Posts by Brian Bavosa

After a long day, when the hustle and bustle of New York City seems to be just a little too much to take, I often find myself escaping and reveling in the beauty that the city, and its numerous attractions, have to offer. Such landmarks include NYC’s music venues, from the legendary Blue Note Jazz Club to Radio City Music Hall to the Mecca itself, Madison Square Garden. Which led me to think that focusing on the history and roots of one such venue, the fabulous Beacon Theatre on the Upper West Side, would make for a great Postcards From Page Side column. So join me for a walk through its hallowed halls and allow me to share some of my favorites concerts that have occurred there over the years.

[Via The Monitor]

Originally the “brainchild” of Samuel “Roxy” Rothafel and designed by Walter Ahlschlager, “The Beacon,” as it’s affectionately referred to, opened on Christmas Eve in 1929 and was originally a venue for vaudeville shows, movies, drama and opera productions. Starting in the 1970’s when a pair of Stephen’s – Metz and Singer – bought The Beacon, music concerts as we are used to them today, took over as one of, if not the main focus of the property. One such act, The Allman Bros. Band, which hosts an annual March residency, has performed over 200 shows there since 1989 – some of which made my list of personal, favorite shows.

In 2009, the venue underwent a $10 million renovation to restore some of its former grandeur. Besides the magnificent architecture that gives the Beacon a leg up on most of the other venues in New York (except maybe it’s “younger sister” Radio City Music Hall), the theater also boats one of the best sounds systems around. With no bad seat in the house, whether you be on the floor, the loge, or the lower or upper balcony, there is a pristine auditory pleasure, along with the allusion that you are almost on to of the band. In other words, it’s cozy, especially from the balconies, as you almost feel as you are looking down on the band from certain vantage points.

READ ON for more on NYC’s Beacon Theatre…

In today’s day and age, it’s virtually impossible to keep a secret. With social media chirping and tweeting away with constant alerts, and Facebook and the like wasting away our free time and clogging our inboxes, it’s amazing that Perpetual Groove is about to host their tenth annual Amberland festival this upcoming Memorial Day weekend – with most of you being none the wiser. As the saying goes, Amberland is not a place, but a state of mind. Please allow me to explain why.

Now, to fully understand and appreciate Amberland, one must understand the band that so graciously hosts it as well. PGroove guitarist/vocalist Brock Butler was gracious enough to chat with me about this year’s upcoming festivities. An event that initially started in a friend’s backyard, Perpetual Groove, which also includes bassist Adam Perry, drummer Albert Suttle and keyboardist John Hruby, returns to Cherokee Farms in Lafayette, GA for the group’s biggest shindig yet.

Historically easing into the weekend, the band performs in-the-round at a casual setting and treats the early arrivals to such rare treats as some side projects, special guests or cover tunes on Friday night. This serves as a warm up and whets the appetite for six, full sets of proper PGroove over Saturday and Sunday, which always serves as the meat to this overly stuffed musical sandwich. READ ON for more about Amberland X…

While we are still a month-plus away from the kickoff of Phish’s most ambitious Summer Tour since the late ’90s, and several months away from their ninth festival – Super Ball IX – it’s a good time to take a look at how one very important aspect of the Phish festival model has changed before anyone has even stepped foot onto the grounds at Watkins Glen. Just as Phish is offering tiered pricing options for their standard, summer shows (typically $45 for lawn tickets and $60 for pavilion seats) they also have offered several “VIP” options for the festival for those a little fatter in the wallet. So let’s breakdown the main options for those camping on-site at Super Ball IX…

General Admission – This option is the standard festival ticket that have been fans only option since the band’s first festival, the Clifford Ball in 1996. At a reasonable price nowadays, $200, Phish is allowing patrons to pay in installments for this, and all other options, a very wise move in this still-hurting economy. This is and forever will be the standard, Phish festival experience that 95% of the masses will enjoy, and the one that many of us grew up with: Pull up in your car, park, pitch a tent and figure the rest out as you go – much like the music of Phish and the spirit of their festivals.

READ ON for more of this week’s Postcards From Page Side…

For three Wednesday nights in March and April, guitar maestro Steve Kimock has assembled a rotating cast of All-Stars to accompany him for a residency filled with completely improvisational, free-form jamming. I was able to catch the middle of these three nights at New York City’s Sullivan Hall last Wednesday, which featured a truly stellar lineup of Marco Benevento (The Duo/GRAB) on keys, Adam Deitch (Lettuce/Pretty Lights/Break Science) on drums and Marc Friedman (The Slip) on bass joining Kimock. The results were inspired, daring and overall, very impressive.

[All photos by Marc Millman]

While I have included links to videos and audio below, for one to truly grasp the events of this evening, one needs to understand Kimock’s, and these other super-talented musicians’, schools of thoughts. While Benevento and Friedman are well known on the jamband and indie scenes, and have played together in many instances prior, this was the first time that these four musicians had formally played a gig as a whole. Deitch was in my mind the wild-card on this evening, bringing an impressive funk and hip-hop swagger to the fold that I wasn’t quite sure how it would fit into this scene of loose, laidback, patient, and at times, very psychedelic playing. In the end, Deitch held the backend down, but never really stepped into the spotlight as I would have hoped to showcase his nasty chops.

Incorporating some Kimock numbers throughout the evening, things really seemed to open up with the first set cloer of 5 B4 Funk. A number that relies on heavy bass thumping, Friedman crushed the low-end and had the near sell-out crowd bobbing and moving. You’re The One was another highlight as it really kick started a fiery set two and allowed Kimock to really get cooking – something I wish he’d do more of, frankly. While he is the most impressive guitarist I have ever seen in terms of sound, tone and technicality, he manages to stay true to his philosophy of exuding patience in nearly any situation. That may be the reason that I have always found his fans to be jazz lovers, as you really need to focus, peel back the layers and pay attention to gain the full effect and receive the ultimate payoff.

READ ON for more of this week’s Postcards From Page Side…

For my first ever Friday Mix Tape, I thought what better idea than to help unwind after a crazy week of work than a simplistic session of instrumental tunes? If you live in New York City (or any major city) like I do, and constantly have the feeling of sensory overload due to work or […]

For as long as debates shall rage, Phish and the Grateful Dead will always be compared to one another — for better or worse. So in today’s column, I will simply add a slight twist to that comparison by focusing on two of their most ambitious and exploratory triumvirates. Ladies and Gentlemen, let us take a look at the contenders by measuring the tale of the tape: Help on the Way > Slipknot > Franklin’s Tower in the Dead’s corner VS. Mike’s Song > I am Hydrogen > Weekapaug Groove in Phish’s. Apples and oranges, you say? Incomparable? First set versus second set material? Well, for the sake of today’s PFPS we will try and take a look at each and how they stack up against each other. I also an intrigued to know what your thoughts are, and invite you to way in with PFPS’s first poll in a while.

Help > Slip > Franklin’s

One of the Dead’s most prolific opening sequences, this trio set the stage for many a barn-burner over the years. While also also played in this traditional order, with very few breaks from the formula – as opposed to some mega Mike’s Groove sandwiches – Help > Slip > Franklin’s could be called the predictable sequence, but as we know, it is anything but.

Allowing room for weaving, bobbing and exploratory space, Help on the Way in particular always caught that dark edge that made it seem like a storm brewing and doom impending or a slithering serpent wrangling along its belly. Slipknot! seemed to be the psychedelic glue that held this trio together and often times spring-boarded some of the most memorable conclusions in Franklin’s Tower that exist. From the sprawling guitar licks in its opening, to its anthematic line, “If you get confused, just listen to the music play!,” there is no mistaking Franklin’s Tower. It represents an emotional payoff at the end of the mysterious journey, while offering a feel good, danceable vibe.

READ ON for a look at Phish’s song suite and to vote…

This week, featured columnist Brian Bavosa shares an inside view of the super-intimate taping of My Morning Jacket’s VH1 Storytellers…

On Thursday, February 24th, I was lucky enough to have won a contest that gained me a pair of tickets for the first taping of VH1’s 2011 Storytellers season. The band was none other than My Morning Jacket. The entry required more than just basic info, but actual written responses and potential questions from the fans, which made the entire experience of being one of 30 winners out of thousands and thousands – as the staff told me while waiting on line – extremely memorable. But what I will never forget about this night is the magical and zany world of Jim James (a.k.a. Yim Yames), his space-cadet, yet loveable personality and storytelling, and especially hearing many of band’s biggest songs in a truly intimate, 110 person setting.

[Photo via Blog.VH1.com]

Taking place at the NEP/Metropolis Studios on 106th Street and Park Avenue in Manhattan, it was a unique setting for this surreal event. Yes, it was somewhat nerve-racking having to wait on line for hours before entry, but after I settled into my front row seats, directly in front of guitarist Carl Broemel, I realized how I was about to see a band that has easily sold out Radio City and played MSG on New Year’s Eve in a space that seemed fit for a small party. After numerous instructions and camera finagling by VH1, the band entered to thunderous applause around 8PM and played non-stop through the taping for exactly the next two hours. The setlist was vintage MMJ, and even included some nods to their upcoming release, Circuital.

The sense of nervousness amongst band and crowd was further witnessed when James first started telling a story about how he was struck by divine inspiration over a carton of eggs in the early morning and how the sunlight reflected off of them. He seemed to get lost in his childlike, philosophical brain before finally deciding to step away from the mic and play the next track. There were comical moments, especially when James told of the band’s early years and the Brown/Cream colored van that they toured in, and how his Grandmother told him that bars are “dark and lonely places,” a line he eventually used in the song Golden.

READ ON for more from Brian on MMJ Storytellers…

This week, Hidden Track featured columnist, Brian Bavosa, sits down with JGB lead guitarist, Stu Allen to chat about life, love, this weekend’s Brooklyn Bowl sell-out shows, and of course, all things Jerry…

As the saying goes, “Seeing The Grateful Dead was like going to the circus. But, going to see the Jerry Garcia Band was like going to church.” Nothing could be closer to the truth in my eyes. And thanks to the “Keepers of the Flame,” the JGB, we have a chance to receive the sacrament often, as witnessed this past weekend at Brooklyn Bowl for two, sell-outs shows, and a nice chat with lead guitarist/vocalist, Stu Allen.

Allen was gracious enough to sit down with me on President’s Day over a few casual drinks to talk about the JGB’s shows this past weekend, about what makes him and the band tick, while addressing the most difficult of questions of what it’s like to be compared to the almighty – all answered in his slow, humble way – a fierce contrast to his inspired, emotional and flat-out rocking style of playing that surely channels Garcia, but trust me, he makes all his own. “Everyone’s got their own take on what Jerry and the Dead were doing. Even inside of that, everyone in the band has their own take on what they are doing,” he says. “With us (the JGB), we want to convey that vibe, but I don’t mind stepping outside of that and kind of pushing the envelope outside of that, depending on the crowd or whatever.”

For anyone that has ever loved or been inspired by Jerry Garcia, it’s been tough to get your true fill over the past 16 years. There has seemingly been an overwhelming branching off of bands to cover his music, whether it be your local Dead cover band, or Dark Star Orchestra, who are historically accurate in the renditions of shows, to the Bob Weir and Phil Lesh incarnations and collaborations such as the current touring Furthur. And then there is the JGB, which was founded by Garcia Band alumni and keyboardist, Melvin Seals, shortly after Jerry’s death in 1995.

READ ON for more of Postcards From Page Side…

In this week’s column, featured columnist Brian Bavosa takes a look at the The Dead’s legendary Europe ’72 tour, along with the impending 60+ CD release…assuming you were lucky enough to snag one.

The old saying goes: There is nothing like a Grateful Dead concert. If that’s the case, what can one say about an entire tour? Especially one as special, and as much of a landmark as the famed 22-show, Spring run of 1972? Often lauded as one of The Dead’s high-water marks, Europe ’72, as it is commonly referred to, is quite simply an extremely important time in the band’s history.

[Europe ’72 artwork by Kelley/Mouse]

So, when the announcement came that The Grateful Dead would officially be releasing the entire tour in a 7,200-copy pressing, $450, limited edition boxed-set, even the most die-hard of Deadheads were at least slightly taken aback. However, within four days of the pre-sale, the allotment was sold-out, leaving many who wanted to purchase this historic piece of history out of luck.

The band quickly decided they would still release more units – at the same price tag of $450 – but without the commemorative packaging, something that simply doesn’t sit right with me and a number of others.  Today’s column will focus not only on the magical time of the Spring of ’72 in Western Europe, but also allow me to chime in -and ask your opinion through PFPS’s 2nd ever poll  – about what The Dead should have done after the initial sets sold out.

READ ON for more of this week’s Postcards From Page Side…

For a number of years now, I honestly feel the single, best kept secret in our scene has been the music of a single man: Brock Butler. Best known for his guitar playing and frontman persona of the Athens-based quartet Perpetual Groove, Butler has also thrived in an unconventional way in the solo spotlight.

[Photo by Jeremy Gordon]

Admittedly a friend since about ’03, Butler and I instantly formed a brotherhood of sorts, even joking at times that eventually we would start our own band simply titled, “BBBBBBBBBBBB…” (like the sound you make when you run your finger across your vibrating lips). Clever, I know, especially considering I can barely play a spoon. But, with Brock leading the way, I’d doubt anyone else would even notice. I’ve not only been lucky enough to call him a friend, but also stood by and been amazed by his lyrics, music and overall presence on more than a number of occasions. We’ve slept on each others couches and I have interviewed him in a number of formal settings, focusing mostly on PGroove. But today, as I said, I am going to let you in on the other half of his existence, which is simply a boy and his guitar.

Growing up in Virigina and studying in Savannah, Georgia, Butler and company finally settled down in their current home of Athens, a well-known breeding ground for artists as diverse as R.E.M. and Widespread Panic. And while Butler’s greatest notoriety is gained from his mammoth sounds with PGroove, he is simply a man who is seemingly in no rush and always tries to get lost in the “slow groove.” His solo shows won’t usually garner any huge touring notice, for he is much better known for sunrise sets on Jam Cruise, an impromptu late night hotel room session, or simply in any place where the mood strikes him. Drawing from a catalog of classic covers, heartfelt originals, delicate loops and gentle humor, I’m confident to say that Butler is a well guarded secret that once you hear, won’t be easy to get out of your head.

READ ON for more from Brian on Brock Butler…

This week, featured columnist Brian Bavosa looks back at Phish’s Meatstick Musical, Midnight Madness & how the band finally feels comfortable again…

New Year’s Eve. New York City. Palpable, electric energy.

Following up on my last column, in which I recapped all of the previous 16 shows Phish had ever played at “Magical” Square Garden, I initially had no intentions of saying any more about that band and that building for at least a bit. However, what transpired over December 30th, New Year’s Eve (especially at Midnight), and Phish’s first-ever gig on New Year’s day, well, hell, I just had to, and felt that something more needed be said and showed, and listened to and seen!

[Photos by Adam Kaufman]

By this point if you are a fan of Phish, you’ve had almost two weeks to digest one of the most amazing, dynamic and simply well thought out and executed New Year’s gags in the band’s history – albeit, some parts of the stunt were borrowed from previous NYE stunts. I will simply try to do what I never seem to be able to, and shut up and let some of these videos and images paint the picture of what truly transpired on New Year’s Eve at MSG. I also wanted to make a few points about what else happened over this year-ending and year-beginning run, and what it means for Phish in 2011.

The Musical, Midnight Madness that began at approximately 11:45pm on NYE was a moment that signaled a change for Phish. It was the most elaborate, planned and outright *FUN* stunt since Big Cypress – which also saw the band ride in on their now infamous Hot-Dog – but also has had me thinking that the band is truly comfortable again in their own skin after almost two full years since their return at Hampton in March 2009. I mean, look at that video! It shows a band that still loves and respects what it does enough to spend the time, money and effort to provide a spectacle.

READ ON for more from Brian Bavosa about what the MSG Run taught us about the current state of Phish and the band’s future…

This week, in the midst of Phish’s NYE Run, featured columnist Brian Bavosa looks at the Phishtory of Madison Square Garden in NYC…

The Mecca. As long as the epicenter of the universe, New York City, has been bustling, there has seemingly been “The Garden.”  Originally established in 1879 at 26th and Madison (MSG I), the original venue hosted events much like its predecessors, including boxing and track cycling – very popular during that period. The second incarnation of The Garden (MSG II) was built and held such events as the Democratic National Convention.  However, MSG II did not become profitable until around 1920, when the esteemed promoter, Tex Rickard took the reigns and focused on prizefights, bike races as well as the circus – which still take place in the current MSG today.

This led to MSG III on 8th Avenue between 49th St. and 50th St., which was dubbed ‘The House That Tex Built,” after Rickard, who continued to promote like no other. Unfortunately, after World War II and throughout the Fifties, economic and social situations caused a decline in certain events, eventually leading to the building of the current Garden (MSG IV) in 1968, which is the one that stands today atop Penn Station between 7th and 8th Avenues, smack dab in the heart of NYC.

As much as the current MSG is home to Patrick Ewing, Mark Messier’s Stanley Cup Miracle in ’94, Ali/Frazier’s legendary prizefight in ’71 and Larry Johnson’s 4-point play, it has also become quite the home for Phish, since first playing there in 1994.  (Much like this venue was for The Grateful Dead). I figured that on today’s off-day of their five-night, New Year’s Run, including their first-ever show on New Year’s Day, that this would be a great opportunity to not only glance at MSG’s history as a whole, but specifically focus on the Phishtory The Garden has witnessed throughout the years.

1994

The band’s first-ever venture was a 12.30 show in ’94.  It saw a pretty straightforward, rocking first set, with a blown-open second frame that boasted a half-hour Tweezer and acoustic Blue and Lonesome.  A solid show stuck between the madness of 12.29 and the flying Hot Dog of 12.31 in Boston, this show simply taught the band what it was like to grace the stage at “The World’s Most Famous Arena.”

READ ON for more on Phish @ Madison Square Garden…

This week, featured columnist Brian Bavosa lets legendary artist Bob Marley do most of his talking for him by sharing this playlist of videos that represent who Marley was…

There are few artists we have ever known that are considered by some more than just a mere mortal. Some are revered to legendary, idol-esque status, for not only mastering their craft, but the very essence of their being and what they represent. One such musician is Bob Marley.

There is nothing more that I can say about Marley that you don’t already probably know, or is written about in dozens of books. So instead, this week’s installment of Postcards was simply inspired by my walks to and from work these past few days in the freezing temperatures of New York City. Being a man of many words, I figured I’d mix things up for you loyal readers this week, and instead focus on a man and an icon that speaks volumes by himself. So, sit back, relax and simply enjoy this playlist of some of my favorite – and most poignant – Marley tunes to help get you over hump day.

1.) This first track, War, is a timeless piece that still resonates today. In a recent issue of Rolling Stone, musician Jack Johnson speaks of Marley as “royalty” in the islands, and has some specific comments about this track. “Marley was able to dive into politics and take on the darkest issues. That’s what made him amazing. The thing is, he had sweetness in his voice, but he also had fire, and when he opened up, nobody could do it better.”

READ ON for clips and Brian’s thoughts on six more Marley tracks…

To be honest, I’m surprised it took me five or so columns of Postcards From Page Side to write about not only one of my personal favorite musicians, but a man whose dedication to his craft is unlike anything I have ever witnessed. A true “musician’s musician,” as he’s been called, “an unknown legend” as a CNN interview dubbed him, and a master of his plethora of axes and student of music itself, it’s no wonder why even Jerry Garcia once dubbed him one of his favorite unknown guitar players, opening the eyes and ears of a different audience to the world that is STEVE KIMOCK.

I’ve had the pleasure of interviewing Kimock a few times over the years, and in different settings such as Jam Cruise, or over a glass of red wine backstage – which much like his playing, makes you appreciate patience and maturity to gain the full effect. I’ve also worked for him for HeadCount as his Artist Rep, and having done other small work for his camp and led street team efforts. If there’s one thing I’ve learned is the man loves to talk not only music, but about his gear and the nuiances and intricacies of improvisation – something that he is clearly a pioneer of (he’s been playing for 40+ years, maybe more), and makes sound so effortless.

Besides technical efficiency, which is almost anti-rock star in methodology, Kimock takes pride in tone and draws and blends together on all sorts of genres from jazz, to middle eastern, to rock and everything in between. He has played with some “main” bands over the years, most notably Zero, KVHW, was part of the legendary Phil & Friends lineup in ’99 (and beyond for a spell), a few incarnations of The Steve Kimock Band and most recently Praang and Crazy Engine.

READ ON for more of this week’s Postcards From Page Side…

This week Brian Bavosa asks us to go interactive with PFPS’ first poll as we examine The Beatles as they finally join Apple and iTunes, and if it is a good or bad thing within the context of their musical legacy…

After hotly debating what to focus on for this week’s installment, I finally decided on Tuesday’s announcement by Apple, Inc. that it had finally acquired the complete collections of the biggest selling band of all-time, The Beatles for iTunes purchase.

While certainly big news on the surface, this poses a much larger question not only about technology and its progression (something I talked about last month), but also the fact that The Beatles remain relevant — and prevalent — nearly 60 years after their debut notes graced the world’s stage.

This week’s column also allows me to encourage all of you readers to participate and comment — in true Hidden Track fashion — in the poll below or comment section, another aspect of Postcards that I intend to incorporate every once in a while.

So, the clear argument seems to be divided into several factions regarding today’s announcement by Apple. In one corner, you have the baby boomers, who actually grew up with The Beatles, still cherish their vinyl copies of the classic albums and are seemingly scared by change, even if it is one that expands their beloved band to a whole other generation.

READ ON for more of this week’s Postcards From Page Side…

In this installment, Brian Bavosa dons his thinking cap for an inside look into Phish’s 2010 musical costume: Little Feat’s Waiting for Columbus…

This past weekend, Phish successfully concluded their 2010 Fall Tour with a three-night stand in Atlantic City, NJ.  Pulling out both “tricks” and “treats” for all, things culminated with a nearly 6-hour (!!!) performance on Halloween night at the historic Boardwalk Hall, complete with a second set rendition of Little Feat’s classic 1978, Double-Live album, Waiting for Columbus.

[All photos by Regan Teti Marscher]

However, before the musical costume itself was performed – with the help of percussionist Giovanni Hidalgo and members of the Antibalas and Dap-Kings horn sections, Phish had a few scores to settle on the 29th and 30th, with some rockers, tongue-in-cheek humor and a a complete throwdown that saw them seriously get the Led out. Now, while I could easily turn this installment of the column into a three-show mega-review, as many may have seen me do in the past on my Phish tour beat, I will instead let the music do the talking for this past weekend and focus on how and why Phish arrived at the choice of Little Feat, and why it makes more sense than you think.

Now, to fully understand what Halloween means to Phish, and the elaborate thoughtfulness that starts months in advance, one must also consider at the very core, each and every choice in the musical costume tradition has essentially represented something about the band themselves, as individuals and a collective whole. Oh yeah, there’s the wild speculation, theories, sneaking around, misdirection and pranks, but you must also consider more than just the obvious factors and ingredients, as it all boils down to what is “in the fabric,” as drummer Jon Fishman says about this year’s selection.  In short, it was there all along, even if it is not glaringly apparent, as I feel Columbus might seem to most fans on the surface.

READ ON for more of Postcards From Page Side…

In this installment of Postcards From Page Side, HT Featured Columnist Brian Bavosa looks at the influence technology has had over the past decade, while tying it in to the music of The Samples…

Back when I started seeing live concerts around ’93 or ’94, there were always the rituals performed, which made things seem special and significant. Securing tickets, waiting days and weeks for a certain show to arrive, all the while hearing setlists far after the fact, and waiting seemingly countless months to secure a recording of a certain show, often times on a 5th-generation crackly, hissing cassette tape that would have made a dying alleycats groans seem more pleasant. It gave seeing shows and growing up a sense of mystery, a sense of accomplishment, and secured an overall snapshot in my mind’s eye that will live on forever, no matter how hazy other, minute details may become.

My, how things have changed.  Nowadays, in a world connected via every every angle to every corner of the globe, it is virtually impossible for a cell phone or Facebook account not to start pinging and ringing with alerts every three seconds. So, when I was deciding on what to write about for this installment of Postcards, I found myself struck by this idea while viewing a friends pictures she recently posted on Facebook. As my mouse simply slid across the screen, it highlighted the name of a certain man, a name that instantly zapped my memory log, before a few second recognition of who this guy actually was in my own mind.

The man’s name was Charles Hambleton. He was one of the founding members of a band I hinted at in my last column, and possibly the one I first fell in love with, The Samples. I’ve always considered them to be the perfect set of training wheels, or starter kit, for opening and broadening my horizons for much of the other music I would eventually get into.

READ ON for more of this week’s Postcards From Page Side…

We welcome our newest Featured Columnist – Brian Bavosa – to the Hidden Track family, where he will bring his bi-weekly diatribes about life, liberty and the pursuit of Gamehendge. Take it away, Brian…

First off, let me welcome you to my new home. So, please wipe your shoes – or take them off all together if you please – for this is my humble, plush and shaggy electronically carpeted confines, affectionately dubbed Postcards From Page Side. My name is Brian Bavosa, music fan and journalist, whom some of you may have met at some of our favorite shows over the years.

[Photo by Pete Tschudy]

The rules of “Page Side” will be simply, or all together non-existent. It will be imperfect, like me, but with every intention to tell it like it is, from the perspective a a boy who grew up rocking out to the same tunes that have kept me in this scene right up until today. The column will include lots of stuff: from history lessons and live reviews, to interviews and I’m sure a few black-and-blues. PFPS promises to have a little bit for everyone, including the long-winded, tongue-twirling malarkey that I’ve been know to spout from my musical pulpit on occasion. Just try and debate me on Jagger vs. Bowie’s wardrobe of the 1970’s or the best Harry Hood ever and I’ll talk your ear off until it bleeds. My girlfriend can attest to that.

Think of me as Hidden Track’s utility ballplayer, who sometimes will go deep for a walk-off homer, play all nine positions if needed and always will be the first with a shaving-cream-pie-to-the-face after a big win during the post-game, TV interview.  But whatever the case, I invite you to stop by and peruse, have a cup of coffee and make this column a regular read, as all things Page Side shall focus on the reason we are all here: the mighty, transcendent power of MUSIC and all of the trimmings that go along with it.

Sure, I’ll go on tangents about Phish – my all-time favorite and a band I spent time being a beat-writer of sorts for on the road for certain publications – but will not be my only focus, despite the column’s name, but more of an inspiration, or jumping off point, and also aim to give you some of my insights into what else makes the world of music so special and meaningful.

READ ON for more of Postcards From Page Side…