Saturday, June 30, 2012

Dave Matthews Band to release new album

Dave Matthews Band have shared the details of theirforthcoming studio album, Away From The World, which is slatedfor release on September 11th of this year.

Producer Steve Lillywhite will return to the studio with theDMB which marks 1998’s Before These Crowded Streets as the lastofficial album that Lillywhite produced for the band. The album is thefollow-up to 2009’s Big Whiskey and the GrooGrux King.

Away From The World is now available forpre-order on the Dave Matthews Band’s official website. The album will beavailable in CD, digital, and vinyl formats.   Members of TheWarehouse (the group’s official fan association) who pre-order the album willalso receive eight bonus tracks.

Away From The World track listing:

01. Broken Things
02. Belly Belly
03. Mercy
04. Gaucho
05. Sweet
06. The Riff
07. Belly Full
08. If Only
09. Rooftop
10. Snow Outside
11. Drunken Soldier

Friday, June 29, 2012

Phish.Net's History behind "Dog Log"

In the history of rock and roll, there have been dozens of great songs about dogs: “Old King” by Neil Young; “Hey Bulldog” by Lennon/McCartney; “Fluffy” by Ween; “I Wanna Be Your Dog” by Iggy Pop; “Walkin’ the Dog” by Rufus Thomas; “Seamus” by Pink Floyd. Assuming their rightful place alongside these famous tributes to the canine are Phish’s “Runaway Jim” and “Dog Log.” “Dog Log” is surely in part a tribute to Trey’s dog, Marley, a.k.a. “Mar Mar,” who passed away in October 2000, within days of the final shows before the band's first hiatus. But at its core, the song is, well... about stepping in dog shit.

Originally listed on the band’s White Tape as “Dog Gone Dog,” the song title shifted to “Dog Log” via both fan tape labeling and Trey’s stage side comments, eventually reflected in official Phish offerings. First performed at Hunt’s on 10/30/85, “Dog Log” is an infrequently played but much loved Phish tune. “Dog Log” is another one of those tunes that always seems to appear in exceptional Phish shows: 4/29/87 Nectar’s; 8/21/87 Ian McLean’s Farm (note Marley barking in the background periodically throughout the show); 10/21/89 The Front; 8/2/93 Tampa, FL; 2/26/97 Stuttgart, Germany; 11/27/98 Worcester (Live Phish 06); and 12/18/99 Hampton. Interestingly, “The Mango Song” has followed the last two performances of “Dog Log” before Phish’s 2004 breakup: at Meriwether on 9/17/00, and as the encore of the first night of IT on 8/2/03.

By far the most famous appearance of “Dog Log” was on 12/11/95 at the Cumberland County Civic Center in Portland, Maine. Trey clued in the audience to the band’s (supposed) intent to record an album comprised entirely of fifteen different versions of “Dog Log.” Trey asked the audience to be very quiet, to make it sound as if it were a sound check; then, on his mark, for everyone to “boo” loudly. Phish fans – never missing an opportunity for audience participation – obliged with gusto, serenading the band right with a voracious chorus of “boos!” An especially cheesy repeat performance later in the show left some of the crowd wondering if we were indeed going to get fifteen versions of the song. Snippets of this performance were included on the retrospective video played at Phish’s 20th anniversary gig in Boston on 12/2/03, during which clued-in portions of the FleetCenter crowd chimed in right on cue with a loud “boo!”

While “Dog Log” is a relative rarity in Phish show setlists, it is perhaps best known as a staple of the soundcheck. One notable soundcheck version of “Dog Log” is in wide circulation and should be sought by the song’s fans: 8/14/98, the sound check for Lemonwheel that was broadcast over the official radio station, “The Badger.” “Dog Log” is often played with widely contrasting styles during the sound check: sometimes in a reggae style, sometimes as a blues number, sometimes a jazzy rendition.

Trey has made several references on stage that “Dog Log” is the favorite song of Phish’s longtime sound man, Paul Languedoc. In an August 1999 interview with Jeff Waful on, Paul let us in on the real story behind his supposed love for “Dog Log.” Apparently, early on in their career during soundcheck Paul would ask the band to play a tune with vocals, to test the soundboard mix. One time when Trey asked which song he wanted to hear, Paul randomly picked “Dog Log.” Rarely missing an opportunity for a running joke, Phish began consistently performing the tune during soundcheck, perpetuating the myth that it’s Paul’s “favorite tune.”

As Paul moved on and was no longer running sound since Phish returned to the stage in 2009, the future of "Dog Log" was uncertain. It remained a soundcheck staple (see 6/11/09, 11/29/09, 7/1/10, 8/14/10, 8/15/10, 8/17/10 and 6/17/11) but eluded the live stage until 6/20/12 in Portsmouth, Virgina, 172 shows after IT. Before the break-out Trey noted “There’s enough of those damn signs out there!”

Thursday, June 28, 2012

Real Estate to play free show on July 7th

The New Jersey-based band, Real Estate, plan to celebrate Independence Day, with a free show on July 7th at  Montauk, NY’s Surf Lodge.  

The show is scheduled to take place a few days before the band embarks on a series of US tour dates including the Forecastle Festival in Louisville, KY on July 14th and the Pitchfork Festival in Chicago, IL on July 15th.

The band is currently on tour in Europe.

Wednesday, June 27, 2012

Blur to debut songs on Twitter

The recently reunited Blur will be debuting new songs on Twitter next week.

The band will play two new tracks, “Under The Westway” and “The Puritan”, from an undisclosed location in the UK during a live web stream next Monday evening.

The performance next week comes ahead of their appearance at London's Hyde Park in August, in a show to mark the close of the 2012 Summer Olympics.

The pair of songs will later be available to download and a limited edition 7” single will also be released by Parlophone on August 6th.

The live stream will take place on Twitter at 6:15 pm on July 2nd at @blurofficial

Tuesday, June 26, 2012

New Music Tuesdays: Little Feat 'Rooster Rag'

Little Feat returns with Rooster Rag, their first album of new material since 2003’s Kickin' It at the Barn.  Rooster Rag is a solid effort from one of the hardest working and most grossly overlooked bands around.   

The highlight of the album are the four songs written by Little Feat’s Bill Payne and Grateful Dead lyricist Robert Hunter. These include the title track (a bluegrass romp with Bob Dylan and Levon Helm’s ace fiddle player, Larry Campbell) and “Way Down Under,” a rocker complete with vintage Hunter lyrics: “Jam down the throttle all the way/ To seventh heaven by break of day.”

Paul Barrere belts through the enjoyable “Just a Fever” while Fred Tackett takes a more serious approach with “One Breath at a Time.” Sam Clayton kicks it all into overdrive with his rendition of the Willie Dixon classic “Mellow Down Easy,” and Mississippi John’s Hurt’s  “Candy Man Blues,” a longtime staple of Little Feat’s live set, is finally included on a studio release.   

From start to finish, this is an excellent album and one that continues in the tradition of Little Feat’s perfect blend of rock, R&B, blues, and Americana and stands out among Little Feat’s best studio work since Chinese Work Songs.  

The Showbiz Kids Rating: 7 out of possible 10
-Will Fisher, The Showbiz Kids

Monday, June 25, 2012

Wilco and Punch Brothers share stage at Red Rocks

Over the weekend, Wilco headlined a two-night run at Red Rocks Amphitheatre in Morrison, CO with the Punch Brothers serving as an opening band for this leg of the tour.

During Friday night’s show, the Punch Brothers returned to the stage during Wilco’s set for “California Stars.” Both bands extended the classic Wilco/Woody Guthrie tune, with each member of the Punch Brothers taking a solo during their collaboration.

It has also been confirmed that Wilco frontman, Jeff Tweedy, will be producing Sarah Lee Guthrie’s new studio album that is scheduled to be released in 2013.

Sunday, June 24, 2012

On the turntable this Sunday...Silent Steeples

Silent Steeples is a 1996 album by American indie/roots folk band Dispatch. Unlike their future releases, the album contained mostly acoustic folk rock songs.

Track listing:

"Steeples" (Urmston)
"Past the Falls" (Corrigan)
"Water Stop" (Heimbold)
"Hey, Hey" (Heimbold, Urmston, Corrigan)
"Flying Horses" (Urmston)
"Questioned Apocalypse" (Urmston)
"Seasons: Movement III" (Corrigan)
"Mayday" (Heimbold)
"Born Normal" (Urmston)
"Bridges (Strength in Numbers)" (Heimbold)
"Walk With You" (Corrigan)
"Elias" (Urmston)


Chad Urmston - vocals, guitar, percussion
Pete Heimbold - vocals, guitar, percussion
Brad Corrigan - vocals, guitar, percussion, harp
Su Lian Tan - flute
Christian Teele - tabla, percussion
Leif Heimbold - bass
Mark Christensen - harp

Saturday, June 23, 2012

SiriusXM to Broadcast Tonight's Gov't Mule/moe. show

moe./Gov’t Mule’s Friday show in Asbury Park, NY was moved from the Stone Pony Summer Stage indoors to the Paramount Theater due to inclement weather.

Due to yesterday’s venue change, SiriusXM’s ‘Jam On’ will broadcast tonight’s Gov’t Mule/moe. show at the Stone Pony Summer Stage.

Gov’t Mule and moe. kicked off their co-headlining tour in Maine on Thursday night.

Friday, June 22, 2012

Wild Honey Records' RAM and Pet Sounds give-away

To celebrate the 70th birthdays of Sir Paul McCartney and Mr. Brian Wilson, our friends at Wild Honey Records in Knoxville,TN are commemorating the milestone with a give-away of two fan favorites!

At 3 pm on Saturday June 23rd, they will be drawing the name of a lucky winner who’ll receive brand new copies of Paul & Linda McCartney’s Ram (180 gram double-LP audiophile edition)… and The Beach Boys’ Pet Sounds (180 gram mono audiophile edition). Two great albums both with goat-heavy cover art!

To enter your name, just drop by Wild Honey Records in person anytime during normal store hours before the drawing happens on Saturday afternoon. Only one entry per person, please. No purchase is necessary and you don’t have to be present at the drawing to win—but if you are present, you can take your prizes home right away!

String Cheese Incident releases new single

“Can’t Wait Another Day,” is the first single to be released by String Cheese Incident in nearly seven years. SCI is currently recording a new album to be released in the near future.

“We are in the process of working on some material for a new album, but we just wanted to release this piece that was closest to being done just to get some hype and build some excitement for our summer shows,” keyboardist Kyle Hollingsworth told

The track is available for a free download on

Thursday, June 21, 2012

Trey Anastasio is a Jedi

Being a bachelor this week, I had the rare opportunity of enjoying the webcast(s) of the Phish shows at the nTelos Pavilion in Portsmouth, VA and enjoy being on couch tour from the comfort of my home.... 

The first set on 06/19 was fairly straightforward with a great extended jam during "Bathtub Gin." Things took a strange and often hilarious turn after the band took center stage for "I Didn't Know,"when Trey encouraged Fishman to tuck his dress into his underwear.  The 'tucking' incident set up a crazy second set that included many 'tucking' references and a 'tucking contest' late in the evening during "Lengthwise."  Sometime during the 'tucking contest' Trey emerged with a lightsaber from the crowd, channeled his inner-Jimmy Page and the band ripped into a blistering version of "Maze" complete with tapped harmonics with the Jedi's weapon of choice.

While Tuesday night's show will not be remembered for the "perfect setlist" or even the tightest the band has played in the 3.0 era, it was a lot of fun to witness and the reason I love this band so very much!

-Will Fisher, The Showbiz Kids

Setlist courtesy of

Set 1: Sample in a Jar, Party Time[1], Simple > Axilla, Tube, Kill Devil Falls, Water in the Sky > Horn, Babylon Baby, Bathtub Gin > Stealing Time From the Faulty Plan, I Didn't Know[2] > Run Like an Antelope[3]

Set 2: Back on the Train > Rift, Split Open and Melt[4] > The Mango Song > Backwards Down the Number Line[5], Limb By Limb, Shine a Light, Lengthwise[6] -> Maze[7], Cavern > Fire[8]

Encore: Mexican Cousin > Slave to the Traffic Light

[1] Carl "Geerz" Gerhard on trumpet.
[2] Trey requested that Fish tuck in his shirt; Fish complied.
[3] Alternate lyrics: "Tuck, tuck, tuck, tuck" and "Tuck in your dress man, you're out of control!"
[4] Alternate lyric: "Split open and tuck!"
[5] DEG tease from Trey.
[6] Alternate lyrics "When you're tucked, I sleep lengthwise."
[7] Included Trey playing his guitar with his light saber.
[8] Alternate lyric: "Let the Tucker take over!"

Notes: Carl "Geerz" Gerhard sat in on trumpet for Party Time. Trey introduced Gerhard as having come to the School of Phish in 1991 and talked about Gerhard's teaching career in the Armed Services. Trey acknowledged the crowd's request by playing Tube. During I Didn't Know, Trey said that they took Fishman on the road in 1983 and he went to the Phish School of Music, adding that he was now the executive officer of the "Air Force." Trey said he didn't think Fishman should be representing the vacuum cleaners without tucking in his shirt (a.k.a. Fish's dress) and asked him to do so (Fishman complied). Antelope included alternate lyrics "Been you to tuck in your dress, man?" "Tuck, tuck, tuck, tuck" and "Tuck in your dress man, you're out of control!" Trey also said that for 30 years, Fish has been leaving his dress un-tucked and told everybody to tuck in their dresses. Mike, Trey, and Page tucked in their shirts before the set break bow. Split Open and Melt included the alternate lyrics "Split open and tuck!" Backwards Down the Number Line contained a DEG tease from Trey. Lengthwise contained alternate lyrics "When you're tucked, I sleep lengthwise," Trey wielding a light saber, and an invitation for audience members to appear on stage and tuck. The audience was subsequently called out by Fishman and Trey, in part being told "You suck at tucking" over the Maze intro. Maze included Trey playing his guitar with his light saber. Fire contained the alternate lyrics "Let the Tucker take over!" Mike and Trey sported sombreros for Mexican Cousin.

Wednesday, June 20, 2012

My Cross To Bear by Gregg Allman

Gregg Allman’s close friends have always called him Gregory. His brother, the guitarist Duane Allman, who died in a motorcycle accident in 1971, called him “baybrah,” a contraction of “baby brother.”


By Gregg Allman
With Alan Light. Illustrated. 390 pages. William Morrow. $27.99.
But on tour in the late 1960s and the 1970s, the heyday of the Allman Brothers Band, when he wrote songs like “Midnight Rider,” “Melissa” and “Whipping Post,” Mr. Allman’s nickname was Coyotus Maximus. Women threw themselves at him, and he devoured them. He didn’t have the heart to turn many away.

One of the great virtues of “My Cross to Bear,” his slightly better-than-average rock memoir, is how frank Mr. Allman is about the perks of being a tall, blond, intricately bewhiskered white rock god in skinny jeans who can bellow the blues like a black man. “Foxy ladies,” he recalls, wheezily, “there was oodles of them.”

Mr. Allman’s book is so wriggling with amorous women that it can resemble a Feydeau farce performed mostly in panties. The band’s early road manager made a chart with the legal age of consent in every state, and made sure each member had a copy.
“I would have women in four or five different rooms,” Mr. Allman says about hotels. “Mind you, I wouldn’t lie to anybody; I’d just say, ‘I’ll be right back.’ ”

“My Cross to Bear” has a lot of absurd tour stories, so many that you’re not surprised to learn that the Allman Brothers were, in no small part, the inspiration for the band in Cameron Crowe’s excellent and fond rock film, “Almost Famous.” These tales, tall and small, have been untangled and crisply ironed by Mr. Allman’s co-writer, the music journalist Alan Light (who often writes for The New York Times).
Mr. Allman’s story, like his singing voice, has a lode of heartbreak in it. When Mr. Allman was just 2, growing up in Nashville, his father, a man who had stormed the beaches of Normandy during World War II, was shot in the back and killed by a stranger to whom he’d offered a ride home from a bar.

The death of his brother, Duane, was a bigger blow. A year apart, they were best friends. They attended military school together, and both learned to play guitar on a Silvertone that Gregg purchased for $21.95 at Sears. Duane was the preternaturally talented one. In 2003 Rolling Stone magazine voted him the second-best guitarist of all time, after only Jimi Hendrix. One of their early bands, founded in 1965, was named the Allman Joys. A few months earlier, Gregg Allman had dodged fighting in Vietnam by (a) studying a foot chart; (b) getting drunk; (c) drawing a target on his moccasin; and (d) blasting a hole in his foot with a shaky pistol. His aim was perfect.

When the musicians that became the Allman Brothers came together, Mr. Allman wanted to call the band Beelzebub. Duane wanted to name it after something trippy from “The Lord of the Rings.” Cooler heads prevailed.

The band adopted an early mushroom logo, a reference to the members’ early fondness for psychedelic mushrooms; these seriously loosened up the creative process. “That music,” he writes, “would come oozing out of our band.”

Duane Allman died just as the Allman Brothers’ third album, “At Fillmore East,” was climbing the charts, putting them permanently on the map. (They’d already recorded a bit of their classic 1972 LP, “Eat a Peach.”) Mr. Allman is bereft that his brother missed most of the band’s ride.
“We were like Lewis and Clark, man — we were musical adventurers, explorers,” he writes. “We were one for all and all for one.”

Not all of the comedy and excess in “Cross to Bear” is sexual. When the band walked for the first time onto its biggest touring airplane, a Boeing 720, someone had spelled out “Welcome Allman Bros” in cocaine on the bar.

There’s comedy, too, for us, if not for Mr. Allman, in watching him sign away the publishing rights to some of his own songs. This is such a stalwart cliché of rock stardom that you wonder, how does anyone still fall into this particular hole? It’s like watching the cute girl in the horror movie decide to go down into the basement to see what that hideous thumping is.

There are good cameos by other musicians. Aretha Franklin appears long enough to drop a five-gallon jug of pickled pigs’ feet on a hotel lobby floor while wearing a mink coat. The musician Dr. John ruins Mr. Allman’s Hammond organ by throwing handfuls of “this New Orleans voodoo stuff called gris-gris” into it.

Mr. Allman fell in love with Cher, the third of his six wives, to whom he was married from 1975 through 1979, because, he writes, “she smelled like I would imagine a mermaid would smell.” I gather the sex was O.K. too. “She was hot to trot, man,” Mr. Allman drawls, “and we made some serious love.”

The author is aware that he is a difficult man, one who has behaved at times like a jackass. He was an alcoholic and a drug addict who finally got clean in the late 1990s. “Every now and then,” he admits, “I’ll think of all the hell I caused other people over the years.”

One man he’s not interested in apologizing to is Dickey Betts, the Allman Brothers’ mercurial longtime guitarist, who left the band (or was fired, depending on whom you believe) in 2000. Mr. Allman and Mr. Betts battled for control of the band after Duane Allman died, and bruised feelings linger. “Dickey ain’t no devil,” Mr. Allman writes. “He’s just a mixed-up guy.”

“Cross to Bear” has interesting things to say about racism and being a Southern rock band in the 1970s. One of the group’s longtime drummers, Jaimoe, is black, and together they’ve witnessed their share of racial tension.

Mr. Allman has advice for musicians. The Allman Brothers play loud, and he’s kept his hearing by staying stage right, which he calls “out of the line of fire.” He’s learned to take care of his voice too. He took notes when a mentor, the musician Floyd Miles, said to him: “When you know you’re going to scream, you lay your head back, which spreads your vocal cords real wide, and when the scream comes out, it barely nicks your vocal cords. You don’t want to do too much of that, because there’s soft, tender meat down there.” In 2010 Mr. Allman had a liver transplant. He has hepatitis C. He’s got arthritis. These days the women mostly ask for Derek Trucks, the Allman Brothers’ young ponytailed guitarist. But Mr. Allman sounds at peace with himself.

“If I fell over dead right now,” he says, “I have led some kind of life."

Tuesday, June 19, 2012

From one legend to another: Paul Weller covers Beatles

By Georgina Littlejohn, The Daily Mail Online

He said he wanted to do something to mark his milestone birthday after citing him as one of his biggest musical influences.
So Paul Weller decided paid tribute to Sir Paul McCartney in the best way he knew how - by recording one of his songs.
The former Jam frontman rerecorded the Beatles song Birthday as a present for Sir Paul, who turned 70 yesterday.

The track was originally on the Beatle's White Album and Weller said he had recorded the song in 24 hours at his Black Barn studios in Ripley Surrey.
Proceeds from the song will go to the War Child charity and Weller said: 'I saw him play live recently and he inspired me just as much as ever. He was brilliant.
'I just hope he likes our little version, a token of my and the band's love for him and his music. Rock on Macca.'

He added that 'it was him and his three friends that made me want to pick up a guitar in the first place'.

Sir Paul and Ringo Starr performed the song together on stage in New York for Starr's 70th birthday in 2010.

Monday, June 18, 2012

Mimi Fishman Foundation Auction

The Mimi Fishman Foundation has announced a new auction that features items from a lineup of musical heavy hitters including: Phish, String Cheese Incident, White Stripes, Bob Weir, Phil Lesh, Widespread Panic, & Radiohead.

The auction will benefit several organizations including Conscious Alliance, a Boulder based nonprofit organization committed to distributing much needed food to communities across the United States and providing long term solutions to hunger by focusing on empowerment programs for youth in impoverished regions of the country.

The auction runs through June 25, 2012 and can be found at

To view and/or bid on the auction, as well as read about the charities the auction supports, please visit the Mimi Fishman Foundation Auction Page.

Sunday, June 17, 2012

On the turntable this Sunday...Waiting For Columbus

Waiting for Columbus is the first live album by the Southern roots-rock band, Little Feat. The album was recorded during seven performances in 1977. The first four shows were held at the Rainbow Theatre in London on August 1–4, 1977. The final three shows were recorded in George Washington University's Lisner Auditorium on August 8–10 that same summer in Washington, D.C.. Local Washington radio personality Don "Cerphe" Colwell can be heard leading the audience in a "F-E-A-T" spellout in between the first (Join the Band) and second (Fat Man in the Bathtub)tracks.

The band were backed by the Tower of Power horn section with whom they had recorded in previous studio sessions. The result was one of their biggest selling albums and is considered one of the most acclaimed live rock albums in the same vein as The Band's Rock of Ages and The Allman Brothers Band At Fillmore East.

Many of their more well-known songs were either re-worked or extended. For instance, one of their signature songs, "Dixie Chicken", was heavily extended to include a lengthy piano solo by keyboardist Bill Payne, a Dixieland horn arrangement and finally a dual guitar jam between the band's two guitarists, Lowell George and Paul Barrere. In some cases, songs such as "Rocket In My Pocket" and "Mercenary Territory" were re-worked to include the horn section, and Little Feat additionally covered such tunes as "Don't Bogart That Joint" and "On Your Way Down" as well.

The band recorded and mixed enough material from these performances for a triple LP, but for marketing reasons kept it to a double album. Three of the unused tracks were included on their 1981 album Hoy-Hoy!. All were eventually released on the 2002 "Deluxe edition" CD.

Side one

"Join The Band" (Traditional) – 1:50
"Fat Man in the Bathtub" (George) – 4:50
"All That You Dream" (Barrère, Payne) – 4:25
"Oh Atlanta" (Payne) – 4:09
"Old Folks' Boogie" (Barrère, G. Barrère) – 4:22

Side two

"Time Loves a Hero" (Barrère, Gradney, Payne) – 4:20
"Day or Night" (Payne, F. Tate) – 5:23
"Mercenary Territory" (George, E. George, Hayward) – 4:27
"Spanish Moon" (George) – 4:49

Side three

"Dixie Chicken" (George, Kibbee) – 9:00
"Tripe Face Boogie" (Hayward, Payne) – 7:02
"Rocket in My Pocket" (George) – 3:42

Side four

"Willin'" (George) – 4:42
"Don't Bogart That Joint" (E. Ingber, L. Wagner) – 0:57
"A Apolitical Blues" (George) – 3:41
"Sailin' Shoes" (George) – 6:18
"Feats Don't Fail Me Now" (Barrère, George, Kibbee) – 5:17


Paul Barrère - guitar, vocals
Sam Clayton - congas, vocals
Lowell George - lead vocals, guitar
Kenny Gradney - bass guitar
Richard Hayward - drums, vocals
Bill Payne - keyboards, synthesizer, vocals
Mick Taylor - slide guitar ("A Apolitical Blues")
Michael McDonald and Patrick Simmons - backing vocals ("Red Streamliner")

With the Tower of Power horn section:

Emilio Castillo - tenor saxophone
Greg Adams - trumpet
Lenny Pickett - alto saxophone and tenor saxophone
Stephen "Doc" Kupka - baritone saxophone
Mic Gillette - trombone, trumpet

On 31 October 2010, American rock band Phish covered Waiting for Columbus in its entirety as their "musical costume" for their Halloween show at the Boardwalk Hall in Atlantic City, New Jersey.

Saturday, June 16, 2012

Phish to offer webcast of Portsmouth shows

Phish have announced that they will webcast their upcoming shows in Portsmouth, VA at the NTELOS Wireless Pavilion on June 19th and 20th.  Single-day and two-day webcast passes are now available.

Phish are back on stage tomorrow night kicking off the first of a three-night run in Atlantic City, NJ.

Friday, June 15, 2012

U2 The Joshua Tree tour 1987

It seems like it was only yesterday I was waiting in line with friends outside Turtles in Atlanta on a cold dark morning to buy tickets.  No internet back then only sheer determination to get there early enough to get a good place in line.
My friends brother got better seats so I remember switching out tickets for a few songs during the concert. We got to move up so close I could see the Edge's guitar strings vibrating on Pride (In The Name of Love).

December 8, 1987 U2 at The Omni.

Thursday, June 14, 2012

The Grateful Dead Movie to be released on DVD

The Grateful Dead Movie will be released on July 3rd as a 2 disc DVD set by Shout! Factory. The film was originally released in 1977 and captures footage from the Dead at the Winterland Ballroom in San Francisco in 1974.

The first disc contains the original film in its entirety and the second disc contains over 95 minutes of additional footage and bonus material, including extra songs and a feature on the making of the movie.

The Grateful Dead Movie was also released on Blu-ray last year, but for those of us who are still behind the times with DVDs, July 3rd will be a much anticipated release date…

Wednesday, June 13, 2012

Buy these albums NOW!

Animal Liberation Orchestra (ALO)-“Sounds Like This” Celebrating 20-years together, ALO is one of the greatest and most overlooked jam bands; highly creative, groovy, danceable, humorous; able to bridge the gap between Jack Johnson and Phish.  "Sounds Like This" is certainly the band’s strongest effort to date.  

Howlin Rain-“The Russian Wilds” The 3rd release from this California band is a perfect blend of 70s classic rock (think along the lines of Deep Purple, Mountain, and Grand Funk Railroad) and soul that is chock full of wailing blues riffs and an abundance of impressive instrumental jamming while making music that sounds fresh and authentic.

The Chris Robinson Brotherhood-“Big Moon Ritual” This is another ‘highly’ enjoyable album from the former Black Crowes’ frontman Chris Robinson. Robinson arguably has one of the greatest voices in the business and the chemistry with his new band on "Big Moon Ritual" is undeniable.  This album leans more towards some Dead-inspired expansion/jamming and songs like “Rosalee” make this an album a “must have.” 

Tuesday, June 12, 2012

50 years later, we're still mad for The Beatles (USA Today)

By Edna Gundersen, USA TODAY

On Jan. 1, 1962, The Beatles flunked an audition at Decca Records in London. Label executive Dick Rowe's brush-off: "Guitar groups are on the way out."

It was an inauspicious start for the group that would soon dominate global society and a downbeat Day 1 in the year that saw the scrappy Liverpool lads evolve into the Fab Four who forever altered the course of pop music.

No other entertainers in history have been as popular, as influential, as important or as groundbreaking. The best-selling act ever sold 600 million albums worldwide and racked up 20 No. 1 U.S. singles, a Billboard record that still stands. The band hijacked the entertainment media and transcended music to become a chapter in world history. Its members had political clout, spiritual authority, cultural sway and the ears of the planet.

How did The Beatles become so profoundly enormous and enduring? Even the players couldn't fathom such sovereignty. Paul McCartney expected a brief joy ride when Beatlemania struck.

“Oh, yeah, we thought a couple years, that would be it," he told USA TODAY in 2009, when The Beatles' remastered catalog reignited international excitement. "We never thought it would last at all. You've got to ask, 'Why did it last?' I think the music is very well-structured, like a good house. It's going to stand for a long time. It's nice that I can sit back now and be proud of what we did."

The Beatles sprang from a perfect storm of timing, chemistry, luck, key support and, most critically, talent. And many of those essential factors fell into place 50 years ago.

John Lennon and McCartney met in 1957. George Harrison joined their band in 1958, when they were busking in Liverpool. They adopted the name The Beatles in 1960.

The pivotal year of 1962 saw a rapid coalescence: "Fifth Beatle" Brian Epstein became their indefatigable manager in January. He sent The Beatles, performing in Hamburg, this telegram on May 9: "Congratulations, boys. EMI requests recording session. Please rehearse new material."

On June 4, they signed a contract with Parlophone, a subsidiary of EMI. And on June 6, they entered Abbey Road Studios with producer George Martin for the first time, recording demos of cover tune Besame Mucho and Lennon-McCartney compositions Love Me Do,P.S. I Love You and Ask Me Why. Martin, mildly impressed, lectured the band about its lousy equipment, then asked whether they had any complaints.

The Beatles by the numbers

The story of The Beatles’ influence is as much about math as music. Reaching the toppermost of the poppermost meant stacking up some of history’s steepest numbers and sturdiest records. Their impressive stats have been steadily escalating since the band’s remarkable run ended in 1970. And with fresh generations of fans feeding the tallies, there’s no end in sight. USA TODAY's Edna Gundersen tallies some of the sums.

600 million albums sold: The Beatles are the best-selling act in history, with more than 600 million albums sold worldwide. In the United States, they top the list with 177 million, ahead of Elvis Presley with 134.5 million.

20 singles: The band racked up 20 No. 1 U.S. singles (17 in the U.K.), a Billboard record that still stands.

5 chart positions: In April 1964, The Beatles held the top five chart positions in Billboard with (in descending order) Can’t Buy Me Love, Twist and Shout, She Loves You, I Want to Hold Your Hand and Please Please Me. The feat has never been repeated. Can’t Buy Me Love was the band’s third back-to-back chart-topper, an achievement also never duplicated in the chart’s 52-year history.

2,700 Love shows: Cirque du Soleil’s Love, a lavish Beatles musical in Las Vegas, has staged more than 2,700 shows to nearly 5 million fans since it opened in June 2006.

2.3 million remastered catalog sales: In 2009, the release of The Beatles’ remastered catalog broke chart records worldwide. In North America, Japan and the U.K., fans bought 2.3 million copies in the first five days. Here, the top-selling album was Abbey Road, and Here Comes the Sun led the song race. Since the music of The Beatles arrived on iTunes in late 2010, the band has sold more than 10 million songs and 1.8 million albums.

11.4 million Beatles 1 albums sold: In the first decade of the 21st century, the hits compilation Beatles 1 sold 11.4 million copies, more than any other album and one of only four to sell more than 10 million copies. In 2000, it entered the chart with 595,000 copies, sold 662,000 the next week and peaked with 1.3 million during Christmas week, spending a total of eight weeks at No. 1 in Billboard. The Beatles trailed only Eminem for total album sales for the decade, selling 30 million to his 32.2 million.

7 Grammys: Some figures are less stellar. Grammy voters were not overly generous to The Beatles, bestowing a modest seven trophies, only four while they were active and only one for best album (Sgt. Pepper’s Lonely Hearts Club Band in 1967). Voters did start out on a high note, anointing the British sensation best new artist of 1964.

Sources: Apple, EMI, Nielsen SoundScan, Billboard, Recording Industry Association of America
Harrison quipped, "I don't like your tie."

In August, drummer Pete Best was fired and replaced by Ringo Starr. First single Love Me Do was recorded on Sept. 4 and released in the U.K. on Oct. 5, setting the stage for a musical and cultural revolution.

World was ready for them

"An incredible convergence of factors contributed to The Beatles' breakthrough and to sustaining their growth," says Beatles scholar Martin Lewis, who since 1967 has worked as a writer, producer, strategist and consultant on official Beatles projects, including The Beatles Anthology.

"They would have been successful at any time, but the speed and magnitude of that success owes in large part to the times. Britain was so poor after World War II. In Liverpool, which had been heavily bombed, the atmosphere was great poverty and sterility and gloom. The Beatles grew up in that, and their first awakenings came from the distant sounds of rock in America."

Inspired by U.S. rock pioneers, The Beatles began to blaze a trail, first with yeah yeah yeahs, moptops and a cheeky air.

"The prevalent attitude among the elite ruling class was that young people had no say in their own lives," Lewis says. "The Beatles made rebellion constructive, articulating it with joyous, giddy exuberance. At a time when cigar-chomping moguls paid people in cubicles to write factory-farm pop songs for teenagers, The Beatles were completely authentic, and kids instinctively understood that."

Their camaraderie, self-deprecating wit, effervescence and non-conformist hair and fashion also appealed to a growing youth culture. Radio, formerly a fixed object in homes, proliferated in transistor form, and an improving economy gave teens a disposable income to buy records.

Lewis also credits integral contributions of "three wise men" guiding The Beatles: producer Martin, who nurtured rather than imposing his vision; publicist Derek Taylor, a perceptive propaganda minister who shaped the band's narrative; and Epstein, a tireless advocate.

Talent, while abundant, was not enough to take The Beatles to the toppermost of the poppermost, to borrow Lennon's pep phrase.

"Unlike vast legions of entertainers before and since, The Beatles' objective in forming a group was not to become famous or rich or have their pick of the opposite sex," Lewis says. "They were motivated by the love of music. It colors your approach. How many kids today make a record on their Mac with Pro Tools and expect it to be No. 1 in 10 minutes?

"From 1957 to 1962, The Beatles played hundreds of live shows in front of very few people, making no money, sleeping in disgusting locales. They had no sense of entitlement. Just drive and commitment."

From Liverpool with love

Only war-battered Liverpool and its sociopolitical dynamics could have produced The Beatles, says David Bedford, author of Liddypool: Birthplace of The Beatles and founder of the new online Beatles Social Network. Yet he marvels that any disruption of the chance meetings and coincidences critical to the band's formation could have foiled destiny. At every turn, circumstance favored The Beatles' rise.

"Just as the U.K. charts were growing tired and predictable, the United States, which had taken the lead with the great rock 'n' roll artists of the '50s, was in need of something new. What happened in Dallas in November (1963) sent the public into mourning for the loss of a president who promised so much. How could the country rise again? Four lads from Liverpool, who were funny, charming and different, came over to try their luck."

They came, they conquered, drawing 73 million viewers with their first appearance on The Ed Sullivan Show on Feb. 9, 1964.

"Will we ever see the stars align this way again? Unlikely," Bedford says. "In the end, it all comes back to one thing: the music. The songs are as good today as when they were written."

The bulk of those songs, arguably history's most influential, grew from the imagination and combustible chemistry of Lennon and McCartney, says Dennis Mitchell, host for 21 years of syndicated radio show Breakfast With The Beatles.

"The odds are incredible that two individuals with that kind of musical acumen met and made all this music together," he says. "What they created was totally original, a starting point for so many bands that followed. Millions of fans and musicians were inspired and motivated to a degree we've never seen."

The genius of Lennon-McCartney

Though various junctures and backdrops fleshed out the Beatles phenomenon, Lennon and McCartney were the only two crucial components, says Mark Shipper, author of Paperback Writer, a satiric revisionist history of The Beatles.

"Working together, they were absolute geniuses," Shipper says. "The other two Beatles were little more than journeymen who spent most of their time desperately trying to keep up.

"Doubt this? Ringo certainly does. He seriously thinks he's the world's greatest living drummer. To those who share his opinion, I say, put Ringo in the Rolling Stones. There could be no Stones. And yet Charlie Watts, if he really needed a paycheck, could have played in The Beatles.

"As for George, he ruined every early album with his incessant clankers on guitar and the later ones with that god-awful sitar. He sang very good harmony with Paul. But that's it."

Lewis disagrees, arguing that all four brought skill, personality and grit to the unorthodox ensemble, a leaderless gang of musical omnivores.

An important key to their longevity was "the sheer eclecticism of the music, cultural and literary influences they absorbed," he says. "Unlike many musicians today, who narrowcast what they listen to, The Beatles had a voracious appetite for an incredibly diverse range of music. Their initial heroes were the Everly Brothers and Little Richard, but they drew from the American songbook. They listened to folk, Gershwin, Cole Porter, vaudeville. They were sponges."

Had The Beatles not used their influences and curiosity to push boundaries, they might have had the shelf life of a hula-hoop craze, Lewis says.

"What added depth to their credibility was a continuing thirst to break new ground. This was in an era when it was the norm to lay the same golden egg over and over. You were not expected to become more polished. But The Beatles set out on a voyage of discovery."

Historical events and the cultural climate didn't matter much, says Steve Marinucci, Beatles columnist on and webmaster for AbbeyRd's Beatles Page ( The Fab Four were unstoppable.

"The older generation scorned rock 'n' roll at that time, and for The Beatles to make it through on that level was a heck of an achievement," he says. "It's astonishing how everything revolved around them. That's all you heard between 1964 and 1969. Nobody can have that kind of impact again. It was a different world. We didn't have the Internet, and people weren't so jaded."

Analyzing Beatlemania, Harrison once said, "The world used us as an excuse to go mad."

'No one can explain it'

Perhaps the band's unprecedented exploits simply defy logic, says Matt Hurwitz, Beatles historian and Mix magazine contributing editor.

"I've never figured it out, and I don't think anyone has ever been able to," he says. "Even their publicist Derek Taylor told me, 'It's something I've never been able to put a finger on. They just had an inexplicable charisma.'

"There's never been an experience like Beatlemania before or since. No one can explain it. We all just love it. It's exciting, and it makes us happy."

One momentous aspect tends to be overlooked in theories of Beatle magnitude, undiminished since the band's acrimonious 1970 split or the deaths of Lennon in 1980 and Harrison in 2001.

"They had the good sense to break up at the height of their creativity," Lewis says. "It wasn't planned, but it was the best move ever. The result is we never had to endure the embarrassment of The Beatles going disco or getting a middle-age paunch.

"They left seven years of brilliantly recorded music and a perfect corpse that kept the mystique and beauty of The Beatles intact."

Monday, June 11, 2012

Phish Bonnaroo Review

Phish closed out what seemed to be another awesome Bonnaroo on Sunday night.  I have not been able to attend the ‘Roo since the first two festivals, but thankfully, most of the four day event was streamed live throughout the weekend and I was able to catch the mammoth Phish set in its entirety.  

The two sets contained many of the same songs the band played from their tour opener in Worcester, but it certainly didn’t matter as most of the folks at the ‘Roo had been on the farm since Thursday night.   

One of the many highlights came during the first set when Trey Anastasio  welcomed Kenny Rogers to the stage to join the band for one of his most beloved songs, “The Gambler.”

Phish got very spacey on “Tweezer” which offered the band a chance to improvise before launching into “Free.”  The first set was full of high-energy from the opener, “Down with Disease” through “Cavern” that closed out the first set.

Phish kicked off the second set with their rendition of TV On The Radio’s “Golden Age” which segued into a very funky “Also Sprach Zarathrustra” into an intense “Chalk Dust Torture.”  Next came a nicely jammed out version of “Carini,” before the band simmered down into the first “Shafty” since 2003 and then brought everything back to boil with a rowdy version of the Velvet Underground’s “Rock and Roll.”

Not to be critical, but I felt the band ended “Harry Hood” a bit short to make way for “Light” which was the one of the only odd transitions of the evening.  Again, not being there, I could imagine that most of the festival goers wanted to see Phish break open “Hood” a little longer, but it was just not to be. 

“Character Zero” and “Rocky Top” closed out a spectacular second set for Phish and if they are playing at this level only three shows into their 2012 summer tour, I cannot imagine what’s in store for us in Atlanta in August. 

-Will Fisher, The Showbiz Kids

Setlist (Courtesy of

Set 1: Down with Disease, Funky Bitch, The Moma Dance, Sample in a Jar, Axilla,The Gambler[1], Possum[2] > Wilson > Tweezer > Free > Backwards Down the Number Line > Cavern

Set 2: Golden Age > Also Sprach Zarathustra > Chalk Dust Torture, Carini ->Shafty > Rock and Roll, Alaska > Harry Hood -> Light > Character Zero > Rocky Top

Encore: Show of Life > Julius > Tweezer Reprise

[1] Phish debut, with Kenny Rogers.
[2] The Gambler and Streets of Cairo teases.

Sunday, June 10, 2012

In the CD player this Sunday...Billy Breathes

Billy Breathes is the sixth official studio album by American rock band Phish. It remains one of the most popular Phish albums, and is credited (like the later release Farmhouse) with connecting the band to a more mainstream audience beyond its strong cult following. Rolling Stone said that Billy Breathes is "a quiet gem of an album" that confirms Phish "is much more than a jam band from Burlington, Vermont."

The album includes the song "Free", the band's most successful chart single, which peaked at #11 on Billboard Mainstream Rock Tracks Chart and at #24 on Billboard Modern Rock Tracks Chart

Tracks 5 and 9 are instrumentals. "Bliss" is the only instrumental song on the album to have never been played live by the band. The album's final track, "Prince Caspian", is also the name of a mythical prince in The Chronicles of Narnia, a fantasy series by British novelist C. S. Lewis.

The cover of the album is a close-up shot of bass guitar player Mike Gordon, the first time that any member of Phish had appeared on an album cover. Phish frontman Trey Anastasio recalled in a 1997 interview that the cover came together very quickly on the last day of recording.

The album was certified Gold by RIAA January 8, 1999.

In February 2009, this album became available as a download in FLAC and MP3 formats at

Early song ideas came from a scuba diving trip that Trey Anastasio and Tom Marshall went on in the Cayman Islands in January 1996. They then produced a demo which was given to the other band members at the start of the Billy Breathes sessions. Other songs such as "Free" and "Taste" had already been in the band's live rotation since 1995.

The album was recorded between February and June 1996 at the now defunct Bearsville Studios in the Catskills area of New York State. Early recording started February 1, with the band intending to produce the album themselves with engineering by John Siket. The first recording project was an attempt to create a sonic "blob" that filled an entire reel of tape. Each band member contributed on several instruments. This idea was later abandoned but elements were used on the tracks "Swept Away" and "Steep".

Rough mixes of songs were made after recording for most of February and March. The band took a break from recording beginning on March 20, and each listened to the rough mixes during their time off. Rough mixes included the songs "Free", "Grind", two versions of "Strange Design", "Swept Away/Steep", "Talk", "Waste" and "Weekly Time". Phish played one live show in April and then returned to Bearsville on May 1 to resume recording.

With the resumption of recording, Steve Lillywhite joined as producer on the recommendation of Dave Matthews. Lillywhite had never heard of Phish before he joined the Billy Breathes sessions. He reflected in February 2011:

“Phish, for me, are the musical equivalent of watching a flock of birds fly across the sky: They don’t scatter every which way, but rather, they move with each other; they dip and dive, they go up and down; but at all times, they seem to have this radar, this instinct, for where the bird in front or in back of them is going. Musically, each member of Phish knows what the other is doing, which then carries over to the whole. The band can play anything, which then raises the question: Well, what should they play? With Billy Breathes, it’s the closest they got to making what I would say is a good stoner album. You know what I mean: you put on the CD, you fire up a big one and you just go down that road. There hadn’t been a good stoner record since Dark Side Of The Moon. Billy Breathes got close. I keep telling Trey Anastasio we can make a better one.”

After Lillywhite joined, many of the songs were recorded in the early morning hours. "We did a lot of that album at five in the morning, when the sun was coming up. It kind of sounds like that, especially the stuff on side two like "Billy Breathes" and "Prince Caspian", "Swept Away" all that stuff was recorded as the sun was coming up" said Trey in a 1997 interview. On June 6, 1996, near the end of the sessions, the band played a surprise show in the neighboring town of Woodstock at a local bar called Joyous Lake.

The song "Strange Design", which the band had been playing live since May 1995, was recorded during the Billy Breathes sessions but was left off the album. The band recorded several versions of the track before settling on a final version. This was later included on the Free European single CD release. Phish lyricist Tom Marshall spoke of the "Strange Design" outtake in 1996:

"It was scrapped at the last second. The band was touring in Europe at the time and made the painful decision there - in Italy or France I think. The album was complete and about to be mastered. "Design" was to be the last song on the album - after Caspian. It was a bizarre version that no one ever really got used to. It was funny though - the second they got back to the States and played it in their new acoustic setup it was as strong as ever. It just couldn't be captured in the studio for whatever reason. Cutting it was one of those great decisions - after working so long and hard on the song, sacrificing it for the good of the album took a very wide focus - as much thought went into cutting it as went into recording it."

Trey Anastasio recalled in a 1997 interview that the cover came together very quickly on the last day of recording.

"We finished Billy Breathes and our manager kept saying, "What are you going to do about the cover?" So, finally, it was the LAST day, and it was, like three in the morning. They (management) said, "We NEED a cover tomorrow." You know all those pictures on the back? We cut them out and stuck them on with scotch tape. Mike was on the cover he just shot a picture of himself. The whole thing took like five minutes!"

Track Listing

"Free" (Anastasio, Marshall) – 3:49
"Character Zero" (Anastasio, Marshall) – 4:00
"Waste" (Anastasio, Marshall) – 4:50
"Taste" (Anastasio, Fishman, Gordon, Marshall, McConnell) – 4:07
"Cars Trucks Buses" (McConnell) – 2:25
"Talk" (Anastasio, Marshall) – 3:09
"Theme from the Bottom" (Anastasio, Fishman, Gordon, Marshall, McConnell) – 6:22
"Train Song" (Gordon, Linitz) – 2:33
"Bliss" (Anastasio) – 2:03
"Billy Breathes" (Anastasio) – 5:31
"Swept Away" (Anastasio, Marshall) - 1:16
"Steep" (Anastasio, Fishman, Gordon, Marshall, McConnell) - 1:37
"Prince Caspian" (Anastasio, Marshall) - 5:19