Weekend Nuggets: New Haven ’92

Posted in Uncategorized with the tags , on May 8th, 2010 by Mr.Miner

DOWNLOADS OF THE WEEKEND:

The first two nights of New Year’s Run ’92 took place in The Palace Theatre in New Haven, Connecticut – home of the best pizza in the nation. Before moving north to Springfield and Boston, Massachusetts, Phish blew up The Nutmeg State on their way to 1993. Enjoy the old school shows, and most importantly enjoy the weekend. Happy Mothers Day to all the mothers that make the world go ’round!

***

12.28.92 The Palace, New Haven, CT < Megaupload

12.28.92 The Palace, New Haven, CT < Torrent

I: Maze, Sparkle, Foam, Buried Alive > Glide, It’s Ice, Bouncing Around the Room, Rift, Golgi Apparatus, Sweet Adeline, Run Like an Antelope

II: Poor Heart, Split Open and Melt, Reba, The Sloth, You Enjoy Myself, The Lizards, Hold Your Head Up > Bike > Hold Your Head Up, Harry Hood, Cavern

E: Memories, Fire

Source: Schoeps CMC5/mk4 >Sonosax >DAP20

***

12.29.92 The Palace, New Haven, CT < Megaupload

12.29.92 The Palace, New Haven, CT < Torrent

I: Funky Bitch, Runaway Jim, Guelah Papyrus, Llama, My Friend, My Friend, The Divided Sky, Wilson, Uncle Pen, Stash, Tela, The Oh Kee Pa Ceremony > Suzy Greenberg

II: The Curtain > Tweezer, The Horse > Silent in the Morning, My Sweet One > Big Ball Jam, Fast Enough for You, All Things Reconsidered, Mike’s Song* > I Am Hydrogen > Weekapaug Groove Hold Your Head Up > Terrapin > Hold Your Head Up, The Squirming Coil, Tweezer Reprise

E: Big Ball Jam, Carolina*, Rocky Top

Source: SBD > DAT > Cass/x, Patch Source Schoeps MK4/CMC5 > Sonosax SX-M2 > Sony D10 (FOB)
These tracks had to be patched with the FOB source due to a tape flip in Mike’s song, and the Carolina being absent from the SBD.

=====

Jam of the Weekend:

Mikes > Hydrogen > Weekapaug” 6.10.95 II

Red Rocks. Mike’s Groove. 1995. Good stuff.

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

=====

VIDEO OF THE WEEKEND:

“Light” 12.2.09, MSG – Pt .1

“Light” 12.2.09, MSG – Pt .2

Tags: ,

Ten Tunes For Friday

Posted in Uncategorized with the on May 7th, 2010 by Mr.Miner

Asheville 6.9 (Lanser)

Friday has come back around, bringing ten more songs to kick off your weekend. This round, I featured musical couplets, delivering ten tracks in five selections. This week, I mixed a couple post-hiatus highlights into the mix,. Enjoy the pairings and have a great weekend!

***

Tweezer > Lifeboy” 6.23.94 II

This is the third consecutive version of “Lifeboy” that dripped out of “Tweezer” during June 1994. This “Tweezer” features prominent jamming on Cream’s “Sunshine of Your Love.” (Excuse the nasty tape flip at the end of “Tweezer.”)

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

***

Timber Ho!, Jam > Taste” 11.30.96 II

A rare time when a guest enhanced a show, Peter Apfelbaum, on tenor sax, added a whole new element to this sequence, pushing the vibe in the direction of Phish fusion.

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

***

Suzy Greenberg > Theme” 12.28.03 II

Miami '03

On the first night of Miami ’03, this unlikely combo formed a significant chunk of set two. Diving far from the structure of “Suzy,” the band entered a menacing passage in which Trey offered a stunning guitar confessional.

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

***

Twist > Simple” 11.29.03 II

One of few highlights from ’03’s Turkey Run that stands the test of time.

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

***

Makisupa > David Bowie” 10.29.95 II

A devestating “Bowie” from the night before Halloween ’95, in Louisville, Kentucky.

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

Bringing the Past Into the Future

Posted in Uncategorized with the tags on May 6th, 2010 by Mr.Miner

“If you don’t know your past, you don’t know your future.”

12.31.09 (W.Rogell)

When Phish steps into the next stage of their career in a little more than a month, they are bound to discover new styles of musical expression. With a foundation year behind them, one would imagine that Phish will start down the path of reinvention this summer, forging a new sound for 2010. As the band evolves, and their music takes new forms, they will incorporate elements of their past endeavors, a trend throughout their history. Building upon the previous year’s stylistic successes from their onset through Summer 1996, Phish hit the reset button in Fall ’96, beginning a completely new evolutionary arc for the late ’90s.

When re-listening to 2009, one quickly notices that Phish’s musical high points were truly sublime, with several jams that can hold their own among highlights from any era. And when listening more closely to the band’s playing through the year, one can identify elements from each of the band’s evolutionary periods throughout their career. Incorporating all the styles of their career into the building blocks for the future, 2010 will be a year that not only springboards off 2009, but every phase of the band’s career.

12.30.09 (W.Rogell)

Starting off last year with a focus on straight-forward jamming, Phish came out of the gates conservatively, making sure they had their footing before trying to run. However, one element of their playing stood out right from the beginning of Hampton – their precise execution of composed sections, as well as their full compositions. Turning their glaring weakness of 2.0 into an immediate strength of 2009, Phish opened the era with two of their most complex pieces in “Fluffhead” and “Divided Sky.” Evoking memories of the early-’90’s, when Phish ran through fugues like wind-sprints, their precision and prowess on their multi-part compositions stood out all year long. The complex sections of their larger pieces also became revitalized as the year wore on, and tackling the openings of pieces like “Reba,” “YEM,” and “Bowie” became second nature. Sure, there were speed bumps along the way, but Phish’s precision and accuracy became a strong suit in 2009.

Bonnaroo - (G.Burwell)

By the end of fall tour and in Miami, Phish began playing compact, full-on jams that more resembled the fury of the mid-90’s, an approach I labeled “musical density.” The band started to improvise in a more concentrated manner, offering many original ideas over a shorter amount of time. Jams that illustrate this retro-style include Miami’s “Piper,” “Ghost,” and “Back On The Train, “Charlottesville’s “Light,” and MSG’s “Disease > Piper.” With a take-no-prisoners approach, Phish annihilated these pieces with fast, thematic communication, leaving no time for loops, vamping, or repetitive funk chords. This emerging sound that featured shorter, too-the-point, jams evoked memories of the band’s most adventurous improvisational era from ’93 to ’95, albeit not quite as insane. Nonetheless, the band integrated similarly tight, no-nonsense communication that characterized a point in their history into their modern soundscapes.

Through this compact style, and by trimming the fat off their musical excursions, 2009 Phish piqued the interest of more than a few old-schoolers who had lost touch with the band during the the late-90’s era of groove, or during the post-hiatus era of abstract exploration. Phish sounded like the band these fans had loved through the mid-’90’s, pushing the boundaries of experimental rock while retaining a focused intensity to their playing. They could once again tear though “Foam,” had no problem shredding “It’s Ice,” and Phish music shifted back towards the form that made them famous to begin with. But not without brushstrokes of their latter years.

Miami '09

While Phish certainly didn’t focus on funk grooves last year, they did use certain vehicles to reach those swanky places. Though reined in quite a bit, their danceadelic style shined through many times throughout the year, and perhaps none more brightly than Red Rock’s “Tweezer.” After a relatively groove-less June, when Phish dropped this version (still illegal in some states), they let the floodgates of groove crash open in an all-out rhythmic explosion. All year long, but from August on specifically, versions of “Ghost,” “Wolfman’s,” and “Tweezer” routinely explored gooier territory, incorporating ideas of ’97 and ’98, but never delving nearly as deep into the musical molasses that defined those years. (Perhaps the most direct reference to this era came in the methodical funk turned ambient “46 Days” from Detroit last fall.)

11.18.09 (M.Stein)

The percussive jams that dotted so many setlists last year, growing out of “Rock and Roll,” “Piper” and “Drowned,” also represented carry-over from the late ’90s. Once Phish learned the polyrhythms of Remain In Light in 1996, this type of jam immediately jumped into their repertoire the next show with 11.2.96’s “Crosseyed > Antelope,” and remained in their bag of tricks all the way through, refined throughout the years. These sparser and faster grooves of ’09 brought back the feel of ’99 and ’00, as well as some post-hiatus adventures. Additionally, the many ambient interludes and amorphous jams that popped up throughout the year can be directly traced to the aural experiments that blossomed in Fall ’98, and fully developed in 1999. Using ambient textures and “amoeba-jamming,” Phish brought a new sound to the table that fall; a sound they resurrected more than a few times last year to varying degrees of success. Some standout examples include Deer Creek’s “A Song I Heard the Ocean Sing,” The Gorge’s “Sneakin’ Sally,” SPAC’s “Number Line, and the latter half of Miami’s “Tweezer.”

Thus, as Phish forges a path into the future, their past is undeniably coming with them. But just as these musical elements from different years were incorporated into 2009, a new direction awaits in 2010. Just what that will be remains the mystery of the summer. Answers await only 36 days away.

=====

Jam of the Day:

Piper > What’s the Use?” 9.11.00 II

A stellar nugget of Phish2k.

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

=====

DOWNLOAD OF THE DAY:

12.30.98 MSG, NYC, NY < Megaupload

12.30.98 MSG, NYC, NY < Torrent

Here’s the completion of the stellar New Year’s 1998 run. Somehow, this one has skirted the archive. The most mellow of the four evenings still carried some legit highlights, specifically, “Disease > Piper.” The first set brought the bombastic beginning of “Chalk Dust,” “BBFCFM,” “Wilson,” and peaked with the surprise, set-ending “Reba.”

I: Chalk Dust Torture, Big Black Furry Creature from Mars, Wilson, Roggae, Sparkle, The Moma Dance, The Old Home Place, Sample in a Jar, Frankie Says, Maze, Loving Cup, Reba

II: Down with Disease > Piper, Prince Caspian, The Squirming Coil > Slave to the Traffic Light

E: Grind*, Possum

*debut, w/ Tom Marshall

Source: Schoeps CMC641 > Lunatec V2 > Apogee AD1000 > DAT

Tags:

What Happened To The West?

Posted in Uncategorized with the tags , , on May 4th, 2010 by Mr.Miner

The Gorge '09 (W.Rogell)

While some fans are willing to travel to the end of the earth to see Phish – from Copenhagen to Tokyo and Telluride to Prague – many simply can’t make these treks due to life circumstances and responsibilities. As Phish 3.0’s second year begins to unfold, Phish fans on the west coast are still left wondering why the band refuses to come their way, playing virtually no shows on the west coast and southwest since their return. While west coast swings used to be hallowed summer traditions, providing the most gorgeous drives of the tour, the band’s overwhelming focus on the eastern seaboard has left many Phish-less fans on the left coast out in cold.

Using this summer as an example, the only shows west of the Rocky Mountains are the three at The Greek, and everyone knows how hard those tickets have been to come by. Last summer, Phish graced the west coast for exactly the same amount of shows – one at Shoreline and two at The Gorge – and then returned for Festival 8, for a grand total of 6 out of 50 shows. While Phish hails from the east coast and have a concentration of fans, friends, and families there, they have seemingly forgot how many people long for them to come westward. Or maybe they just don’t care.

In Phish’s previous eras, the west coast always comprised an integral part of the summer circuit. Some of the venues changed and others stayed the same, but west coast Phish always provided one of the best segments of tour with notably laid-back atmospheres, less crowds, and stellar weather. A far cry from the overrun amphitheatres of the east, Phish’s music adjusted to the calmer settings, often taking a different direction than east coast jams. Thus far in this era, however, unless a west coast fan lives in the Bay Area, outside LA, or in rural Washington, they haven’t even been able make a reasonable drive to a Phish show.

Phish’s current family-based touring model must play a role in their lack of desire to travel far for shows. Only selecting the most choice venues, west coast shows are now reserved for “special events,” neglecting many fans across the region. With limited vacation days, a less-than-ideal economy, and more mature responsibilities, many core Phish fans can’t just drop things and fly across the country for a week; it’s no longer as feasible as it was ten years ago. Just as the band has changed and matured, so has their primary fan base, and one would think their routing would reflect this understanding.

Coors Amphitheatre - Chula Vista, CA

Throughout the modern era of Phish, the band has chosen venues and tour schedules according to their own desires, leaving fans to figure out ways to navigate smaller shows and harder tickets. In this golden age of their career, it seems that Phish will do what makes them happiest without caring about ease of access to shows or tickets, and they have certainly earned that right. Unfortunately, the lack of west coast shows fits right into this pattern, like it or not.

With an over-saturation of east coast gigs this summer, sixteen shows have, ironically, yet to sell out. Staple venues like Deer Creek, SPAC, Walnut Creek and Camden still have tickets on sale. Other shows with stubs still up for grabs include both Hartford dates, Charlotte, Blossom, and Chicago. And the reasoning is hardly a mystery. Without an expanding fan base at this point, Phish, largely, has a “set” number of fans who want to see them play. With so many opportunities within short drives for most fans on the east coast, many of these shows are not selling out because people are picking and choosing what shows to hit. With an aging demographic and no younger generation to fill in the holes, less Phish fans than ever are doing the entire tour – or even extended runs. With most fans seeing less shows in total, more tickets are left available.

Out West, Fall '95

Logic would have it that less shows in one area would cause them all to sell out, but by scheduling multiple two-night stands within a couple hours of each other every weekend, most fans don’t have the capacity – or need – to hit each one. I don’t think that there are less people trying to see Phish, but the same number are spread out over 16 eastern shows. If Phish cut that number to 10, I bet most tickets would be gone. We can theorize all day, but when it comes down to it, I don’t think Phish or Red Light much cares what we think. Phish paid their dues, playing every village, town, and city throughout the 80’s and 90’s, and this is their time to schedule their lives out of convenience, not necessity. They have their fans, they have their money, why do they need to play where they don’t want to play? I can certainly see their side of the coin.

Though Phish will only play three west coast shows this summer, rumors have started to swirl about a Fall run down the coast. I don’t have specifics, but we shall see. Murmurs of Indio being rescheduled for Halloween weekend have also surfaced, potentially coinciding with such a western swing. With west cost weather holding strong through the autumn months, an eventful run could be in the works; one can only hope. West coast Phish not only offers locals a chance to see shows without boarding a plane, it also provides a totally diverse live experience for those fans traveling from other parts of the country, balancing the clusterfucks of the east.

Portland '98

Hopefully, Phish will escape from the vortex of Verizon Wireless venues of the east, and figure out a way to unveil more western dates before the year is up; but without any real incentive, west coasters shouldn’t hold their breaths. For the time being, west coast fans will have to live with quality over quantity, as some of last year’s most stellar shows took place at The Gorge and Red Rocks, and this summer the band will hit up the Greek and Telluride. (Though let’s not pretend that Colorado is a west coast state.) With their roots firmly planted on the east coast, it remains to be seen how geographically diverse modern tours will become. But for now, west coasters, score those Greek tickets, keep your luggage accessible, and save those frequent flier miles, because who knows when Phish will be back on the left coast.

=====

Jam of the Day:

Wolfman’s > 2001” 7.24.98 II

The highlight of today’s Download of the Day.

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

=====

DOWNLOAD OF THE DAY:

7.24.98 Mitchell Pavilion, The Woodlands, TX SBD < Megaupload

7.24.98 Mitchell Pavilion, The Woodlands, TX SBD < Torrent

Mitchell Pavilion @ The Woodlands

A dark-horse show from outside of Houston, along the Texas run of Summer ’98.

I: The Moma Dance, Runaway Jim, Bouncing Around the Room, Stash, My Soul, Taste, Golgi Apparatus, Loving Cup

II: Wolfman’s Brother > Also Sprach Zarathustra > Scent of a Mule > Ha Ha Ha > Scent of a Mule, Slave to the Traffic Light, Chalk Dust Torture

E: Character Zero

Source: SBD

Tags: , ,

L O S T: “The Candidate” Discussion Thread

Posted in Uncategorized with the tags on May 4th, 2010 by Mr.Miner

The Final Season

Tags:

Relivin’ Indio

Posted in Uncategorized with the tags , , on May 4th, 2010 by Mr.Miner

10.30.09 - Indio (G.Lucas)

If someone told me ten years ago that we would be reliving Phish shows in 3D movie theatres in 2010, I would have dismissed the idea a futuristic fantasy that belonged in Back to the Future II. But lo and behold, only a decade later, we find ourselves right here. Capitalizing on the newest fad in cinematic technology, Phish 3D, an audio collage of Festival 8 from Indio, California, is now showing in an exclusive one-week engagement around the nation. While fans have given mixed reviews of the feature length film, I felt the concert experience translated quite well to the big screen and beyond, providing a lasting memoir of an unforgettable weekend.

Indio Pollock

Split into three sections, nighttime Phish footage, the acoustic set, and the Halloween set, one obvious strength of Phish 3D is the film’s willingness to cover full songs from beginning to end, as opposed to the usual excerpts documentary-based features include. Without any narration, interviews, or external perspectives, Phish 3D allows the viewer to fully soak in the live concert experience. (I kept thinking that the film would be an excellent introduction to Phish for someone who has never seen the band and isn’t sure they could stomach a show.) Within a society catered to short attention spans, the extensive, uncut footage provided a relief from the modern era of sound bites and highlight reels. The ability to watch the band communicate and develop jams from such an intimate perspective provided a novel viewpoint for those not glued to the rail every show. Watching their eyes lock during the music and their seeing their expressions during peak moments provided a wholly divergent experience. Given the on-stage perspective of a fifth band member, one gained a virtual, first hand point-of-view of the band’s interpersonal dynamics and stage set up, things that  I, personally, never see during a show. Phish 3D allowed  most to view Indio from an 180-degree different perspective than the actual show, and the two together formed a complete experience. And with the crowd-perspective shots, it often felt like we were right on the plush fields again.

The track selection for the opening segment of the movie couldn’t have been better, featuring an opening run of “AC/DC Bag,” “Stealing Time,” “Undermind,” “Tweezer > Maze,” and “Mike’s,” all complete and uncut. “Tweezer > Maze” stood out as the highlight of this sequence, as it did at the show; and with the varying stage shots of the band slaughtering the jam provided a completely an all-encompassing visual experience. Trey’s passion translated vibrantly throughout the film, and especially during “Tweezer,” as his spirited playing matched his animated and fiery demeanor. Following the “Tweezer > Maze,” the movie didn’t slow down, choosing “Mike’s” as the final jam of the opening section. Any time I can go to the movies and see uncut 3D versions of “Tweezer” and “Mike’s” – it’s a win-win in my book!

The Acoustic Set (G. Lucas)

The second segment of the film featured brief non-stage footage, something the film could have used more of, before showing an extended excerpt from Sunday morning’s acoustic set. The clarity of the audio matched the clarity of the video in a pristine remembrance of a modern morning of lore. While this section may have incorporated one too many songs, the inclusion of “The Curtain (With)” made the entire segment worthwhile, bringing everyone back to the spiritual sunshine of November 1. The ability to see the crowd during the acoustic set really brought the festival to life, as theatre-goers tried to pick themselves out of the colorful ocean of people. This sequence painted a warm portrait of the acoustic set, providing unattainable perspectives of one of the most universally loved portions of Festival 8.

"Loving Cup" (Photo: Graham Lucas)

The final third of the movie covered Halloween, and Phish’s take on The Rolling Stones album, Exile On Main Street. While the footage of the selected songs provided some absolutely priceless moments, this is where the film would have hugely benefited from greater backstage access. Unable to get behind the scenes, less one practice session, the story of Phish’s Halloween tradition was implied but never explained, making the section somewhat confusing for the non-initiated movie-goer. The film only contained a small snippet of the on-site Exile rehearsals, a segment that certainly left the desire for more backstage footage, but for that we’d have to wait for the credits. Clearly a case of limited access, Phish should have foresaw this obstacle and allowed more leeway for the film crew to tell the story of the band’s Halloween tradition.

Trey and Saundra (Unknown)

Nonetheless, the shots of “Loving Cup” and “Shine A Light” provided powerful memoirs of an eloquent night in the polo fields of Indio, California. The up close and personal footage of “Loving Cup” provided priceless perspectives of the “all-time” version, while the inclusion of “Shine A Light,” the cathartic exclamation point to Exile, brought back the most poignant memory of the weekend. Phish and company knew they had nailed the album, and celebrated with its soul-drenched peak. The stellar shots of Saundra Williams and Sharon Jones gave us a much closer perspective of their own fun and enthusiasm, expressions that couldn’t be easily seen live; and they were loving it. After showing a short clip of the band and their guests rehearsing “Suzy Greenberg,” the Exile section concluded with its memorable encore rendition with full-on accompaniment. And just when one thought the marathon movie has come to a close, the film cut to the weekend-ending “Tweezer Reprise.” Perfect.

"Burble" (G.Lucas)

If one shot summed up the absolute exuberance of Festival 8, it had to be during “Suzy.” The camera filmed from behind Williams and Jones, looking out at the stage as the women danced and sang. Meanwhile, with his back to the crowd, Trey, sporting a child-like, aura-encompassing smile, watched Williams and Jones spice up his own concert as if it were part of his dream. And that same dreamlike quality that shone through the expression of our favorite front man embodied the collective spirit that characterized Indio’s blissed out festival; one of the most enjoyable events of Phish ’09.

On the other hand, many people have complained about song selection, camera work, editing, and the such. Really?? I have one question to these purveyors of negativity who complain that a Phish 3D movie wasn’t worthy of cinematic greatness – “Can you still have fun?”

Phish 3D Track listing: AC/DC Bag, Stealing Time From The Faulty Plan, Undermind, Tweezer, Maze, Mike’s, Back On The Train*, Strange Design*, The Curtain (With)*, Sleep Again*, Train Song*, Wilson*, Loving Cup, Happy, Shine A Light, Soul Survivor, Suzy Greenberg, Tweezer Reprise

=====

Jam of the Day:

Stash > Cities” 6.30.98 II

A highlight from the opening set of Summer ’98.

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

=====

DOWNLOAD OF THE DAY:

7.18.91 Casino Ballroom, Hampton Beach, NH < Torrent

7.18.91 Casino Ballroom, Hampton Beach, NH < Megaupload

A random stop with the Giant Country Horns during Summer ’91

I: Chalk Dust Torture, Foam, Runaway Jim, Guelah Papyrus, Suzy Greenberg, Stash, Take the ‘A’ Train, Cavern, Mike’s Song > I Am Hydrogen > Weekapaug Groove

II: Llama, Reba, Poor Heart, Split Open and Melt, The Lizards, The Landlady, I Didn’t Know, Possum

E: Alumni Blues > Letter to Jimmy Page > Alumni Blues

Notes: This show featured the Giant Country Horns. At one point during the show, the crowd was told by the promoter that they were dancing too much, prompting Trey to offer a date with Fishman to the fan who danced best on their chair!

Source: AKG 451 > D5

Tags: , ,

Welcome to May

Posted in Uncategorized with the on May 3rd, 2010 by Mr.Miner

10.31.09 - Festival 8 (G.Lucas)

My take on the Phish 3D movie experience – coming tomorrow!

=====

Jam of the Day:

Halley’s > I Didn’t Know” 8.3.98 I

Following a cover of Smashing Pumpkins’ “Rhinoceros,” Phish launched into this show-opening jam.

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

======

DOWNLOAD OF THE DAY:

10.19.91 The Catalyst, Santa Cruz, CA SBD < Megaupload

10.19.91 The Catalyst, Santa Cruz, CA SBD < Torrent

The Catalyst - Santa Cruz

Another classic from the analog era. (Will catch up on torrrent links as soon as I am able to upload them again.)

I: The Landlady, Suzy Greenberg, It’s Ice, Runaway Jim, Foam, Chalk Dust Torture, Bouncing Around the Room, My Sweet One, Stash, Golgi Apparatus

II: Llama, Bathtub Gin, Sparkle, Tweezer > Horn, Poor Heart, You Enjoy Myself, The Oh Kee Pa Ceremony > Hold Your Head Up > Terrapin* > Hold Your Head Up, Harry Hood

E: Good Times Bad Times

*Mimi Fishman on vacuum

Source: Unknown

Weekend Nuggets: Potpourri

Posted in Uncategorized with the tags on May 1st, 2010 by Mr.Miner

DOWNLOAD OF THE WEEKEND:

5.8.94 The Backyard, Bee Cave, TX < Megaupload

11.18.09 (M.Stein)

The night after The Bomb Factory, Phish dropped this little known show in a little known town. Significant versions of “Stash” and “Antelope” and “YEM” highlight the “night after”.

I: Runaway Jim, Foam, Axilla (Part II), Rift, Down with Disease, Bouncing Around the Room, Stash, The Squirming Coil

II: Also Sprach Zarathustra > Run Like an Antelope, It’s Ice, Fee, Julius, Cavern, You Enjoy Myself > Halley’s Comet* > Good Times Bad Times

E: Sweet Adeline, Golgi Apparatus

*segued out of the YEM vocal jam.

Source: Unknown

=====

Jam of the Weekend:

The Curtain > Free” 7.31.98 II

A classic relic of Summer ’98 on a gorgeous sunny afternoon.

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

=====

VIDEO OF THE WEEKEND:

“Black-Eyed Katy” 12.5.97 – Cleveland, OH

Tags: