Seventeen years ago today, Phish played a show at Le Spectrum in Montreal not too far from their hometown of Burlington which I feel is among the best in the band’s history. From the numerous teases to the fun banter to wild bouts of improv to the bust outs, the quartet put it all together on this evening for a performance that deserves more recognition from the fanbase.
What makes this particular gig so good? Glad you asked, because this week’s B List lists ten reasons you must download this show. Here we go…
10. The Split Opener[audio:https://glidemag.wpengine.com/hiddentrack/wp-content/uploads/2010/04/split.mp3]
On April 21, 1993 – six shows prior – Phish finally became comfortable with the Split Open and Melt jam, settling in on a sublime groove that was later tacked onto the end of the Demand on Hoist. Thus, the Golden Age for Splits was started and continued for a few years including the bombastic version that opens this show. READ ON for nine more reasons…
Welcome to back to Strange Brew our monthly column dedicated to – as you probably have already guessed – beer. Each month, we’ll take a close look at a new or notable brew, or just one we think you should be drinking, all without too much beer geekiness.
For this month’s Strange Brew, we head off of the continental United State to our 50th state to feature a trio of beers from the Maui Brewing Company. The eco-friendly brewery was founded only a few short years ago in 2005 by Garrett Marrero, and unlike the majority of commercially available beers they have been exclusively canning their award-winning offerings since ’07.
Maui Brewing Co.’s commitment to greening extends beyond just canning – which make their products easily recyclable – they also make their own bio-diesel fuel from recycled vegetable oil from their brewpub which the company’s delivery trucks run on, donate their spent grain to local farmers for feed and compost and will soon will be running their facilities on solar power.
Why You Should Drink Them: Don’t let the fact that these beers come in cans fool you. Over the last few years the trend of craft breweries canning their products has been on the rise – it’s cheaper than bottling, and contrary to popular rumors aluminum cans don’t give your beer a metallic aftertaste. While I can fully endorse all three of their beers the star of the show is their CoCoNut Porter, which I can assure you tastes like no other beer you’ve had before. READ ON for more of this month’s Strange Brew…
For this week’s edition you will be serenaded by two of the best tenors in the live music scene: Jim James of My Morning Jacket and Ben Bridwell of Band of Horses. Sorry Jon Gutwillig, while your vocal stylings are also included, you just didn’t make the cut.
[Thanks to darktrain for this week’s photo]
And we continue to take all the selected tracks, normalize them, create some simple fades and put it into one easy to download MP3 for you. Click here to download the Last Week’s Sauce Podcast
Leading off this week we’ve got the Band of Horses performing a great cover of a J.J. Cale song followed by a track from their upcoming album Infinite Arms. These two tunes were played in sequence, but I edited out some crowd noise/band introductions in between them. Band of Horses play tonight at the House of Blues in Orlando.[audio:https://glidemag.wpengine.com/hiddentrack/wp-content/uploads/2010/04/bohsauce.mp3]
BoH plays Compliments live at Trädgårn, Göteborg 2010/04/17
READ ON for tracks from the Disco Biscuits & Karl Denson’s Tiny Universe…
Words: David Schultz
Focusing primarily on Tibet, the Rubin Museum hosts a wide selection of art from the Himalayas region. It’s not a venue typically associated with music much less one to feature one of the country’s preeminent, though unheralded, guitarists. Then again, as many who have seen Willy Porter would attest, a museum might be the proper locale for his prodigious skills.
The Wisconsin-based guitar wizard’s latest New York City appearance came as part of Naked Soul, the Rubin’s unique twist on the singer-songwriter concert series. In a room with perfect acoustics, Naked Soul strips away everything unnecessary from the performance: no amplification is needed and no electricity is used; every note strummed, beat and sung is heard unfiltered. The elimination of any type of sound system in museum quality environs fosters a warmth and intimacy unparalleled by the majority of basement stages and coffeehouses.
The environs couldn’t have played more to Porter’s strengths as a performer. He possesses the type of talent must be seen in order to be truly understood. It’s one thing to hear Porter play, quite another to see how he coaxes the sounds out of his guitar. His fingers glide across the fretboard with a natural ease that seems otherworldly, as if he’s channeling a higher musical force. Often it’s difficult to believe that many of the sounds coming from his guitar are actually being played with his fingers.
READ ON for more from David on Willy Porter…