Magnaball Friday 22 August 2015 @ Watkins Glen, NY

MAGNABALL.
It's not an experience if you don't bring someone along, so how about we go together? Follow my steps:

1) Arrive in idyllic Western NY on Thursday afternoon. Effortlessly fly through check-in and security, because people are nice and everyone's here for the love. Throw your shitcarefully curated necessities into the tent. Grab a bag of free stuff, VIP style: 

2) Wander to the concert field; explore the Glurt Institute. Spot the glurt, pop the bubbles, and peer down the tube. Spill secrets into the big green ears.

I live here now. #shelob #Magnaball #phish

A video posted by @baynetrain812 on Aug 21, 2015 at 9:36pm PDT

3)  Enter Club M and shake your tail feather to selections to anything from David Bowie to Bow-Wow. Sip on some Coconuts & Chloroform.

4) Salute the sun with hundreds of your closest Phishy yoga friends. Seriously pwn n00bs with extensive Phish trivia knowledge via Studio X.

5) Throw back a lemon-ginger wellness shot from one of the vegan vendors (make sure to put the frat boys to shame). Savor a Dirt Burger (gluten free veggie) at LoFo, the Syracuse-based pop-up restaurant specializing in locally-sourced fare. Charge your phone and extensive collection of portable batteries via solar power. Meet new friends while you wait.

6) Vaguely recall that everyone is all here for 7 (and probably 8) sets of music (wait, this isn't my new home?) Realize the party's right here.

No time was wasted on Friday as a 12-minute Simple kicked off the first set of the weekend. It was the perfect beginning: We've got it simple, 'cause we've got a band. I felt the same way. Trey led the group through an agile and melodic jam that was a little dark around the edges. Appropriate, considering The Dogs came next. It felt surreal to let myself get creeped out in the middle of a field on a hot summer night, but there I was. I love that the band has incorporated some of their new material from the Halloween album into this summer's shows. Throughout the tour, the songs have provided a catchy, instrumental base from which to launch an energetic jam. After the first few sound bites, I felt like I had landed in the middle of a heavy second-set jam.

Science Bunnies measuring our auras. Mine's green.

Free was particularly well-placed after the beautiful, nostalgic magic of TMWSIY (fugues have a way of doing that to you.) Mike's bass grounded as as we floated away through the progression of a bright, moving major chords. Free is such a powerful song, and I always feel a special blend of joy, freedom, and inspiration when I hear it. I must not be the only one...

After a warm welcome from Trey, he asked us as a crowd of a 35,000 to sing happy birthday to his daughter Eliza, who turned twenty that day. He told us that she is the oldest of the eleven band children and has been at every Phish festival! Afterward, she stepped onstage and hugged her dad. The whole thing was very heartwarming and made me realize that Phish is not just a band for hippies and drug-addled deadbeats anymore. Magnaball's crowd was considerably mellow and good-natured, and really it seemed like everyone was there to have fun. Maybe the vibe was because of the festival setting; only devoted fans would want to see 8 sets of Phish over three days.

An unexpected highlight of the first set was Mock Song, a slow, melodic Mike song off of Round Room. I had not been familiar with the song before that night, but have not managed to get it out of my head since. I wonder what the original intention behind the line "Clifford, Super, MagnaBall" was. The song was released in 2002, and the Clifford Ball, which was practically held in my grandmother's backyard in 1996, was far behind at that point. I doubt Phish had the foresight to name future festivals ten years in advance, but what do I know?

Then there was that soul-igniting Bathtub Gin. 23 minutes of unadulterated bliss. The jam soared and sang in certain places, totally enrapturing everyone. Phish took their time exploring what they could find within the song, and the patience and teamwork paid off. There are discernible sections where instrument effects and supporting rhythms turn a corner and take off in another direction, like when Mike starts dropping bass bombs and the crowd roars. Ultimately it's a cohesive, dynamic piece with focal points and melody (and, if you ask me, a foreshadowing of some of the musical elements of Saturday's Drive-In jam).

After it was over, I looked around and realize WE HAD JUST FINISHED THE FIRST SET. There were NO wasted warm ups or throwaways; this band had it IN for us. That juicy realization put a big smile on my face. 

The second set opened with Chalkdust Torture, which included a What's The Use? tease. The quietness that hits the music about 8 mins into the song is remarkable; for a moment, the silence becomes an instrument, letting the colors of the rolling drums and dark guitar tones fade away for a moment. Then, in the matter of a few seconds, Trey turns a musical corner by switching to the major key, swapping dark, sullen tones for light, nimble ones. We go with him. The move is decisive and quick, but not jarring. It's a novel way to watch the jam morph and flow. The band revisits this idea in the days to come...

Finally, we get to the funky, organ-heavy Ghost. Hate to say it, but the jam never really found its legs. There was a lot of resting on a single musical idea without much motion or melody. Am I going to be burned at the stake for saying that?

 

Things picked up during Rock & Roll, which was a welcome repeat from Merriweather the weekend before. Harry Hood provided good glowstick cues and a solid, rhythmically diverse jam. The recapitulation afterwards was particularly rich and moving, and provided the perfect segue into Waste. 

Waste was only one of the many soulful tunes Phish played this weekend (others include When the Circus Comes, Wading in the Velvet Sea, & Dirt). I have to imagine there was some sentimentality that came with playing Festival Number Ten, which was nicely captured with Waste. I always thought it was written for a person, but I get the feeling this version was intended for all of us.

We were all snapped out of sentimentality during No Men in No Man's Land, a 2015 debut.  The upbeat, funky song has become a hit with fans especially after the Mann shows, where a remarkable version was played. I am excited by the new material from this tour (also Blaze On, Shade, How Many People Are You?), which has proven itself to be versatile, catchy, and lyrically sound.

I really like one of the last phrases of NMINML:

but if you hold a mirror and you turn it to one side

the depth you see within at first, will find a place to hide

Slave to the Traffic Light closed the set. I always think of this song as a perfect set closer: it's meditative and gentle, guiding gently you into the silence that follows. The back-to-back organ and bass solos are so beautiful in this version. I also find the song similar to Free musically, and think the two should always be played together because they compliment each other so nicely.

Farmhouse served as the band's official welcome to us as the first encore of the night. Then First Tube brought up the energy as we all prepared ourselves for a spirited weekend.

Overall, Phish played a cohesive show nicely blended with both sentiment and meat. Re-listening to the show made me realize the music flowed continuously throughout the night, using the structure of the songs as mere placeholders and/or turning points. It was the telling of one musical epic poem, and the songs served as anchoring chapter titles.

Or...just call me crazy.

(Hi, Crazy!)

Mike Gordon on soy milk, foam raves, & the story of Thomas the croissant

Today, Mike Gordon and Scott Murawski spent some time on Reddit to field fan questions to promote the release of their new album, Overstep, which dropped today.  The following are a few highlights, including...

the world of Phish:

 Mike on Leo:

soy milk baths:
 telepathy:

Python:

on creation of something great:

 Thomas the croissant:

the possibility of more Phish to come:

AND FINALLY THE STUNNING REVELATION THAT MIKE IN FACT DID NOT SAY NO; IT WAS TREY.


Click here for the full interview.

Peace, love, cuddly, but muscular,

Elizabeth

Overstep: Full Album Review

Mike Gordon is at it again. This prolific songwriter/soundmaker/noisecatcher has recently released his newest album, Overstep, available for free stream on the Rolling Stone website.  The tone of the album follows closely on the heels of The Green Sparrow (2008), sidestepping from the ethereal, spacy tone of Moss (2010) and Inside In (2003).  Lots of upbeat, funky bass and guitar abound, which is captured nicely by the cover art.

The album begins with the slow groove Ether, which seems to ease a listener into the weird world of MG. Featuring interesting chord progressions and trademark inscrutable lyrics, the song lays down a nice foundation of what's to come.

 The second tune, Tiny Little World, is the first time on the album we hear that bomb-droppin' bass that Phish fans know and love.  I really like the counterpoint it provides to the upbeat, sunny melody of the lyrics.  This song is, to me, the catchiest and most danceable one on the album.  The line It's the sauce that makes the dish makes me think that the Soulfood Man had a hand in writing the lyrics for this one.

Jumping is the first time we hear Scott Murawski sing on the album.  The driving acoustic guitar and the duo's vocal harmonies are notable.  Murawski's electrifying guitar solo remains whimsical.

So far so good. 

I'm pleased to report that I was present at Phish's debut of Yarmouth Road at SPAC on 7/5/13.  This song is most likely the most well known among Phish fans who stay current; the band played it eight times in 2013.  The placement of this song is excellent; it's a nice place to slow down, both lyrically and in tempo.  The verses remain characteristically poetic, but the prominence of the chorus makes it seem like a good platform to dive into a ~sweet jam~ ... as Phish began to explore last year.  I can't wait to hear the Mike Gordon Band's take on it.

The following tune, Say Something brings about a background of bouncing guitar and vocal lines.  The subtle dialogue that occurs between the two is engaging and energetic; I predict that this tune, along with the following tune, Face, will launch some serious disco jams this spring.  Breath: baited.

Face features an exposed bass and syncopated guitar line, making it feel spacey sequined funky.  I find myself caught up on this one because the song structure seems unique; I love the stripped down passage At first I heard the bass... it's unexpected and brings a renewed energy to the song... and it's super meta.  We're all about that here in the liberal arts.

A Different World features a guitar riff that's simple yet infectious; I love how independent it is while still interacting with the rest of the music.  It's earnest but still somehow distant... how do they do that?

The soaring solo in Long Black Line, the penultimate song on the album, brings the musical momentum through to the very end.  In this tune, it's the real star.

The album closes with the song Surface, which is saturated with lyrics and some spacey vocal effects sung by Scott Murawski.  The faded quality of the sound serves as a fitting outro to an impressive next album.

I can't wait to see what tricks the dudes in the MGB have up their sleeves for their spring tour.....!  I'll be at the show in North Adams, MA on April 5th.  If you're there too, come say hi!  I'll probably give you a glowstick.

Peace, love, and sequins,

Elizabeth

Valentine's Day Picks

Valentine's Day is a good excuse for a lot of things.  Showering your loved ones with gifts, eating chocolate, shamelessly wearing red with pink... no apologies this week.  To me, I always associate the day with music - my college a cappella group hires itself out to students across campus to serenade their sweeties/friends/nemeses.  The truth is, I live for flashmobs.

So when V-day rolls around, I always feel get in the mood to listen to some themed music; here are my top picks for the day.

I Found You - Alabama Shakes 
Everyone went a little gaga over the band Alabama Shakes last year when they appeared on Saturday Night Live (at least I did, and ended up buying their entire album the week afterward).  This is one of my favorite tracks off of the album, Boys & Girls. 

 

Evangeline - 7 Walkers
To me, this sweet song evokes the a full moon in a sleepy summer bayou.  I truly feel like I'm swathed in the music with this one (I'm thinking those ubiquitous cymbal rolls are responsible).  The earnestness of the lyrics are reinforced through Papa Mali's distinctive and bluesy Southern drawl.

Skip to the Good Bit - Rizzle Kicks
This British hip hop duo continues to amaze me.  Their rhymes are thoughtful and their beats are catchy and unique.  If you like their sound, check out their *melodic chaotic* song called Earl Grey.  It's super meta.

Love is an Open Door - Frozen
As a female under the age of 25, I felt it was my public duty to turn the newest Disney movie into a raging success, so of course I went to see it in theaters.  Disney does a great job incorporating fun and original music into the plot of this film, and the song "Love is an Open Door" is no exception.  It's catchy and serves as a great plot acceleration.  Get ready to sing along to this one.

Standing on the Moon - Michael Patrick & the Suburban Hillbillies 
I love this Jerry song.  It's one of my favorite love songs, and this rendition steeped with saxophone is especially sweet. 

I Want You Back - Lake Street Dive
What I wouldn't give to sing like this.  Prepare to be amazed by this gutsy blues rendition of the classic MJ tune.

Positively 4th Street - Jerry Garcia Band
If you've been recently jilted, this is the song for you.  Bob Dylan does it well, but I love the way the JGB pulls it off. 

Sweet Emotion - Mike Gordon and Leo Kottke
This is a funny one.  Always the Aerosmith fan, I had to include this classic on the list, mostly because it's a sweet cover by one of my favorite collab teams of all time.

What are you favorite songs of the season?  Share with me. <3 p="">
Peace, love, and everything pink,
Elizabeth 

Mike Gordon Band at the Calvin 12/10/11 (Northampton, MA)

One of the major perks of kicking around Northampton for the majority of the year is all the stellar musicians who come to play.  To my delight, Mike Gordon came to town this weekend as part of his band's five-date 2011 fall tour.

The band began the first set with Dig Further Down, a tune off the 2008 album The Green Sparrow.  Scott Murawski broke a guitar string as the song began, which led to an impromptu jam session after the first chorus while he quickly worked to replace it.

I managed to snag a spot on the rail for the night, and recognized the difference in standing five hundred feet away from the musicians and five.  I quickly realized how much fun the band was having while they were delivering an incredible show.  I got to see the eye contact they shared, the motions Mike made them to solo, and the silly faces they made at each other.  It was definitely an experience different from standing on the lawn at a Phish show. 

Of course, Mike wouldn't put his name on anything that didn't contain at least one absurdist moment.  At the beginning of Meat, he tapped his iPhone a few times and big pink letters slowly moved across the screen.  Discreetly, he propped it up against one of his amps until an entire sentence had flashed by: This song is backwards.  He read it, nodded, and began.  It seemed semi-ritualistic, like it was something that needed to be done before the song began to establish an ambiance.

And with that, the slow, funked out tune began.  During the jam that proceeded after the first few verses, each member of the band took a little time to show off.  The real magic happened during a face-off between Scott and Mike.  With each line, the pair built off of each other's ideas to create a sound and theme that was spontaneous and satisfactory.  The song wound down shortly afterward with a percussion solo.  

Andleman's Yard, another track off the Green Sparrow, provided a moment of clarity and confusion to me.  Mike and Murawski locked into different grooves with distinct time signatures, in effect creating a sound that was both hypnotic and engaging.  I attempted to study the music that flowed around me in an effort to capture the element of the sound that that I found so intriguing. 

Green laser beams erupted from a tiny black sphere that Mike carefully placed on the amplifier behind him before the beginning of Barika, an upbeat and instrumental song that sounded like a trip to the islands.  Craig Myers, the percussionist, played the fundamental melody with a Kamel N'goni, a traditional harp instrument from Mali.  The other members of the band enhanced what he was playing by emphasizing certain beats and soloing over the base of sound he provided.  It was totally unpredictable, fun, and one of the best songs of the night.

More fun and shades of Page McConnell emerged when The Band's arrangement Don't Do It began.  The keyboardist, Tom Cleary took vocals and led the band through a rockin' rendition of the classic tune.

I grinned with delight when I heard the opening notes of the Beltless Buckler, a track from Mike's 2003 album, Inside In (one of my favorite albums ever).  It was a treat to hear the band bring new life into the studio version that I had coded into my memory so well.  During the last chorus, certain beats slammed through the floor and into the soles of my boots.  


Soulfood Man, another Inside In tune, ended the ninety-minute set.  I saw Mike motion and smile to Tom Cleary, the keyboardist, and initiate a musical exchange in which they were able to take the energy and intensity of the music up, and played off that for the rest of the song.

Couch Lady began the second set.  It seemed like the bass and guitar took the lead at once, while both of their lines complimented and grounded each other.  The element of uniqueness that is incorporated into the music is what has me hooked.  The guitarist is not the star of these songs - unlikely combinations of instruments, time signatures, and modes keeps them going.  And I love it.

Jones, a funky Max Creek song, was led by Scott Murawski and flowed through Down to the Nightclub and into a highly-energized rendition of Can't Stand Still.  Spontaneous jumping by various members of the band emphasized the theme of the song - quite literally. 

I tweeted earlier this week about how I think my middle school Aerosmith phase has come out of remission, and have subsequently spent my time rocking out (and wishing I were Alicia Silverstone).  Mike did his best Steven Tyler impression during Jones by belting a line from the chorus of Last Child a few times during the jam.  It felt spontaneous, inspired, and semi-freaky.

A cool-down session began with What Things Seem, my favorite track off of Moss, the band's latest solo album.  Mike's ambiental reckonings and steady bassline contrasted nicely with the psychadelic shredding via Murawski.  A deconstructive jam happened somewhat abruptly in the middle of the song, beginning with a sweet sliiide up the neck of the bass.  After a few poignant moments of exploration had been reached, Mike laid on a restorative lick and launched back into the verse.  

Another Door ended the set on an improvisational note.  Mike picked up a tamborine, shook it around for a second, and handed it to an unsuspecting Scott.  Mike grinned at him and nodded, as if it were encouragement to go with it.  Eventually, he locked into a steady and colorful beat while Mike played around with a small electronic box that he had been playing around with all night.  It seemed like it responded to touch, so he would jab at it in weird rhythmic patterns, which would somehow end up in the mix of sound projected to the audience.  Cool magic technology.

When the band came back onstage for a highly-demanded encore, Mike asked the audience: "Do you guys want to hear a jazzy tune or to continue the funk?" After getting an overwhelming demand for more funk, they launched into C+C Music Factory's Things That Make You Go Hmmm...  The retro beats had everybody gettin' jiggy with it as Craig rapped the verses and Mike sang the choruses.

The band laid their instruments down after four unabashed hours of musical development and took well-deserved bows.  As they were leaving the stage, members of the crowd called out to Mike that they would see him at Madison Square Garden in a few weeks and couldn't wait.  Neither can I.