2009

Hidden Track Interview: Former Phish Percussionist Marc Daubert Has No Regrets

We’d like to welcome our friend Kevin Cassels to the Hidden Track team. Kevin was the editor-in-chief of The Pharmer’s Almanac: The Unofficial Guide to Phish, Vol. 6, released in 2000. He is also the former drummer and founder of Asheville-based rock band Mother Vinegar.

A sure fire way to test the knowledge of any Phish fan is to ask them about Trey Anastasio’s old friends from school and their contributions to Phish songs. Aside from Phish lyricist Tom Marshall, there’s Dave Abrahams, a childhood friend of Trey’s immortalized in the lyrics of McGrupp and the Watchful Hosemasters who co-wrote classics like Runaway Jim, Glide and Fast Enough for You.

There’s Steve Pollack, better known as The Dude of Life, author of Suzy Greenberg and lyricist of Fluffhead, Skippy the Wondermouse, Run Like an Antelope and more. Founding Phish guitarist and vocalist Jeff Holdsworth was the first band member Anastasio met upon his arrival at the University of Vermont in 1983, and the duo would go on to recruit Mike Gordon and Jon Fishman in the following weeks.

However, other than Holdsworth, no one in this group played a more central role in the formation of Phish than former percussionist Marc Daubert, an official member of Phish from September 1984 to February 1985. Like Holdsworth, Daubert’s songwriting contributions such as The Curtain and I Am Hydrogen remained in the Phish’s live repertoire throughout the band’s career. Today, the percussionist is now a guitarist and vocalist who has just released a new album of all original compositions entitled Parlor Tricks.

READ ON to find out why Marc Daubert left Phish, the meaning behind the lyrics to The Curtain, what Marc’s up to now and much much more…

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Tour Dates: Inaugural Rock With Barack

With the Inauguration a week away a veritable who’s who of the music industry will descend upon our nation’s capital to help celebrate the swearing in of our 44th president

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Women: Women

Some albums kick off with the strongest or most accessible song as a means of sucking the listener in. Others, ease their way into the real meat of the album so as not to scare the listener with their boldest material. But very few jump in with their most grating and difficult content. Women's self-titled album is, however, just one of those anomalies.

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Stormy Mondays: A Stormy Double Dip

With the long winter weekend coming up, it’s time for the fourth installment in the Acoustic Mix series. Past volumes have been among the most popular downloads we’ve had, and this one, like those, represents the very best of what we do around here. It opens with Robert Plant and Alison Krauss doing a nasty version of Black Dog from over the summer, followed by Ryan Adams and the Cardinals with Born into a Light off last fall’s Cardinology.

Next, Warren Haynes and Grace Potter team up with Steve Kimock on steel guitar for a devastating version of Wild Horses, and Dylan covers an old Robert Johnson joint, 32-20 Blues, a regular feature in Warren’s sets for years now. Scaring the Children give a stunning performance on – this one’s worth it for the quality of the recording alone. The guitar and bass create absolutely mesmerizing reverberations through the central jam; it’s long been one of my very favorite recordings. The mix closes with George Harrison playing While My Guitar Gently Weeps all alone (with a couple extra verses thrown in for good measure), and a barn burning acoustic Drowned from Pete Townsend in the mid-90s – unlike anything I’ve heard. This is the best of the best, so as always, enjoy!

READ ON for a special second Stormy Mondays download and Dan’s reviews of both The Bad Plus & Kurt Rosenwinkel Quartet at The Village Vanguard…

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Editorial: UM Gives Fans Their Walletsworth

Instant gratification. That’s the name of the game these days with music fans. With a few clicks of the mouse and a quick trip to Google one can go and find almost any album by any artist. And while today’s mainstream artists are hardly starving, it’s safe to say not many are making money off of albums and that’s the trend we’ve been seeing since Napster started.

I mean hell, look at Britney Spears’ most recent release Circus. She had to host an infomercial on MTV just to sell her CD (aptly titled For the Record). She played the “feel sorry for me” card quite well and guess what? It actually worked — she’s selling albums. So are infomercials the way to go? Artists as huge as Britney have to stoop to this level of salesmanship. Artists are struggling to find new and inventive ways to market their music. The industry is in knots trying to figure out how to market and distribute albums, but also do so at a minimal cost.

READ ON to find out just what sets UM’s Mantis apart from the pack…

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