Leslie Michele Derrough
November 29, 2010
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what Scott Stapp actually did was pull himself up by the bootstraps and prove to the people standing in the Hard Rock that he was a man who has not always been a saint but who cares enough about them that he would sit on a stage and give them every ounce of energy he had to send them home satisfied.
As we finally make our way out of our turkey, stuffing and cranberry-induced food comas, there are plenty of brave souls out there that headed out to the stores at
We couldn’t let Thanksgiving pass around these parts without our annual fluffage of the greatest rock movie of all-time – The Last Waltz. Exactly 34 years ago today, about 5,000 lucky
I’m a panelist on a podcast called Type II Cast which features a panel of Phish Geeks dissecting the band’s music. Last night we recorded our seventh episode all about
There’s no feeling quite like walking out of a Phish show and finding a tasty dish in the parking lot that immediately kills the hunger pangs you’ve been fighting throughout
Phish has influenced us in many ways aside from depleting our bank accounts. We are Phish fans and not only because we love their music, the tour or the garlic grilled cheeses, but because the music they have introduced us to has helped push us out of the bubble. As Three Grown Men, we have been able to branch out our musical tastes, and we must give some of the credit to Trey, Mike, Page and Jon.
Jonathan Kosakow on Phish’s general musical influence:
I still remember a single moment in high school English class. For some reason unknown to me today, we were discussing the theme from 2001: A Space Odyssey, but everyone was unsure the name of the song. I said Also Sprach Zarathustra and let everyone think I was cultured while they looked at me in disbelief – “This kid knows the name of that tune?” But, I sure as hell wasn’t about to tell everyone, “Phish covers it.” They’d have written me off immediately. Not that it helped anything, though: I was soon knocked out of high-level English and into the remedial class (that’s right you overachievers, look who speaks English NOW).
Bitter resentment aside, it was that moment I realized that Phish was just the frame of an open door to a world of music. I almost hate to admit how overwhelmingly responsible Phish has been for my ventures into that world, but it’s true. And not just because they opened me up to one band, or one album, or one genre, but because of the many random bands I may not have listened to otherwise.
Had it not been for their cover of Peaches En Regalia I may never have dug out my father’s old vinyl copy of Hot Rats, and Zappa’s guitar wouldn’t have ripped me to shreds the first time I listened toWilliethePimp. I wouldn’t have fallen for Talking Heads like aschoolboyinlove either. And, if it weren’t for the fact that Phish covered Little Feat three weeks ago, I wouldn’t have Waiting for Columbus on repeat for the tenth time since then. Somehow, whether I want to admit it or not, those fourgoofylonghairs from Vermont managed to show me the way.
READ ON for more on how Phish expanded 3GM’s horizons…
It’s been a little while since we’ve heard any Creepfunk around here, so this week let’s check out the newest cover tune in the Steez repertoire, Annie Lennox’s hit, Walking
Another One For Woody @ Roseland Ballroom, November 22
By now, if you have even passing interest in what went down at Roseland last night, you’ve seen the setlists, soaked up the cool sit-ins, watched some video and admired, from afar, that when Warren Haynes puts together a guest-laden benefit event, he means Event. Having spent the near six hours it took to get to the finish line, your humble correspondent can say without hesitation that it measured up to the hype – and the ticket price – and then some. Show of the year, in many respects: not only did the Allmans, especially, clear the high bar of expectations, but most importantly, it’s also something that, yep, ol’ Woody would have loved.
Reviewing shows like Another One for Woody is a tricky business, as there’s not much in the way of continuity or the flow like you’d find at a “normal” show. In other words, you expect anchoring acts, filled with guests and setlists cleverly designed to push emotional buttons, and you’re aware of those constructions going in, during the show, and after. And yet, you find the rare, Last Waltzian blowout that does all those things — then transcends them — on the strength of top-notch playing, warm camaraderie in the name of a good cause and a good man, a terrific, fully engaged crowd, and grace notes (metaphorically speaking) amidst all the power chords. Here are 10 things I’ll keep with me from Another One for Woody, in no particular order.
The First Half Of NMAS
Whiskey Rock-a-Roller was a hoot, and so was the extended Gordie Johnson sit-in. But how much fun was it to see Luther and Cody Dickinson as a duo, kicking up a fearsome country blues racket with just fuzzed-out guitar and hammering drums? Here’s a band that I remember loving a long time ago, when their sound wasn’t so polished and their jams were country-fried and greased up. They were clearly into it, and while bassist Chris Chew – who wasn’t there – is an integral part of what makes the NMAS the NMAS, this was a solid 20 minutes of down-home hill country duo shit, naturally dirty.
READ ON for nine more highlights from Another One For Woody…
Appearing on the 1967 Beatles album Sgt. Pepper’s Lonely Hearts Club Band, Within You Without You was written by George Harrison. While of course technically a song by “The Beatles”, Harrison is the only member of the band that appears on the recording. For an in-depth musical analysis of the musical structure and more, I recommend reading the notes from Alan W. Pollack.
The Contestants:
In 1998, Bela Fleck & The Flecktones were pairing Within You Without You with their own tune Shanti from their ’98 release Left Of Cool. This Flecktones show features sit-ins from Carter Beauford and Dave Matthews, who sang on the track Communication, also on Left Of Cool. Audio Source: 10-22-1998