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Archive for the ‘The Allman Brothers Band’ Category

SOUNDTRACK: PHISH-Live Phish Downloads 5.8.93 UNH Fieldhouse, Durham, NH (2007).

This concert was recorded on my birthday.  Although I wasn’t there (and wasn’t even really a fan at the time).  This is the last show of the tour, so they thank the crew and have a lot of fun with that.  This is a great 3 CD set because there’s a lot of strong bonus material at the end of disc 3.

The set opens with a rocking “Chalk Dust Torture” and segues into a really tight “GuelahPapyrus”—I love how they can start and stop in total synch.  There’s great harmonies on “Rift” and a perfect tempo-change into “Mound.”

Then comes a jamming 12 minute “Stash” with a lot of bass sections.  It segues into the delightfully bizarre “Kung” and then returns to “Stash” for another minute before switching to “Glide.”  “Glide” has more great harmonies with a very long pause (over a minute of silence, which gets the crowd excited) before ending the song. It’s followed by a great version of “My Friend, My Friend” that segues into a 13 minute Reba.”  Trey thanks the crew and everyone for the tour after which they play a very jazzy “Satin Doll.”

The first set ends with a blistering “Cavern.”

Set Two opens with a minute of “David Bowie” before Page turns it into a cover of The Allman Brothers’ “Jessica” (including a Simpsons’ “D’oh”).  “David Bowie” returns with a 10 minute jam–no solos, just the band rocking–before mellowing out into a reggae version of “Have Mercy” by The Mighty Diamonds.   That two-minute slow down is followed by a scorching soloing conclusion to “David Bowie.”

They take a kind of break with “The Horse,” an acoustic guitar piece for Trey (It’s very pretty and one of the few times I’ve heard him play acoustic).  It turns into a great “Silent in the Morning.”  There’s a nearly 10 minute “It’s Ice” in which each player really stands out—Mike’s bass, Fish’s drums, Page’s keys—everyone is highlighted in this quirky staccato version which segues perfectly into a 16 minute “Squirming Coil.”

There’s a great jam in this song with a lengthy piano solo.  The ending is wildly erratic and weird (and I suppose is technically a “Big Ball Jam”) as they continue to jam for a few extra minutes before launching into “Mike’s Song.”  Like “Bowie,” “Mike’s Song” is broken up to include a bluesy cover of “Crossroads” with lots of piano soloing.  It segues back into the end of “Mike’s Song” which doesn’t really sound like an end to the song.  But it’s followed by a pretty “I am Hydrogen” which launches into a great, funky bass roaring “Weekapaug Groove.”

Towards the end of “Groove,” Page stars playing “Amazing Grace and as it softens up, the band sings a quiet a capaella version of the song.  And then the launches into a jamming version to end the set.

The encore is a loose “AC/DC Bag” for a nice end to the tour.

The Bonus songs include “Shaggy Dog” from the 5/8/93 soundcheck. It’s just guitar and voices with good harmonies.

“Tweezer” and “Tela” come from 5/6/93 Palace Theatre – Albany, NY.  “Tweezer” is totally rocking and 19 minutes long.  There’s a bass-filled jam in the start and it gets dark and a little crazy in the middle.  It slows way down to just one drum and one bass note and then segues nicely into a very pretty “Tela.”

The final bonus track is a crazy 32 minute “You Enjoy Myself” from 5/5/93 Palace Theatre – Albany, NY.   It features special guests Col. Bruce Hampton and the Aquarium Rescue Unit as well as the Dude of Life.  There’s a funky middle section of 3 to 5 note motifs repeated.  There’s a lengthy bass solo—just Mike.  It segues into a series of descending riffs until more percussion comes in and someone (Dude?) is talking (incomprehensibly) into the microphone.  Then comes bongos and horns.  I believe there’s even a vacuum solo.  The end of the song has a jazzy scat sing along with the guitar and some rally heavy drums at the end.

On many of the discs, the bonus material is sort of interesting to have but on this one, the “Twezer,” “Tela” and YEM” are outstanding in and of themselves.

Here’s a longer essay about this show by Kevin Shapiro.

[READ: May 8, 2017] The Witch’s Vacuum Cleaner and Other Stories

It’s always weird to read posthumous stories, especially if you’ve been a fan of the author for years.  But like the previous collection Dragons at Crumbling Castle, this book collects stories from when Terry was a young lad (between 1966 and 1973) in the Children’s Circle of the Bucks Free Press. He says that they are as they were except that he tinkered here and there with a few details and added a few lines or notes, “just because I can.”

There are 13 stories in the book, and they explore variations on Pratchett’s themes like that the unfamiliar is not the enemy (necessarily) and that people can and often will be surprised by how others react to things.  He also has  a story idea that would blossom into the Carpet People stories later on.

“The Witch’s Vacuum Cleaner” (1970)
This begins with a great premise: “Uncle Ron Swimble, the magician, enjoyed performing at parties. He did lots of simple tricks and the kids enjoyed him.  But when he went to his most recent party, things went awry.  But in a way that the kids loved: when his hat fell off, three rabbits jumped out.  And when he bent over a flock of pigeons flew out from under his coat.  The kids were delighted.  But Ron was the most surprised because he had no rabbits or birds in his act.  Every time he moved his hands something vanished or appeared.  It was crazy.  Then they figured out that Uncle Ron had knocked over Mrs Riley’s vacuum cleaner.  And as all the kids knew (but the adults didn’t seem to ) Mrs Riley was a witch.  The resolution to this story was really delightful. (more…)

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june23SOUNDTRACK: MONTY PYTHON-“Rock Notes” (1980).

mpThis skit (more of a monologue) comes from Monty Python’s Contractual Obligation Album, the first Python album I ever bought.  It’s not my favorite bit from them, but it’s short and wedged in the middle of the rest of the album which means that I know it by heart.  Now, the skit is most famous for naming Toad the Wet Sprocket (Eric Idle says he tried to come up with the most absurd name he could think of and there it was).  The band featured Flamboyant Ambidextrous Rex who fell off the back of a motorcycle.

What I tend to forget is that the rest of the joke is all about one band Dead Monkeys who have just broken up again.  They were together for ten years, but for nine of those years the band had other names.  Primarily, the names are fishy: Dead Salmon, Trout, Poached Trout in a White Wine Sauce, Dead Herring.  Then they ditched the fishy references for Dead Loss, Heads Together, Dead Together and ultimately Helen Shapiro.

This extended riff is rather silly and I’m not even sure it’s appropriate for a joke on bands.  I can’t think of many bands who have broken up and reformed under new names (I mean, yes, there’s a couple, but not enough to warrant this extended joke).

And yet, I still remember the joke, so it must be something, right?

What do I think of Dead Duck? or Lobster?

[READ: September 16, 2014] “Liner Notes”

This Shouts & Murmurs piece begins so strongly that I was super excited to read it.  Saunders riffs on liner notes in albums, specifically failed albums.  His liner notes are for the album 2776: A Musical Journey Through America’s Past, Present & Future which is just another attempt to “engage with the vast sweep of American history” via the musical epic.

The best joke is citing Meat Loaf’s “Ben Franklin Makes Love in a Foggy Grove of Trees” (which failed to translate to live performance).  [I would totally listen to that song].  He then talks about a Tim Rice-Andrew Lloyd Webber production of “Johnny Tremain” which was too intellectual for a nineteen-seventies audience.  But I feel like Saunders goes off track when, instead of staying with the slightly absurd realism, he jumps the shark by saying that the songs were too risqué “for a staid culture that, at that time, still believed that babies came when you left a pastel turtleneck rolled up in a wad overnight.”  It broke me right out of the exaggerated realism into the realm of outrageous farce.

Which is a shame because returning to real artists like Tom Waits making a biography of Jesse James called “A White-Trash Rambling Christ Figure Just Shot Your Brother, Amigo” is pretty darn funny. (more…)

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aug2013SOUNDTRACK: GREEN DAY-¡Dos! (2012).

Wdoshile I was writing about these songs the words “stupid” and “dopey” came up a lot and I realized that of this trilogy of albums, this may be the dopiest (I mean, look at the cover).  I assume that’s on purpose.  We know that Green day was taking a break from their serious albums and operas to make dopey punk rock.  But between the lyrics and the riffs, this one is really quite dopey.  Charmingly so.

¡Dos! opens with “See You Tonight” a tinny guitar sound that makes me think they’re goin to bust into The Allman Brother’s “Jessica,” but no, it remains a folky song that lasts for 90 seconds before it bleeds into “Fuck Time” a knuckleheaded, big drummed bluesy riff that  reminds me of Soundgarden’s “Big Dumb Sex” except that it might actually be serious.  And it may be the least sexy song about sex I’ve ever head.  “Stop When the Red Lights Flash” ups the speed even further (although they manage to have catchy verses that seem to recall The Who again).  “Lazy Bones” changes the tone somewhat, bringing in some nice ringing guitars (sounding more like The Strokes than punk) and a prettier feel (in the verses anyhow).  It’s probably my favorite on this disc.

“Wild One” is one of their rockier ballads.  It could probably do with being about a minute shorter, but the backing vocals are pretty cool.  “Makeout Party” is  stupid fun (with some wild solos, and even a bass solo section).   “Stray Heart” is a fun boppy song with, yes, a big arena-friendly chorus).  “Ashley” is a fast punky song (that plays high guitar notes rather than big chords).

“Baby Eyes” has  good harsh sound in the riff (a rare minor chord)–although again those verses are bright and happy.  “Nightlife” is the one glaringly odd song.  It has a silky bass line and a really interesting sound.  But it also feature an extensive rap by Lady Cobra (who I’ve never heard of).  The rap is just as silly as Armstrong;s lyrics, but somehow since she is speaking them so clearly (rather than hurriedly singing them) they seem even dumber.

“Wow! That’s Loud” is a wonderful title for a fast spirited song, with a dopey riff and some fun soloing sections (unusual for Green Day).  The disc ends like it began with an acoustic type ballad.  This one is called “Amy” and it is pretty much the quintessential sweet Green day ballad.

Although I liked this one, I preferred the first disc overall.

[READ: September 6, 2013] “Segmented Sleep”

I’m repeating this intro because of the content of this essay.  The timing of this Folio, entitled “Are You Sleeping? In search of a good night’s rest” is quite spooky.  I myself have been having middle of the night insomnia.  I seem to battle this occasionally.  This recent bout seems to be accompanied by a stomach upset.  So I have this really unfair cycle.  My stomach is bothered by caffeine, so it keeps me up at night and when I wake up groggy and with a headache, I need the caffeine to get me somewhat stabilized (and I’m not a big caffeine drinker—a cup of tea, maybe two a day).  But that seems to upset me during the night.  I am also really strangely accurate with my insomnia.  It is almost always between 2 and 2:30 AM. So, yea, here’s other people interested in sleep deprivation.

[begin new content] Although Julavits’ piece read like a story, Ekirch’s has a much more academic style.  Turns out that he wrote about a history of sleep for his dissertation and for part of his book At Day’s Close: Night in Times Past.  This short essay focuses on “segmented sleep.”  It turns out that in pre-industrial nights, sleep was segmented: a first and second sleep bridged after midnight “by an hour or more of wakefulness in which people did practically everything imaginable.”  This second sleep is mentioned in Odyssey and Aeneid.

In the 1990s a sleep study was done.  Males were deprived of artificial light at night for a few weeks.  They began sleeping in segments as well.  This seems to be a natural circadian rhythm to our lives.  Indeed, It was in the 1800s that segmented sleep gave way to one longer sleep—when lighting and industry came to dominate our lives.  And we felt compelled to be awake when it was light out so we could be more productive. (more…)

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SOUNDTRACK: JUDAS PRIEST-Rocka Rolla (1974).

Unlike Sad Wings, Judas Priest’s debut album is more of a curiosity than a cool surprise. I love this original cover–the new release has a crazy drawing on them that doesn’t make any sense with the title.  Admittedly the title is kind of dumb, but the riff on Coke works.  With the new cover, see below, the title just sounds dumb now.

The album is mostly heavy blues songs.  Although the title track has some bizarre disco elements thrown in as well (including the lyrics).  The chugga chugga in the choruses is not the chugga chugga of metal, but the chugga chugga of disco.

The biggest surprise comes with the third track, the oddly titled, “Winter/deep freeze/winter retreat/cheater.”  It’s 9 minutes long and is not so much an epic as multiple weird little pieces thrown together.

“Never Satisfied” is the closest they get to their future metal sound.  But it owes a big debt to Black Sabbath (down to the guitar sound which has the little high note in the chords that Iommi plays on parts of “Paranoid”–a sound I was always confused by but which seems to have inspired K.K. Downing).  Nevertheless is rocks pretty hard.

“Run of the Mill” has the potential to be a good rocker.  But the 8 minutes of it are rather unfocused and there’s a trippy jam in the middle.  (Again with a major Black Sabbath debt underway).  “Dying to Meet You” also has a cool sinister sound.  Both of these tracks would be well served with a better producer. The second half of this nearly 7 minute song is probably  the most metal sounding of the whole disc, although the guitar solo sound has a very Allman Brothers feel to me.

The final track “Caviar and Meths” is a two-minute instrument that is very reminiscent of trippy” Planet Caravan” style Black Sabbath.  It’s rather groovy and I’ve always liked it.  The reissue has  the band’s cover of “Diamonds and Rust.”  Because all metal bands should cover Joan Baez!

Wikipedia explains something about this album which make me feel better about it.  Apparently the band was really unhappy with the production.  Several heavier tracks were left off the album by the producer (they were later recorded for Sad Wings).  And that odd little 2 minute instrumental “Caviar and Meths” was originally a 14 minute epic written by the guy who preceded Rob Halford.  (He evidently recorded a 7 minute version of the song).  Indeed, many of the songs were written by Halford’s predecessor and Downing, so they are lacking Halford’s input. (the page was very helpful for me).

[READ: September 11, 2011] In Too Deep

Since Book Five was so awesome, I couldn’t wait to move on to Book Six.  Book Six is the first book written by an author who has written a book already (Watson wrote Book 4 as well).  At first I feared that Watson was going to squash my enjoyment of the series; it felt like there was a lot of recapping going on (I know that in a series like this a recap is necessary for people who pick up book 6 instead of book one, but it can be frustrating when you know all that backstory already).  However, at the same time, Watson also started the story in the middle of a scene, so everything was brand new, fast paced and a little disorienting.

I’m happy to say that once the story got going Watson really pulled out all the stops and this made Book Six the most exciting book so far.  In this book they travel to Australia.  As anyone who has looked into Australia knows, most of the deadliest animals on the planet live in Australia (woo hoo!) so that makes Dan quite excited.  Australia is also a much looser place to explore than some of the tightly controlled areas they have recently visited–there’s no guards in the outback.  And, when the kids hook up with an old friend of the family, Shep, they have access to tasty waves, tasty barbie, and…most awesomely, a plane.

They also have access to Isabel Kabras.  Isabel is the mother of Ian and Natalie Kabras–two teens who are rich, spoiled and ruthless.  They tried to kill Dan and Amy once, and Ian, who is a hottie, has some kind of sway over Amy–especially when Isabel tells her that Ian secretly likes her.  Isabel tells Amy that she has information about how Dan and Amy’s parents died.  She will tell her all about it if they can meet in private.   And so, for the first time in the series that I can recall, Dan and Amy are separated.  She meets the Kabras, and Isabel is looking for a trade.  Amy is suspicious, of course, and that leads to the first of many deadly animals.  It’s safe to say that Amy survives but I won’t say how–it’s very cool. (more…)

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