I hope all my American readers had a very enjoyable Thanksgiving weekend. As you slip back into the swing of things, start off your week with this playlist. I’ve included lots of great music from some recent live performances that you may or may not have heard. Either way, this playlist will keep updated with whats been happening in the community as of late. Music as of Late. I hope you enjoy.
“Music of Late“
Ambient Alarm Clock “Music of Late” 11.29.10 (right click, choose save-as to download)
1. Barr Brothers – “Beggar in the Morning” (4.22.10)
2. Mike Gordon Band w/Jon Fishman – “Easy to Slip” > “Walls of Time” (11.26.10)
3. Gov’t Mule – “Banks of the Deep End” (11.22.10)
4. Railroad Earth – “Lone Croft Farewell” (11.26.10)
5. Furthur – “Eyes of the World” (11.21.10)
6. Mike Gordon Band w/ Jon Fishman – “Traveled Too Far” (11.26.10)
7. Mike Gordon Band – “Kryermaten” (11.18.10)
8. Surprise Me Mr. Davis – “When a Woman” (6.26.10)
9. Railroad Earth – “Long Walk Home” (11.19.10)
10. Phish – “Roses are Free” > “Simple” (11.28.98)
(Alright the last one isn’t “of late” but its certainly worth revisiting)
James Marshall Hendrix would have been 68 today. In celebration, I’ve put together a short playlist of songs you may not have heard to pay tribute to the greatest rock guitarist who ever lived. A quote from jazz piano maestro Ron Davis perfectly describes Jimi’s greatness:
“[Jimi] did lots with little. Made simple blues symphonies. Made noise music.”
1. My Little One (Jimi & Brian Jones)
Following the Monterey Pop Festival in 1967, Jimi and Brian Jones (Rolling Stones) composed and recorded together at Olympic Sound Studios in London along with Traffic’s Dave Mason and Mitch Mitchell.
2. You’ve Got Me Floating
This is one of my favorite Jimi songs, however, this version is not performed by Jimi. It’s an amazing rendition by Trey and Mike (Mike on banjo) from the GRAB tour in 2006. This particular version is from the Hummingbird Centre in Toronto on July 18th, 2006.
3. Tears of Rage
Next we have Jimi’s rendition of Bob Dylan and The Band’s “Tears of Rage.” Another one of my favorite songs.
4. Jam Thing
This jam comes from Jimi’s sessions with the members of Traffic. As the bootleg’s cover reads “this session took place at an unknown location in the late 60′s.” Psychedelic, man.
5. Message to Love
Finally we have a version of Jimi’s “Message to Love” from Veijlby Risskov Hallen Aarhus (huh?) on September 2nd, 1970. It’s a raw soundboard recording that captures the atmosphere and energy of what it would have been like to see Jimi live. Again, the recording is raw, but if you’ve stuck around this long chances are you won’t mind. I’ve listened to this show (and extracted licks from it) countless times. It’s a true showing of Jimi’s greatness.
Here is the first post of what will become a regular feature on DGB. ‘The Listening Station’ Will bring you into my musical world outside of Phish once a week in an attempt to hip you on to some new awesome music. I can’t wait to get started with one of my favorite bands, so I won’t ramble anymore. If you have any suggestions for bands you’d like to see featured, send me an e-mail at email@example.com and hopefully I’ll get around to it.
Sometimes a band comes your way, and upon first hearing them you feel like you have already been a fan for years. Very few bands have the ability to draw one in the way Phish or the Dead does, spawning a willingness to travel to great lengths to visit the musical pastures these bands create. Bands come and go from our listening patterns, and we enjoy their music while it’s there, and often, it doesn’t have a long-lasting effect. However, I had a lasting musical revelation about two years ago when I realized that there was yet another band out there that could bring me to such pastures – The Slip.
If you haven’t heard their music, you may have heard their name as they were one of the acts that played at Phish’s Camp Oswego in ’99. They were also offered the rare opportunity to record their album Angels Come on Time at The Barn in 2002. Countless artists and writers have recognized the immense talent of these musicians – they were featured on Jambands.com’s “New Groove of the Month” over 10 years ago – but it seems the band members prefer to remain off the main thoroughfare.
The Slip is a trio made up by the two Barr brothers, Brad (guitar) and Andrew (drums), along with bassist Marc Freidman. After meeting at the Berklee School of Music, and going through various personnel adjustments, the band settled on the current lineup and began to record their debut album From The Gecko.
What makes this band so appealing, at least for me, is their ability to traverse the various musical genres with a genuine authenticity. Like Miles Davis, The Slip will stumble across something great, and just as they see it reach its potential, they abandon it and move on to something new. It’s a constantly evolving process that has seen the band visit free-form jazz, jamband psychedelia, indie rock and even stripped down acoustic folk.
Like Phish and the Dead, you have to seek out this music and really be willing to search hard in order to discover the greatness that it beholds. I was lucky enough to have a friend who is deeply into The Slip and all of its various side projects – Lucas from Back In 15 Minutes and Listen.in – who was kind enough to help me on my journey to discover more of their music. I hope to be able to do the same for some of you, as I am of the belief that this is music that everyone should be aware of (even if the band doesn’t feel the same way). So for today, I’ve put together a playlist from various Slip shows to help introduce readers to this great music. There is also a Slip show from 2007 available for download below. I hope you enjoy it as much as I do.
Playlist: 1. Get Me With Fuji 2. Soft Machine 3. Else 4. The Woods 5. Abide With Me 6. More Intense Surveilence > Lots of Socks > 7. Even Rats 8. Call It What You Like 9. Children of December 10. If One of Us Should Fall 11.Sorry > 12. Kicked it in the Sun > 13. Sorry
Today’s playlist is a mix of various Phish jams (which it won’t always be). There is no specific focus, just some great jams for you to start off your shortened week with. Enjoy!
Bathtub Gin (6.28.00) > Tweezer (11.14.98)> You Ain’t Going Nowhere (7.30.03) > Mike’s Song (11.15.95) > Harry Hood (12.31.98) > Funky Bitch > Jam (11.22.94)
Stuart Bogie, member of the Antibalas horns and leader of his own band Superhuman Happiness, recently got the chance to play with Phish during their cover of Little Feat’s Waiting for Columbus. Stuart is a highly respected multi instrumentalist, who is best known for his work with afro-beat innovators Antibalas and his touring work with TV on the Radio. Relix magazine’s own Mike Greenhaus had the chance to chat with Stuart about playing with Phish and affect it had on him as a musician. Check out the full interview at Jambands.com:
“It was their chance to play another record they love—learn about the music, and they got so into it! They had the specific pedal settings Little Feat used. I don’t know that much about guitar pedals but Trey [Anastasio] had two of them and set them just the way Little Feat had set them. When we got to the gig they had another drum set tuned to Little Feat drum set sounds. Isn’t that wild?”
As I had expected, this confirms Trey’s use of some new pedals on the recent tour. I will try to get to the bottom of this and find out exactly what pedals the Bad Lieutenant was using…Stay tuned.
Last night, Trey Anastasio, backed by the Scorchio String Quintet, treated fans to a rare night of acoustic music. Much like Neil Young’s recent solo performances, Trey played several of his custom Martin DE acoustics and also moved to grand piano for “Bar 17″ and “Gone” and “Wolfman’s Brother.” Longtime friend and songwriting partner Tom Marshall joined in on vocals for “Strange Design,” a song Trey wrote around the time of his first daughter’s birth. Trey also debuted his newest collaboration with Amanda Green (with whom he is currently writing a musical) called “Julie.”
Trey Anastasio w/ Scorchio String Quintet
November 18, 2010
Set: Love Is Freedom, Water In The Sky, Summer of ‘89, Divided Sky, Greyhound Rising, Bar 17*, Gone*, Brian and Robert, Stash, Flock of Words, Strange Design^, Wolfman’s Brother*
Encore: Julie, Let Me Lie
* – Trey on Piano
^ – w/ Tom Marshall
[Setlist via Hidden Track]
Well, it’s been just over a week since I promised you an article explaining my take on Phish’s recent progress. Unfortunately, I fell ill and was unable to deliver on that promise (or my plan to roll out a new series of weekly posts). But, your humble narrator has returned, ready to pick up where we left off. So here are some brief thoughts about the recent tour:
Listening back on the shows from the recent tour, there are so many evident signs of progress. The band truly stepped forward into new waters with their jamming on this tour, exploring various songs in ways we had not heard before. As the tour progressed, a new direction seemed to take root in Phish’s playing, once again leading them on a path of discovery – or perhaps, more appropriately, rediscovery.
It’s taken some time for the smell of newly-reunited band to wear off, but on this tour there was hardly a trace. Each member is playing at a level that shows their maturity and their continued devotion to their instrument. The tightness on stage at this point is, in all honesty, frightening. Tightness enables the band to take more risks without having to worry about falling apart at the seams. And so as they embarked on the road, there was no need for rust polishing, and this left a lot more room for exploration and playfulness.
Jams, on several occasions, ventured into territory that was completely new. And these jams often appeared in songs that are not normally known as jam vehicles. This freedom of exploration allowed the band to rediscover their old songs, while injecting them with fresh ideas along the way. Rather than stretched out, extended jams, the music was consolidated, and rich with subtly.
Song selection also became more open to variation on this tour, and this returned the element of spontaneity to the shows – something that was largely missing in many of the recent tours. Rather than following a list of regular openers and closers, the band chose to add some variety this time around. I always say that an odd opener leads to a good show, and this was the case more than once on this recent tour.
And then there was the element of fun, or Phishiness as some like to call it. Whether it was the “Meatstick” encore in Broomfield, the “FYF” > “Mike’s Song” > “FYF” in Augusta, the various antics in Utica, the entire first set in Manchester or the Zeppelin-fest in Atlantic City, Phish was clearly having a shitload of fun. And as any Phish fan knows, fun is at the heart of this band’s music.
“I think we were just having a good time hanging out there – the four of us – and rediscovering some of these songs. We’re really having a good time right now. Maybe it’s a fresh perspective and just having fun remembering songs.” – Trey Anastasio, Relix Magazine (Sept/Oct.2010)
This is, most likely, what led to the recent “song-based” sets. The truth is, Phish has written so many good songs, and now they are just enjoying playing them, and playing them well. And now that they have revisited these old songs, they are not only relearning them, they are redefining them and injecting them with new arrangements and new interpretations. In many ways, Phish is on the cusp of a new musical direction, and as Mike told Jambands.com just recently, “sometimes the cusps are the coolest place…”
[All pictures provided by our good friends at Glowstickwars.com]
Set One: Voices, Rhymes, Only A Dream, The Void*, What Things Seem, Pretend, Meat, Traveled Too Far
Set Two: Be Good And You’ll Be Lonely, Lit O Bit, Fire From A Stick, Emotional Railroad, Radar Blip > I’m Deranged, Things That Make You Go Hmm, Hap Nappy
Encore: Down To The Nightclub, Swamp Music
* First time played
[setlist via Oh Kee Pah Blog]
Set I: Sound, Dig Further Down, Horizon Line, She Said, She Said, Cruel World, Down To The Nightclub*, Rock On^ > Suskind Hotel, Idea
Set II: Can’t Stand Still, Sailin’ Shoes, I Sure Miss My Mind%, Sugar Shack, Time (The Revelator), River Niger, 15 Step > Another Door
Encore: Soul Food Man
* Tower Of Power, first time played, ^ David Essex, first time played, % First time played
[setlist via Oh Kee Pah Blog]
DOWNLOAD: MGB 2010.11.06 The Troubador, West Hollywood, CA [Torrent]
SOURCE: JW Mod AKG 460/mk46/ck1x (DIN) > EAA psp-2 > 722
So here we are again at the end of another tour with a fairly long list of highlights to show for it. Few can deny (who can deny?) that Phish took a major step forward on the Fall 2010 tour. With the band making regular trips into the psychedelic unknown, the spontaneity and the sense of adventure returned to the shows. This time around, there are highlights abound, and this time they aren’t confined to the regular cast of songs. This time, the band followed a path to rediscovery that brought new and old songs into new improvisational waters. Tomorrow, we’ll take a closer look at this ‘Path to Rediscovery’ (and exactly what they were rediscovering). But for today, let’s ease back and enjoy some of the highlights from the recent tour in a nice long 2-hour playlist.
Note: this tour had many more highlights than other recent tours, and so you will notice that not everything made the cut. Every Monday, from now on, you will find a new playlist here at DGB. Over the course of the week I’ll be rolling out new weekly posts to try and add some structure to the site. So every Monday, count on a nice long playlist to make your day at work/school easier and more enjoyable. As always, if you have suggestions, e-mail me at firstname.lastname@example.org. Stay tuned this week, I’ve got lots to share…
“2010 Fall Tour Highlights”
DOWNLOAD: 2010 Fall Highlights (Right click, choose ‘Save As’ to download)
Playlist: Wilson (10.31.10) > Stash (10.31.10) > Reba (10.19.10) > Ghost (10.26.10) > Night Nurse (10.26.10) > Have Mercy (10.20.10) > Piper (10.20.10) > Carini (10.22.10) > Tweezer > Heartbreaker > Ramble On > Thank you > Tweezer > Stairway to Heaven (10.30.10) > Spanish Moon (10.31.10) > Wolfman’s Brother (10.30.10) > Crosseyed and Painless (10.16.10)
Phish has confirmed the release of their latest DVD which captures performances from August 14th and 15th at Alpine Valley Music Theatre. The DVD box set hits stores on December 14th and includes the full performance from August 14th, along with 2 CDs, and a bonus DVD containing video segments from the performance on the 15th. The box set is available for pre-order today at order from Phish Dry Goods.
In addition, those who pre-order the box set will receive “Phish: Wisconsin Edition” a free bonus CD compilation from the Phish Archives, featuring past highlights spanning 14 years at the legendary Alpine Valley Music Theatre.
We’re happy to be able to share some official videos from the box set, courtesy of the good folks at Phish Inc.
“Down With Disease” > “What’s the Use” (8.14.10)
Little Feat has always been, and will always be, a musicians’ band. And so when Phish – the ultimate musicians’ band – decided to cover their 1978 live album, Waiting For Columbus, on Sunday, there was perhaps no album more fitting.
Like Phish, Little Feat is a band that plays best in a live concert setting. As Little Feat keyboardist Bill Payne told Relix in 1978: “This band is a playing type of band. We just sound better live than we do on records.” So rather than attempt to learn a studio album, as they have done in the past, Phish took on the task of recreating one of these live experiences. The music lent itself so well to Phish’s playing that at times it didn’t seem as though they were covering another band at all – it seemed as though this music had been a part of the band since the beginning.
The Halloween set began with “Join The Band” being piped over the PA system, as Phish took the stage with percussionist Giovanni Hidalgo alongside. In an attempt to replace the Tower of Power horns, who are featured on the album, Phish brought out members of Antibalas Horns – one of the finest horn sections on the scene today – and the Dapkings on several of the songs. There was instant chemistry, and as the band began to play we were shepherded back to the summer of 1978.
From note one of “Fat Man in the Bathtub,” it was clear how much of an influence these songs had on the members of Phish. Unlike many of the past musical costumes, where the band had to change their sound to suit the album, Little Feat was, as Jon mentions in the playbill, “in the fabric.” At one point a friend of mine turned to me and said “This sounds like Phish.” Or perhaps more appropriately, ‘Phish sounds like Little Feat’. Unfortunately, Trey did not use a slide (as George did) but instead mimicked his playing by cranking the treble on his amp and placing an equal importance on every note he played (as George did).
While Phish has played “Skin it Back,” “On Your Way Down” (made famous by Little Feat) and “Time Loves a Hero” since the early eighties, it was some of the other songs that gave us a true glimpse at the connection between the two bands. Waiting for Columbus takes songs from all different parts of Little Feat’s early career, giving us a feel for the various directions the band explored. The album is much like a Phish studio album (or show) in that it explores so many different genres. There’s the shufflin’ boogie on “Dixie Chicken” or the jazz-fusion songs like “Time Loves a Hero” and “Day or Night” (the latter of which led to Lowell George’s departure from the band) that show the signs of a band that could truly do it all. As Trey mentions in the Playbill: “’Tripe Face Boogie’ is in 9 time, then switches to 5, and still maintains that dynamite boogie.” So it was no surprise that it was complex songs, such as these, that Phish shone brightest.
The first few songs let the band slip into their roles – Trey as a mix of Lowell George, the “Rock ‘n’ Roll Doctor,” and Paul Barrere, Mike as Kenny Gradney, Page as Bill Payne and Jon as Richie Hayward. But by “Time Loves a Hero,” the two groups had converged as one, Little Pheat, and the delivery couldn’t have been better. The band performed perhaps the best ever version of the song, flanked by Antibalas multi-instrumentalist Stuart Bogie on sax. From that point almost every moment was a highlight, but a run of songs in the middle of the set especially stood out – the run of “Spanish Moon,” “Dixie Chicken” > “Tripe Face Boogie.” I imagine it will be one of the songs from this segment that will be revisited by the band in the future.
One of the highlights, for me, was a near-perfect rendition of one of my favorite Feat tunes “Day or Night.” Phish nailed the vocal harmonies, and did justice to the complex instrumental sections. Little Feat’s influence on Phish was readily apparent as they worked through the odd-measured sections that resembled so many of their own compositions. “Mercenary Territory,” was another highlight and showed Trey mimicking George’s slide solos using bends instead of a slide, which actually worked surprisingly well. Although, I would have liked to see Trey tune to ‘G’ and lay down some leads with George’s trademark ¾ steel socket slide.
But it was the fitting “Spanish Moon,” a song about hookers and hustlers, and a run of songs that followed that served as the main highlight of the night. Having played “Spanish Moon” with Dave and Friends in the past, Trey was familiar with the jam, and it came off as one that had been in the rotation for years. Again, “part of the fabric.” The jam seemed so natural, and showed the massive influence Hayward has been on Jon’s playing. As Jon mentions in his personal tribute to the legendary Little Feat drummer Richie Hayward included in the Phishbill, “there has probably been no greater direct influence on my drumming than Richie Hayward…”
Next, the band switched gears to the other side of Little Feat’s song catalog, the George-driven down-home “Dixie Chicken,” and Phish once again flourished. Few bands could go from an R&B boogie to southern barroom blues as Little Feat did, but Phish mastered the challenge without a single slip. Page shone on this one, paying a worthy tribute to his hero Bill Payne. After “Dixie Chicken” the band segued perfectly back into the jazz-fusion side of Little Feat, annihilating the band’s complex jam vehicle “Tripe Face Boogie.”
The night also served as a tribute to Little Feat drummer Richie Hayward, who passed away this past August, and Lowell George who died in 1979, shortly after Little Feat’s disbandment. Jon donned a pair of Henrietta-patterned overalls, as a tribute to George who often wore overalls onstage. George truly was a musical genius, shown by his songwriting ability, his singing, his slide playing and his signature compressed tone. His greatness is perhaps best described in a Little Feat song called “Rock ‘n’ Roll Doctor,” “He’s got two degrees in bebop, a PHD in swing, he’s the master of rhythm, he’s the rock ‘n’ roll king.”
While the band’s comments prior to Halloween may have led our minds astray, Little Feat should have been an obvious choice all along. While in 2003, when Trey made comments about wanting to do King Crimson or Brian Eno, the musical direction at the time was entirely different. I mean, he had just played and released an album with Oysterhead and was in the midst of what is perhaps Phish’s most psychedelic and exploratory period. Fast forward to now, and it seems Trey, along with the rest of the band, has moved forward in a new direction – one that focuses on songs, songwriting, and rediscovering old songs. So it seems fitting that they chose an album by a band that had all of that and more, and one that has influenced them since the very beginning.
“When we started Phish, we wanted an experience – dancing, fun, togetherness…while sticking in the crazy influences and time changes, and the funk and African things. But those guys were doing it all along. Little Feat were the gold standard.” –Trey, 2010 Phishbill
[All pictures courtesy of Glowstickwars.com user Redredworm]
The Grateful Dead have announced that they will be digging into the archives to offer one free track for download each day of November. The month-long celebration began on Nov. 1, and each day features a hand-picked track by Dead archivist David Lemieux. Each song is a high-quality 320kps mp3, the majority of which will come from previously unreleased soundboard recordings.
Here’s some further info from the Dead:
The 30 DAYS OF DEAD celebration honors the spirit of camaraderie exemplified by the tapers who diligently documented the Dead’s concerts and trade them freely with other Dead Heads. Encouraged by the band, this practice of sharing helped foster not only a legion of devoted fans, but also created a unique sense of community that has transcended generations.
Since the majority of the 30 live tracks offered during 30 DAYS OF DEAD are previously unreleased soundboard recordings, both life-long Deadheads and those previously uninitiated to the joys of the band will be sure to enjoy the free tunes. 30 DAYS OF DEAD kicks off with a free download of “New Speedway Boogie,” the studio version of which was included on Workingman’s Dead, one of two iconic Dead albums celebrating its 40th Anniversary this year (American Beauty being the other). This live acoustic/electric hybrid version was recorded… well, that’s for the fans to figure out.
In addition to the free music, 30 DAYS OF DEAD will also include daily and weekly contests. When a new track is posted on dead.net each day at approximately Noon EST, the first person to correctly identify both the complete date (Month, Day, Year) and venue of the performance in the comments section will win their choice of any copy from the Dead’s ongoing Road Trips series.