We’ve got a little over a month until Phish’s Walnut Creek 2-DVD set hits stores on August 5, but once again the folks at Phish Inc. sent us over a
We’re honored to welcome Reuben of Partyin’ Peeps to the Hidden Track team for the occasional post. He’s done a phenomenal job posting interesting news, reviews and opinions on Partyin’ Peeps, so be sure to add his site to your daily reading list. Reuben caught moe. and Keller Williams at the Encore Park Amphitheater in Alpharetta, Georgia on Saturday night and filed this report…
We were greeted by perfect concert weather as we arrived at the brand new Encore Park Amphitheater. This place has everything you could ask for in a live music venue: great sound, a capacity of 12,500, reasonably light security, parking and $5 beers. Did I say $5 beers? I meant $10, but who’s really counting? We bought tickets from the box office when we got there, avoided the outrageous ticketbastard charges, and somehow scored 8th row center!
Keller Williams the one-man-band opened the show, and I have to say, he impressed the hell out of me. The guy really is a perfect opener, something about his eclectic combination of bluegrass, whistling, looping, covers, and all around goofiness really got the crowd excited. The show opened with Heart’s Barracuda and then right into crowd favorites Best Feeling and Fuel for the Road. My favorite part was in the middle of Fuel for the Road when Keller changed the tone of his instruments so they would sound like a piano and a trumpet before looping them together to create a mini little jazz odyssey. Then there was some more goofiness, a new song, a whistling cover of Don’t Stop ’til You Get Enough,”and of course, Freaker by the Speaker. I love Keller, but I was ready for some moe.
READ ON to find out what Reuben thought about moe.’s two set show…
Those of us who live in or around New York are in for a special treat this weekend when the Omega Moos make a rare appearance outside of the midwest.
Kanye West finally has something to say about the debacle that was his Bonnaroo debut, and judging from his comments I wouldn’t expect to him to get an another invite
We know that many of our readers love to take pictures at shows, so perhaps a few of you might be interested in the latest contest from our friends at
Circular Sounds is the fourth LP from San Francisco’s home recording auteur Kelley Stoltz. Its 14 songs are a stereophonic advance on the lo-fidelity psych-fuzz of Antique Glow (Beautiful Happiness, 2004) and the mid-fi piano-rock of Below the Branches (Sub Pop, 2006): two modest masterpieces which, by a curious coincidence, both made #24 in MOJO magazine’s “Best Albums” list for their respective years.
There is nothing like a Phil Lesh and Friends concert on the night of the summer solstice in the balmy air on the water in Boston. Little wonder, after the conclusion of his two hour second set June 21st, the bassist of the Grateful Dead pronounced Beantown one his three favorite places to play.
Inspiration was key during the 90-minute set, which featured many of Ryan’s songs from a wealthy back catalogue, including “Sweetie” and the crowd favorites “Irrelevant” and “Guilty.” Even though it was a small group of people who got to experience a gifted artist in his prime, there wasn’t any struggle with what Ryan was trying to communicate: that we’re all in this together, and that the battle may never result in a victory.
Any savvy concertgoer knows to temper expectations just a bit sometimes, even at the risk of jading. It’s so hard to find (and then bottle) lightning more than a few times a year that those who go looking for it wind up with a merely overcast sky time and time again—a long string of B and B+ shows with the rare A stuck in the days between.
[Photo by Rich Gastwirt via Phillesh.net]
Friends who don’t go to the 100-150 shows I average every year ask if going to so much music desensitizes me, and the answer is yes, of course—to a point. Glass half-full reasoning suggests that if you go to a lot, experience a different variety of all types of venues, styles and groupings, and when something really good happens you get that tingly feeling—the feeling you forgot, as the poet wrote.
In late 2007 the feeling I forgot came to me in an unexpected—but as it turned out, unsurprising—show last year: the final night of Phil Lesh & Friends’ epic 10-night run at the Nokia Theater here in New York. I’d been to the 11/6 show earlier in the week and it was a cursory delight—full of easy-mark crowd-pleasers, a safe level of stretching out, a few moments of A-level PLF work and enough mojo to convince me this fivesome warranted a place with at least the most capable PLF lineups. The final show of the run, however, was a game-changer, with a decently solid first set, a pretty, all-acoustic second set, and a stemwinder of a third set that, to these ears, remains to date the fullest, one-set expression of what this current PLF lineup can accomplish. READ ON for more of Chad’s PLF review…
Two weeks ago we took a look at a few versions of Solsbury Hill and we’ve got a Gold and a Silver medal to give out. The winner, by a landslide, is the a cappella group The Hyannis Sound – congrats guys. Coming in second was my good friends Rane. Sorry about the week off, how you all got by for 14 days without a playlist of covers to sit and judge, I’ll never know.
This week I’m returning to the original band featured in the first ever edition of Cover Wars, one of the most covered bands of all time: The Beatles. We’ve got six versions of Day Tripper here and don’t worry, there isn’t an American Idol clip anywhere near us this time. We’ve got a nice mix of some other artists of the ’60s covering the song while it was still ripe — and of course a few jambands rocking their way through the tune.
To quote Lennon himself from the book All We Are Saying: The Last Major Interview with John Lennon & Yoko Ono,
That’s mine. Including the lick, the guitar break and the whole bit. It’s just a rock ‘n roll song. Day trippers are people who go on a day trip, right? Usually on a ferryboat or something. But it was kind of-you know, you’re just aw weekend hippie. Get it?
Yep, we get it John. It’s also one of the songs that Lennon & McCartney disagree on the songwriting credits – but hey, all that matters is that it’s a great tune. You’re going to need to register/login to Imeem to hear the tracks in their entirety.
READ ON after the jump for voting, videos and descriptions…
