I found it quite fitting that on the day The Other Ones (Grateful Dead sans Jerry Garcia) announced their ticket information for this fall tour, I found myself in the presence of live Dead music. Electric Hummus is the Boston area's Grateful Dead tribute band (there seems to be one for every region). Their performance Friday night at The Attic in Newton featured two guitarists, one of whom sounded exactly like and physically resembled Bob Weir, one bassist, one drummer and a keyboardist. They played two sets of masterfully interpreted Grateful Dead music that delightfully accompanied the Angels' defeating of the Yankees that evening.Getting there on the earlier side, I was treated to a mellowing "Let The Good Times Roll." The repetition of "all night" was reminiscent of old R&B doo-wop with the Weir look-alike's signature squealing capping the song. The first set began with a "Bertha," which spotlighted both vocals and solos. Here, the keyboard turned into an organ (although not for the last time), which flew at points and provided frills for the solo.

"Promised Land" made for a fun southern feel and "Brown Eyed Woman" allowed the vocalist to lightly groove and tickle the song down to a finish. "Me and My Uncle," segued into "Cumberland Blues" and momentarily turned the trendy bar into a Texas cowboy joint. Electric Hummus jammed yokel style, which ultimately progressed towards surreal beauty.

Their "Just Like Tom Thumb's Blues" started off hard, but then smoothed out into the pristinely crisp Deadness that I've grown to love. Those notes summoned up a warm smile from the depths of my heart. This worked supremely well, being followed by "Black Throated Wind," a horizon like tune: It wasn't quite soaring through the stars in space, but wasn't quite underwater bliss either. It was a fresh mix of the two. This finish gave me my first ecstatic peak of the musical evening.

"Big Railroad Blues" was a fun song from start to finish that again made the stage for a soaring organ. Next, I called "Feel Like a Stranger," so I was psyched when they began to play it. It was a sweet jazzy uplifting interpretation in which the jam exploded back to the melody at the finish. This set the stage for what was to come. The first set closed with another '80s tune, "Don't Ease Me In," where the organ bloomed and all were left with an appetite for more.

A rare literal 15-minute setbreak ensued and the second set broke into an all out dance party with "Mr. Charlie." Next, "Playin' in the Band" had a raw '80s feel that led to the first and only spacey vibe of the evening. They didn't keep the audience out there long though, and brought us back strong into a beautifully trickling "Crazy Fingers." Again with an '80s style, this song encompassed the room with bubbling surreal beauty.

"Fingers" slowly led into "Lost Sailor," which kept the crowd padded in warmth until the pick me up of "St. of Circumstance" ensued. At this point, everyone was dancing and smiling, and Erstad drove in the go ahead run to go up 7-6 against the Yanks. It was a time for rejoicing and it was only getting started. During the lull of the segue, Salmon jacked a two run job down the left field line and then Hummus broke into a body undulating "Going Down The Road Feeling Bad." It was nuts, I tell you, nuts!

Just when I thought it couldn't get any better, I called "The Other One" and hopped on for the ride. It was a tight, late '60s style rocker that remained strong for a while and then segued (a little shakily) into "Morning Dew." This allowed everyone to catch his or her breath, sway to and fro, and soak in the Angels' victory (or more appropriately, the Yankee's defeat). The song built so smoothly that before I knew it I was immersed in an ever-increasing orb of energy that climaxed with a barrage of guitars and nasty organ playing. "Lovelight" capped the set with everyone putting their best moves on the dance floor and the Weir-look alike reaching deep for, and ultimately hitting, his high-pitched scream/squeals.

The encore was a surprising, Dead styled "Werewolves of London" with some made up lyrics that segued into "Franklin's Tower," and it was well worth the wait. It pushed the positive vibe deep within me and guided it throughout the room. What a night of music, dancing, Yankee hating (in the most positive of ways) and all around jubilation.