Set 1: Backwards Down the Number Line, Theme From the Bottom, Farmhouse, Gumbo, Kill Devil Falls, Halley’s Comet, Dirt, Stealing Time From the Faulty Plan, The Wedge, Let Me Lie, Water in the Sky, Wading in the Velvet Sea, Heavy Things, Liquid Time, Hey Ya!, Push On ‘Til the Day
Set 2: Gotta Jibboo, Ocelot, Valentine, My Problem Right There, Cayman Review, Burlap Sack and Pumps, Clint Eastwood, Money, Love and Change, Small Axe, The Devil Went Down to Georgia, Night Speaks to a Woman, Ether Sunday, First Tube
Encore: Sultans of Swing
 Trey solo acoustic.
 Trey acoustic with Jen and Natalie.
 Trey acoustic with Jen and Natalie. Dedicated to Tom Marshall.
 Trey acoustic with full TAB.
Notes: The first set was Trey solo acoustic except “Let Me Lie” through “Wading” (Trey acoustic with Jen and Natalie) “Heavy Things” through “Hey Ya! (Trey acoustic with full TAB), and “Push On” (electric TAB). “Wading” was dedicated to Tom Marshall.
[Setlist via Phish.net]
Set 1: Sample in a Jar, Wilson, Cavern, Joy, Sleep Again, Bug, Chalk Dust Torture, Limb By Limb, Harry Hood, Strange Design, Backwards Down the Number Line, Hey Ya!, Valentine, Cayman Review, Burn That Bridge, Ocelot, First Tube
Set 2: Gotta Jibboo, Drifting, Burlap Sack and Pumps, Alaska, Sweet and Dandy, Simple Twist Up Dave, It Makes No Difference, Clint Eastwood, Push On ‘Til the Day, Black Dog
Encore: Sand, Tuesday
 Trey solo acoustic.
 Trey acoustic with TAB.
Notes: “Sample in a Jar” through “Backwards Down the Number Line” were solo acoustic by Trey. “Hey Ya!” was performed acoustic by Trey with the rest of TAB joining him.
[Setlist via Phish.net]
AUDIO: TAB 2010.2.26 Lifestyles Community Pavilion, Columbus, OH
SOURCE: MBHO603a/KA200N > Fostex FR2-LE
blockquote>Set 1: Backwards Down the Number Line, Gumbo, Farmhouse, Stealing Time From the Faulty Plan, The Horse > Silent in the Morning, Talk, Driver, Theme From the Bottom, Down with Disease, Heavy Things, Liquid Time, Let Me Lie, Show of Life, Push On ‘Til the Day
Set 2: Night Speaks to a Woman, Valentine, Cayman Review, Alaska, Burlap Sack and Pumps, Gotta Jibboo, Goodbye Head, Mozambique, Clint Eastwood, Money, Love and Change, Magilla, Sand
Encore: First Tube
 Trey solo acoustic.
 Trey acoustic with full TAB.
Notes: “Backwards Down the Number Line” through “Down with Disease” were performed solo acoustic by Trey. “Heavy Things” through “Let Me Lie” were peformed acoustic by Trey with the rest of TAB joining him.
[Setlist via Phish.net]
AUDIO: TAB 2010.2.25 Stage AE, Pittsburgh, PA
SOURCE: MBHO603a/KA200N > Fostex FR2-LE
Set 1: Back on the Train, Free, Sample in a Jar, The Wedge, Wilson, Strange Design, Twenty Years Later, Suzy Greenberg, Twist, Theme From the Bottom, Carini, Waste, Lawn Boy, Liquid Time, Heavy Things, Hey Ya
Set 2: Push On ‘Til the Day, Tube Top Flop, Night Speaks to a Woman, O-o-h Child, Burlap Sack and Pumps, Ocelot, Shine, Dark and Down, Mr. Completely > Ether Sunday, Acting the Devil, I Done Done It, Sand
Encore: At the Gazebo, The Birdwatcher > Tuesday
 Trey solo acoustic.
 Trey solo acoustic; TAB debut.
 Trey acoustic with Tony and Russ Remington.
 Trey acoustic with full TAB.
Notes: The first set was Trey solo acoustic excepting “Lawn Boy” (with Russ Remington on tenor sax and Tony on bass), “Liquid Time,” “Heavy Things” and “Hey Ya” (full TAB with Trey on acoustic). The second set and encore was electric TAB. “Wilson” contained “a shout out to the King of Prussia Mall, the greatest mall in the northeast.” “Twenty Years Later” and “Twist” were TAB debuts.
[Setlist via Phish.net]
AUDIO: TAB 2011.2.23 Electric Factory, Philadelphia, PA
SOURCE: Schoeps mk41v’s(DINa)>kc5>m222>nt222>744t
TAB continued their acoustic/electric tour last night at New York’s Terminal 5. With a line stretching over two blocks away, many fans were left in the cold by the time the show got started. The first set saw the solo acoustic debuts of “Down with Disease” and “Meatstick,” along with a revived acoustic version of “Camel Walk,” which was a request from Fishman all the way from Morrocco (giving a bit more insight into the very strange middle eastern-themed tour announcement video). Trey ran through several more songs that have been in the recent rotation before he was joined by the two ladies for “Wading in the Velvet Sea” and then the full band for the acoustic debut of “Heavy Things” along with “Peggy” and Outkast’s “Hey Ya.” (Click here for the full setlist)
While Trey often struggled with the crowd noise during his ’99 acoustic sets—at times appealing for the crowd to be quiet—the recent sets have taken more of a bar-room sing-a-long type feel, rather than a quiet acoustic setting. This is somewhat of a mixed blessing, as it has allowed us to hear many of our favorite Phish songs in this new acoustic format, but prevents Trey from doing any real playing. That said, it seems to be working on this tour and it was definitely my favorite part of the night.
Through these acoustic sets, the many songs Trey and Tom have written come to life in a way we have not seen before, highlighting the power of the actual songwriting. While Phish is often admired for their musicianship, there are so many great lyrics to so many great songs. This is the focus of these acoustic sets.
With the crowd singing along, it’s a shared experience from beginning to end. Classic Phish numbers like “Theme from the Bottom” and “Cavern,” that evoke a totally different feel when performed with the full band, invited us to a fresh new place. For me, these were the highlights of the set. It’s quite special to see the man responsible for all of this music performing it right before your eyes on nothing but an acoustic guitar (a Martin D28 at that, not his custom DC).
Trey was typically chatty throughout the evening as he had plenty on his mind to banter about. He told us of Fishman’s trip to Morocco, his upcoming musical collaboration with Amanda Green “Hands on a Hard Body,” and an error-plagued history of his relationship with Russ Remington of the Giant Country Horns.
When the band returned for the second set, they opened with a cover of Professor Longhair’s “In the Wee Wee Hours”—the first of several covers in the set. Right from the start, the electric set took on more of a soulful, bluesy feel as many of the songs typically reserved for the first set made their way into the second. Instead of digging into any lengthy or psychedelic jams, Trey showed off his fleet-fingered solos atop the deep grooves of the impeccable TAB rhythm section. Some tasteful covers appeared including The Band’s “It Makes No Difference” and Toots and the Maytal’s “Sweet & Dandy.” “Sand” briefly slipped into some spacey territory, but for the most part the jams were a display of high-energy rock. Mixed in with the covers, it made for a fun but somewhat dull second set.
Perhaps cursing myself, the other night I had made a remark that I hoped Trey had gotten the top 40 out of him in Portland and Albany (and then in Boston). But, instead, NYC got THREE top 40 covers. We know Trey has a fascination with the pop charts, but this was just too much. I like “Hey ya”—it’s well done and it’s nice to see Trey take on a song like that. I don’t think “Clint Eastwood” works, and I would have rathered any other hat-tip to NYC than the infinitely overplayed “Empire State of Mind.” I mean, it’s fun and all, but it definitely takes away from that specialness of seeing your favorite musician perform a solo show, at least for me.
Check out my full review of last night’s TAB show from Terminal 5 here. Setlist and Download (when available) are provided below.
Set 1: Down with Disease, Wolfman’s Brother, Theme From the Bottom, Camel Walk, Kill Devil Falls, Meatstick, Halley’s Comet > Bouncing Around the Room, Cavern, Prince Caspian, Limb By Limb, Stealing Time From the Faulty Plan, Wading in the Velvet Sea, Heavy Things, Peggy, Hey Ya
Set 2: In the Wee Wee Hours, Valentine, Ocelot, It Makes No Difference, Gotta Jibboo, Burlap Sack and Pumps, Clint Eastwood, Cayman Review, Sand, Sweet and Dandy, Burn That Bridge, My Problem Right There, Tuesday, First Tube > Empire State of Mind
Encore: Sultans of Swing
 Trey solo acoustic; TAB debut.
 Trey solo acoustic.
 Trey solo acoustic. For Fish. “Going downtown to Morocco” lyric. “Shortest version of that song ever.”
 Trey solo acoustic; with “bitch”/”dung” lyrics.
 Trey acoustic with Jen and Natalie.
 Trey acoustic with full TAB.
 “Streets of Cairo” tease from Trey.
 After the song Trey noted the song’s co-author, Amanda Green, and the “Hands on a Hard Body” play for which the song was written.
 TAB debut.
 TAB debut; incomplete.
[Setlist via Phish.net]
AUDIO: TAB 2011.2.23 Terminal 5, New York, NY
SOURCE: AKG se300b/ck93>Edirol UA-5 (bm2p+)>iRiver h120
Phish has just announced it’s 2010 Summer Tour Dates! The tour will open with a three night run starting on May 27 with the band’s first appearance in Bethel Woods, NY—a venue that sits atop the Woodstock Festival site. Phish will also make its first visit to the the DTE Energy Center (better known as Pine Knob) outside of Detroit, MI before returning to some more familiar venues along the east and down the coast towards the south. The full list of dates is below.
Also, thanks to a tip from our good pal Scotty B. from YEM Blog, a message posted to the band’s vimeo site reads:
“Following the summer, the band has no touring plans for the remainder of the year. “
5/27/11 Bethel Woods Center for the Arts, Bethel, NY- $60.00 Reserved Seating and $45.00 GA Lawn
5/28/11 Bethel Woods Center for the Arts, Bethel, NY- $60.00 Reserved Seating and $45.00 GA Lawn
5/29/11 Bethel Woods Center for the Arts, Bethel, NY- $60.00 Reserved Seating and $45.00 GA Lawn
5/31/11 PNC Bank Arts Center, Holmdel, NJ – $60.00 Reserved Seating $45.00 GA Lawn
6/1/11 PNC Bank Arts Center, Holmdel, NJ – $60.00 Reserved Seating $45.00 GA Lawn
6/3/11 DTE Energy Center, Detroit, MI – $60.00 GA Pit and Reserved Seating $45.00 GA Lawn
6/4/11 Blossom Music Center, Cuyahoga Falls, OH – $60.00 GA Pit and Reserved Seating $45.00 GA Lawn
6/5/11 Riverbend Music Center, Cincinnati, Ohio- $60.00 GA Pit and Reserved Seating $45.00 GA Lawn
6/7/11 Comcast Center, Mansfield, MA- $60.00 GA Pit and Reserved Seating $45.00 Reserved Seating and GA Lawn
6/8/11 Darien Lake Amphitheatre, Darien, NY – $60.00 GA Pit and Reserved Seating $45.00 GA Lawn
6/10/11 Susquehanna Bank Center, Camden, NJ – $60.00 GA Pit and Reserved Seating $45.00 GA Lawn
6/11/11 Merriweather Post Pavilion, Columbia, MD – $60.00 GA Pit and Reserved Seating $45.00 GA Lawn
6/12/11 Merriweather Post Pavilion, Columbia, MD – $60.00 GA Pit and Reserved Seating $45.00 GA Lawn
6/14/11 Verizon Wireless Amphitheatre at Encore Park, Alpharetta, GA – $60.00 GA Pit and Reserved Seating $45.00 GA Lawn
6/15/11 Verizon Wireless Amphitheatre at Encore Park, Alpharetta, GA – $60.00 GA Pit and Reserved Seating $45.00 GA Lawn
6/17/11 Verizon Wireless Amphitheatre, Charlotte, NC – $60.00 GA Pit and Reserved Seating $45.00 GA Lawn
6/18/11 Time Warner Cable Music Pavilion, Raleigh, NC- $60.00 GA Pit and Reserved Seating $45.00 GA Lawn
6/19/11 Ntelos Pavilion at Harbor Center, Portsmouth, VA- $60.00 General Admission
For more information on these shows, please click here.
The request time ends: Friday, March 4 at 11:59 PM, EST.
TAB played the House of Blues in Boston last night, debuting several more Phish originals in the acoustic set, and reviving “Hey Ya!” for its second time this tour. The electric set continued to dust off covers from past TAB tours as has been the trend the past few nights. Check out the setlist and download the audio from last night’s show below.
Acoustic Set: Sample In A Jar, Punch You In The Eye, Strange Design, AC/DC Bag, It’s Ice, Bathtub Gin, Carini, Dog Faced Boy, Shine A Light, Sleep Again, Wilson, Chalkdust Torture, Backwards Down The Number Line, Lawn Boy^, Let Me Lie^^, Hey Ya!^^
Electric Set: Done Done It, Valentine, In The Wee Wee Hours, Gotta Jiboo, Sweet Dreams Melinda, Burn That Bridge, Simple Twist Up Dave, Small Axe, Ooh Child, Tuesday, Ocelot, Ether Sunday, First Tube
Encore: Magilla, Black Dog
^with Russ Remington and Tony Markellis
^^with full band
AUDIO: TAB 2011.2.20 House of Blues, Boston, MA [Torrent]
SOURCE 1: AKG c480b/ck63(DINa,OTS) > Lunatec V3 Digital > Tascam DR-680(24/48)
SOURCE 2: AKG c460b/c60m/ck22(AB,3′Split) > Tascam DR-680(24/48)
TAB continued its winter tour last night at Albany’s Palace Theatre with the second eye-catching setlist in as many nights. The acoustic set featured a number of interesting Phish originals making their acoustic debut with members of TAB appearing for a few songs from Big Red’s solo arsenal toward the end. The electric set continued to feature several more rare tunes and another top 40 cover debut with the Gorillaz “Clint Eastwood.” Just looking at these setlists on paper, it’s clear Trey has been working hard preparing for this tour and it seems to be paying off. The tour continues at the House of Blues in Boston tonight. Check out the setlist and audio download link for last night’s show below.
Acoustic Set: Free, The Wedge, Prince Caspian, Backwards Down The Number Line, Limb by Limb, Stealing Time From The Faulty Plan, Guelah Papyrus, Buffalo Bill, Joy, Halley’s Comet, Wading in the Velvet Sea^, Black^^, Valentine^^^, Devil Went Down To Georgia^^^
Electric Set: Money Love & Change, Done Done It*, Ocelot, Clint Eastwood**, Night Speaks to a Woman, Sweet & Dandy, Ooh Child, Windora Bug, Birdwatcher, Sand. Drifting, Push On Til The Day
Encore: Cayman Review
^with Jen Hartswick and Natalie Cressman
^^last played 5.13.05 Hammerstein Ballroom, with with Jen Hartswick, Natalie Cressman, and Ray Paczkowski
^^^with all of TAB
*last played 5.4.05 Ovens Auditorium ~ Charlotte, NC
**Gorillaz cover, first time played
AUDIO: TAB 2011.2.19 Palace Theatre, Albany, NY
SOURCE: Busman Bsc1 (Hypers)>HYDRA silver Shorty XLR’s>Fostex FR-2LE(Busman T-mod)
TAB kicked of its winter tour last night at the State Theatre in Portland, ME. The setlist featured a wide variety of songs reaching into nearly ever corner of the TAB catalog, along with a very unexpected cover. The setlist and link to the recording of last night’s show are provided below. The band plays the Palace Theatre in Albany, NY tonight.
Acoustic Set: Theme From The Bottom, Cavern, NICU, Bug, My Friend My Friend, Horse > Silent in the Morning, Gumbo, Suzy Greenberg, Kill Devil Falls, Water in the Sky^, Spin^^, Liquid Time^^^, Hey Ya^^^^
Electric Set: Cayman Review, Mozambique, Gotta Jibboo, It Makes No Difference, Acting the Devil*, Alaska, All That Almost Was, Words To Wanda, Push On Til The Day, Birdwatcher, Sand, Wherever You Find It, Plasma, Tuesday
Encore: In The Wee Wee Hours**, Dragonfly
^with Jen Hartswick and Natalie Cressman
^^with Jen Hartswick, Natalie Cressman, and Ray Paczkowski
^^^ with all of TAB
^^^^Outkast original. First time played, with all of TAB
*last played 11/01/02 The Tabernacle ~ Atlanta, GA
**last played 11/02/2002 Pompano Ampitheatre ~ Pompano Beach, FL
[@ericwyman via OhKeePah Blog]
DOWNLOAD: TAB 2011.2.18 State Theatre, Portland, ME [Torrent]
SOURCE: (FOB) center of lower orchestra section, at the rail ->
Sound Professionals SP-BMC-12 (Croakie mount) ->
custom battery box with -10db pad ->
Zoom h4n line-in (to 24bit/48kHz wav) ->
SD Card -> Computer ->
Mastered in Reaper (x64) EQ -> Dynamics -> Tracking -> 16/44.1 ->
Trader’s Little Helper to fix SBEs and encode to flac (level 8) ->
foobar2000 to tag metadata
One of the most overlooked aspects of Phish’s return, was the return of Trey’s classic guitar rig. And already, since the reunion, the rig has undergone many more changes to bring the tone we are hearing from Big Red today. Trey’s use of effects is quite often misunderstood, and though he uses a fairly simple rig, many people are at a loss to what he is doing and how is making those sounds he is known for. There are some descriptions of his rig out there, but nearly every one is out of date, or slightly incomplete. Today, we’ll take a tour through Trey’s current rig to provide readers with a better understanding of exactly what is going on up there.
For many years, Trey’s pedal rig has remained largely the same, with the addition of one or two minor pieces along the way. But for the most part, his setup has consisted of the following pedals for quite some time (the only addition being the TC Electronics Nova Repeater Delay):
Ibanez/Analog Man TS9 “Silver” Modded Tube Screamers
- basic overdrive pedals
- one set around 11:00, the other cranked all the way.
- silver mod provided by Analog Man has given a higher gain sound with more of an edge
Vintage Ross Compressor
- controls the peaks and valleys of one’s attack
- currently, Trey has the sustain turned almost all the way down meaning he is using it minimally
Original Boomerang Phrase Sampler
- Basic looping pedal
Digitech Whammy II pedal (externally MIDI controlled)
- responsible for the whale call
- also responsible for Trey’s octave shifts as well as the siren-like sounds
Teese RMC Wah (concealed within a Crybaby shell)
- standard wah pedal
Footswitch for CAE Tremolo + Expression Pedal for CAE Bad Cat Vibe
- activates CAE Tremolo
- Controls speed of Black Cat Vibe (see rack mounted effects)
TC Electronics Nova Repeater Delay
- The only new addition to Trey’s rig
- Popular studio delay pedal
- Used for tone color during solos
CAE 4×4 footswitch board
- on/off control for rack mounted effects
Boss FS5U footswitches + Leslie control
- Controls for Leslie speaker
Rack Mounted Gear:
Trey’s rack mounted gear is responsible for many of the actual “effects” and has also remained fairly constant for quite some time. If anything, several pieces have disappeared over the years. At this time, it has been reduced to one of its most simple setups and features the following list of items. FYI: CAE stands for Custom Audio Electronics, a company run by Bob Bradshaw who is famous for building Van Halen’s rig.
Furman M8-L Power Conditioner
- Provides power to the rig
Korg DTR-2 Rackmount Tuner
Vintage Ibanez DM2000 Digital Delay
- used for looping
- also used for reverse effect heard in “Carini” solo
Custom Audio Electronics (CAE) Black Cat Vibe
- Trey’s effect of choice through the ’99-’00 period
- Used at the begining of PYITE
- Jimi Hendrix inspired
CAE Super Tremolo
- various tremolo effects
- often used as a “slicer”
- also used for the ’95/’96 era delay loop jams
Alesis NanoVerb x2
- 1 set for delay
- one set for room reverb
-set to a gated reverb
CAE 4×4 Switcher
The next piece of the puzzle is Trey’s amp setup. This part of the rig has seen the most changes over the years and has included the Mesa Boogie Mark III(80’s-95), a Groove Tubes amp (95-98) and a Fender Deluxe Reverb modified by Bill Caruth (98-03). The speaker cabinets have rotated between the original Languedoc speaker cabinets built by Paul in the late 80’s (modeled after the Hard Truckers cabs), a set of actual Hard Truckers cabs, and a custom Bruno speaker. Trey also uses a Custom Audio Electronics preamp, but was seen toying with new preamps on recent tours, including an SMS classic tube preamp modeled after the one Jerry Garcia used. Since the reunion, there have been four variations of the setup that have appeared on stage (with additional small pieces coming and going along the way).
The first setup, debuted at Hampton and seen on much of the Summer ’09 tour, was a combination of the Mesa (for the first time since ’94), the Bruno speaker (seen with the red piping), and one of the Languedoc cabs, along with the Fender DR or a second Mesa behind as a backup, and the addition of a full Leslie speaker (as opposed to the half-cab he had used before). The Fender was seen on stage early on in ’09 but quickly disappeared. This first setup is seen in this picture from the Gorge in ‘09:
The second setup included the Mesa, both Languedoc speakers in addition to the Bruno, and the Leslie.
For the third setup, he dropped the Bruno and began using just a single Languedoc cab, along with the Mesa and the Leslie.
Finally, the current setup we are seeing today features both Languedoc speakers, once again, along with the Mesa and the Leslie.
In case you haven’t been following along, the past two weeks on Type II Cast (a weekly Phish podcast I am proud to be a part of) we have been counting down our collective “Best Jams” of 2010. With the second episode airing last Tuesday night, and now available for stream, I can now reveal my individual picks. However, given the extra time to consider my choices, I amended a few picks to make room for some jams that I either forgot or did not weigh highly enough the first time. So, without further ado, I present to you my Top 10 Phish Jams of 2010.
[Photo courtesy of Glowstickwars.com]
1. Ghost (12.31.10 Madison Square Garden)
The crowning moment of 2010.
2. Down With Disease > What’s the Use (8.14.10 Alpine Valley)
Few jams since the return have achieved a comparable level of transcendence. The finest segue of the year.
3. Backwards Down the Number Line (6.12.10 Blossom Music Center)
A seemingly overlooked gem from the beginning of summer tour. A dark journey ensues that finds the rare combination of Trey using his Leslie speaker and Mike using the meatball. Once the jam takes off, every note seems perfectly placed.
4. Simple (8.6.10 Greek Theatre)
One of the most impressive pieces of music from 2010. A psychedelic journey of all colors.
5. Light > Twenty Years Later (8.7.10 Greek Theatre)
The note at 10:05 may be my favorite note of the year as Mike and Trey and Page all come down on the same change simultaneously. Recalls a very ’99-’00 jam style. New song emerges at 13:35.
6. Chalkdust Torture (6.25.10 Camden)
Trey locks in with Mike early on propelling the jam into a rare type-II jam section. Pure hose [9:15] as Mike lays on the meatball, Trey experimenting with some strange combination creating a flute-like effect (rarely heard before). Mike emerges the leader in this jam.
7. Reba (10.19.10 Augusta Civic Center)
Leaping from one musical mode to another, crashing down with purpose. Some of Fish’s best drumming.
8. Stash (10.31.10 Boardwalk Hall)
Glorious major/minor shifts, fluttering licks from Trey. One of the most interesting versions in a long time.
9. Split Open and Melt > Have Mercy (10.20.10 Guyutica)
Band rides that rare wave of energy only found in the best shows. Seems to be almost tappable.
10. Harry Hood 12.28.10 (12.28.10 DCU Center)
Staccato ”Ya Mar”-like jam ensues. Improv surrounds Mike’s calypso bassline. Unique version.
Rock ‘n’ Roll > Carini (10.22.10)
Piper > Ghost (6.27.10)
Check back tomorrow as we’ll have a special feature exploring Trey’s current guitar rig…
Welcome back to Ambient Alarm Clock where this week I have a special playlist prepared for you. Those who know me well, will know that playlisting is a constant habit of mine. Each month I assemble numerous playlists of new and old music of all sorts, and today I felt like sharing my most recent one with you all. I often start my playlists the same way (with one of my favorite songs) to set the tone, and from there they branch out into all sorts of different directions. I think this is something that I will try to do more frequently, so let me know if you dig it and want to hear more.
1. Intro (Ace of Cups – Music)
2. Woodsman – Inside/Outside
3. Women – Bullfight
4. Frame – Frame of Mind
5. Pyschedelic Aliens – Gbe Keke Wo Taoc
6. Black Beats – The Mod Trade
7. Sun Ra – Drop Me Off in Harlem
8. Roy Orbisson – Mean Woman Blues
9. Alex Bleeker & the Freaks – Dead On
10. Jerry Garcia Band – I’m Troubled
11. Ariel Pink’s Haunted Graffiti – Fright Night (Nevermore)
12. Genesis – Dance on a Volcano
13. Woodsman – Serfer
This is the first installment of what will (hopefully) become a fairly regular weekend feature on Dog Gone Blog. The title for the feature may seem obvious, but it really comes from something that was a major part of my childhood. As a youngster, riding around in my father’s car we would always have great music on the stereo, and one of my favorite things to hear was always Curtis Bailey’s jazz show on CKLN-FM 88.1 (Ryerson University Radio), called ‘All That Jazz.’
Every Saturday afternoon, Curtis would get on the air and spill his incredible knowledge of jazz over the radio waves with his trademark growl that only the best radio hosts possess (i.e. Wolfman Jack). He was often referred to as an “encyclopedia of jazz,” and was rumored to have amassed the largest record collection in all of Toronto. For years he volunteered his time on this college radio station, and could often be found lurking in the corners of Toronto’s jazz clubs. This feature is dedicated to Curtis and his incredible radio show.
For this first installment, I wanted to share something special—something Curtis would have liked—so I went into my vinyl collection and pulled out one of my favorites, The Gary Burton Quintet’s (with Eberhard Weber) Ring from 1974 on ECM Records. For those of you who don’t know, Gary Burton is a vibes virtuoso who sprang onto the scene in the early ’60′s and is known as one of the grandmasters of his craft.
While often overlooked, Burton was instrumental in the rise of electric jazz in the late 1960′s. Using a progressive, and often psychedelic approach, Burton ventured into various genres of music, recording with artists such as Stan Getz, Hank Garland and even Chet Atkins.
For Ring, Burton assembled an all-star cast with a unique mix of instruments that included Bob Moses (drums), twin electric basses played by Steve Swallow and Eberhard Weber, and twin electric guitars played by Mick Goodrick and a little known guitarist, at the time, named Pat Metheny (who was just 20 years old).
I’ve cut the entire A Side for your listening enjoyment, which you can stream below. Please excuse the “wooshing” at the very beginning—it’s quite an old record.
As Curtis Bailey would have said “Here’s Gary Burton’s Ring: Side A on ‘All That Jazz.’”
Just the other day, we revisited a classic Dick’s Pick in an article that briefly mentioned the Dead’s current archivist David Lemieux. As was mentioned, Lemieux carried on Dick’s legacy with an additional 22 volumes of Dick’s Picks following his passing. In 2005, the 36th and final installment of Dick’s Picks was released bringing an end to the much-loved series. Shortly after, the Dead briefly offered up the ‘Digital Download Series,’ before announcing a new quarterly release, to be called the Road Trips Series.
Each Road Trips release has been different—some offering highlight moments from specific tours, others offering shows in their entirety. The most recent installment, Vol. 4 No. 2, is the latter, culled from the Dead’s performance on April 1st, 1988 at the Meadowlands in East Rutherford, NJ plus the entire second set and a few first set highlights from the previous night’s performance.
These shows were part of a three night stand at the venue that saw the band fully regaining form as Jerry recovered from the effects of his diabetic coma. While ’87 was a marquee year for the Dead in many respects, it wasn’t until ’88 that Jerry said he felt completely ridden of his ailments. As Jerry revealed to Dead scribe Blair Jackson in an interview in the autumn of ’88:
“That is to say, having access to everything I know about playing. I’m getting to that point where it’s physically as comfortable… [and] feeling there.”
And while ’89 has been heavily documented through numerous official releases—largely due in part to the multi-cam and multi-track tape recordings—it’s interesting that ’88 has yet to receive its share of attention. There are many great shows from that year where the band can be heard riding a new wave of inspiration as Jerry rose to become his old self once again. At times, his vocals are a bit shaky, but in terms of his playing it’s right where it used to be.
Highlights appear right out of the gates on 4.1.88 with a high-steppin’ version of “Mississippi Half-Step” followed by a rare “To Lay Me Down” and a soulful take on Dylan’s “Ballad of a Thin Man.” The band ignites in the second set, tearing through song after song with a mind bending segment in “Estimated Prophet-> Eyes Of The World-> Drums-> Jam-> The Other One-> Wharf Rat.” Dan Healy can be heard playing with Bobby’s vocals during “The Other One” which has spurred speculation as to this being the reason for his dismissal from his position as the band’s sound engineer.
The excerpts from the show on 3.31 include a top-notch “Scarlet”>”Fire” that rivals the version from Hampton just four nights prior, along with a divine “Terrapin” and a magical transition from the MIDI infused “Space” > “Goin’ Down the Road Feelin’ Bad.”
The recordings themselves sound pristine thanks to Jeffrey Norman’s fine mastering work. For a period that doesn’t receive a great deal of attention, this show captures the energy of the band regaining their stride—and clearly feeling it. I recommend picking this one up.
Check out a few tracks from Road Trips Vol. 4. No. 2 below.
“Scarlet Begonias” > “Fire On the Mountain” (3.31.88)
“Throwing Stones” > “Not Fade Away” (4.1.88)
Road Trips Vol. 4 No. 2 is available now from the Dead.net Store. The full track listing is below.
Road Trips Vol. 4 No. 2
1. Mississippi Half-Step Uptown Toodeloo>
2. Jack Straw>
3. To Lay Me Down
4. Ballad Of A Thin Man
5. When Push Comes To Shove
6. New Minglewood Blues
7. Cumberland Blues
9. When I Paint My Masterpiece
10. Let It Grow
11. Brokedown Palace
1. Scarlet Begonias>
2. Fire On The Mountain
3. Samson and Delilah
4. Terrapin Station>
5. Rhythm Devils>
7. Goin’ Down The Road Feeling Bad>
8. I Need A Miracle>
9. Dear Mr. Fantasy>
10. Hey Jude>
11. All Along The Watchtower
12. Knockin’ on Heaven’s Door
1. China Cat Sunflower>
2. I Know You Rider
3. Estimated Prophet>
4. Eyes Of The World>
5. Rhythm Devils>
7. The Other One>
8. Wharf Rat>
9. Throwing Stones>
10. Not Fade Away
Lately, we’ve been revisiting classic tapes in an attempt to shed some light on this bygone era. Today, we turn our attention to one of the best known tape traders who provided us with so many great recordings bearing his own name—Dick Latvala.
Over the weekend, I read a great piece on Dick that pushed me to write this post that I have had on my list of ideas for some time now. While there are 36 Dick’s Picks in total, only 14 of those were chosen by Mr. Latvala himself. Before Dick passed away in 1999, he released one final Dick’s Pick—volume 14—that captured two of his favorite performances in pristine form, as was always his way. Afterwards, the reins were passed down to David Lemieux, who released the remaining 22 and serves as the Dead’s archivist to this day. In this special edition of From the Vault, we look back on the two performances captured on DP14 in an effort to share with people these shows that Dick held so dear to his heart.
The shows that I am speaking of are November 30th and December 2nd 1973—the year that Dick referred to as “the most prolific and exciting year in G.D. history.” I would tend to agree, with fall/December being, arguably, the best time of that year. These two performances bookended a three-night run at Boston Music Hall, and together capture some of the finest playing of the entire tour, and of the year for that matter.
Both performances have something in common, and something that Dick felt was the ultimate indicator of a good show—blistering versions of “Playin’ in the Band.” By this point in the year, the band had fully realized their transition toward a new sound that departed from the jazz-inspired playing that defines the summer of ’73. This style, that emerged early on during the fall tour, showed the band coming together with a tightness that allowed them to explore their jams with a greater depth. The band can be heard weaving in and out of themes, and variations of them, with more fluidity, thus making the greatness that is fall ’73.
Constantly riding a creative wave, the band delivered some of their peak performances during this period such as the must-hear shows from 10.19.73 and 10.25.73, along with several others. It’s no surprise that the first Dick’s Picks release (12.19.73) was taken from this period—as Dick has said “I could stay in the winter of ’73 forever.” Apparently, according to Dick, it was the version of “Here Comes Sunshine” that persuaded him to choose 12.19.73, over other shows from the period, for the first release. But before Dick was done, he made sure to revisit his favorite period in the Dead’s career one last time.
The first set on November 30th opens with a powerful version of “Morning Dew,” and closes with a long and unique version of “Playin’ in the Band.” During the entire second set the band is on fire, but highlights come in the form of the “Weather Report Suite” that flows into the “Dark Star” jam and then into “Eyes of the World.”
“WRS” > “Dark Star” > “Eyes of the World” (11.30.73)
For the show on December 2nd, we turn to a page from Dick’s handwritten notes. One of the comments reads:
“After hearing it, it ranks high on my all time favorite list of jams. I’m talking about the 2nd set, which is one of the Dead’s more finer moments. These mindblowing shows happen during every year and this was one of the heaviest for 1973.”
He continues to write:
“Every part of the closing jam is fantastic, but the “jam” section before “He’s Gone,” contains so many thrills that it is unbelievable…This show definitely deserves my highest award”
“Playin’ in the Band” > “Mind Left Body Jam” > “He’s Gone” > “Truckin’” > “Nobody’s Jam” (12.2.73)
One of the goals in writing these articles is to try and bring attention toward specific, individual shows. That was one of Dick’s goals in releasing the Dick’s Picks series, and was something he talked about in interviews. While the various online resources are great, they are somewhat of a mixed blessing in that the importance of a single show can often become lost. So, “take a step back,” and when you download these shows, give each one a full and honest listen. That’s the way Dick would have wanted it. As Dick’s son Rich Latvala said:
“He felt that online trading and exchanging digital files really removed the personal element in tape trading. That was the most appalling thing he could imagine happening. One of the major elements in tape trading for him was sharing the music personally, discussing it one on one, discovering new things together, and just talking to other people about it… He abhorred the idea that you would just download the music and never talk about anyone with it.”
This week we turn our attention to a few classic moments from 1989, an instrumental year in the band’s history that saw the debuts of numerous Phish staples, Chris Kuroda’s first full show as lighting director (4.13.89), the band’s final show at Nectar’s, and the first performance at the coveted Wetlands Preserve in NYC. We continue with the theme from last week exploring a couple of shows that were once highly circulated among tape traders.
Over the weekend, Phish guru Charles Dirksen circulated a new source of the legendary show from 5.28.89 at Ian’s McLean’s Party in Hebron, NY (click here to download). The sound quality has been quite significantly improved, and provides a more accurate recording of this classic, must-hear performance.
From this show, we visit the new source version of the unique and thrilling “YEM” from the first set featuring a zany vocal jam centered around the topic of poop. We will also visit the soaring second set “Hood.” According to Charles’ notes, the pitch has been corrected; and to my ears the sound is much fuller and has less tape hiss than the copy that was previously in circulation. Mr. Dirksen adds the following to the tape’s notes:
“I hope this is an upgrade for you…If you haven’t heard this early show, it’s one of a handful of must-hear 1980s shows in my opinion—not only for the banter between songs, almost all of which is entertaining, but also for the playing. (e.g., Trey gets paid by the note in YEM in particular, and its vocal jam is ridiculous.) You can hear every band member contribute to the banter between songs here and there, too.”
“You Enjoy Myself” (5.28.89)
“Harry Hood” (5.28.89)
Next, we jump ahead several months to the well-circulated show from The Wetlands on 10.26.89. If you aren’t familiar with this one already, the setlist alone will grab your attention right away. And make no mistake, the playing is right there to match it. From this show we visit the second set opening “Who Knows Jam,” along with the “Bowie” that (fittingly) features an extended “Space Oddity” jam during the intro and a wailing, outside jam section that is most definitely worth your attention.
“Who Knows Jam” > “Dinner and a Movie” (10.26.89)
“David Bowie” (10.26.89)
Also, be sure to check out the new J-Card view on Phish.net for a trip back to your glorious tape trading days.
It’s been some time since the Bay Area produced a slew of psychedelic rock acts that managed to garner national attention. But with the rise of San Fran bands like Citay, Sleepy Sun and The Fresh & Onlys, it seems a new wave of modern era psych-rock is emerging, and these guys are one of the most interesting to come out of it, thus far.
Granted, you won’t find the classic British-influenced vocal harmonies heard by bands such as The Moody Blues—this time around it’s a mix of garage-pop, often with a heavy dose of reverb. But what gives it that psychedelic label is a common willingness to explore, to get weird.
The Fresh and Onlys is a four piece band that fully came together in 2008 amidst a creative flurry that saw them put out a score of 7”s, a limited cassette and two full length albums, all in the course of a year. The combination of jangly, surf-guitar melodies buried in a thick low-fi mud beneath singer Tim Cohen’s unfaltering vocal delivery creates a sound that seems to be just coming into its own. And the creative flurry has yet to let up.
The group’s latest release Play it Strange earned an 8.0 rating from Pitchfork (which means absolutely nothing) and was included on numerous “Best of 2010″ lists by some of the most respected in the business. The new album combines straight-ahead, yet powerful rave-up types (“I’m All Shook Up”), feel-good sun-drenched beachcombers (“Summer of Love”) with an ambitious 8-minute psychedelic anthem (“Tropical Island Suite”).
The Fresh & Onlys will soon be heading out on tour and are planning yet another forthcoming EP. Check out their live show and pick up their new album. I highly recommend both. I’ve provided some audio along with a couple of downloads below. I hope you dig.
“Summer of Love” (Download)
“Tropical Island Suite” (Download)
THE FRESH & ONLYS – 2011 TOUR DATES
02-27 San Francisco, CA – Bottom of the Hill ^
03-16-19 Austin, TX – SXSW
03-21 San Diego, CA – Tin Can Alehouse
03-22 Los Angeles, CA – Echo
04-12 Denver, CO – Hi Dive *
04-13 Lawrence, KS – The Jackpot Saloon *
04-14 Bloomington, IN – The Bishop *
04-15 Pittsburgh, PA – Brillobox *
04-18 Cincinnati, OH – MOTR Pub *
04-19 Saint Louis, MO – The Billiken Club #
04-20 Chicago, IL – Lincoln Hall *#
04-21 Toronto, Ontario – Parts & Labour *
04-22 Montreal, Quebec – Il Motore *
04-23 Brooklyn, NY – Music Hall of Williamsburg *#
04-24 Philadelphia, PA – Kung Fu Necktie *#
04-25 Washington, DC – Red Palace *#
04-27 Atlanta, GA – The Earl *#
04-28 Birmingham, AL – Bottletree *#
05-25 Barcelona, Spain – Primavera Festival
^ with Growlers, Pleasure Kills, Wrong Words
* with Young Prisms
# with Crocodiles
If you have any suggestions for bands you’d like to see featured here, send me an e-mail at email@example.com and hopefully I’ll get around to it.
Following on the heels of Phish’s three recent rereleases, come three more remastered recordings from Phish’s 2010 Summer Tour. The new limited releases are taken from the second leg of the tour and include the second and third nights at the Greek Theatre in Berkeley, on August 6th and 7th, respectively, along with the second night from Phish’s visit to Deer Creek on August 13th. The recordings feature Jon Altschiller’s original live mixes, which have been carefully remastered by the esteemed Dr. Fred Kevorkian (best known for the work he did with Phish’s Slip, Stitch and Pass and the Colorado ’88 archival release). Limited numbers of each show are now available for purchase in record stores as well as through iTunes.
We are happy to be able to share some audio samples, courtesy of Phish, from the newly remastered shows accompanied by Phish archivist Kevin Shapiro’s commentary.
On Friday August 6, 2010, Phish played the second show of a sold out three-night stand at the Greek Theatre. The Greek Berkeley is a Greek Revival style, open-air amphitheater built in 1903 with a cozy capacity of about 8,500 and stunning views of the San Francisco Bay including the Golden Gate and Bay Bridges. This run, which began Leg 2 of the summer tour, was the band’s first visit to this venue since they closed their epic summer 1993 tour there. J.J. Cale opened the show in 1993 (joined by Trey and Mike for a sit-in) but in 2010 it was just three smoking nights of Phish. After a solid opening night on Thursday, during which Trey debuted his latest custom guitar with a special chant for luthier Paul Languedoc, the band really opened up for the Friday night show.
It was a cool night in the Berkeley foothills but the crowd was heated up and the band responded in kind, opening with “Chalk Dust Torture”. Next came the complexities of “Guyute” followed by a relaxed and grooving “Ocelot”, a song about the wildcat that adorns the headstock inlay on Trey’s new guitar, and “It’s Ice”. The music never stopped for the rest of set one as Phish tore through a topical combination of “Cities”, with its invocation of the ancient Greeks and an explosively funky Jam that formed the set’s apex, into “The Moma Dance”. Set one ended on a high note with “Bathtub Gin” > “Stealing Time From The Faulty Plan”.
Set two started with the Velvet Underground’s “Rock And Roll”, which briefly visited a mystical place (known as “Berkeley Jam 2”) before dropping into “Ghost”. This short but hot “Ghost” lit up with a groove that was still building when it bumped into the opening riffs of “Mike’s Song”. The selection recognized the especially resounding quality of Mike’s bass at the Greek and this dark and heavy “Mike’s Song” led to the pinnacle moment of the set if not the run. “Simple” that came next built patiently with exquisite restraint. Spacey digital delay provided a landing into “Backwards Down The Number Line” which in turn introduced California to the universal themes of the “Show Of Life”. “You Enjoy Myself” closed the body of set two with an Encore of “Good Times, Bad Times” as the middle show of this classic three-night stand drew to a close.
“Light” > “Twenty-Years Later” (8.7.10)
On Saturday August 7, 2010, Phish played the final show of a sold-out three-night stand at the Greek Theatre. After setting the bar high with the previous two shows, expectations soared. As the band continued their 2010 Greek run, they seemed to reach higher each night as they basked in the glow of this historic venue and an attentive crowd.
Phish opened the show with an old-school pairing of “AC/DC Bag” > “Foam”, the latter of which featured Page’s fine piano work. “Gotta Jibboo” was next as the band deepened their connection with the same patient, open-eared approach that developed over the previous shows. After a long pause they ripped into “Reba” as Trey’s new guitar emitted a flow of pretty leads and staccato runs amidst intricate Rhodes work by Page. Fish and Mike set the foundation for a soaring jam that came to a close without whistling. The year’s last “Sleep Again” and “Army Of One” provided a needed moment of reflection before “Poor Heart” led to a sizzling combination of “46 Days” > “Tube”, the former of which included a playful “Streets Of Cairo” tease by Trey among other highlights. Holding the last bass note from “Tube”, Mike provided the bridge to a fiery, sing-a-long “Character Zero” that ended one of the few sets of 2010 that fits on a single CD.
After another lovely sunset over the San Francisco Bay, the band kicked off set two with “Wilson” > “Light”. This rendition of “Light” climbed to pinnacle heights, bending and floating to a sublime place that only Phish can go. As with “Simple” the previous night, this heavenly Jam transcended the limits of time and space before resolving perfectly into The Golden State’s first performance of “Twenty Years Later”. Twenty Years slid neatly into “Harry Hood”, which Fish accentuated with ghost notes on a second snare drum, press rolls and other percussion wizardry. As had become the rule here, the band quickly hooked up for this jam as they traded sustained notes that hung in the night air and reverberated across the Greek’s open bowl. Harry gave way to “Theme From The Bottom”, which built patiently to a strong peak, continuing the dynamic tone of this whole run of shows. Phish’s trademark reading of Deodato’s “2001” sustained the fun as fans jumped up and down with arms in the air and Mike repeatedly punctuated the funk with his foot bell. The thick “2001” groove gave way to a rocking “Suzy Greenberg” and shaking the
trees for a few more minutes before slowing down for “Slave To The Traffic Light”. Slave featured a spacious jam that found the crowd mesmerized, leaning into the notes as if to connect more deeply with each one. Having started with “Wilson”, this special set could only end with the first “The Lizards” encore in nearly fifteen years as the eager crowd sang along “but I’m never ever going back there and I couldn’t if I tried…” and closed their eyes for the instrumental ending, wondering if or when such a run at such a place would happen again. Not another word was uttered as “First Tube” put the finishing touch on an incredible three days of music at one of the must stunning spots there is.
“Contact” > “Slave to the Traffic Light” (8.13.10)
On Friday August 13, 2010, Phish played the second show of a sold-out two-night stand at the Verizon Wireless Music Center, commonly known as Deer Creek. It was the seventh show on Leg 2 of the band’s summer tour and their twentieth headline show at this outdoor covered amphitheater with a capacity of about 24,000. Phish first played this venue fifteen years earlier and had since played two nights each summer in 1996 (8/13/96 was released in 2002 on CD as LivePhish 12), 1997, 1998, 1999, 2004 and 2009. They also played three-night stands in 2000 and 2003 making this Phish’s most common outdoor summer host and a favorite of many fans who travel from across the country to camp in the surrounding cornfields. This was Friday, August 13th, which was also somewhat of an historic return – the band played a breakthrough gig on that same date seventeen years earlier at the Murat Theatre in Indianapolis (Murat 1993 – 8/13/93 was released in 2007). It was with this rich background that 2010’s Friday the 13th show took shape.
As temperatures soared into the mid-90’s, Phish kicked off the show with a rocking “Chalk Dust Torture” (surprisingly the first Chalk opener ever at Deer Creek) followed by “Guelah Papyrus”, which was played only one other time in Noblesville in 1997. The Fishman- penned bluegrass number “My Sweet One” came next, followed by “Axilla” and “I Didn’t Know” with a classic vacuum solo by Fish. “Walls Of The Cave” was played for the first time since the band’s 2009 return and preceded “Stash” and the alien themes of Mike’s ballad “Train Song” (the only version of the year) > “Backwards Down The Number Line”. “Ocelot” found the band improvising a bit more as Trey dropped some sweet leads. Deer Creek’s first “The Ballad of Curtis Loew” came at sunset. This Lynyrd Skynyrd cover, which recently returned to the live repertoire the previous summer, featured the band’s blues chops and Page’s soulful vocals. “Wilson” > “Possum” closed set one.
A mostly non-stop set two began with “Halley’s Comet” > “Light”, the latter of which inspired the band to venture outside the beat and let their freak flag fly, eventually hovering free for a few ambient minutes. The ambience led into “46 Days” which in turn transitioned to a high octane “Maze”. Set two continued with “Meatstick”, which showcased the band’s skills with Japanese lyrics before morphing through a unique and musically intense segue into “The Mango Song”. The band followed Trey’s lead one at a time into Mango, creatively riding it atop the “Meatstick” beat for a while before committing and ultimately finishing the song by starting “Fluffhead”. Fluff blew the place up before resolving into
“Julius”, which brought the set to a high-energy close. The Deer Creek faithful were treated to an encore of “Contact” into a passionate “Slave To The Traffic Light” that provided a fitting end to another steamy stay at Deer Creek.