Columns

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…

War Pigs is the first track on Black Sabbath’s 1970 release Paranoid, their best-selling album. On a personal note, I have two distinct early memories of this song. 1) Listening to my brother’s Faith No More CD and initially thinking it was their tune. 2) Later, at the age of 17, seeing Gov’t Mule destroy this song at BankBoston Pavilion as part of Summer Sessions (there were also sets from Galactic, SCI and moe.) Covers by both these bands will of course be included. Let’s have a listen.

The Contestants:

I know what you were thinking. You’re going to lead off with the version with all the trombones right? Yes, we are – thanks Bonerama. Audio Source: 2-13-2008

[audio:https://glidemag.wpengine.com/hiddentrack/wp-content/uploads/2010/07/bonerpigs.mp3]

READ ON for more covers of Black Sabbath’s War Pigs…

DJ and HT staff member Wade “Wyllys” Wilby penned an open letter to the promoters, production team, artists and fans of Jam Cruise.

I sit now at this computer reveling in the joy that was Jam Cruise. It takes a village to throw this kind of experience, and to all those involved from the top (Cloud 9) to the bottom (MSC Poesia Crew) my hat is off to you. Though words of any kind can never do this adventure justice, I must try to make this keyboard sing its praises, for the adventure, while based in music, is more indicative of a deeply emotional human experience we are all loosing day by day as technology pushes us further away from each other.

[Sunrise on Jam Cruise 9 by JRapp]

In the beginning of social networking, I was enthralled by the idea of reconnecting with people whom I had lost touch with for one reason or another, I was also horrified for the very same reason. As the medium began to grow from MySpace to Facebook it spread like wildfire from PC to PC, phone to phone, and into every home. Networking had never been easier and the pros seemed to well outweigh the cons. The information superhighway was now a road back to people you had considered lost forever.

Now it seems we are all so dependant on these networks almost to the point of addiction. For some, it’s a healthy distraction at work, a convienient time waster that can get you through the day with a few laughs and some new songs to add to your playlists. At first glance, it seems like a harmless internet fad that even your parents are starting to take part in. This Jam Cruise, I suddently realized exactly what kind of damage these social networks were actually doing to human interaction and communication.

All kinds of folks take part in Jam Cruise, which is what makes it so magical. Fans of all ages, people of all different professions and backgrounds and cultures get together to collectively let their hair down in a way that is impossible from the shore. There is a complete disconnect from your phone and computer and when you let those technological chains loose from your heart, you really get to see the true beauty of the people and world around you. READ ON for more of Wade’s open letter about Jam Cruise…

The announcements continue to roll in this week as today Mountain Jam – the premier rock festival for mud, bikers, funnel cakes and ninjas – announced its preliminary batch of

Previously, I recapped the start of the penultimate day of music on Jam Cruise 9 and now I’ll finish the job. We left off with coverage of the “prime time” shows, which leads us to the late night action.

Up in the disco, a number of Moog instruments including keyboards, a guitar and a theremin were set up by the Bob Moog Foundation for cruisers to play with. While I’m a novice bassist with no experience on the keys, it was quite a thrill to make some noise on these expensive devices – especially the theremin. Over at the main stage, The New Mastersounds threw down a nasty set of soul-infused funk that was versatile from song to song, unlike the straight-shot New Orleans funk, which can be found around every corner on Jam Cruise.

Brock Butler – Do It Again

The New Mastersounds’ set was filled to the brim with sit-ins, so much so that the side stage area was the easiest place to find most musicians at that time. Zach Deputy, Jennifer Hartswick (on vocals and trumpet), Robert Walter, Roosevelt Collier, Skerik and James Brown horn section members Fred Wesley and Pee Wee Ellis were among those who led their talents to the Leeds-based band’s ferocious set. Down in the Zebra Bar, “Vote to the Boat” winners Papadosio mixed modern electronica with elements of jam and rock to create an untz-tastic blend of music that had more soul than most of the jamtronica I’ve heard in the past. I only caught a song, but was impressed enought to want to take in a whole show.

• Previous Jam Cruise Journals: All Aboard, Knee Deep In It, Letter to 16-Year-Old ScottyB, Nourished Soul, Day Four – Part 1, My Jam Cruise Debut, Jam Cruise 9 Videos

While The New Mastersounds’ Pool Deck set had the most guest spots, Colorado’s Big Gigantic nearly challenged as the duo welcomed Brock Butler, Adam Deitch, Eric Krasno and Joel Cummins at various points throughout the two-hour set in the Zebra Bar. Brock had never heard the band before, but rose to the occasion laying down subtle, washed out textures. Krasno went in the other direction and shredded his way to glory. Sax wiz Dominic Lalli and drummer Jeremy Salken filled the room with a group of fans who didn’t stop moving throughout the band’s performance thanks to an interesting blend of live music and DJ featuring Lalli’s otherworldly playing.

READ ON for more on Day Four of Jam Cruise 9…

Prince has added another NYC show to his schedule – February 7th at Madison Square Garden. No word yet on who will open that show, but it was announced today