Brian Bavosa

Postcards From Page Side: Meatstick – The Musical and Rediscovering IT

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…

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PFPSide: Magical Square Garden

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…

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Postcards From Page Side: Jah Live

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…

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Postcards From Page Side: Steve Kimock – Riding The K-Waves

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…

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Postcards From Page Side: Apple Pie

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…

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Postcards From Page Side: No Small Pheat

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…

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Postcards From Page Side: Sample(s) Platter

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…

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Postcards From Page Side: Musical Malarkey

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.

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