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Posts Tagged ‘David Bowie’

Phish Festival 8 | 10.30.09 Day 1 Pics & Setlist From Indio, CA

Images by: Steven Walter

Phish Festival 8 :: 10.30.09 :: Indio, CA

Set I: Party Time, Chalkdust Torture, Moma Dance, NICU, Stealing Time From The Faulty Plan, Stash, I Didn’t Know, Poor Heart, Cavern, Beauty of a Broken Heart, Ocelot, Time Turns Elastic

Set II: Punch You In The Eye, Down With Disease > Prince Caspian > Wolfman’s Brother > Piper > Joy, David Bowie*, Harry Hood, Golgi Apparatus

Encore: Character Zero

* “We’re gonna give you a hint about the Halloween album now.” -Trey

Complete in-depth review of this show available here.


Order the show for Download on LivePhish.com

Phish perform again tonight on Halloween! Keep an eye on jambase.com/phish for live Tweets, setlists, pics and full reviews. Complete Phish tour dates available here.

JamBase | Indio

Go See Live Music!


Fri Playlist: David Bowie Covers

HE’S AN ALLIGATOR
HE’S A MAMA-PAPA COMING FOR YOU!

For someone so mercurial and defiantly individualistic, David Bowie has proven a terrific catalyst to other musicians. This week’s Playlist delves into 13 killer interpretations of the Thin White Duke’s songbook, including heavy guitar rock versions by Turbonegro (“Suffragette City”) and Zen Guerilla (“Moonage Daydream”), stripped back offerings from Ultravox’s Midge Ure (“Lady Stardust”) and The Dandy Warhols (“Jean Genie”), and even a twanged up visit with a boy who can play guitar by The Gourds (“Ziggy Stardust”).

Next week we’ll have a super-sized Halloween Playlist for you. In the meantime, keep watching the skies for falling starmenÂ…

And check out last week’s Playlist full of Clash covers by Social Distortion, Afghan Whigs, Living Colour, and more!

Playlist assembled by JamBase Associate Editor Dennis Cook, who always seems to be squawking like a pink monkey bird as he’s busting up his brain for wordsÂ…


Phish: Festival 8 Band To Play Last Record Alive

Phish Festival 8: Band To Play Last Record Alive

Phish‘s Festival 8 site has released a list of 99 albums of which the band will pick one to play on Halloween.

Several albums have already been “killed off” and a note on the site indicates that Phish will “play the last record alive.” See below for a complete list, including those that have already been “killed.”


Special thanks to jamtopia.com for compiling the potential albums list below.

Possible Phish Halloween Cover Albums

Phish

1.AC/DC | Back In Black

2.Aerosmith | Toys In The Attic

3.Allman Brothers Band | Eat A Peach

4.Arcade Fire | Funeral

5.Beastie Boys | Hello Nasty

6.BeeGees | Saturday Night Fever

7.Black Sabbath | Paranoid

8.Blind Faith | Blind Faith

9.Bob Dylan | Blood On the Tracks

10.Bob Dylan & the Band | The Basement Tapes

11.Bob Seger | Against The Wind

12.Boston | Boston

13.Brian Eno | Before And After Science

14.Bruce Springsteen | Born To Run

15.Chicago | The Chicago Transit Authority

16.Creedence Clearwater Revival | Green River

17.Curtis Mayfield | Superfly Soundtrack

18.David Bowie | Hunky Dory

19.David Bowie | Ziggy Stardust

20.David Bowie | Scary Monsters

21.Devo | Freedom of Choice

22.Duran Duran | Rio

23.Eagles | Hotel California

24.Elton John | Goodbye Yellow Brick Road

25.Elvis Costello (nee Declan McManus) | This Year’s Model

26.Eric Clapton | 461 Ocean Blvd

27.Firehose | Flyin’ the Flannel

28.Fleetwood Mac | Rumours

29.Frank Zappa | Apostrophe

30.Frank Zappa | Hot Rats

31.Genesis | The Lambs Lie Down On Broadway

32.Grateful Dead | American Beauty

33.Guns & Roses | Appetite For Destruction

34.Hall & Oates | Private Eyes

35.Huey Lewis And The News | Sports

36.Jane’s Addiction | Ritual de Lo Habitual

37.Jimi Hendrix | Are You Experienced?

38.Jimi Hendrix | Electric Ladyland

39.John Lennon | Plastic Ono Band

40.Modern Lovers | The Modern Lovers

41.Journey | Escape

42.KISS | Alive II

43.King Crimson | Larks’ Tongues In Aspic

44.Led Zeppelin | I

45.Led Zeppelin | IV (Zoso)

46.Leonard Cohen | I’m Your Man

47.Love | Forever Changes

48.Manu Chao | Clandestino

49.Medeski, Martin & Wood | Shack Man

50.Metallica | Master Of Puppets

51.MGMT | Oracle Spectacular

52.Michael Jackson | Thriller

53.Michael McDonald | If That’s What It Takes

54.Miles Davis | A Tribute To Jack Johnson

55.Minutemen | Double Nickels On The Dime

56.Neil Young | Everybody Knows This Is Nowhere

57.Neil Young | Tonight’s The Night

58.Nirvana | Nevermind

59.Pavement | Crooked Rain, Crooked Rain

60.Pearl Jam | Ten

61.Peter Gabriel | So

62.Pink Floyd | Meddle

63.Pink Floyd | The Wall

64.Pixies | Come On Pilgrim

65.Pork Tornado | Pork Tornado

66.Primus | Sailing The Seas Of Cheese

67.Prince | Purple Rain

68.Queen | A Night At The Opera

69.Radiohead | Kid A

70.Rage Against The Machine | Evil Empire

71.Rolling Stones | Exile on Main Street

72.Rolling Stones | Sticky Fingers

73.Rush | Moving Pictures

74.Steely Dan | Pretzel Logic

75.T.Rex | Electric Warrior

76.Talking Heads | Fear Of Music

77.Television | Marquee Moon

78.The Band | The Band (aka Brown Album)

79.The Beach Boys | Pet Sounds

80.The Beatles | Rubber Soul

81.The Clash | London Calling

82.The Doors | The Doors

83.The Police | Ghost In The Machine

84.The Ramones | Ramones

85.The Roots | Phrenology

86.The Who | Who’s Next

87.Tom Petty and the Heartbreakers | Damn The Torpedoes

88.Tom Waits | Rain Dogs

89.U2 | Joshua Tree

90.Van Halen | Van Halen

91.Van Morrison | Astral Weeks

92.Velvet Underground | Velvet Underground And Nico

93.Violent Femmes | Violent Femmes

94.Ween | White Pepper

95.White Stripes | Elephant

96.Wilco | Yankee Hotel Foxtrot

97.X | Los Angeles

98.Yes | The Yes Album

99.ZZ Top | Tres Hombres

What album do you want them to play? Tell the world on the JamBase Forums.


Music occupies an important place in our life

Music occupies an important place in our life. We can’t live without it. Actually people have different musical tastes depending on their age, education and even mood. Some people like classical music, others prefer rock, pop or jazz, but nobody is indifferent to it. Popular Music refers to the kind of music that appeals to [...]

Phish | 08.13 | Darien Lake Photos

Images by: Heather Ainsworth

Phish :: 08.13.09 :: Darien Lake Performing Arts Center :: Darien Center, NY

Set I: Sample In A Jar, Dinner and a Movie, Wolfman’s Brother, My Friend, My Friend, Possum, Farmhouse, Sugar Shack, Brian And Robert, David Bowie, Bathtub Gin, How High The Moon, Golgi Apparatus

Set II: Drowned > Prince Caspian > Rift, The Horse > Silent in the Morning, Sparkle, Run Like An Antelope, Suzy Greenberg, Fluffhead

E: Joy, First Tube


Order the show for Download on LivePhish.com

Phish perform next on Friday, August 14 at Comcast Theatre in Hartford, CT. Check back for live Tweets, setlists, pics and full reviews. Complete Phish tour dates available href="http://www.jambase.com/Artists/2698/Phish/Shows">here.

Keep up to speed with all things Phish at jambase.com/phish.

JamBase | Lakeside

Go See Live Music!



Phish | 08.13 | Darien Lake, NY

Words by: Kevin Schwartzbach | Images by: Heather Ainsworth

Phish :: 08.13.09 :: Darien Lake Performing Arts Center :: Darien Center, NY

Trey – Phish :: 08.13.09 :: Darien Lake, NY

After going the first nineteen-or-so years of my life without seeing Phish, you would think going the two months between first and second leg east coast shows would be a breeze. Unfortunately, I have learned in the interim period that it’s not quite that simple. Phish, you see, is the musical equivalent of crack. Several days after my last show (Burgettstown), I started experiencing symptoms of withdrawal – I had become psychologically, if not physically, addicted to Phish shows. I was jonesing, I needed my phix. Fifty-six days later that phix at long last had come at Darien Lake Performing Arts Center just outside Buffalo at Darien Center, New York.

And what a phix it was. I know you’ve heard it all before, but Phish has become tighter and stronger in the second leg of this tour. And busting out a couple of tunes that hardly, if at all, saw the light of day on the first leg only sweetened the deal. Roller coasters in the distance at Darien Lake’s amusement park shot people down a track of crisp turns, steep plunges, and bloodcurdling loop-d-loops, while Phish took us on their own ride of similar stature.

The first set, much like the Chicago show (read the review here) a few days earlier, consisted of plentiful songs most of which being uncharacteristically transient. This was not necessarily a bad thing however, the songs were short sweet and to the point, still packing that vivacity we have come to so readily expect of live Phish – brevity is after all the soul of wit.

Mike – Phish :: 08.13.09 :: Darien Lake, NY

The boys immediately hit their stride opening up with a powerful “Sample in a Jar” where Trey took his first soaring solo with fluid poignancy. We were then treated to “Dinner and a Movie,” a rare delicacy not having been served up the whole tour thus far. “Dinner and a Movie” was an odd display of manic dissonance that only Phish has the audacity to even attempt to pull off. While it was executed tightly, this was one of the few songs of the first set that felt as if it needed a bit more time to fully mature. Our dinner was cut short during the entree while our movie could have used a bit more character development, jumping the gun to its climactic finish. Nevertheless, the courses and scenes we were treated to were top notch.

“Wolfman’s Brother” has become a standard for Phish 3.0, yet they still manage to keep it fresh and interesting each time. Though relatively ephemeral, Mike‘s dirty funkalicious bass took it places that previous “Wolfman’s” have yet to venture, making it one of the best I’ve heard all tour long. A light hearted classical exposition started off “My Friend, My Friend” before it took an ominous turn into sinister dementia. Page finally got his time to shine during “Possum,” taking a country-blues solo on acoustic piano before the band dropped back into the eponymous hee-hawing harmonization. Trey may have been in the spotlight tonight with his towering solos, grabbing the attention of most listeners, but Page may have covertly stole the show, adding ideal soundscapes when not flat-out laying down a delicious keyboard solo. “Sugar Shack” was the only new song of the first set, a bit more exploratory than the first time I saw it at Camden, but still not quite what it could fully be.

Page – Phish :: 08.13.09 :: Darien Lake, NY

Finally, they started to let loose after the intricately designed, and perfectly executed, first section of “David Bowie,” dropping into a mind-numbing jam that unabashedly melted our faces off. In one of the few times he addressed the audience at length this tour, Trey let us know of his 15th wedding anniversary with his wife Susan. But merry messages were not all he had in store, also informing us of the tragic passing of electric guitar legend and recording pioneer Les Paul. “He kept playing music well into his nineties… hopefully we’ll be playing well into our nineties, too,” said Anastasio, subsequently dropping an homage to the fallen hero, covering the jazz standard made popular by Paul, the sprightly “How High the Moon” for the first time since 1993.

An absolutely volcanic version of “Drowned” began the second set with an eruption that culminated into quite possibly the best jam of the evening, setting a trend for the rest of the set featuring stellar extended improvs. A serene “Prince Caspian” stealthily turned into “Rift,” only the third of the tour.

“Rift” was not only a display of the band’s masterful playing and ingenious compositional writing but also an exposition of what I think to be one of the most overlooked aspects of Phish’s music, the poetic lyrics of Tom Marshall. From whimsical enigmatic silliness to elegiac love ballads to profound philosophical ramblings, Marshall’s lyrics are as eclectic as they are unified by common devices. “I spied wings of reason, herself taking flight/ And upon yonder precipice saw her alight/ And glared back at me one last look of dismay/ As if she were the last one she thought I’d betray,” belted out Trey, one of my favorite Marshall lines of uncertain depth. Almost supernaturally, Marshall’s lyrics always seem to perfectly match the mood of whichever piece of music Trey has concocted, leading me to believe that the duo’s minds must be linked telepathically in some cosmic sort of way. “Silent in the morning, suspended in the trees/ Lunch time comes you’ve found your voice, it brings me to my knees/ The volume just increases, the resounding echoes grow,” a perfectly congenial compliment to the tranquil music that seems to evoke the same timid sense of infatuation as suggested by the words of “Silent in the Morning,” one of Phish’s prettiest, most charming songs.

Phish :: 08.13.09 :: Darien Lake, NY

An excursion into raucous jazz-fusion territory, the first jam of “Run Like an Antelope” peaked too intensely to accurately articulate in words, bringing a euphoric level of energy to the complex improvisations of the band. Falling off from its glorious apex to peaceful quietude, Anastasio asked in place of the normal lyric, “you wouldn’t happen to have any glass cymbal solo, man?” promptly followed by said solo from Fishman to which Trey responded “Yes, man!” A series of instructions followed: “Set the gear shift to the high gear of your soul.” Check. “You’ve got to run like an antelope, out of control.” Check.

“Fluffhead” exultantly closed out the second set. After an exhibition of one of Trey’s most meticulously crafted pieces the whole of Darien Lake, band and audience alike, burst out in triumphant cries of “Fluffhead!” prompting the most joyous of celebrations in the crowd. The audience let out a collective “ohhhh” as if the final evasive piece to some impossible to solve puzzle had been revealed when “First Tube” was dropped in the encore. “First Tube” was an apt close to my first show of the second leg, as phinally, my monkey had been phed. A solid song selection with a couple fresh tunes thrown in, and magnificent execution on all fronts skyrocketed this show into the upper-echelons of shows this tour. Darien Lake had far exceeded the idealized memories of Phish shows past I’ve grown to so desperately crave. Really nothing compares to that sublime feeling generated in my brain by Phish, a feeling no drug (not even the banker’s powerful pills) could accurately recreate. Though I received my phix, tragically only three shows remain as we await confirmation of looming fall and winter tour rumors.

Phish :: 08.13.09 :: Darien Lake Performing Arts Center :: Darien Center, NY

Set I: Sample In A Jar, Dinner and a Movie, Wolfman’s Brother, My Friend, My Friend, Possum, Farmhouse, Sugar Shack, Brian And Robert, David Bowie, Bathtub Gin, How High The Moon, Golgi Apparatus

Set II: Drowned > Prince Caspian > Rift, The Horse > Silent in the Morning, Sparkle, Run Like An Antelope, Suzy Greenberg, Fluffhead

E: Joy, First Tube

For more images of this show, go here.

Phish perform next on Friday, August 14 at Comcast Theatre in Hartford, CT. Check back for live Tweets, setlists, pics and full reviews. Complete Phish tour dates available href="http://www.jambase.com/Artists/2698/Phish/Shows">here.

Keep up to speed with all things Phish at jambase.com/phish.

JamBase | Lakeside

Go See Live Music!



Phish | 08.05 | Shoreline, CA

Note: In our constant efforts to bring you the most compelling Phish coverage anywhere, we offer two points of view on Phish’s first California show in over six years. First we have general reflections from our Editor-in-Chief Kayceman, followed by a fresh perspective from our Associate Editor Dennis Cook. Enjoy.

Words by: Kayceman | Images by: Susan J. Weiand

Phish :: 08.05.09 :: Shoreline Amphitheatre :: View Mountain View, CA

Kayceman shares a few thoughts on Phish at Shoreline:

MIKE’S BAND

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Mike Gordon :: 08.05 :: Shoreline Amphitheatre

Since when is this Gordo‘s band? Don’t get me wrong, dude’s been dropping bombs forever, but I’ve heard lots of chatter about individual band members, how great Trey is playing now that he’s sober and focused (true), how strong Page sounds (no doubt), but after watching Mike control the entire show last evening I am compelled to champion his cause. Whether he was challenging Trey on “Chalk Dust,” crushing the funk on “Cities,” or pushing his fat bass notes into truly dark territory on “Down With Disease” and the hard-earned “Mike’s Song,” Gordo was the dominator at Shoreline.

NEW SONGS

Alright, no sugar here, let’s tell it like it is. We got a lot of new songs at Shoreline and we didn’t get the good ones. And I get it. A band always wants to play what’s new, and any healthy band has to be engaged in fresh material, but overall the selections from last night didn’t do it for me. Here are the new ones from Shoreline:

“Time Turns Elastic” – Time turns boring. Like many of their new ones, there’s a really strong jam at the end, but the set-up is too formulaic, almost like they are covering themselves in a way. Put it back in the oven, I bet it bakes into something nice, but it’s not ready yet.

“Stealing Time From The Faulty Plan” – I dig it, and definitely the best new one from Shoreline. A little like “Character O,” but I also like that track so we’re doing okay. The “got a blank space where my mind should be” chorus really works and Trey’s guitar is mean. More like this, please.

“Backwards Down The Number Line” – Not bad. I hated the placement as set two opener, but it’s a nice song that like “Time Turns Elastic” built up steam as it went. At the end of the day, I’m just not into the introspective songwriter thing with Phish; it’s not why we go to Phish.

“Let Me Lie” – No. No. Seriously, no! I don’t want to think of Trey riding his bike or taking off his shirt to feel it burn or using the brakes when he goes down hill. The metaphors are all wrong. At a rock & roll show we don’t use brakes, we want to fly off the rails because we’re going so fast.

KEEPING IT AFLOAT

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Phish :: 08.05 :: Shoreline Amphitheatre

For all my shit talking I actually really liked the show and think the band sounds really good right now. Song selection wasn’t my favorite but a few incredibly well played numbers kept the night afloat. The set one combos of “Chalk Dust”/”Divided Sky” (where Trey nailed the shit out of it) and “Suzy”/”David Bowie” were more than enough to satiate the packed house. Set two was carried by a spacey “Down With Disease” and then the “Maze,” “Mike’s” (a lil slow out of the gate but definitely worth the wait) > “Simple,” “Weekapaug.” The “Maze” was completely demented and likely the song of the night. If “Maze” wasn’t the highpoint, then “Mike’s” was, as shit got primordial in the back section. And just hearing “Bowie” and “Maze” on the same night is enough. Never in all my years have I seen both in the same show. Well played, lads.

SOLID B

For their efforts at Shoreline, I give Phish a solid B. And coming off Red Rocks and going into The Gorge, two mammoth sets of shows, a solid B on a Wednesday night with flashes of brilliance ain’t too bad.

Continue reading for Dennis Cook’s review of Shoreline…

Words by: Dennis Cook | Images by: Susan J. Weiand

Phish :: 08.05.09 :: Shoreline Amphitheatre :: Mountain View, CA

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Phish :: 08.05 :: Shoreline Amphitheatre

Enthusiasm is much harder to offer than respect. While passingly familiar with the broad strokes of Phish‘s 26-year career, this show was only my third time seeing them in the flesh. Always feeling an outsider to their very codified clubhouse, I just let them be, marveled at what they’d achieved against any “normal” industry standards and patted my many Phish lovin’ friends on the back as they celebrated this band. However, I walked into Shoreline with a real zeal to unlock their zeitgeist, preconceptions left in a jar at home, and discovered a world class quartet with a vibrant, peculiar, fiercely engaging identity. And they were a shitload of fun, too.

Immediately I was struck by how twisty they are, but in such a friendly way. It would be so easy for this music to veer into artiness and highbrow distance but it really never did. Yes, there were a few meandering stretches but Phish 3.0 seems like a band with a mission, and at least from my newbie’s POV, that mission appears to be to shore up every good thing that’s distinct about them. The wandering is to be expected when juggling such primal ooze but they never really dropped the ball and their idiosyncratic internal logic swept one up in a journey, where time was both elastic and stolen, that will take awhile for my brain to untangle. I’m not sure they were trying to craft a cohesive narrative a la Phil & Friends but there was a scale of storytelling and brave, balls out execution that felt, well, epic (and apologies for falling back on that hoary jam-scene cliche but it fits).

src="http://images.jambase.com/bands/phish/090805_weiand/22_1.jpg">
Trey Anastasio :: 08.05 :: Shoreline Amphitheatre

By the time they hit the rawk-tastic “Chalk Dust Torture” in set one I was pretty sold by the curious mixture of elements they stir – Frampton-like classic rock moves mingling with African high life, brainy electric jazz, calypso, barbershop harmonizing, dub accents, bar band moxie and way more. It’s so freakin’ illogical that it transcends any simple descriptor, a language separate from rock’s Rosetta Stone that others can play at but only these four dudes can actually converse smoothly in, a lovely chatter that emerges when they drink up the moment and move off the guide rails. To wit, the jam in “Chalk Dust,” which wobbled on the song’s axis, bellowing sea bottom bass and jittery sprinter’s heart drums being clawed at by hungry guitar that teetered between madness and Joe Pass finesse, wound into a flurry of keys unleashed by Page that actually quickened my pulse. There’s SO much going on in their music that it’s a smorgasbord to choose from, each person free to sample bites or just take in the general yumminess.

And there’s the no small matter of the abundant love their incredibly dedicated throng project towards the stage. Looking around during this show all I saw were people lit up from within by what Phish was creating on stage, and it’s not hard to surrender to that affectionate, alive riptide and join them in celebrating life and wholly engaged music making. Regardless of my ignorance, I love hearing the oddball titles of their tunes murmured adoringly on folk’s lips – “Golgi,” “Weekapaug,” “Ya Mar.” It’s a foreign tongue to be sure, and while FAR from fluent I left this gig determined to do a lil’ Berlitz blitz to bring myself up to speed, a surprising commitment given the shortness of time and abundance of music already on my plate. My anxiousness to educate myself speaks volumes about the intensity of what they laid down.

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Phish :: 08.05 :: Shoreline Amphitheatre

I can’t rightly say if this was a “great show” or merely a very good one. I simply don’t have the frame of reference to speak with any authority. What I can say is that despite their massive individual talents it was the group dynamic, their collective noise, especially in the second set that floored me. It’s a sound that runs down jubilation and finds the sweet spot between simplistic fare (there’s a goodly amount of pure cock rock to Phish but also a fair bit of nursery rhyme thinking) and stratospheric, highly theoretical muso smarty pants-ed-ness. More simply, Phish is a fucking platypus, fuzzy but laying hard-shelled eggs, a thumb in the eye to those who stuff things into neat genres. And they did all this with such exposed emotion, raggedly baroque eloquence and gee-whiz bravado that my wig was rightfully flipped.

A few other scattershot highlights: The swerving blur of “David Bowie” that closed set one; Page’s Chucho Valdes-esque piano throughout the night and his strong Traffic-era Winwood lead vocal on their tremendous cover of The Velvet Underground’s “Oh Sweet Nothin’;” Trey‘s heartfelt reading of Los Lobos’ “When The Circus Comes,” even if it put the brakes on the momentum they were building at that point; the wacky juxtapositions of mood and tempo; the way Trey occasionally brought to bear a very Derek and the Dominoes blues guitar growl and vocal yearning; the disco-y take on the Talking Heads’ “Cities;” the wicked turns of “Maze;” their unbridled love for people with “a ticket stub in their hand;” Chris Kuroda‘s Dumbledore-ian lighting wizardry; and the vast distances they traveled, often within a single piece, which ranged from the consciously gigantic and involved down to music box delicacy.

Instead of feeling overwhelmed (which their music can EASILY make one feel) I experienced a tiny taste of what’s kept millions on the ride for decades, understanding that while they’re the focal point, the enzyme, Phish is a collaborative effort produced by a combination of these extraordinarily gifted players, a mind-boggling catalog AND the writhing, hands in the air masses that gather around them. The morning after I can honestly say I finally dig Phish. Go figure…

Phish :: 08.05.09 :: Shoreline Amphitheatre :: View Mountain View, CA

Set I: Golgi Apparatus, Halley’s Comet, Chalk Dust Torture, The Divided Sky, When the Circus Comes, Time Turns Elastic, Ya Mar, Stealing Time From The Faulty Plan, Suzy Greenberg, David Bowie

Set II: Backwards Down the Number Line, Down With Disease > Limb By Limb, Oh Sweet Nothin’, Cities > Maze, Mike’s Song > Simple, Weekapaug Groove

E: Let Me Lie, Bold As Love

For more pics of this show go here.

Phish perform again Friday and Saturday night at The Gorge in George, WA. Check back for live Tweets, setlists, pics and full reviews. Complete Phish tour dates available href="http://www.jambase.com/Artists/2698/Phish/Shows">here.

Just like Leg I of Phish’s Summer Tour, JamBase will be at every stop with more coverage than you’ll find anywhere! Keep up to speed with all things Phish at jambase.com/phish.

JamBase | Awash
Go See Live Music!



Phish | 08.05 | Shoreline Photos

Images by: Susan J. Weiand

Phish :: 08.05.09 :: Shoreline Amphitheatre :: View Mountain View, CA

Set I: Golgi Apparatus, Halley’s Comet, Chalk Dust Torture, The Divided Sky, When the Circus Comes, Time Turns Elastic, Ya Mar, Stealing Time From The Faulty Plan, Suzy Greenberg, David Bowie

Set II: Backwards Down the Number Line, Down With Disease > Limb By Limb, Oh Sweet Nothin’, Cities > Maze, Mike’s Song > Simple, Weekapaug Groove

E: Let Me Lie, Bold As Love


Order the show for Download on LivePhish.com

Phish perform again Friday and Saturday night at The Gorge in George, WA. Check back for live Tweets, setlists, pics and full reviews. Complete Phish tour dates available href="http://www.jambase.com/Artists/2698/Phish/Shows">here.

Just like Leg I of Phish’s Summer Tour, JamBase will be at every stop with more coverage than you’ll find anywhere! Keep up to speed with all things Phish at jambase.com/phish.

JamBase | Bay Area

Go See Live Music!



Phish | 07.30 | Red Rocks Day 1

Words by: Brian Bavosa | Images by: Dave Vann

Phish :: 07.30.09 :: Red Rocks Amphitheatre :: Morrison, CO

Phish :: 07.30 :: Red Rocks Amphitheatre

Colorful Colorado. So much Phishtory has happened here over the years. From the first-ever “official,” non-Northeast shows for the band documented in Colorado ’88 to the funk-era ragers of Denver in ’97, there has been no other venue in the state that has inspired the band to play more historic shows than Red Rocks.

From ’93-’96, Phish played a total of nine shows at this truly breathtaking, one-of-a-kind, natural amphitheatre, where the stage sits between two giant slabs of red earth that serve as a center for some cosmic and energetic interactions and results. I also know why everyone in Colorado is in such good shape because everything here is an uphill hike.


However, since some trouble in the little town of Morrison during the four nights in ’96 with fans and police, Phish has simply not been allowed to return for a number of reasons. And, with the venue holding maybe 8 or 9 thousand people, they simply outgrew it. I, like many others, never, ever expected Phish to return here and was floored when the announcement came. That also made these tickets harder to score than any of the return shows yet. It also made it a perfect choice to open the second leg of their summer tour with a statement – a four-night stand.

Trey :: 07.30 :: Red Rocks Amphitheatre

Opening with the very first song they ever played here in ’93, “The Divided Sky,” Trey Anastasio and company soared through this intricate and appropriate number and nailed it. Next up was the catchy “Ocelot,” a tune slated for the upcoming, September release, Joy, which many of the newer fans seem to really like.


“The Wedge,” another tune played in the first set of the ’93 show, features the line “take the highway to the great divide,” and boy, oh boy, is Red Rocks such a place. In fact, this was the first time in a long time that most of my night was spent admiring the scenic beauty and intricacies this venue has to offer rather than simply being fixated on the band and stage.


A funky, Fishman driven “Moma Dance” was above average and gave way to “Horn,” yet another Rift-era tune that had me thinking that the band was truly excited to be back on hallowed ground. But, the surefire highlight in set one was an atypical “Stash,” which saw some loose jamming and more twists and turns than the snakes outside in the surrounding park. It was led at different stages by all four and featured Fishman all over the skins. It was exploratory, yet not as dark as normal, and made for a great ride.


Set two began with some Trey banter introducing Mike Gordon before launching into “Mike’s Song,” and it seemed that immediately the energy of the band for set two was higher than earlier and we were poised for a sharp second effort. Again, Fishman took charge and pounded “Mike’s” into oblivion before landing in the beautiful middle portion of the “Mike’s Groove” trilogy, “I Am Hydrogen.” The beautiful segue was closed proper by a slamming “Weekapaug Groove” that saw great interplay between Trey and Page, while Fish and Gordon held down the beat.

Phish :: 07.30 :: Red Rocks Amphitheatre

Another of the night’s highlights was “Ghost,” which conjured up memories of the lauded, super funky, 11.17.97 Denver version. It bubbled up loose and funky, featuring some rock & roll licks by Anastasio, and finally landed in another funktastic number, “Wolfman’s Brother.” This two-song onslaught was a solid half hour of booty shaking and loose, yet inspired playing and jamming. At this point, the first set was a mere footnote in my mind.


The first “Billy Breathes” since the summer of ’03 was another nod that just about anything was possible during this four-night run. A song that does not always translate well live, this version did, slowing things down for a moment for all to soak in the power of this venue. “The Squirming Coil” was spot-on and saw McConnell, who was extremely impressive throughout set two, play his baby grand piano, which made hearts swoon at the end of this number and made me think it was the show closer.


That was until Fishman hit the familiar high-hat intro signaling “David Bowie.” This version was standard, yet sharp, and capped off a solid night one. Set two was super and continued with the encore of “Loving Cup.” A rocker that led the masses out to the trails and natural stairs of Red Rocks, it truly was a “beautiful buzz” to close out Night One.

Phish :: 07.30.09 :: Red Rocks Amphitheatre :: Morrison, CO

Set I: The Divided Sky, Ocelot, The Wedge, Poor Heart, The Moma Dance, Horn, Stash, The Horse > Silent in the Morning, Possum

Set II: Mike’s Song > I Am Hydrogen > Weekapaug Groove, Ghost, Wolfman’s Brother, Limb By Limb, Billy Breathes, The Squirming Coil, David Bowie

E: Loving Cup

For more pics of Phish at Red Rocks go here.

Phish perform again tonight at Red Rocks. Check back
for live Tweets, setlists, pics and full reviews. Complete Phish tour dates available here.

Just like Leg I of Phish’s Summer Tour, JamBase will be at every stop with more coverage than you’ll find anywhere! Keep up to speed with all things Phish at jambase.com/phish.

Continue reading for more pics of Phish at Red Rocks Night 1…

JamBase | Rocking Red Style
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Phish | 07.30 | Red Rocks Photos 1

Images by: Dave Vann

Phish :: 07.30.09 :: Red Rocks Amphitheatre :: Morrison, CO

Set I: The Divided Sky, Ocelot, The Wedge, Poor Heart, The Moma Dance, Horn, Stash, The Horse > Silent in the Morning, Possum

Set II: Mike’s Song > I Am Hydrogen > Weekapaug Groove, Ghost, Wolfman’s Brother, Limb By Limb, Billy Breathes, The Squirming Coil, David Bowie

E: Loving Cup


Order the show for Download on LivePhish.com

Phish perform again tonight at Red Rocks. Check back
for setlists, pics and full reviews. Complete Phish tour dates available here.

Just like Leg I of Phish’s Summer Tour, JamBase will be at every stop with more coverage than you’ll find anywhere! Keep up to speed with all things Phish at jambase.com/phish.

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40th Ann Space Oddity EP

David Bowie And Virgin/EMI Celebrate 40th Anniversary of Space Oddity
With Commemorative Digital EP and iPhone/iPod touch App


David Bowie

To celebrate the 40th anniversary of David Bowie‘s Space Oddity Virgin/EMI will release a commemorative digital EP and a new app for the iPhone and iPod touch. The digital EP, available now for download purchase from all major digital service providers, features four versions of “Space Oddity” plus its original eight multi-track stems, enabling fans to remix the song as they please using their own software or with iKlax software. iKlax’s “Remix David Bowie – Space Oddity” app, available now on the iTunes App Store, also allows fans to remix the track their way.

Originally released on July 11, 1969 to coincide with the Apollo 11 moon landings, Space Oddity was featured by the BBC in its television coverage of the lunar event, the song later won an Ivor Novello award. The song’s enigmatic protagonist, Major Tom, has become a recurrent theme throughout Bowie’s work and career, and was revisited in the song “Ashes To Ashes.”

David Bowie Space Oddity (40th Anniversary EP) (digital)
1. Space Oddity (original U.K. mono single edit)
2. Space Oddity (U.S. mono single edit)
3.Space Oddity (U.S. stereo single edit)
4. Space Oddity (1979 re-record)


‘They stole my parents’

Clara Salaman’s mother and father raised her within an austere spiritual organisation. The society came first – even before family. She rebelled and the fall-out continues

When I was about eight years old, when things started to go wrong at school, myself to the springs of my mattress with my pyjamas. My mother would untie me, force me into my hideous uniform then send me and my brother out into the early morning, bound for Archway tube station in London. My brother wanted nothing to do with me, clad as I was in my ridiculous outfit; he would whistle nonchalantly, fingers in his ears as I caught up with him on the southbound platform. Our childhoods were riddled with embarrassments.

For legal reasons I am not allowed to go into any detail about the organisation that our parents were members of. But it was a self-styled, extremely strict, truth-seeking, spiritual society that demanded an extraordinary amount from its members. Commitment had to be absolute. The organisation came first in its members’ lives. The then leader ruled with fear. If questions were asked, the challenger was shunned.

My brother, sister and myself hated the leader – and the organisation – with a passion. In our eyes they had stolen our parents from us. They had turned us into weirdos. We saw the way our friends looked at us when our parents paused before lunch, eyes tightly shut, chanting ancient Sanskrit prayers before and after each meal. And the look on our relatives’ faces on holiday as my mother and father disappeared daily at dusk into a dim room where they could be found, palms upturned, eyelids quivering, deep in meditation.

As a child, all I ever wanted was to be normal. Like Mel, my next door neighbour. Her family were properly normal. They were allowed to eat meat and watch television. Mel even did beautiful tap-dancing shows. In their house they had lovely posters of kittens tumbling about in balls of string, instead of the shelves of holy books we had. Mel seemed utterly glamorous to me. She wore tight leotards and short shorts; next door, in my world, trousers and nylon were banned. Women in the organisation were only allowed to wear long ground-brushing skirts.

My mother and father had met through the organisation as young people looking “for something more to this world” in the early 1960s. Ever since then, the organisation has been their life. They go out separately twice a week in the evening for classes and twice at weekends for group activities, which include calligraphy classes, chanting sessions and meditation groups. There are long weekends away, and three times a year they go to the organisation’s house in the country for a whole week. My mother would even leave us as newborns. We three children used to stand at the window watching her drive off before wordlessly retreating to our separate rooms.

In 1975, the organisation opened its own school. I was one of the guinea-pig students, shortly followed by my brother. Break the rules and you were severely punished. Television was strictly prohibited, as was pop music, radio, books (except specific holy ones), magazines, cameras, makeup, meat, cooked food and numerous other aspects of modern life. The organisation was a way of life, so the rules applied both at home and at school. Some parents were more fundamentalist than others, but there was not a lot of difference between them.

My sister, who is almost five years older than me, was initially too old for the school, but when it opened up to older pupils she flatly refused to go. Instead she went to Camden School for Girls, the trendiest school in London. The gulf between us could not have been wider. She tried hard to protect us, not to lose us as well as our parents.

She made my brother and I cut ourselves and rub our blood together swearing that we would never become one of “them”. But it was no use; on her walls hung posters of David Bowie, on mine flapped ancient Sanskrit prayers. While I was being sent off on spiritual retreats full of early rises, meditation, chanting, scrubbing floors and serving teachers, my sister and her gang were out snogging boys, watching Madness at The Dublin Castle and being normal. She seemed indescribably cool to me: her Flip clothing, her cigarette smell, the way she slammed her bedroom door in my face, her friends in their Levi 501s who’d call round, and say “Hiyaaaa”.

At school I did all I could to make my sister proud. I flew the flag of rebellion, creating an enemy of immense proportions: the headmistress. We hated each other. She hated the fact that I was popular, that other teachers liked me, that I asked questions. But above all she seemed to hate my hair: it was too thick, too blond, too curly and too shiny.

When I was 14 things got very bleak. Schoolfriends were not allowed to talk or make contact with me. At the time I felt the only logical choice left to me was suicide. I always think my parents should have intervened then; they should have stood up and left the organisation, taking me with them, but they didn’t. My father had given up his job as a civil servant to work at the school and was a highly respected member. He had risen within the ranks and was one of the leader’s favourites. He believed that what the organisation stood for was greater than the concerns of the individual, even if the individual happened to be your flesh and blood. I hated him for that.

In an establishment of that kind, there is nowhere to turn. Outside friendships are not encouraged; your family is in it, your doctor is in it, your dentist, your builder, even the milkman was in it. The organisation had become pretty much self-sufficient. I felt totally isolated. By that stage, my sister had given up on me; we were like strangers. My brother was going through his own torments. Although we had everything in common, we were miles apart.

Finally, to my great relief, I was expelled. It was a shock to be out and I was too proud to admit that I felt lost; I didn’t belong inside the organisation and I didn’t belong outside of it. I was sent to a boarding school in Oxford where my time passed in a blaze of freedom. I remember feeling I was finally free, as I lounged on a sofa watching Top of the Pops among normal teenagers who knew all the words to the Eurythmics’ Sweet Dreams. Fortunately I shared a room with a Japanese girl and two Nigerians who, like me, didn’t understand any of the teenage cultural reference points so I was never outed as a weirdo.

It wasn’t until this stage in our family life that we siblings began to establish proper relationships – relationships not founded on a shared loathing. None of us were living at home any more; my brother (who was also asked to leave the school) and I were at boarding schools and my sister was at university – already set on being a social worker. I had decided I wanted to be an actor. The rows and traumas had finally ceased; although there was one subject guaranteed to kick us off – the organisation – so we steered clear of it. Finally, we all felt part of the normal world, and from this vantage point I began to see my parents differently. For the first time I began to appreciate them, despite the fact they were still in the organisation.

Four years ago, my brother was involved in setting up a website for ex-pupils of our generation to share their experiences. It was both fascinating and disturbing to see the contributions. As a result of the website, an independent inquiry took place looking into allegations of abuse and mistreatment. The inquiry concluded that there had been “mental and physical mistreatment of children”.

I am not interested in blame or living a life of anger. It may be surprising, but I still have a good relationship with my parents. Humour has been a strong familial glue and in fact the whole family is holidaying together this summer. My father is a man of utmost loyalty, though his loyalty is, to this day, to the organisation. That is the way it has always been. I struggled against it until I left home but eventually accepted it, as did we all. Besides, we have never known any different. Due to organisation commitments, my father nearly didn’t make it to my wedding. It is perfectly possible for me to love him without respecting all of his choices. In many ways he is an exceptional human being; he is a very loving man, his mind is brilliant, his life’s work has been translating the works of the renaissance philosopher Marsilio Ficino; his head is long buried in ancient sands. Likewise, my mother has always worked hard to be a good organisation member, but she’s a naturally mischievous person. She always sympathised with my plight, having been in trouble herself at school. Her loyalties were torn, but ultimately she has always put her marriage first.

Because of my parents’ ongoing involvement with the organisation, we have been unable to let things lie. Our pasts are inescapable. I still find it unbearable when one or other of them casually keeps me up to date with the daily antics of some past tormentor, though everything I hear about the school today suggests things have changed for the better. Sometimes I don’t think my parents realise how fundamentally we have all been affected by the organisation. Because of my early experiences, I learnt to build a cocoon around myself. I rarely cry, am fiercely resilient and unsentimental.

I realise now that I have two sons of my own, that it’s not easy bringing up children, and trite as it sounds, I do believe that my parents thought they were doing the right thing. I shall, however, be steering my own children well away from any whiff of organised religion. No doubt, one day one of my boys will end up writing articles in the Guardian criticising my parenting skills from the cloisters of his monastery.

In the last few weeks something extraordinary has happened. The organisation found out that I have written a novel – a thriller – inspired by my childhood experiences and wrote to my publishers checking that the book would be carrying the “all characters are fictitious” disclaimer. They also asked for a pre-publication copy of the book to see whether they would need to take legal advice. My parents were furious; my father felt that no spiritual organisation should ever get litigious; my mother, 48 years later, has left the organisation. When she told me, I felt like I was walking on air, finally her support felt tangible. Twenty-five years on, it seemed at last someone was listening.

• Clara Salaman’s novel Shame on You is published on 6 August by Penguin at £7.99.

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Mike Ragogna: HuffPost Video Premiere: Manchester Orchestra “The River” plus Matthew Sweet & Susanna Hoffs Under The Covers Vol. 2

The Huffington Post debuts “The River,” Manchester Orchestra’s last of eleven videos associated with the band’s album Mean Everything To Nothing. “The River” is the…

Sat Eye Candy: Queen

RIFF GENERATING GENIUS TURNS 62 TOMORROW

Queen is one of those rock bands so rippled into what we consider that genre at this point that it seems too small a thing to call them “influential.” From strict radio fare to the more outre melange of Howlin Rain, of Montreal and My Morning Jacket, there’s Queen smiling out at us, all art spangled and power chord sweet. They are hard rock and tearful weepers, brainy concept makers and silly song slingers – an incongruous, unapologetically massive swirl of elements that didn’t exist before them but surely survives in myriad permutations today.

This Sunday, July 19, is guitarist Brian May‘s 62nd birthday and we couldn’t let the weekend pass without raising a glass to him. The Caucasian afro-ed picker is muscle and grace, so tough yet so tender and right up there with the greatest riff architects in history. Without May there’d be no Eddie Van Halen, Joe Satriani or many others – or at least they’d play with a certain significant part of their vocabulary stripped out. Since Queen’s self-titled 1973 debut, May has been nudging the genre in potent directions and we hope he gets the full measure of whatever birthday wish he makes this year when he blows out the candle.

We start this week with a crushing piece of so-wrong-it’s-right perfection from the boys. Just wait for May’s six-string blast that haymakers us 30 seconds in. And in hindsight, it’s not too tough to figure out which way the pendulum swung with ol’ Freddie, right?

While countless plays at sporting events and over film montages has stolen some of this classic’s thunder, presented here when the song was still fresh in 1981 at a famous Montreux performance it shows itself the pub-ready sing-along great that it is, emerging with saloon piano and a nigh irresistible lyric belted out by one of the finest frontmen ever.

Now this is some nasty guitar! The lead-off track from Queen’s debut has propulsive force in this 1977 live take at the legendary Earl’s Court.

One of the neat tricks Queen pulled off was remaining relevant through several decades. While this version lacks David Bowie‘s original vocal it does show Freddie’s crowd mastery before the band drops into a tight, kinda wistful rendition of the mega-hit.

“Can anybody find me somebody to love?” It’s a simple enough sentiment, and Queen excelled at tapping a wildly populist vein and this bit of miniature opera stands as perhaps their crowning jewel in a long line of fantastic love songs. This romp from 1982 at the Milton Keynes Bowl is appropriately, uh, enlarged for your pleasure.

Anyone who doubts Queen’s influence on metal and contemporary marvels like The Mars Volta need only peep this scorching 1977 performance of one of the band’s early best.

1976′s A Day At The Races – and companion precursor 1975′s A Night At The Opera – was where all the elements of Queen fully coalesced. The switchback rush of moods and styles is apparent from Races‘ opening pair, presented here in sterling live form.

All those post-gig hours spent in European discos paid off as 1980 rolled around and Queen discovered their funky side. Quite the outfit on Freddie on this one.

There’s an air of life-clinging energy to this 1989 single packed with compact, tasty playing from May and an impassioned Mercury lead vocal surely powered by his then-recent HIV diagnosis. In ways, this tune seems like Queen’s smackdown of the hair metal acts that invaded the 1980s, where they show how easily they could toss off something akin to but quite superior to anything Poison, Slaughter, et al. had to offer.

For all their pomp, they could be quite goofy, as witness by this loopy number (and matching video) from 1978′s Jazz chock full of pop culture references.

We wrap up this week’s installment with a pair of the band’s finest from A Night at the Opera. First, “something a bit heavier” and then a number that contains all the group’s charms, ambition and immense talent in one multifaceted marvel (offered below in both live and original, iconic video form). Thanks so much for the killer music, Mr. May.

And don’t forget, you can eyeball video sweetness 24/7 with JamBase TV.