Friday, 31 July 2009
1. You Enjoy Myself (1995-10-31) - Since we've been talking about Halloween so much, I decided to throw in one of my favourite YEMs that just happens to take place on Halloween. After tearing apart The Who's "Quadrophenia", the band launched into this lengthy version of their famous jam vehicle. While the longest jams do not always prove to be the best, this long jam should be considered among them. Clocking in at just over 40 minutes, this epic version of YEM is a must listen for all. Listen at around 19:00 when Mike takes a dive into a muddy bass line that Page interlaces with his looped synths. Trey gets in there making for a heavy delay-loop jam, meanwhile Mike and Jon hold the funky rhythm underneath. Around 21:00, the jam slows right down leading into a wild spacey psychedelic adventure.
Download 1995-10-31 Rosemont Horizon, Chicago, IL
2. Run Like an Antelope (1998-11-27) - One of the best Antelopes ever. I doubt there is any discrepancy on that. This jam is simply incredible. Mike slaughters the bass line in this version, and Trey's tone is incredible in this show. Trey if you are reading this, bring back your old tone. Very nice syncopated jam around 4:00 leading into a ripping solo at 9:00. Listen to this fiery version of Antelope.
Download 1998-11-27 The Centrum, Worcester, MA
3. Halley's Comet (1997-11-22) - This epic Halley's from the mothership starts the second set of the show, where the band arrives onstage to find the crowd chanting the words to Destiny Unbound. Trey responds by telling the crowd it sounds like a "death chant", because he can't hear, and asks if it is time for the ritual sacrifice. The band jams hard in this funk-laden Halley's, very '97-esque. This jam shows off some nice Page loops and killer lead work by Trey. Listen to Trey's solo around 20:00, absolutely amazing. Over a dark layer, Trey soars above in a modal exploration that leaves the normal confines of a Halley's. Layered with effects, the band sends the song back to the galaxy in which it came.
Download 1997-11-22 Hampton Coliseum, Hampton, VA
4. Down With Disease (1997-12-11) - A classic Phish jam, exhibiting each member's respective talents. The jam weaves in and out of wildness, into a soft dark spacey section around 11:15, which is something not often heard in a Disease. The jam continues this soft groove throughout the rest of the song, a very interesting version. The entire fall '97 tour is incredible, and this is just one of many gems from that period. This Disease is a standout version. This particular version truly shows off Jon's impeccable timing. It really sounds like there's a drum machine going (16:00).
Download 1997-12-11 War Memorial, Rochester, NY
5. Reba (1995-05-16) - One of my favorite versions of one of my favorite songs. Some amazingly nice syncopated work by Trey in this rendition. The band holds tight taking this Reba in new spacier directions than normally seen (8:15). Amazing work by Page to completely alter the dynamic of the jam. Trey's lead work around 11:00 is simply incredible. The jam builds up from a soft spacey psychedelic groove to a full out rocker. An excellent Reba.
Download 1995-05-16 Lowell Memorial Auditorium, Lowell, MA
6. Ghost (1997-11-17) - Phish in the essence of their "cow-funk" era. the jam is very funky, filled with smooth synth runs by Page, loops, and very heavy bass by Mike. Trey glides atop the rhythm, layering effects, in one of the best Ghosts ever. There is no particular highlight of the song, the entire song is mind blowing. Many consider this show to be one of the best shows, and this jam is certainly a highlight. Another gem from the fall of '97.
Download 1997-11-17 McNichols Sports Arena, Denver, CO
7. Bathtub Gin (1993-08-13) - This version of gin is tight from the start within the context of a very loose song. The band moves into a vocal jam early (4:00) showing the exploratory nature of the band at this point in time. '93 marks one of the most experimental years, with some very outside playing. This gin is no exception.
Download 1993-08-13 Murat Theatre, Indianapolis, IN
8. Tweezer>Lifeboy (1994-06-18) - '94 is probably the best year for Tweezer. Feeding on the now legendary version from the Bomb Factory in Dallas, the band launched into this version mid-second set in Chicago. This is one of my favorite versions (as are many of these choices clearly), exhibiting some amazing guitar work by Trey who launches into a melody around 4:45 that nears upon divinity. He carries the melody through into a ripping solo, which then spaces out and segues into Lifeboy. The transitions in '94 sound very natural, and this is great example.
9. Mind Left Body Jam>David Bowie (1994-06-18) - From the same show as the Tweezer above, this is my favorite Bowie ever. At 4:45 Trey locks into a melody, which carries the jam to an entirely new level. This jam is incredibly melodic, with great playing all around. At 6:45 the song picks up heading into a heavy rocking exploratory jam. Mike's fast bass work is absolutely wild. One of my favorite jams, from an outstanding, highly underrated show. Trey talks about this Bowie in this interview. He says that at the beginning of the song, when they play the first note signalling for the high-hat intro, they spontaneously entered what became the Mind Left Body Jam (this later became Frankie Says). This is an example of how Phish jams have no boundaries, any part of any song can become a jam.
Download 1994-06-18 UIC Pavilion, Chicago, IL
10. Twist (1998-04-02) - After spending time in the studio writing new material, Phish decided to take their new songs on the road in a series of four legendary shows. The Island Tour took place over four nights in Uniondale, NY and Providence, RI. If you haven't heard all four of these shows, I highly recommend you do so immediately. The entire four night run is magical. This Twist is a perfect example. Completely leaving the confines of the song, the jam enters into places that are unimaginable. The jam is heavy type II, and definitely my favorite Twist of all time. One of my favourite parts in any Phish jam ever is at 6:30. Jon leads the jam as he speeds up the tempo, leading it into all new places. This jam is a journey, and anyone who embarks on the ride is sure to realize how great this jam really is. I can't say enough about this one. Even though it is last, it could be the best jam on this entire list. Simply put, this is one of Phish's finest jams ever and it is rarely mentioned among them.
Download 1998-04-02 Nassau Coliseum, Uniondale, NY
If you have a favorite Phish jam post it in the comments section below.
2009-07-30 Red Rocks Amphitheatre, Morrison, CO [FLAC]
Here are the no spoiler downloads, they come as one long mp3 for those of you who don't like FLAC. They also download extremely quickly, however it comes in multiple sections:
Red Rocks Part I
Red Rocks Part II
Red Rocks Part III
Red Rocks Part IV
* The Divided Sky
* The Wedge
* Poor Heart
* The Moma Dance
* The Horse >
* Silent in the Morning
* Mike's Song >
* I Am Hydrogen >
* Weekapaug Groove
* Wolfman's Brother
* Limb By Limb
* Billy Breathes
* The Squirming Coil
* David Bowie
* Loving Cup
Thursday, 30 July 2009
The ancient Greeks believed that music had the ability to evoke moods and behaviors. The Greeks defined these moods into seven musical scales, known as echos. The Romans later adopted the system renaming it modus. It was felt that each mode evoked a different emotion. Major modes were said to evoke happy, lively moods, whereas minor modes communicated feelings of sadness or seriousness. Plato recommended that soldiers going to battle avoid listening to music in certain modes as it would interfere with their bloodlust. Similarly, Plato and Artistotle both felt that a persons affinity toward a particular musical mode was an insight into that person's character.
Modal jamming is largely felt to have originated with the release of Miles Davis' "Kind of Blue." This album features Miles Davis and John Coltrane using the modes as a framework for their jams. Modal jams typically involve less changes in key, allowing the musician to solo more fluidly. John Coltrane (who plays sax on the album) would go on to explore modal jamming to an all new level and is considered one of the great modal interpreters. For an example of this early modal jamming, check out this clip of Miles Davis' So What, which is also covered by Jerry Garcia and David Grisman on their album "So What":
Let's now take a look at each of the seven modes, how they are used in jam music, and what types of moods they evoke. Without any further ado, I present to you:
The Musical Modes
1. Ionian - The Ionian mode is the major scale. It evokes bright, happy feelings. It should also sound more familiar than some of the other modes. Here are two examples of how the Ionian mode can be used in a jam. Fittingly the "you can feel good about Hood" jam is in Ionian. In these examples you can see how Trey and Duane both use the same scale in different ways.
Phish - Harry Hood
The Allman Brothers Band - Blue Sky
2. Dorian - The Dorian mode is a minor mode that evokes melancholy, yet soulful moods. The final note of the scale does not resolve itself, leaving one feel as though there are questions left answered. Santana is an avid user of the Dorian mode. Here are two examples of the Dorian mode with Trey and Dicky (many people believe this part of the solo from the '71 Filmore show is Duane. It is not. I have watched the video, Duane comes in later. Dicky is very modal in his playing):
Phish - David Bowie
The Allman Brothers Band - In Memory of Elizabeth Reed
3. Phrygian - The Phrygian mode has a very dark Spanish/middle eastern sound. It is not commonly used in jam music, and it offers a strong contrast to the rest of the modes. It is also used frequently in metal. I won't post it, but if you're interested check out Yngwie Malmsteen's Heavy E Phrygian. Here is a more suitable example:
Jefferson Airplane - White Rabbit
4. Lydian - The Lydian mode is another bright and happy mode, but in a very different way than the Ionian mode. Zappa was known for using it in his solos and Dicky Betts uses it very frequently. It has somewhat of a jazzy, unexpected feel to it, and so it works well in jam music. Here is an example of one of my favorite solos using the Lydian mode. It almost sounds as though Trey's notes are soaring through the speakers:
Phish - Reba
5. Mixolydian - Jerry Garcia's favorite mode. It is commonly used in blues and rock, and has a bright feel with a dark side. It is an interesting sounding mode, and is often used in guitar solos. Here are two examples, one of Jerry, the other of Clapton.
Grateful Dead - Fire on the Mountain
Eric Clapton - Let it Rain
6. Aeolian - similar to the Ionian scale, the Aeolian mode is a natural minor scale. Thus, it conveys feelings of sorrow, regret and despair. It has a very dark sound to it, and is often used in Rock. Listen to this example by Jimmy Page:
Led Zeppelin - Stairway to Heaven
7. Locrian - The Locrian mode sounds very odd, and is not frequently used in jam music. If it is, I can't think of an example. The Locrian mode sounds dissonant, and spacey, almost wrong. The previous six modes are used most often in jam music.
Hopefully this has shed some light on how modes are used in jamming, and why they are so important. As you can see from the examples above, the modes are a strong tool and can be used to control the mood of the jam. The following is a video of Suzy Greenberg from 10-21-95 at Pershing Auditorium in Lincoln, NE. Notice how Trey plays the solo from Stairway to Heaven using the Aeolian mode at 2:45. Enjoy, as a bonus I've also included the Harry Hood from the same show. Notice Trey teases Beat It in both songs (as was mentioned a few days ago in this article).
As Phish are back on the road again tonight for a run of shows up the West Coast, things are getting back into full gear in the Phish community. People are traveling remarkable distances, from all over, to see Phish at one of the most coveted venues in the United States. Dog Gone will be providing setlists after each show, as well as links to the "no-spoiler" and AUD downloads. Check back here after each show as we will try and have the links up as soon as possible. Post comments to discuss the shows with other phans.
To get back in the groove, watch this video from the last leg of the tour in Noblesville, IN. Amidst a storm of epic proportions, after an hour long rain delay, Phish took the stage for their second set feeling the energy within the pavilion. The entire crowd from the lawn, in an effort to avoid the rain, rushed the pavilion, altering the energy of the show instantly. With the crowd intimately packed in to the pavilion, and emotions running high, Phish launched into a fiery version of A Song I Heard the Ocean Sing exhibiting some heavy type II jamming. This jam is easily one of the best from the early summer tour, and a good indicator of what is to come. Download the show from Noblesville below, and watch video below of 2001, another highlight of the night. Check back tonight as the band rolls back into Red Rocks for first time in 12 years!
2009-06-19 Verizon Wireless Amphitheatre, Noblesville, IN
Wednesday, 29 July 2009
1. Radiohead – OK Computer
2. My Bloody Valentine – Loveless
3. David Bowie – The Rise and Fall of Ziggy Stardust and the Spiders from Mars
4. Radiohead – In Rainbows
5. Guns n’ Roses – Use Your Illusion I
6. Guns n’ Roses – Use Your Illusion II
7. Aerosmith – Toys in the Attic
8. The Allman Brothers Band – At Fillmore East
9. Boston – Boston
10. Frank Zappa – Joe’s Garage: Acts I,II & III
11. Tool – Aenima
12. Michael Jackson – Thriller
13. The Jimi Hendrix Experience – Are You Experienced?
14. The Who – Who’s Next
15. Yes – Fragil
The consensus seems to be Radiohead's "OK Computer". Not my first pick, but nonetheless, Phish would do an excellent job covering it. As Rolling Stone points out, Fetival 8 with coincide with the 25th anniversary of the release of Prince's "Purple Rain", from which Phish has covered the title track in the past. Great prediction. But, the fact that Rolling Stone is predicting it should be reason enough for Phish not to do it. Regardless, speculation is heavily underway and I can honestly say I haven't been this excited for Halloween since I was...five. Click HERE, to read the Rolling Stone article. Below is a video from Phish's '96 Halloween show (musical costume, Talking Heads "Remain in Light") at the Omni in Atlanta, GA.
In Manchester, England three young English lads, Ginger Baker, Jack Bruce and Eric Clapton, would perform their live debut as Cream at The Twisted Wheel. After leaving the Yardbirds, Clapton joined Cream. It was his tenure in Cream that would propel him to stardom, and truly allow him to exhibit his guitar talent. Cream's early crossroads jams are also considered to be some of the first extended rock jams. The band would leave the stage as Clapton would solo for twenty minutes by himself, to the extreme delight of the crowd. It was with Cream that Clapton made his US debut, performing nine shows at the RKO Theatre in March of 1967. In October of 1968, the band broke up, performing a final show at the Forum in LA. Some of the songs from this show were released on their final CD "Goodbye". The music Cream created during their short period of time together is some of the finest rock music ever made. Below I have posted the link to the download for Cream's show from Detroit on October 15, 1967. Download the show, and watch this video of Cream performing the Robert Johnson song Crossroads:
1967-10-15 Grand Ballroom, Detroit, MI
Also on this day, The Grateful Dead would leave the United States for the first time, venturing to Vancouver, BC, Canada. In Vancouver, the Dead would play three shows at the P.N.E. Garden Auditorium. These shows are classic '66 Dead, with amazing sound quality. The Dead clearly are not well known in Canada, as it sounds like there are very few people in the audience. Or perhaps just very few clapping. When they are announced, no one claps and Phil says "Our fame has proceeded us". This show is a true testament to Pigpen's abilities as a front-man. He truly was great, and this show personifies his greatness. I have posted the links to the SBDs for the shows in Vancouver from the 29th and 30th (the 31st is hard to find). I have also posted the streams for both shows. Enjoy this classic show from 1966 marking the Dead's first trip to Canada.
1966-07-29 P.N.E. Garden Auditorium, Vancouver, Canada (SBD)
1966-07-30 P.N.E. Garden Auditorium, Vancouver, Canada (SBD)
The 29th Stream
The 30th Stream.
In addition, today marks the 43rd anniversary of Bob Dylan's famous motorcycle accident. The accident, which occurred near his home in Woodstock, NY, is not musically significant itself, however the events that unfolded as a result are. After the crash, amidst a great deal of speculation, Bob Dylan went in seclusion for a number of months. During this period he created a number of recordings, however, it was not until 1975 that these recordings were released as Bob Dylan and The Band's "The Basement Tapes" (a possible phish musical costume). This is some of Bob Dylan's finest work, working with the Band prior to their debut "Music from Big Pink" in 1968. Posted below is a show with Dylan and The Band from the Forum in LA from February 14, 1974. This show is full of Dylan and The Band classics, such as Lay Lady Lay, Up on Cripple Creak and The Shape I'm In. Enjoy these moments from this day in '66.
1974-02-14 The Forum, Los Angeles, CA part 1
1974-02-14 The Forum, Los Angeles, CA part 2
Tuesday, 28 July 2009
Pigpen had just passed away in April causing the Dead to scramble for a new sound to compensate the lack of harmonica and organ. Without Pigpen, the dynamic of the band changed significantly, causing Jerry to take more of a lead role, and Bob to direct the underlying rhythm. The summer of '73 largely functioned as a period of transition leading forward into what many feel are the Dead's best and most exploratory years.
On the day prior to the show, the bands took the stage for a soundcheck which the fans were permitted to watch, courtesy of Bill Graham. Fans quickly gathered as The Band soundchecked a few songs, however, Robbie Robertson who is known to have terrible stage freight (hence the name of their second album), became confused at the growing number of people. The Allmans took the stage next playing fiery versions of both "One Way Out" and "Ramblin' Man", warming the crowd for what was to come next. By the time it was the Dead's turn, the numbers had grown substantially and the group decided to play an extended set. This soundcheck has now become quite well known (even more so than the show the following day it seems), even landing an 18 minute jam on the So Many Roads box set. The soundcheck, in particular, has incredible sound (as it should). The link to the torrent is at the bottom.
The show itself took place on July 28th with all three bands delivering stellar performances. In the midst of heavy rain The Grateful Dead performed first, playing two sets over five hours, of incredible music. The setlist is great, as is the music. What is oddly surprising is the sound quality. While not quite as good as the soundcheck, for a festival with 600,000 people the sound is amazing. One might even say better than the quality of recent livephish releases.
The Band performed next, and the recording of their show would later be released as a live record, "Live at Watkins Glen". Robbie Robertson would go on to say that this was the first "100 percenter" The Band had played. Those who are unfamiliar with this CD should check it out, as it really is a phenominal show. Prior to Watkins, The Band had failed to fully rise to the occasion when performing their own material.
Third came the Allman brothers who played a three hour mindblowing set. By 1973, Dicky Betts was the lead guitarist and legendary piano player Chuck Leavell had signed on to replace Duane. Instead of bringing in another guitarist to replace Duane, the allmans hired Chuck, who is known as "the sixth rolling stone" by many. Their sound is different during this period with a single guitarist. There is significantly less harmonizing, less slide, and a great deal of intricate lead work by Dicky. The band delivers a high-energy performance, per usual. To see the setlist, click HERE. The encore featured members from all three bands, resulting in quite a magical combination. The "Mountain Jam" is a highlight, showcasing Jerry and Dicky on a classic Allman's jam tune. The encore is included in the stream below.
Posted below are the links to the torrents for both the Grateful Dead's soundcheck and concert at Watkins on July 27th and 28th, 1973. Be sure to give both a listen, the "Playing in the Band" from this show is a personal favorite. The stream for the 28th show is also posted. In addition I have also included two videos (audio only) with the Allman's soundcheck, quite a rare treat. Enjoy the music, as so many people did 36 years ago today.
1973-07-27 Watkins Glen Racecourse, Watkins Glen, NY (Soundcheck)
1973-07-28 Watkins Glen Racecourse, Watkins Glen, NY
Click HERE for the Dead's setlist from the 28th.
Monday, 27 July 2009
This Thursday July 30th, Phish will return to the famous Red Rocks Amphitheatre in
“Ok, uh, first thing I want to say here just to get things started, this is definitely the most incredible place I've ever played music. This is unbelievable. I don't know how it looks from up there, but, it looks pretty amazing from up here. So, what I thought I'd do here is, uh, I figure that some of you probably think you know where Red Rocks is and when it started and everything and the whole events about how this whole place came to be, but uh, I'm sure you're wrong about it and I'm gonna tell you the Real story right now, so..."
The band then launched into an amazing rendition of “Harpua”, as Trey went on to tell us about his great knowledge of ancient languages “…I kinda looked closer and luckily I have a great knowledge of ancient languages; I know all the ancient languages…” For those of you who are unfamiliar with this show, the link to the torrent is posted below.
Not only was the August ’93 show a gem, it was also an important moment in the evolution of the band as a whole. In ’93 Phish was still playing small theaters with limited seating capacity, however, in August the band made the step to larger venues. After touring heavily all year long, the band drew a crowd of a few thousand to the scenic outdoor venue. Heavy rain showed up prior to show time, and rumors of cancellation began to swarm. After a long delay, the clouds broke and Phish, fittingly, took the stage and opened with a stellar version of “Divided Sky”. The rest of the show carried on the natural energy flowing on both sides of the stage that night, making for an epic experience for anyone in attendance.
Thursday night’s show will be the first at Red Rocks in 12 years. In 1996, fans clashed with the Morrison police and the band was temporarily banned from the venue. Apparently the clashes were due to "ticket shortages". The shows in 1996 are considered to be some of the finest, exhibiting some very interesting music, and spectacular sound. These shows also saw the first “Hood!” chant, as was arranged through the circulation of a flier prior to the show. All four nights are incredible, and are a must listen for any phish fan. If the past is any indication of the future, these upcoming four nights should be quite special. After leaving the crowd in Alpine Valley with their jaws hanging, the excitement surrounding the upcoming tour is soaring.
We will be providing extensive reviews of each Red Rocks show as well as torrent links as soon as possible.
The links to the ‘93 and ‘96 Red Rocks shows are below, enjoy.
Sunday, 26 July 2009
On Friday, Pat Metheny announced that he will be releasing a new recording in 2010. By the sounds of it, this project is going to be very interesting. The following was written on Pat’s website on Friday:
I have been very lucky over the years to have many opportunities to explore a wide range of ideas as a musician. The quest to find new ways of thinking about things and the process of trying to come up with a personal perspective on music has been a major priority along the way, almost from the very beginning.
The Orchestrion Project is a leap into new territory. This project represents a recently developed conceptual direction for me that involves the merging of an idea from the late 19th- and early 20th-centuries with the technologies of today to create an open-ended platform for musical invention and performance.
“Orchestrionics” is the term that I am using to describe a new performance method to present music alone onstage using acoustic and acoustoelectric musical instruments that are mechanically controlled using the power of modern technology.
In early 2010 a new recording will be released on Nonesuch. It will be a “solo” record in that I am the only musician—but a CD that in some ways recontextualizes the term.
For more info, visit Pat's website. Here is a video from ’94 of Metheny and Scofield performing “The Red One” from their album I Can See Your House from Here.
Click here to read an interview with Chris from '94.
*picture courtesy of Rolling Stone