Today, we celebrate the birthday of a man who means so much, to so many of us. Trey turns 46 today, and to honor this day musically, I’ve put together yet another playlist that I think you will enjoy. The selection for the day comes from a series of jams that happen to fall on the night before, or the day of, Trey’s birthday.
One will find that time and time again Trey would rise to the occasion of his birthday, annihilating the jams in his path. There was always something special about the shows surrounding Trey’s birthday, and the fans would often greet him with cheers in celebration. It seems fitting to revisit some of these moments today.
Happy Birthday Trey, keep on.
BirthdayJams (right click, choose ‘save as’, to download)
2001 > DWD (9.29.99) > Tweezer (9.30.91) > Reba (9.30.95) > Bathtub Gin (9.29.00) > David Bowie (9.29.90)
With fall tour rapidly approaching, it seems appropriate to start looking at some of the venues Phish will be visiting along the way. As soon as fall tour rumors began to spread, the October 22 show at the Dunkin Donuts Center (formerly the Providence Civic Center) in Rhode Island quickly caught the eye of many fans. The venue carries a deep musical history that includes a long list Rock Hall of Fame of performers that seems to inspire Phish whenever they take the stage there. As a result, this destination has become one of the most anticipated tour stops on the upcoming fall tour, and I predict it to live-up to these expectations (Part I of this article was posted just weeks before the two-night run in Camden this summer).
Three of Phish’s visits to the venue have been officially released, and are among some of the band’s finest performances to date – these being the 12.29.94 show featuring the monstrous second set “Bowie,” and the two night Island Tour run from ’98 (with far too many highlights to mention). But those who are familiar with the visits from ’95 and ’99 as well, will be able to draw the connection that Phish has simply never performed a bad or even an average show in this venue. Like Camden, Phish taps into some unknown cosmic energy in Providence that allows them to journey deep into psychedelic territory.
However, Phish is not alone in realizing this powerful energy that permeates from the PCC’s walls. The Dead have also managed to discover the same source on more than one occasion. I find it to be no coincidence that the Dead have a segment included on an official release from this venue (Dick’s Picks 12), and another show that contains a “best ever” version (along with many other memorable visits).
I’ve chosen some highlight moments from both the Dead and Phish’s past performances at the Providence Civic Center that span the course of 36 years. These examples show the bands in heightened improvisational states, resulting in some top-notch jams. (audio to come shortly…)
1. “David Bowie” 12.29.94
Nearly 35 minutes of pure magic unfolds in this quintessential Phish jam. From the opening note of the “Digital Delay Loop” that precedes the intro to the roaring finish, this jam contains everything that one could ask for.
2. “Jam” > “China Cat Sunflower” >”I Know You Rider“(6.26.74)
Featured on Dick’s Picks 12, this segment is stunningly beautiful. The opening jam delicately eases its way into “China Cat” which blossoms into another sublime jam prior to the lyrics. Here we have an incredible recording by the legendary Jerry Moore that perfectly captures the Wall of Sound in all its glory.
3. “Birds of a Feather” > “2001” > “Brother” (4.4.98)
The highlight from Phish’s first night in Providence on the Island Tour in ’98. An early, but exploratory, “Birds” leads into one of the best versions of “2001″ ever played and is followed by a deeply psychedelic “Brother” (three “best ever” versions). This combination served as one of the top highlights from Phish’s much-loved Island Tour.
4. “Down With Disease” (12.12.95)
A classic from December ’95. Trey reels the band in toward a collective bluesy-funk theme that sends the jam on an extended psychedelic journey. The jam continues to balance itself between several darker themes and the blues-funk groove from which it emerged.
5. “Let It Grow” (5.14.78)
While length rarely determines quality, this “Let It Grow” is among the longest versions ever performed, but also the best. As the jam begins, the band locks in on charging groove that propels Jerry’s flurry of guitar acrobatics. This is one of those jams that requires your full attention – there’s so much going on. I suggest turning it up loud allowing the music fill to the air.
6. “Oh Kee Pah Ceremony” > “YEM” (4.5.98)
Every Phish fan knows the power an opener can bring to a show. This opening combination from the final night of the Island Tour was no exception. On the last of four nights in the Islands, the band had fully realized a new form of cosmic-funk allowing them to reach higher levels of musical discovery.
7. “Piper” (12.13.99)
This is one of those classic effect-driven ’99 jams where Fishman is at his best – gliding above the groove and perfectly locked in with Mike and Trey’s playing. A fan in the taper section yells “Yeah!” just as the band begins to dig into a dark funk-groove. The band comes together in a King Sunny Aide style moment where it seems all four musicians are working to produce a single collective sound. The drums carry the jam through modulations in volume and tempo, with syncopation being the element allowing tension to build. Trey’s use of loops, as well as the the “reverse” effect, are in full-force, aiding the band’s soaring trance-like sound.
Forty-one years ago today, a very significant musical event took place. Following a three year hiatus from live performances, John Lennon and his very newly formed Plastic Ono Band took the stage at Varsity Stadium in Toronto as part of the Toronto Rock & Roll Festival. The show has since been officially released (CD & DVD) as Live Peace In Toronto 1969. Today we take a look back on this legendary performance which featured John Lennon, Yoko Ono, Eric Clapton, Klaus Voorman (Manfred Mann), and Alan White (future Yes drummer) – an impressive lineup, to say the least. Here’s the story, with the help of some quotes from John himself:
“Well, it was late, about 11 o’clock one Friday night, I was in my office at Apple, when we got a phone call from this guy saying, ‘Come to Toronto’. They really were inviting us as King and Queen to preside over the concert and not to play. But I didn’t hear that part and I said, ‘OK. OK. Just give me time to get a band together.’ So, I thought, ‘Who could I get to come and play with me?’ So it all happened like. We left the next morning.”
So, at the last minute John rounded up the finest musicians he could gather and headed off for Toronto on a commercial jet. With the band tucked into the first-class cabin for the extended plane ride, they started to kick around their acoustics to get the chemistry flowing for the show that lay ahead. Lennon had actually used Clapton in a previous band called Dirty Mack (which featured Keith Richards on bass!), so the two had already developed a musical relationship. The legend holds that a magical jam session occurred on that flight between Clapton and Lennon that inspired much of the music that would unfold later that evening. However, following the flight John became very ill which is noticeable throughout the video of the performance.
“My God, I haven’t performed before a large audience for four years. I mean, I did the Rolling Stones’ Circus film with a small audience, and I did the Cambridge ’69 gig; but they didn’t even know I was coming. So we didn’t sleep at all on Friday night, and I was nervous all the way across…I threw up for hours until I went on.”
But, much like Michael Jordan in the 1997 playoffs (battling a 103 degree fever) versus the Jazz, John Lennon rose to the occasion wearing a white suit with a Gretsch in hand. The band instantly connected, taking on new and old tunes from various artists including one of my favorite Beatles tunes “Yer Blues”. Clapton can be heard laying down fierce guitar lines all throughout the show, and John is simply pouring with a new-found sense of creativity that would inspire some of his great later work. If you can just get around Yoko’s incessant shrieking (which is actually, as Clapton put it in his book, rather amusing) there is some very raw, but magical music underneath.
“Yer Blues” (Live Peace In Toronto 1969)
“I can’t remember when I had such a good time. Yoko was holding a piece of paper with the words to the songs in front of me. But then she suddenly disappeared into her bag in the middle of the performance and I had to make them up because it’s so long since I sang them that I’ve forgotten most of them. It didn’t seem to matter…The ridiculous thing was that I didn’t know any of the lyrics. When we did Money and Dizzy, I just made up the words as I went along. The band was bashing it out like hell behind me…Then after Money there was a stop, and I turned to Eric and said, ‘What’s next?’ He didn’t know either, so I just screamed out ‘C’mon!’ and started into something else.”
The show also featured the first ever performance of “Cold Turkey,” a song that opens the door to John’s heroin addiction. This was significant as this show was not long after John had beat heroin, and in this debut performance the struggle he had been through is painfully apparent.
“It gave me a great feeling, a feeling I haven’t had for a long time. It convinced me to do more appearances, either with or without the rest of the Beatles. Everything went down so well.”
“Blue Suede Shoes“
“You Make Me Dizzy Miss Lizzy“
As was previously reported by Hidden Track, Phish will release a full-length DVD of the show from November 2, 1996 at Coral Sky Amphitheater in West Palm Beach, FL. This much-loved performance featured Karl Perazzo (Santana) on percussion, helping the band to discover their new groove-driven improvisational direction. The show was highlighed by a lengthy “Crosseyed and Painless” > “Run Like an Antelope” segment that remains a favorite of many fans.
Coral Sky is available for pre-order now at Phish Dry Goods, along with a soundtrack companion CD (which will not be sold in stores).
CORAL SKY DVD
1. Ya Mar
7. The Lizards
9. Johnny B. Goode
1. Crosseyed And Painless
2. Run Like An Antelope
4. Harry Hood
5. A Day In The Life
6. Sweet Adeline
7. Funky Bitch
Mike Gordon and his band will be hitting the road this coming November in support of his newest album Moss with a 17 show tour that kicks off November November 6th at the Troubadour in West Hollywood, CA and finishes off on November 27th at The Royale in Boston. The new album will be in stores on October 19th, and features songs such as Mike’s newest Phish tune “Idea”, “Spiral” and “Can’t Stand Still”. Tickets for the November tour are now available for pre-order. Here’s the full list of tour dates…
November 6 – The Troubadour, West Hollywood CA
November 7 – The Independent, San Francisco CA
November 8 – The Aladdin, Portland OR
November 10 – Crocodile Cafe, Seattle WA
November 11 – Wilma Theatre, Missoula MT
November 12 – State Room, Salt Lake City UT
November 13 – Boulder Theater, Boulder CO
November 14 – Waiting Room, Omaha NE
November 16 – Fine Line Music Cafe, Minneapolis MN
November 17 – Barrymore, Madison WI
November 18 – Lincoln Hall, Chicago IL
November 19 – Bluebird, Bloomington IN
November 20 – Madison Theater, Covington KY
November 22 – Beachland, Cleveland OH
November 23 – Westcott Theatre, Syracuse NY
November 26 – Port City Music Hall, Portland ME
November 27 – The Royale, Boston MA
November 1994 – an amazing time of an amazing year for Phish. Picking a show from November ’94 is like picking a Dead show from May ’77, you’re bound to pull out a winner. This show from November 16, 1994 at the Hill Auditorium in Ann Arbor, MI is a top-notch performance that contains one of the band’s first truly extended jams.
Set 1: Sample in a Jar, Foam, Fast Enough for You, Reba, Axilla (Part II), The Lizards, Stash, Pig in a Pen, Tennessee Waltz, Foggy Mountain Breakdown-> Swing Low, Sweet Chariot
Set 2: Mike’s Song -> Simple, I’m Blue, I’m Lonesome, My Long Journey Home, Chalk Dust Torture, Fee, Run Like an Antelope
Encore: Amazing Grace, Suzy Greenberg
When I first caught wind of this show, I immediately thought of the Dead’s two-night run at the same venue from ’71 (12.14 & 12.15). Both nights display the band at the top of their game, with the second night’s “Darkstar” easily ranking as one of the best jams from that year. Like Phish, the Dead were also going through a transitional phase when they arrived in Ann Arbor, having added Keith Godchaux to the line-up only months before in an attempt to compensate for Pigpen’s dwindling state. Both bands can be heard breaking new ground in these shows, and as a result, both have remained among my favorites for some time now.
As Phish’s group dynamic improved (stepping away from the guitar-led show that dominated the early years), and their willingness to explore songs increased, jams began to extend in all sorts of directions. At this point, very few shows contained jams that stretched out over thirty minutes (and those that did exist were from the days and weeks surrounding this one). However, on November 16th, 1994 the band decided to embarked on a 34 minute version of “Simple” (of all songs) that reaches beyond imagination.
It bears mentioning that this was also the first show of the tour that welcomed Rev. Jeff Mosier to help teach the band bluegrass. As such, there is a heavy dose of bluegrass in the first and second set, which may or may not be to your liking. Either way, this show has plenty to offer.
The first set kicks off with a “Sample”, “Foam” starter combination followed by a perfectly placed slow song, “Fast Enough For You”. “Reba” appears next leading the audience into the first cosmic journey of the evening. As the jam begins, Trey locks into some gorgeous playing feeding the jam with coils of melody. There are a few moments before the band fully kicks in where you can tell by the reaction from the audience that the band is on. Just then, the music explodes. Trey’s soaring notes guide the band as they converge on the song’s melodic end-jam.
The other highlight from the first set, before a sit-in with Rev. Jeff Mosier for several bluegrass numbers, is the mind-bending version of “Stash”. Entering the jam, Trey seams eager to get his ideas onto the fretboard. Experimenting with a more unstructured sound than ever before, the band begins to dissect the “Stash” jam down to its roots. A long period of dark tension building ensues that can only be described as measured chaos. With a heart-pounding groove, the band digs deeper and deeper into the darkness as we await our moment of release. The wildly disconnected playing slowly begins to come together as Trey shreds the jam all the way to the finish. A few bluegrass numbers, including “Pig in a Pen” and “Tennesee Waltz” (two of my favorites), follow before the set comes to a close.
The second set takes off as the opening riff to “Mike’s Song” rings out. Trey solos fiercely over the entire jam before reaching a perfect counterpoint as the band slips into the lighthearted “Simple”. However, this version takes a turn from the standard melodic jam that usually follows, embarking on a psychedelic trek that ventures far-out to the corners of the galaxy.
The jam begins with the standard melodic solo over the progression, but soon the tempo drops and we are left with a vast space. As Page gently provides swells of notes on the piano, Mike and Trey prepare to embark on a journey into the depths of the dark. Mike charges the jam by creating a unique sound (bending the strings on his bass) that propels the band into a King Crimson-like musical onslaught. As the storm arrives Trey locks into one of his classic droning licks from which he can traverse the fretboard in any direction. With the drums perfectly locked in with the guitar, Jon and Trey riff of one another leading the jam into a frenzied state. As each member joins in, they channel this dark energy into a breathtaking piece of music. There is lots going on as the jam continually deconstructs, and then rebuilds itself.
It sounds as though there are two opposing energies – one light and one dark – that continually battle for the upper hand in this jam. For a moment, we find ourselves in a jazz groove and then the next in a heavy metal segment. There are multiple shifts in theme before the band finally arrives at a beautiful outro segment that perfectly caps off the journey on which we have just embarked.
While anyone in attendance could have left happy at this point, there is still more. Following two more bluegrass numbers, the band plugs back in for the rendition of “Chalkdust” that appears on A Live One. Every note seems perfectly placed in the solo, and it’s one we’ve all heard so many times we can sing along with the jam.
But still lurking at the end of this monstrous set is a rockin’ “Antelope” that is not to be overlooked. As many fans will know, once Trey locks into a droning lick in a set he often revisits it many more times. This “Antelope” is a perfect example of this as Trey seems to have picked up right where the “Simple” jam left off. The band seems as tight as ever at this point in the show, trailing on the heels of each member’s every step. After a prolonged tension building segment the jam explodes in a wailing sense of triumph. Trey wishes everyone a safe drive home, and from the crowds reaction you can hear that the sense of joy that is pouring from the room.
The band’s this willingness to explore is what defines this psychedelic period in their career, and is also that factor allowed them to constantly reach higher levels of musical creativity. The “Simple” from this show is one of the hallmark moments of fall ’94 and should be heard by all.
DOWNLOAD: 1994.11.16 Hill Auditorium, University of Michigan, Ann Arbor, MI
Here’s the band rehearsing “Blue and Lonesome” backstage with Jeff Mosier.
Yesterday afternoon, Mike Gordon performed at moe.down 11 with his five-piece band. Gordo and friends played a single set and debuted their newest tune “Idea.” We await the full announcement of Gordo’s November tour dates which have begun to emerge already Check out the setlist below, download to come…
One Set: Andelmans’ Yard, Sugar Shack, Walls Of Time, 15 Step, Spiral, Idea*, Crumblin Bones, Dig Further Down
[Setlist courtesy of Oh kee pah blog]
DOWNLOAD: Mike Gordon 2010.09.05 Gelston Castle, Mohawk, NY
SOURCE: neumann km184> V2> R44
This week, I have something slightly different, but equally special, to share. But first, I would like to thank all of the readers who voted for Dog Gone Blog in Parker’s survey. It’s an honor to see that fans chose DGB as a destination for tour updates and analysis. Thank you for all your support! So now back to today’s selection – a SBD recording from Genesis’ 1975 The Lamb Lies Down on Broadway Tour. This is great recording and a must-have for any serious Genesis fan or music collector.
Many consider The Lamb tour to be the pinnacle of Genesis’ live performances, and also one of the cornerstones of progressive rock. This show from the Convention Hall in West Palm Beach, FL on January 10th, 1975 is one of the finest recordings, and displays The Lamb’s spectacle performance in full form. This was the last tour to feature Peter Gabriel before Phil Collins would take the reins at vocals.
While The Lamb is not my personal favorite Genesis album (I prefer Selling England), as a whole, it is a masterpiece like no other. The way Gabriel projects the story of Rael through his lyrics, nearly bringing this fictional figure to life, creates a feeling that this is more than just music we are hearing. I hope you enjoy.
Back in NYC > Hairless Heart > Counting out Time, Carpet Crawlers, The Chamber of 32 Doors
01. The Lamb Lies Down On Broadway 04:37
02. Fly On A Windshield 02:48
03. Broadway Melody Of 1974 02:12
04. Cuckoo Cocoon 02:13
05. In The Cage 08:07
06. The Grand Parade Of Lifeless Packaging 04:15
07. Back In NYC 06:15
08. Hairless Heart 02:14
09. Counting Out Time 03:52
10. Carpet Crawlers 03:52
11. The Chamber Of 32 Doors 05:41
12. Story Of Rael 02:51
13. Lilywhite Lilith 03:00
14. The Waiting Room 05:35
15. Anyway 03:34
16. Here Comes The Supernatural Anaesthetist 03:48
17. The Lamia 07:13
18. Silent Sorrow In Empty Boats 03:01
19. The Colony Of Slippermen 08:22
20. Ravine 01:35
21. The Light Dies Down On Broadway 03:39
22. Riding The Scree 04:30
23. In The Rapids 02:23
24. It 05:38
25. (Encore) The Musical Box 10:58
Two organizations with ties to the Phish community, The Mimi Fishman Foundation and The Mockingbird Foundation, announced today that they have raised and distributed a combined $1,000,000 for charity. Both organizations are operated on an all-volunteer basis, with no salaries, paid staff, or offices.
Read the full article here.