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Archive for the ‘Phish’ Category

 SOUNDTRACK: PHISH Live Bait 14 (2018).

Phish has just released its 14th compilation of free downloads.  This one is a little over two hours with seven long songs.

Harry Hood (8/2/97 Gorge Amphitheatre – George, WA) 18:11
After a slow intro–it’s about two and a half minutes before the vocals come in–then there’s jazzy bass and funky keys.  The jam is pretty mellow, he even asks to have them kill the lights “so I can have the outdoor vibe here.”  A relaxed piano comes in around 12 and it’s not until 17 minutes that they sing the end of the song.

McGrupp And The Watchful Hosemasters (10/29/98 Greek Theatre – Los Angeles, CA) 11:45
This is a fun treat as they don;t play this song much anymore.  The piano opening is very quiet, but the middle is cool with a piano and splash cymbals.  The ending is twinkling piano that segues perfectly (despite being nearly a year later) into the next song.

Wolfman’s Brother (9/24/99 South Park Meadows – Austin, TX) 18:55
opens with a quiet piano but it quickly grows upbeat with a hot jam. Although the final section is dark for a bout a minute before it ends.

Gotta Jibboo > Saw It Again > Magilla (7/4/00 E Centre – Camden, NJ) 39:28
Gotta Jibboo brings back the lightness again. It’s got a happy solo with a pulsing high keyboard note that runs for almost ten minutes while Trey solos.  It turns funky/groovy around fifteen minutes in and then around 17 minutes in it shifts gears and grows slowly noisy and chaotic before sequing to Saw It Again.  Around 34 minutes, it slows down and segues into Magilla with really cool drums.

What’s The Use? (6/25/00 Alltel Pavilion at Walnut Creek – Raleigh, NC) 9:52
This is an instrumental that starts out sounding quite raw–the guitar is sharp with feedback moments.  After  couple of minutes the guitar fades and it gets quiet and pretty before the guitar returns and grows noisy again.

Runaway Jim (7/9/99 Merriweather Post Pavilion – Columbia, MD) 12:21
As always this song rocks.   Although the jam is pretty mellow and pleasant sounding.

Tweezer > Prince Caspian (8/22/15 Magnaball, Watkins Glen International – Watkins Glen, NY) 34:17
Most of the songs on this compilation are from the turn of the century, but this one is from just a couple years ago and it’s a big old “Tweezer” exploration.  This version sounds pretty loose–Trey even modifies the open chord riff somewhat.  Even the “Uncle Ebeneezer” noise is somewhat subdued.  It grows fairly calm before a funky guitar solo.  By 11 minutes, there’s a lot of piano added and then through 17 minutes “Prince Caspian” begins.  It’s a typically fun version of the song.  And by 31 minutes it feels like the song is circling back around to “Tweezer,” but it never actually gets there.  It just kind of ends.

Hard to complain about a free compilation, and there’s not much to complain about here.  Good selection of songs and great performances.

[READ: January 19, 2018] “The Blade”

This is story of tramps.  Hoboes.

There is a young kid who reminded Ronnie of himself from way back.  But it generally assumed the kid will be tossed off the train car before two long.

After some silence Vanboss and Stark begin talking.  Vanboss tells of a head on collision between two cars going 100 mph and how the cars were melded into a small cube but somehow a baby escaped unharmed.  No one believes that, so they talk of other deaths, brutal and extraordinary. (more…)

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SOUNDTRACKDAVE MATTHEWS-Tiny Desk Concert #760 (June 27, 2018).

Dave Matthews Band superfandom is one of those entities that I just don’t get.  I know they had a pretty big hit back in the day, but I was really shocked a few years ago that they had a following like Phish with people seeing him/them dozens of times.

I don’t really dislike them, but I don’t really like them either.  I appreciate the musicianship and chord progressions that they play but I have a hard time with his lyrics–when they are not (somewhat) insightful, they are awfully questionable.

But to me their sound isn’t unique enough to build a fellowship out of.  Perhaps it’s a live thing and you have to see it for yourself.

So here is Dave himself–just him and his acoustic guitar(s). He sings five songs.  I don’t know if this is like heaven for DMB fans or if they prefer the whole live shebang.

He talks about getting used to singing

by himself since he is touring with his band:

We sound good at the moment but more importantly we feel good.  It’s a different feeling to play by myself.  I have to get used to it, you know first you have to get used to being alone because I’m used to having [various mugging over-the-top sounds and faces about a band making big rock sounds] but for me it’s just [makes wimpy sounds of playing a tiny guitar] a little thing”

This leads to uproarious laughter.  And that’s the one thing I don’t like about this Concert.  The music is fine, his voice sounds fine, but he is mugging for the audience so much and, presumably all Daveheads (or Dmbheads?–I kid) are hanging on his every word which they all deem hilarious.  I hate being with sycophantic fans who think any statement is a gut buster (this happened recently with someone I saw live–not every statement is one to quote on instagram).

The first two songs are from their new album.  After the first song, “Samurai Cop (Oh Joy Begin),” he complains about his voice even though it sounds fine:

“Singing shouldn’t be such a struggle.  Some people make it look so easy [sings nonsense in operatic style]. I’m like [ggggg ggg].”  Crazy laughter ensues.  After “Here On Out,” he states inexplicably, “That was a close one” and the laughter rolls on.

Dave plays a full five songs–nearly 25 minutes:

when Matthews shed his backing players to swing by the Tiny Desk for a solo gig, he couldn’t just knock out three songs and bail. Instead, he played a set so long — so defiantly un-Tiny — that his between-song banter could have filled a Tiny Desk concert on its own.

“Don’t Drink the Water” is probably my favorite Dave song.  I especially love the way the song is mostly mellow but then turns into a great dark section at the end.  Indeed, it’s the dark section that I really like, not so much the earlier part.

He says that “The last administration sent a bunch of artists to Havana to have a party.  I’m not sure if that’s was the goal… [hamming it up] go down there and… culturally…. vibe.”   I wish he’d elaborated more on that.

There’s two final songs, “Mercy” and “So Damn Lucky” on which he hits some great powerful falsetto notes.  His voice is really quite good in this setting.  I suspect this is probably a real treat for fans, so if you;re one, you should check it out.

[READ: July 3, 2018] “Little St. Don”

When you have a subject who is so contemptible so utterly crass and repulsive, a “person” who does the most unconscionable things and still manages to have supporters, it is impossible to make him look bad.

Even if you are trying comedy.  How do you try to make someone look worse than they actually are when they are lower than scum, when they treat people like animals, when they think it is okay to mock the handicapped, to brag about grabbing women, when they are willing to let people die for their own insipid and un-thought-through ideas?

This living piece of excrement has a sudden flash to destroy the lives of thousands of people and two days later decides to blame it on someone else.  And, for reasons that no one can explain, people actually believe this liar, this clearly unsound lunatic.

So how does a subtle and thoughtful writer go about making comedy about this lying dictator? (more…)

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[NO SHOWS: December 29, 2017]

December 29, 2017 was a night of many many shows that I was interested in.  I thought it would be fun to end my season of many concerts near the year end (but not on New Year’s Eve, because I have a family, after all–even though Phish beckoned).

So the first option was Phish at Madison Square Garden.  They were playing three nights for New Years.  I tried to get tickets to any of the three, because sure I Would have absolutely gone on New Years Eve, who am I kidding).  But in the band’s lottery I did not get any GA tickets.  I have seen them twice before but I really only wanted to see them up close.  So when no GA were forthcoming, I basically decided I wouldn’t go. Even though I love CashorTrade, I wasn’t willing to fight for them.  Plus, there were other possibilities. (more…)

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SOUNDTRACKPHISH-Live Phish Downloads 7.6.98 Lucerna Theatre, Prague, Czech (2007).

After finishing recording “The Story of the Ghost” in Vermont and Bearsville in upstate New York, Phish embarked on June 27th for a short European tour.

What’s interesting is that the official comments about this show talk about hoe legendary it was, and my takeaway was just how often someone (usually Trey) messes up.

“Buried Alive” is a surprising opening track.  It rocks and segues into a choppy “AC/DC Bag.”  The song ends with a funky section that segues into a 15 minute “Ghost.”  “Ghost has a fast and scorching middle jam section.”  I’m going to include some of the online notes here:

They deconstructed Bag’s concise jam into a perfect segue to the centerpiece of the show – a fast, funky and furious “Ghost.”  You can clearly hear the sonic flourishes layered over a driving groove with confident vocals that seethed energy. The dynamic feel of “Ghost” lent deep drama to the lyrics, highlighted the loops and effects and provided an ideal platform for some hairy soloing. Page migrated from piano to synthesizer, Clavinet to Rhodes in a floating conversation with the band. Eventually “Ghost” took on an electronic tinge that hinted at the deepest post-hiatus improvisation. This was fueled by Trey’s Hendrix-esque leads with bent tone and pitch into a series of shifting polyrhythmic counterpoints. Expanding until it seemed the room would explode, the music evolved into a funky groove with starts and stops punctuated by the now-roaring crowd.

“Ghost” segues into Talking Heads’ “Cities” which has a really sharp (weird) drum sound.  There a lengthy intro before the song starts properly.  The choruses are really slow (and someone plays a wrong chord).  But the song end with a really groovy solo that encourages people to clap along.

“Cities” started in double-time and shifted effortlessly into normal rhythm for the first chorus and the rest of the song. With the lyrics “a lot of ghosts in a lot of houses”, “Cities” continued the eerie theme of this already-historic performance, blending a smooth, creative vibe with an aggressive, rocking attack. Seemingly on cue, the band dropped out of “Cities” and left Trey to end the song alone with the clapping crowd. The momentary pause after Cities was the first time the band stopped at all, having linked Buried > Bag > Ghost > Cities into a powerful opening sequence for the ages.

“Limb By Limb” is mellow with Trey on guitars.

 “Limb By Limb” followed. Written by Trey on a sequencer with a drum part intended to stump Fish, Limb is always a feat of execution. This performance exhibited an added sense of dynamics no doubt spurred on by the intimate setting, highlighting restrained melodic dialogue among the whole band. While sometimes this jam breathed fire, this groovy interlude danced intricate circles around the glowing embers, leaving space for Fish to lay down some outrageous fills and cymbal work. Trey’s final solo culminated in repeated guitar fanning, which brought the song to a cathartic close.

Then comes “Train Song” and “Roggae” which gets more mellow by the end.

“Train Song” provided a moment of tranquil reflection in the middle of the set. The second-ever live “Roggae” followed, giving a chance to show off more new material in a new country as the band fashioned a coda with so much inherent space that the notes hung slightly suspended between phrases.

The 12 minute “Maze” perks everyone up.  There’s a lengthy keyboard solo followed by a nice solo from Trey.  During Maze the band stopped on a dime to thank the audience (and appreciate the architecture) , then finished the song.  It’s amazing how tight that was.

“Maze” blossomed into an electric improvisation starting with Page’s lively organ solo followed by a cacophonous solo from Trey who shredded unabashedly until the whole band telepathically stopped on a dime for him to say “We hope you’re all having a good time tonight…we just want to say that we really appreciate your support and how much we enjoy playing in Prague here.” Page interjected “We love the architecture” while Trey continued “I don’t think we got a chance to thank you last night so we just thought we’d take this moment to thank you very much.” After a quick countdown, the band re-entered the song in the exact shred-space they’d occupied before the acrobatic stop. After Maze, they closed the first set with Golgi Apparatus that had a rave-up ending with Trey shouting, in an apparent nod to the World Cup Soccer quarterfinals, “Jon Fishman, Jon Fishman, Hey, Ho, Hey, Ho”.

I noticed that “Golgi Apparatus” has a whole series of mess ups—someone is in the wrong key and can’t get free.

Set Two opens with the fast verses of “Julius” and then the slow staccato “Meat.”

Set two began with a swinging “Julius” that got everyone moving and Fishman passionately testifying at the highest peaks. “Julius” led into “Meat,” a new song. “Meat” returned the show to its initial ghoulish theme, confounding the audience with its multiple stops and starts. Immediately after Meat came a soaring, adventurous “Piper.”

“Piper” is 19 minutes long with a scorching solo in the middle.

“Piper” stretched nearly twenty minutes and bumped up against the boundaries already shattered by “Ghost.” Piper sped into a ferocious jam characterized by intense guitar runs … before it settled into hard rock with plenty of room for the whole band to explore. Like the experimental “Ghost” in set one, “Piper” was fearless, building to massive peaks before floating off into a slower, more minimal section accented by loops from Trey and Mike atop Page’s piano and Fish’s cymbal rolls. This part of “Piper” hinted at “Fikus,” part three of the “Ghost” trilogy, becoming slow and funky before locking neatly into the rowdy reggae of “Makisupa Policeman.”

“Makisupa Policeman” is a little goofy and fun. “Petrov” (Page) sings lead vocals. During this song there’s a drum solo and Trey tells the audience that if the solo is long and boring they should just whistle to make him stop.

As he scatted around the lyrics of “Makisupa Policeman,” Trey uttered the key phrase, “stink-kind”, adding a touch of home with “policeman came to Vermont!” He handed things off to Page for a piano solo (calling him “Petrof” after the logo visible on the rented piano) during which Page developed a ska feel. Trey announced a drum solo next, saying if Fish soloed too long the crowd should start whistling, as the band did when he talked too much. Fish played along, rendering a minimal solo of high hat, kick drum and rim shots, returning to the song in the nick of time. After some dancehall-style dub effects, the band finished Makisupa and dove into David Bowie.

The 13 minute “David Bowie” has lengthy washes of guitars and some noisy parts.

A thematic jam hinted subtly at Santana before riding a dissonant wave into the ending changes of the second and final Bowie of the European tour. With scarcely a pause, Page hammered out the opening notes of Loving Cup, cementing the status of this magical night.  it segues into Loving cup a loose jam

“Loving Cup” is a loose, fun version running almost 10 minutes.  There is much cheering at the “I know I play a bad guitar” line.

The encore is “Possum.”  It’s kind of slow and loping but fun.

The band returned for an encore and repaid the rowdy crowd’s enthusiasm with Possum. The audience clapped along for a bit eventually leaving the band to a textbook performance that was at once conscious and passionate, restrained yet explosive. Trey dropped a quick tease of “Stash” as he propelled “Possum” through machine-gun fans entwined with soft, dynamic sections that made this a perfect encore for such an intimate show. As the crowd filtered into the streets of Prague it was clear that this had been an unforgettable night that could only have happened when and where it did.

So there’s two takes on the show.  You can read all of Kevin’s essay here. and I’m going to re-listen to this show to hear the magic foe myself.

[READ: March 6, 2017] The Serpent’s Curse

This is the second full-sized book in the Copernicus series.  After reading the Copernicus Archives book I noted that the event of that book are not referenced in this book, but I was wrong.  There are several mentions to San Francisco.  It’s not a huge gap and you wouldn’t be lost without reading it, but it is odd that he would reference a book that apparently some people don’t read.

This book is pretty large–480 pages.  And I feel like it was kind of slow.  Or perhaps they just spent way too much time in Russia.  Or, and this is most likely the case–they spent the whole book looking for one relic.  And 500 pages is a lot of traveling for one item.

I’m bummed that I felt this way at the end because in the beginning I thought it was really exciting.  And Abbott filled in some things that a nitpicky reader might nitpick about with some interesting new developments.  One of the things that one has to wonder about is how this normal family will be able to jet set around the world.  Well, that comes with the assistance of a best-selling author with millions of dollars at his disposal.  Convenient? Sure.  But it’s a nice development.  The author, Terence Akroyd writes exciting thrillers (so of course he is interested in the plot) and he has a personal vendetta against the bad guys, so he’s happy to help out with money and resources, like his jets and technology. [That author is presumably not based on reality].

Terence also has a son, Julian, who is apparently pretty hot.  But he’s a few years older than our protagonists so presumably nothing will come from that.  Despite all of the potential romance between Wade and Becca in the first book and parts of this one, nothing is progressing on that front. (more…)

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SOUNDTRACKPHISH-Live Phish Downloads 12.7.97 Nutter Center, Dayton, OH (2007).

This concert included five covers out of a total of nineteen songs.

The show opens with a fairly slow “AC/DC Bag,” but there’s a seamless segue into an excellent cover of Talking Heads’ Psycho Killer” (only the second time they’d played it).  There’s some spacey sounds in the jam which then segues nicely into ZZ Top’s “Jesus Just Left Chicago,” a groovy blues.  The whole thing ends in a jaunty bluegrass “My Minds Got a Mind of Its Own.”

I have to admit at this point I’m pretty bummed by the setlist.  The songs are all good and the jams are fun, but if I were at this show I’d want to some actual Phish songs, you know?  I know a lot of people love the covers, but that’s not what I’m here for.

They rectify this with a fun “It’s Ice.”  There’s a lengthy piano solo and then the song segues into two deep cuts from Billy Breathes–a one minute “Swept Away” and then a one minute “Steep”–before closing “It’s Ice.”

Up next is a 10 minute “Theme from the Bottom” with a long solo and great harmonies at the end.  Then the band plays a great funky “Tube,” a non-album track with some great 70s sounding keyboards from Page.  After a pause (apparently the lights went out).  You can hear them chatting a bit and then they pick up a 6 minute instrumental called “Dayton Jam” that plays with the themes from “Tube.”

The set closes with a 12 minute “Slave to the Traffic Light.” There’s a great solo from Trey followed by a mellow section before coming to a good solid end.

Usually there’s a few really lengthy jams in the second set, but this upcoming set is full of mid-length songs.

It opens with a jam-filled 9 minute “Timber” and then a 7 minute “Wolfman’s Brother.”  This segues into yet another cover of Stevie Wonder’s “Boogie on Reggae Woman” before settling into a fast-paced 14 minute “Reba,” the longest song of the night.  The solos in the song remind me a bit of Frank Zappa.  It’s really amazing how tight they are during these jams.

Before they begin the next song, you can hear Trey ask, “Guyute?” and they play a 10 minute jam with a really fun middle section.  The show ends with a 12 minute “Possum.”  So while there are no really super long jams, there are a number of pretty long jams.

The Encore is a great loose version of The Beatles’ “A Day in the Life.”  I love how they handle the end.  The classic chord progression that ends the song is done sort of like that but more just fun noisy chaos.

[READ: March 6, 2017] The Forbidden Stone

I really like Tony Abbott books. He has tackled many different stories and I’ve found that I haven’t been disappointed by anything he’s written.  This series, The Copernicus Legacy is in the vein of The 39 Clues, although there are plenty of differences.  But as an outline, the premise is the same–some kids (and an adult) are trying to save the world from bad guys by collecting a bunch of things that cannot fall into the wrong hands.

Whereas The 39 Clues divides the family into 4 warring clans, this series seems to be basically good guys and bad guys.  The good guys are inspired by Copernicus.  This works out well because the main family loves astronomy.

So the main family is Wade Kaplan and his father Roald Kaplan.  Wade follows in his father’s footsteps and loves the stars and science. Roald is re-married to Sara (who is on a business trip as the book opens).  Sara has a son named Darrell.  Darrell is hip and cool and plays guitar.  He is also always hungry (a trait that Abbott loves to have in at least one character, although I haven’t seen it as being very important yet–and it seems to fade as the book goes on). I assume that Roald is not Darrell’s father as well, but I got a little lost in the family tree.  The crux is that Wade and Darrell are stepbrothers–and they get along really well.  The rest of the crew includes Wade’s cousin Lily and her friend Becca.  Lily is a techie girl who is able to wield a smart phone like a librarian.  And then there’s Becca  who is, interesting. Wade has had a crush on Becca (who is super smart and can speak several languages because her parents traveled so much) for a long time.

Okay, so there’s five people.  How does the excitement start? (more…)

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SOUNDTRACKPHISH-Live Phish Downloads 8.13.93 UNH Fieldhouse, Durham, NH (2007).

Despite the Phish tour ending in May, the picked up again just three months later.

“Lengthwise” starts of a capella.  Guitars slowly come in as washes and then “Llama” rocks out with some great blasts and a lengthy keyboard solo from Page.

“Makisupa Policeman” is fun with a few screams from Fish.  This version really highlights the reggae aspects.  There’s a trippy middle section with twinkling pianos that segues into a terrific version of “Foam.”

When it’s over you hear someone shout “Stash?” before they launch into a 12 minute “Stash.”  There’s some unusual soloing in the middle which Trey calls the “Friday the 13th” jam.  And then he introduces the “butt with protruding arms” (Fish) to play the washboard. It’s “Ginseng Sullivan” which was performed acoustic with Trey on acoustic guitar and Fish on “Madonna” washboard

Then comes a 15 minute “Fluffhead.”  It opens with some lovely acoustic guitars. Later during part of the jam they chant “just a bundle of joy” several times.

It’s followed by the short “My Mind’s Got a Mind of It’s Own” in a very honkey-tonk style.

It’s followed by a very pretty “Horn” that segues into a 20 minute “David Bowie.”  Fish starts the hi-hats while Trey plays a whole bunch of riffs first—like “My Favorite Things” and “Beat It.”  Trey also teases “The Mango Song” and “Magilla.”   The song starts properly about 4 minutes in.  The jam goes in all different direction, a slow section, then a fast and rocking jamming.  There’s some whistling and then a very jazzy hi-hat section.  The end is super fast with a wicked guitar solo.  It’s a great set-ender.

Set two opens with”Buried Alive,” a fast short song that segues into a lovely “Rift” and a relatively slow “Bathtub Gin.”  The bass is particularly chunky during “Gin” and then the song slows completely to give Mike a little funky slap bass action.  “Bathtub Gin” which runs to 15 minutes, includes, among other things, a “Weekapaug Groove” jam.  There’s a groovy keyboard solo with shouts of “Ole!”

There’s a bit of an awkward transition into “Ya Mar” but once they get going its smooth sailing especially when Trey shouts, “just Leo and the drums” and they break it down to just keys and drums. This segues into “Mike’s Song,” but Mike has fun by still singing “Ya Mar” and it seems to mess everyone up until they catch on and go with it.  The 12 minute “Mike’s Song” includes teases of Ted Nugent’s “Stranglehold”

“Lifebuoy” is very pretty and there’s a brief “Oh Key Pah” before they launch in to a show ending “Suzy Greenberg.”  For an encore they do a very quiet (unmic’d) a capella “Amazing Grace.”  The notes say that the song was performed “without microphones and is inaudible on the DAT and cassette soundboards. To present the entire performance, an additional audience source provided by Kevin Shapiro and Judd Nudelman was used.”  Mostly you hear a lot of people SHHHHing (why do people whoop during quiet moments like this?). But they follow it with a rocking “Highway to Hell” (which sounds a lot like AC/DC’s version.)

The rest of the disc includes some soundcheck stuff.  A goofy version of “Love Me Two Times” with them trying to sound like Jim Morrison.  The 1 minute Indiana Sound check jam is fun.  And then the final track is nearly 9 minutes of them setting up the washboard for “Ginseng Sullivan.”  It’s interesting if you care about their recording process, but it’s tech more talk than music.

So this set list is pretty similar to the show in May.  There’s a lot if duplication.  And yet, according to the essay by Kevin Shapiro,

 Summer 1993 was a time when each show somehow surpassed the last.  This show is legendary among Phishheads based almost entirely on the second set!  Instantly famous for its mind-melting (or is it mind-melding?) Bathtub Gin > Ya Mar and Mike’s Song > Lifebuoy … The entire show is risky and magical in so many ways.   [It had] already been accepted as legendary and literally begs for release…. Without them, the catalog – some would even say the fan experience – is simply incomplete.

So that’s a pretty rave review.

[READ: June 5, 2017] Ich bin ein Anderer

This book (translated as I am an Other) was created by Walter Ego (great name) and is written in English (not Ego’s native langauge).

This is a collection of drawings and short essays all in praise of failure, inadequacy and unprofessionalism.

Ego draws simple stick figure line drawings and aphorisms to celebrate insecurity. (more…)

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SOUNDTRACK: PHISH-Live Phish Downloads 5.8.93 UNH Fieldhouse, Durham, NH (2007).

This concert was recorded on my birthday.  Although I wasn’t there (and wasn’t even really a fan at the time).  This is the last show of the tour, so they thank the crew and have a lot of fun with that.  This is a great 3 CD set because there’s a lot of strong bonus material at the end of disc 3.

The set opens with a rocking “Chalk Dust Torture” and segues into a really tight “GuelahPapyrus”—I love how they can start and stop in total synch.  There’s great harmonies on “Rift” and a perfect tempo-change into “Mound.”

Then comes a jamming 12 minute “Stash” with a lot of bass sections.  It segues into the delightfully bizarre “Kung” and then returns to “Stash” for another minute before switching to “Glide.”  “Glide” has more great harmonies with a very long pause (over a minute of silence, which gets the crowd excited) before ending the song. It’s followed by a great version of “My Friend, My Friend” that segues into a 13 minute Reba.”  Trey thanks the crew and everyone for the tour after which they play a very jazzy “Satin Doll.”

The first set ends with a blistering “Cavern.”

Set Two opens with a minute of “David Bowie” before Page turns it into a cover of The Allman Brothers’ “Jessica” (including a Simpsons’ “D’oh”).  “David Bowie” returns with a 10 minute jam–no solos, just the band rocking–before mellowing out into a reggae version of “Have Mercy” by The Mighty Diamonds.   That two-minute slow down is followed by a scorching soloing conclusion to “David Bowie.”

They take a kind of break with “The Horse,” an acoustic guitar piece for Trey (It’s very pretty and one of the few times I’ve heard him play acoustic).  It turns into a great “Silent in the Morning.”  There’s a nearly 10 minute “It’s Ice” in which each player really stands out—Mike’s bass, Fish’s drums, Page’s keys—everyone is highlighted in this quirky staccato version which segues perfectly into a 16 minute “Squirming Coil.”

There’s a great jam in this song with a lengthy piano solo.  The ending is wildly erratic and weird (and I suppose is technically a “Big Ball Jam”) as they continue to jam for a few extra minutes before launching into “Mike’s Song.”  Like “Bowie,” “Mike’s Song” is broken up to include a bluesy cover of “Crossroads” with lots of piano soloing.  It segues back into the end of “Mike’s Song” which doesn’t really sound like an end to the song.  But it’s followed by a pretty “I am Hydrogen” which launches into a great, funky bass roaring “Weekapaug Groove.”

Towards the end of “Groove,” Page stars playing “Amazing Grace and as it softens up, the band sings a quiet a capaella version of the song.  And then the launches into a jamming version to end the set.

The encore is a loose “AC/DC Bag” for a nice end to the tour.

The Bonus songs include “Shaggy Dog” from the 5/8/93 soundcheck. It’s just guitar and voices with good harmonies.

“Tweezer” and “Tela” come from 5/6/93 Palace Theatre – Albany, NY.  “Tweezer” is totally rocking and 19 minutes long.  There’s a bass-filled jam in the start and it gets dark and a little crazy in the middle.  It slows way down to just one drum and one bass note and then segues nicely into a very pretty “Tela.”

The final bonus track is a crazy 32 minute “You Enjoy Myself” from 5/5/93 Palace Theatre – Albany, NY.   It features special guests Col. Bruce Hampton and the Aquarium Rescue Unit as well as the Dude of Life.  There’s a funky middle section of 3 to 5 note motifs repeated.  There’s a lengthy bass solo—just Mike.  It segues into a series of descending riffs until more percussion comes in and someone (Dude?) is talking (incomprehensibly) into the microphone.  Then comes bongos and horns.  I believe there’s even a vacuum solo.  The end of the song has a jazzy scat sing along with the guitar and some rally heavy drums at the end.

On many of the discs, the bonus material is sort of interesting to have but on this one, the “Twezer,” “Tela” and YEM” are outstanding in and of themselves.

Here’s a longer essay about this show by Kevin Shapiro.

[READ: May 8, 2017] The Witch’s Vacuum Cleaner and Other Stories

It’s always weird to read posthumous stories, especially if you’ve been a fan of the author for years.  But like the previous collection Dragons at Crumbling Castle, this book collects stories from when Terry was a young lad (between 1966 and 1973) in the Children’s Circle of the Bucks Free Press. He says that they are as they were except that he tinkered here and there with a few details and added a few lines or notes, “just because I can.”

There are 13 stories in the book, and they explore variations on Pratchett’s themes like that the unfamiliar is not the enemy (necessarily) and that people can and often will be surprised by how others react to things.  He also has  a story idea that would blossom into the Carpet People stories later on.

“The Witch’s Vacuum Cleaner” (1970)
This begins with a great premise: “Uncle Ron Swimble, the magician, enjoyed performing at parties. He did lots of simple tricks and the kids enjoyed him.  But when he went to his most recent party, things went awry.  But in a way that the kids loved: when his hat fell off, three rabbits jumped out.  And when he bent over a flock of pigeons flew out from under his coat.  The kids were delighted.  But Ron was the most surprised because he had no rabbits or birds in his act.  Every time he moved his hands something vanished or appeared.  It was crazy.  Then they figured out that Uncle Ron had knocked over Mrs Riley’s vacuum cleaner.  And as all the kids knew (but the adults didn’t seem to ) Mrs Riley was a witch.  The resolution to this story was really delightful. (more…)

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