Hidden Track Staff

10 Years Later: Phish in Japan Pt. 1

In June 2000, Phish played their only headlining tour through Japan. A few dozen American travelers joined several hundred newly initiated Japanese phans on a phenomenal seven-night run of intimate venues, resulting in a series of fiery shows, unique cultural exchanges and the birth of the Japanese Meatstick. Longtime fan Stanch had been living and teaching English in Japan for a year when Phish arrived. In honor of the 10-year anniversary of the tour, and with help from a detailed journal and inputs from his traveling companions, he recounts his memories of the tour’s first four shows.

06/09/00 On Air East, Shibuya-ku, Tokyo

Nestled in the heart of Tokyo, Shibuya personifies Japan’s neon lit glow and lightning-speed pace, and is the heart of its vibrant youth culture. It is literally a place where you are apt to see just about anything on its streets – from magic mushroom vendors to transgendered vampire unicyclists, but even still, I was not possibly ready for what we encountered as we turned up the alley toward one of Tokyo’s hippest small music venues. Moving closer, we saw what you do outside every Phish show in America – fans, scalpers and vendors swarming outside the club, buying and selling wares and tickets, and reuniting with friends. But that is where the similarities ended.

[Photo via FrankZappa.org]


Approaching from the rear, I heard what I thought was Phish playing on a stereo. But then I realized – no, that was live: Phish was still soundchecking, and the doors at the back the venue were open, with music spilling out into the boiling summer afternoon. As I advanced, I saw no security: who has heavy security at a club that holds 500 people? While most fans milled around in the front of the club or waited for the doors to open, a handful twirled and danced in the back outside the wide-open double doors, getting a head start to the evening. Next to them stood Phish LD Chris Kuroda. I thought, why not?

I introduced myself and asked Chris about their experience so far. He very graciously filled me in: the band had been in town for a few days and was having a great time. He mentioned how outrageously expensive it was to lug Phish’s equipment across the globe, and even said the band was blown away at what a hard ticket that night’s show had turned out to be. Even more, they were really excited that most of the crowd seemed to be Japanese. He then motioned over to a Japanese language Phish promotional poster and said he wished he knew what it all said.

READ ON for more from Stanch about Phishing in Japan…

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Briefly: MGMT’s MGMT Said No?

Last week we alerted our readers about a post on MGMT’s website detailing the band’s new taping policy which established a Taper’s Section and opened up the recording of MGMT

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Joker’s Wakarusa Recap: Day Three

Our pal The Joker from the Coventry Music blog has made his way to Arkansas to cover this weekend’s Wakarusa Festival in Ozark, AR for HT. Here’s The Joker’s report on the third day of the festival…

By the third day at Wakarusa I felt like I was hitting a groove. I had learned the layout; I knew the strategy of getting around. I knew how to meet up with friends easily. I had learned the secrets of how to bend the rules. Actually on day three there seemed to be very few rules – there were only suggestions. Because of my comfort with the festival vibe and the high caliber of music, Wakarusa Day Three was one of the most enjoyable days I have had at a festival in years.

I continued the strategy of staying out of the sun most of the day until the Black Keys came on the main stage at 5PM. I absolutely love Dan Auerbach’s dirty guitar tone. The Black Keys delivered huge riffs, soulful singing and on point performances of most of the new songs from their new record Brothers. It was well worth standing in 100 degree heat to see it.

Zappa Plays Zappa was up next, also on the main stage. Since seeing this incarnation of the Zappa Plays Zappa band live I have gained a new appreciation for Frank Zappa’s music. The musicianship in the band Dweezil has put together is astounding. I loved the Wakarusa set and was especially excited to hear two of my favorite Zappa instrumentals – Peaches in Regalia and Apostrophe.

READ ON for more of The Joker’s take on Wakarusa…

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Joker’s Wakarusa Recap: Day Two – A Tale of Two Festivals

Our pal The Joker from the Coventry Music blog has made his way to Arkansas to cover this weekend’s Wakarusa for HT. He’ll be sending reports each day on both the scene and the music. Here’s The Joker’s report on the second day of the festival…

Friday at Wakarusa was another amazing night of music. During the day it was – I’m using the technical term here – hot as balls. Because of the heat the main goal during the day for the majority of festivalgoers was staying in the shade and trying to get some sleep. I would say that 40% of the festival goers didn’t even come out to play until the sun was going down.


Staying in the shade and out of the sun was also my priority. The schedules at night are stacked full, and I knew that if I wanted to make it out all night I needed to save my strength.

  • Joker’s Wakarusa Recap: Day One

The first music I saw came at 6:30pm when ALO played in the Revival Tent. ALO always impresses me with their positive, melodic songs and funky jams. At the start of the ALO set the Revival Tent 3/4 was full with festivalgoers laying down in the shade, choosing a cool place to rest rather than intentionally seeing ALO. That changed for most about halfway through the set as ALO had the tent standing up and at minimum bobbing heads to the funky groove of Possibly Drown. By the end of the set the tent was at capacity with everyone dancing to the infectious grooves.

READ ON for more from The Joker on Wakarusa Day Two…

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Joker’s Wakarusa Report: Day One

Our pal The Joker from the Coventry Music blog has made his way to Arkansas to cover this weekend’s Wakarusa for HT. He’ll be sending reports each day – on both the scene and the music – and hopefully we’ll get some photos from longtime HT contributor John Schulze who is also on the scene. Here’s The Joker’s report on the first day of the festival…

To start this trip a few friends and I flew from Denver to Tulsa and rented a car to make the trip from Tulsa to Mulberry Mountain for Wakarusa. As we were waiting to board our planes I got a couple of stories from friends who had run into some bad luck on the way there – the Basics Fund Bus got pulled over in Hayes, KS after a State Trooper stopped to question the driver and noticed a stray nugget at his feet. Oops. They were “detained” for several hours while the Troopers ripped apart the bus, but they were eventually allowed to continue on to Wakarusa.

My group got to the festival grounds and finished setting up camp about 8pm. We started a little late in the evening as compared to most of the festivalgoers. The first taste of music I caught was after sundown – Robert Randolph. Robert Randolph always puts on a danceable show, but his setlists lack variety. Randolph brought up Ivan Neville for a strong version of Papa Was A Rolling Stone, but other than that it was a high energy yet standard show.

Next up was Railroad Earth in the Revival Tent. Railroad started off by ripping through jammy, psychedelic versions of Cold Water and Birds of America. The crowd in the tent was so into it and Tim Carbone’s fiddle seemed to breathe new life into an audience who was happy the sun had gone away and could dance under the lights. I was into Railroad Earth’s set and wish I could seen all of it. Since they play again today, and I had a Disco Ball on my head once again, I left early to head to see what madness Bisco would bring.

READ ON for more about Neil’s experience on Day 1 of Wakarusa…

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Hidden Track Goes to Summer Camp

Summer Camp Music Festival @ Three Sisters Park, May 27-30

Words: Ryan Maher
Images: Tammy Wetzel

Most bands can’t put up with each other on the road for 10 years. Any married couple, no matter how madly in love, will attest to the trials and tribulations a decade delivers. And through tornadoes, threats of divorce from Three Sisters Park herself six years in and the passing of its neighbors (RIP 10kLF, get well soon Rothbury), Summer Camp has emerged as the Midwest’s undisputed greatest party of the year. From 1,000 fans kicking it off with 20 bands and 2 stages in 2001, this fest has grown into a monster.


Thursday, 5.27 Pre-Party

You could tell early on this would be a big year in Chillicothe. First clue? Well, if you weren’t in line at 10AM Thursday competing for your favorite campground spot, it may have been when thousands of fans showed up for Umphrey’s McGee. Or rather, UM’s unannounced soundcheck. A 30 minute warm-up including the not-oft played 13 Days, Roulette and a Push the Pig Jam brought the early birds to the Sunshine stage. With over 12,000 3-day tickets sold in advance, it’s become apparent that a growing majority consider the Thursday Pre-Party a mandatory part of Camp.

And why wouldn’t they? With local favorites like Brainchild (Peoria) and national vets like The Bridge laying down the soundtrack to your camp construction, you’re already putting that long haul and chapstick inspection at the gates behind you. Smile that you can actually move around your tent and lay your gear out as it goes up, not like the poor kid squeezing between you and your neighbors come Friday.

READ ON for more from Ryan and Tammy on Summer Camp 2010…

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Review: Bisco Inferno Weekend

Disco Biscuits – Bisco Inferno Weekend, May 27 – 30

Words: Alexander Wolff
Images: Jason Woodside

Colorado is a funny place for music these days. This beautiful area has been taking the rest of the country’s bands and turning The Centennial State into their biggest market. The Disco Biscuits appear to be to be the latest victim of what is surely one of the more pleasurable trends of the last few years to develop in this scene. Late May’s Bisco Inferno Weekend would indeed make this point clear to all of those in attendance. While many were nervous about Jon “The Barber” Gutwillig’s guitar playing, as he has been absent from live performance for some time due to a fractured wrist, by the end of the weekend it was as though he’d never broken the damned thing.


With little warning, a fair number of would-be attendees for Thursday’s show at the Boulder Theater found themselves observing a strange phenomenon: Marc Brownstein, responsible for the low end rumble of The Disco Biscuits’ electric pulse, announced to the world via Twitter that the band would play an acoustic set at the Pearl St. Mall, across the way from the theater. Several hundred gathered to watch: I say watch because very few were able to hear the performance, with the exception of a few lucky photographers and the rest of us who could hear Allen Aucoin’s dynamic dance drum beat. Jon “The Barber” Gutwillig’s voice could certainly be heard, but his guitar as well as Brownstein’s bass were both drowned out by the conversations of the crowd. Alas, fun was had by all. The best part for those in attendance seemed to be that the Biscuits themselves were having a ball.

Boulder Theater proved to be the weakest of the three Bisco shows this weekend, but it wasn’t without its moments. The first set was relatively uneventful, with Rivers seeing the first exploration of the night; a short, rocking jam that never got going quite as well as it could have. The Story Of The World segment would have been far more interesting if Aceetobee didn’t have the wet blanket of a Boom Shanker dropped in the middle. The second set was a big improvement, with great improvisations showing up in both Save The Robots and Digital Buddha, and Lunar Pursuit was well placed in the Buddha sandwich. The Spy encore got the crowd going, and was a good choice, displaying several angles of the Biscuits’ sound before wrapping up a night that could have been a better showing.

READ ON for more on Bisco Inferno Weekend in Colorado…

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Review: McLovins and 7 Walkers @ Rev Hall

As we mentioned, Revolution Hall in Troy hosted its last jam show last week and writer/photographer Andy Hill was there to document the evening…

This was it, the last Revolution Hall show – the last real show anyway – before the comfortable room was to close as a live music venue, reportedly, to become a banquet hall. So, as one might expect the mood was one of lament and nostalgia as people slowly filed in and exclaimed their thanks to the staff that had helped to make Rev. Hall such a great place over the years. Conversations of fun times and great shows were overheard at every turn. Although inevitably those conversations would quickly devolve into the frustration of the loss of a stomping ground that had become a home away from home for so many of us.


When the McLovins took the stage though, all conversation halted and jaws quickly hit the floor. These kids, and I hesitate to call them kids as their musical maturity is astounding, played an amazing set that surprised even those of us that have seen them a couple of times. It is clear that they are no novelty act and will be around for a long time to come. Their music is as forward thinking as it is virtuosic. Even Malcolm “Papa Mali” Welbourne, of the headlining act 7 Walkers, gave them props in saying that he couldn’t get the rest of his band (Matt Hubbard, Bill Kreutzmann, and George Porter Jr.) to come onstage for their set as they “were afraid to follow the McLovins.” That is a compliment that the McLovins will not soon forget.

No one seemed to have any idea what to expect from the unique mix of players that 7 Walkers consists of, we just expected it to be good. The two-set show had set lists that were mainly comprised of Grateful Dead favorites. Although there was a couple of traditional blues tunes and couple of new songs whose lyrics were written by Robert Hunter thrown into the mix. From the looks of the crowd, they did not disappoint. Rev. Hall’s dance floor was packed one last time and it seemed that all of the prior lamenting had been replaced with jubilation until 7 Walkers feted the end of Revolution Hall’s concert days appropriately in their second encore with an abbreviated version of And We Bid You Goodnight.

READ ON for more from Andy on the final show at Rev Hall…

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The Closing of Troy’s Rev Hall

Last night was a sad night in Upstate New York as area promoter Greg Bell put on what looks to be the last jam-filled evening at Revolution Hall in Troy, where the McLovins and 7 Walkers featuring Bill Kreutzmann and George Porter Jr. capped an illustrious history of jamband shows at the storied venue. Mary A. Mahoney explains the back story…

Revolution Hall in Troy, New York, has seen many acts grace its stage since it opened in 2003. Over the past seven years it has presented an array of performers from nationally touring acts like Umphrey’s McGee and Mike Gordon to younger local bands like the McLovins, who are just gaining momentum in their respective scenes. The stage at Revolution Hall has seen a multitude of musicians, engineers and concert-goers, and leaves behind memories in the hearts of many. “When you walked [into Rev Hall] you could smell all of the good times and amazing music that happened in that space…” reminisces Taraleigh Silberberg, publisher and live music fan.


The venue itself is not inexperienced to change as well. Many changes in management and ownership have occurred in the short seven years it has been open for business – and it looks like one last big change is about to take place. Early next month, Rev Hall will close its doors with nondescript plans for the future; A change which has left many patrons and fans wondering what the future holds for the venue.

Originally opened by Brown’s Brewing Company, Rev Hall has conducted business in an ambitious, eager – if not hyperactive – way. Through the passing of the torch, the overall vision for the venue became a shape-shifter, rendering it difficult for it to grow in any particular direction. With the most recent change this past January placing the management power back in the hands of Brown’s Brewing Company, it seems the identity of Rev Hall morphed for the last time.

READ ON for more from Mary on the closing of Rev Hall…

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Steel Cut Oats #6: Raiding The Ark

Last month we shared a killer Grateful Dead compilation put together by HT reader Joe Kolbenschlag called Steel Cut Oats which pieced together highlights from the band’s 1972 run at the historic Fox Theatre in St. Louis. Today, we’ve got the next installment which features the best moments from three nights of shows at The Ark in Boston on April 21-23, 1969.


Steel Cut Oats #6 : Raiding The Ark

Grateful Dead, April 21, 22, & 23, 1969, The Ark, Boston, Massachusetts

I: Morning Dew, Schoolgirl, Doin’ That Rag, Top Of The World, Cryptical > Drums > Other One > Cryptical > Death Don’t Have No Mercy

II: Dupree’s > Mountains Of The Moon > Dark Star > St. Stephen > The Eleven > Lovelight, Alligator > Drums > Jam > The Eleven > Caution > Feedback > Bid You Goodnight

E: Viola Lee Blues > Feedback

Dark Star > St. Stephen > The Eleven > Lovelight. More often than not, this hallowed suite of music is associated with the versions found on the Grateful Dead’s first live album, Live/Dead. The 16-track recordings that comprise the core of the Live/Dead material were recorded in San Francisco during four shows at the corners of Market and South Van Ness on the last two nights of February and first two nights of March 1969. A well-rounded batch of shows from the same year are also classics – check out 2.22, 6.7, 11.8, and 12.12 – but, without question, to my ears, the month of April showcases the most consistent block of shows of the year.

For several reasons, I present Steel Cut Oats #6 – a compilation of April 21st, 22nd, and 23rd, 1969, from The Ark in Boston, Massachusetts. April 22nd features one of the most thrilling Mountains Of The Moon > Dark Star > St. Stephen > The Eleven > Lovelight suites of all time – this sequence is worthy of the Rhino Road Trips treatment, not to mention an addition of just about any other selection from those three nights would be suitable as a multi-disc set. There’s plenty to be culled from these shows, including an extremely passionate reading, and what I consider to be the definitive version of Death Don’t Have No Mercy – a track that certainly could not be overlooked in the context of a Live/Dead discussion.

READ ON for more of Joe’s essay on the Grateful Dead @ The Ark…

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