterans, brought their A-game. The lineup for the 2024 Spring tour includes Ringo, Colin Hay (Men at Work), Hamish Stuart (Average White Band), Gregg Bissonette (David Lee Roth), Steve Lukather (Toto), and Warren Ham (Kansas, Toto). Unfortunately, Edgar Winter was unable to perform this evening and will no doubt rejoin the band soon. Together, the players’ musicianship was impeccable, with each artist bringing their own unique flavor to the stage yet harmonizing and playing seamlessly with the others. Highlights from the night include Colin Hay leading the charge on Men at Work hits like “Overkill,” “Down Under,” and “Who Can It Be Now?.” Lukather represented Toto’s “Rosanna,” “Africa,” and “Hold The Line.” And all eyes were on Hamish Stuart during the Average White Band instrumental, “Pick Up The Pieces.” The Venetian Theatre, with its intimate setting, provided the perfect backdrop for this musical journey. The acoustics were spot-on, allowing each instrument to resonate clearly, from the jangle of the guitar to the distinctive beat of Ringo’s drums. It was a night where music was the star, and the audience was treated to a sonic experience that was both grand and personal. As the night wound down with “Photograph,” it served as a poignant reminder of the passage of time, coupled with a collective sense of gratitude. Gratitude for the music that has soundtracked our lives, for the memories rekindled, and for the chance to see a Beatle, who at the ripe age of 83, is still passionate, still playing, and still bringing joy to the world. Ringo Starr & His All-Starr Band’s performance at the Venetian was more than just a concert; it was a celebration of a storied career, a gathering of friends, and testament to the idea that some stars do indeed shine forever.

After Yes completed their all-hands-on-deck Union tour in 1992, record label mogul Phil Carson approached guitarist Trevor Rabin about recording a new Yes album for his Victory label. Carson wanted to capture what was considered the band’s most commercially successful lineup — keyboardist Tony Kaye, singer Jon Anderson, bassist Chris Squire, drummer Alan White, and Rabin. But for what would be the band’s 14th studio album (and the last to feature either Kaye or Rabin), the guitarist wanted writing songs with Jon Anderson, who hadn’t participated in recent songwriting sessions with the band. Talk, the album that came from the collaboration, has now been expanded to celebrate its 30th anniversary. What we have in this set are four CDs and a white-colored vinyl LP (depending on the version you opt for). One CD features the original album and a second CD is filled with four versions of “The Calling” (which yielded some airplay on US radio), plus additional demos and instrumentals. The last two CDs comprise a live show recorded on June 19, 1994, in Canandaigua, New York. The 17 songs include several from Talk alongside chestnuts like  “Heart Of The Sunrise,” I’ve Seen All Good People,” and “Owner Of A Lonely Heart.” This collection represents a great time capsule of what Yes was all about in the early 90s. For me, it’s the live material that makes this set. I was and am still not so taken with Talk. The songs stretch on far too long, and tunes like “I Am Waiting” sound more like a Rabin solo track with Anderson singing on top it. The three-suite, 15-minute “Endless Dream” is really where we get any real feel of a Yes track at all. It should be noted, however, that drummer Alan White is brilliant throughout this record. Snapping into quick switching time signatures and playing as hard as I have ever heard him, White is a force of nature on Talk. Though it may not rank as the strongest Yes album to be celebrating, this 30th Anniversary Deluxe Box Set Edition of Talk is an essential must-have for Yes completists and diehards. It most definitely speaks to Trevor Rabin’s massive contributions to a band swimming against the prog rock tide in the latter part of the 20th century. That may explain why Yes, in its various forms, is still an ongoing institution. ~ Ralph Greco, Jr.

Review by Shawn Perry Photos by Erin Perry The inaugural CaveJam took place over Memorial Day Weekend at The Caverns in Grundy County, Tennessee. Billed as a three-day camping festival with performances from a wide array of artists and bands on two stages — the outdoor amphitheater and The Caverns’ renowned subterranean concert venue — the event managed to move forward, despite severe weather alerts. CaveJam was well aligned with the jam band ethos of anything goes (within reason) for as long or lazily as it takes. Set against the pastoral Cumberland Plateau, far and away from the rumblings of the chaotic real world, the festival provided all the essentials — local food trucks, worldly vendors with earthy wares, ample parking, swag, glamping options and other extras for VIPs, and, most importantly, an incredible tranquil vibe for three days of music. Visitors could even take a guided tour of the caverns beyond the underground stage. Friday, a hodgepodge of isolated thunderstorms in the area, opened CaveJam with four amphitheater performances from Susto, Mo Lowda & The Humble, Devon Gilfillian, and DJ LP Giobbi Presents Dead House, who spins what is described as “house music, with a few full Grateful Dead Reimagines.” To be sure, there were more than a few Grateful Dead reimagines and inspirations floating in the air at CaveJam. You just had to know where to look. The String Cheese Incident (SCI), out of Colorado, were billed as the headliner, playing two of the three days (Saturday and Sunday), with three sets outside and a fourth and final set Sunday at midnight in the cave. As much as I would have wanted to see SCI for that set, I opted to check out CaveJam on Saturday, which included two sets from SCI, and a full spread of seven other acts — Barefuzz, Pimps of Joytime, Ladycouch, Dopapod, Bertha: Grateful Drag, Pink Talking Fish, and Spafford. It was a clear and warm day at the amphitheater, so we hightailed it to the cave to cool off and catch the last half of Ladycouch’s set. A 12-piece Nashville-based rock and soul revue, Ladycouch were stirring up molecules left and right within the cave’s barometric response. With a four-horn section (two saxophones, one trumpet, one trombone), two keyboardists, two guitarists, two singers, plus the requisite bassist and drummer, how could they lose? Once they fell into the massive Huey Lewis and The News hit, “The Power Of Love,” it was as if all time stopped and visions of Marty McFly and Doc Brown started buzzing around on the cave’s innate ceiling. No, it’s not the IPAs talking. There was a definitive funkiness fueling the floor with revery. Indeed, CaveJam was more than just jam bands. It offered a flotilla of flavors to sweeten the palette. Which made the group that followed Ladycouch all the more intriguing. When you consider all the tributes to and reimagines of the Grateful Dead, it was only a matter of time before someone came up with a whole new angle to stand out from the crowd. It’s also a good thing the feds overturned the Tennessee law restricting public drag performances because Bertha would be targeted for prosecution. Instead, the “Grateful Drag” six-piece unit ran through a set of tunes that brought the cave to a boil. There’s nothing like watching a bass player with a five o’clock shadow dressed in an evening gown and sporting a red wig set up their rig. After a little tuning and powders to the cheeks among the players, it only got better. Test teasers of “Mr. Charlie” and “Eyes Of The World” established the baseline and acoustics. Opening with “Bertha,” the group immediately won the audience over. Their choice selection of classic Dead songs certainly caught my ear. Having two women — Melody Walker and Caitlin Doyle — gave the group the “Donna” edge they needed to zero in on a prime 70s Dead sound and nail songs like “They Love Each Other” and “Scarlet Begonias.” The jams were equally enticing on “Cassidy” and “Casey Jones.” And how apropos for them to let loose with a groovin’ “Cumberland Blues.” The guitar work of bespectacled Thomas Bryan Eaton — donning purple tights, a glistening, sparkling dress with flared sleeves, and a purple beehive with a red ribbon — would have made Jerry Garcia think (and look) twice. A dive into “It’s All Over Now” also gave Eaton a chance to deliver a heartfelt lead vocal. It all ended, appropriately enough, with “Almost Saturday Night,” a number built for a crowded cave. We took a short break at the entrance of Big Mouth Cave, where we luxuriated in the late daytime heat and natural cool breeze flowing from the cave. Members of Bertha, still in character, did the same. The pull was strong enough to lure us back inside for one more performance from a band called Spafford. I quickly picked up on the Phishiness of this preppy looking quartet out of Arizona, and realized right then and there they possessed a tight, eco-centric approach that embraced any number of styles, from rock to reggae to electro-pop. I watched closely as guitarist Brian Moss, bassist Jordan Fairless, keyboardist Cory Schechtman, and drummer Nick Tkachyk engaged in playful cooperation from the get-go as they fell right in “Ain’t That Wrong” from their popular 2018 album, For Amusement Only. A cover of Tears for Fear’s “Mad World” was a bit jarring at first, but the “Spaffnerds,” as they are known, ate up every beat. That techno sensibility carried over to “Radio.” Then the group shifted gears into “Plans,” which showcased their chemistry and musicianship. It all came to a sudden end with a delightful “Lonely.” The next thing I knew I was at the merch counter buying a Spafford CD. Definitely a band I’ll be keeping my eye on. It was at this point that we ventured out to the amphitheater to find our place for The String Cheese Incident. The first level in front of the stage filled up fast, so we opted for the next slop up. The sun was setting, temps dropping, and it felt like the right place to be. It only took a little pre-show sampling of Starland Vocal Band’s “Afternoon Delight” to get the place pumped up. I hadn’t seen SCI in years and was anxious to see if or how they’d changed. To my pleasant surprise, they’ve developed into a world-class band. Guitarist Michael Kang, vocalist and guitarist Bill Nershi, and keyboardist Kyle Hollingsworth, were all where I saw them the last time, and they couldn’t have come across as more seasoned and up to the task. I recall seeing Kang playing a lot of electric mandolin in a club run I attended in the late 90s. Tonight, he stuck to electric guitar and violin, playing both like an extension of his body. His style, especially his leads, carry a rarefied Jerry Garcia nuance, though he’s also well versed in jazz, bluegrass, and even bits of Hawaiian folk, if you really focus on his phrasing and overall tone. Nershi, who sings and writes a good chunk of the material, and Hollingsworth were equally impressive. With drummer Michael Travison, percussionist Jason Hann, and bassist Keith Moseley in their pocket, it was as if they could play anything. And that they did with complete abandon. “What a beautiful place to play,” Nershi remarked before the ensemble started up with “Search” from 2001’s Outside Inside album. That’s all it really took to get the hillside moving. More recent fare like “Ain’t I Been Good To You” and “Manga,” both with accents-a-plenty from Hann coupled with those spin-tingling clavinet strokes from Hollingsworth, had everyone on their feet spinning, twirling, prancing, wiggling, shaking, stomping where there was room, and doing their darndest to release all their inhibitions into the nearby woods. A convergence of tempos and styles, ranging from reggae to incidental to whatever strikes the mood, underscore SCI’s innate sense of intuitiveness and adventure (clearly tied to their Colorado roots) they bring to the stage. Combined with an eye-popping lightshow, the show becomes an effervescent blend of color and sound, especially poignant in areas like the Cumberland wilderness. The first set ended with a wicked stab at Tom Petty’s “Wreck Me,” followed by a return to the old days with “Restless Wind” from 1998’s ‘Round The Wheel album. That certainly brought everyone back down to earth. We relocated to another section of the amphitheater just as the darkness settled in. Twenty minutes later, SCI was back and ready to take the audience on a sonic rollercoaster ride. They cobbled together a rapturous suite around “On The Road,” another one from ‘Round The Wheel, plus a new one called “I Will Follow,” followed closely by a bright and bouncy “Betray The Dark.” The country-flavored “Cottonmouth,” with Moseley handling the vocal, went down like a glass of sweet tea. Just when thought the spirited “It Is What It Is” was the climactic moment, SCI took it one step further when they encored with the Dead’s “I Know You Rider” and a dab of Bob Marley’s “Stir It Up” thrown into the mid-section to make sure everyone was paying attention. No worries, as everyone was transfixed, firmly in the grip of the music ricocheting off the boulders that lined the back of the amphitheater. I was compelled to come back Sunday to check out Easy Honey, Love Rat, Karina Rykman, Space Bacon, Keller Williams, The Vegabonds, Dumpstaphunk, Neighbor, and two more sets of SCI, but weather and circumstances stood in the way. By all reports, it exceeded all expectations, especially when Keller Williams jammed with SCI. Out of curiosity, I watched some video of SCI’s final set in the cave. They couldn’t have been more suitable to the environment. Which isn’t to say they’re cave dwellers. It’s really more about the venue itself and a sense of well-being it encompasses. I can’t stress enough that if you ever get anywhere near The Caverns in Pelham, and there’s a show happening, seize the moment and go. No matter what’s going on outside, it’s like a safe haven for the mind, body, and soul.