Category: Album Reviews

Hearing Aide: The Moho Collective “Anicca”

Ryan Barclay, Kurt Johnson and Justin Rister, well known through-out the Northeast as The Moho Collective have released another full-length album, Anicca, full of musical artistry and mystical arrangement. Anicca marks their second studio effort and from cover to mix features their usual hands-on approach to all facets of each release and live performance.

Anicca is the belief that all things, including the self, are impermanent and constantly changing, the first of the three basic characteristics of existence. Not a surprising statement from three musicians whose collective personality reflects this belief beautifully through their live performances, which this album is. Recorded live with very few overdubs, raw and precise, fiery and brash, full of growth evidence that the band is evolving. Just the song titles alone should send you off to Google.

“Lingua Franca”, the opener, is playful, then thunderous, opening with what seems to be a toy car horn, rhythmic and distant, diving into a swirling traffic jam. “Chikyu Hakken” takes a fast turn East, pulling on the Asian strings, literally, almost as if they’re deriving a kinematic equation musically. There’s a syncopated quality that underlies the staccato guitar line with such a natural feel you’d think the guys were native to this, but it’s just the brilliance of The Moho, flexing subtly their band’s muscle and heart. Quickly changing direction, directed by Justin’s reggae/funk intro to Rainbow Young”, (Uticans will be familiar), you think you know right where they’re going, especially when Ryan and Kurt kick the groove in, but just like that, they’ll hit you right in the chest, sending you spinning off into a metal-tinged break, then right back to the funky groove. Proving even more the title fits, as even the groove isn’t permanent, it changes and morphs to fit the Delft-like explosions of The Moho’s collective energies.

“Oil On Canvas, 13x 29” fits right into why I’ve loved this band from first listen. Kurt’s guitar voicing is so literal, it makes the idea of vocals seem redundant, while Ryan and Justin seem to be of one mind, or at least interchangeable. It’s such a natural feel, it’s the rising and falling dynamics, the swells and swales that fall out from under you, then catch you gently, steadying for the next lift-off. “Chalet” carries on the thought with Kurt getting a loop going to ignite a quick rise from a Frippertronic hallucination into a Hendrixian explosion and back again. The return of Ryan’s didgeridoo haunts “Bamal” and signals another directional change deftly accompanied by Justin’s bass segueing into “Sampa”, yet another ethnicity, another chance to stretch out, this time Kurt calling out his inner-Belew circa 1985, absolutely brilliant work. “Dar Klite” soars gently, wistfully, then forcefully until leveling into a jazzy jam, ala “Return To Forever”. It’s the dynamics man! The dynamics! Another segue into “Wenindee”, flat-out Moho pyrotechnics, the rhythm section pounds and pulses, Johnson’s guitar soars then signals the out and it’s over. I wait for another track, but it’s done, well, just click play again, it’s a fabulous ride. After you let “Wenindee” play out, of course.

Key Tracks: Oil On Canvas, 13 x 29, Chalet, Bamal, Sampa, Wenindee

The Moho Collective is Justin Riser (bass), Kurt Johnson (guitar), Ryan Barclay (drums). The sessions were recorded live between March 3rd and 5th, 2012 at The Peace Abbey in Sherborn, Massachusetts with the tracks edited and prepared by Matthew D. Guarnere and Calvin May , mixed at Blackdog Recording Studios in Rochester by M.D.G. and Kurt Johnson and mastered to analog tape at What’s Real Unlimited, also in Rochester by M.D.G.. Matthew is credited as producer as well, along with the band.

The Moho Collective: on the web and Facebook. Buy the album on iTunes or cdbaby.

December 27, 2013
A Look at One Last Shot

As the frontman to Syracuse’s One Last Shot, the 23-year-old takes to those notebooks to find the words that will accompany the band’s music. Together, it’s a matrimony between the ethereal world of his craft, and the driving force of the music.

As a wordsmith, Jeremy Miller is a slave to every epiphany. At home, he has notebooks, napkins and spare scraps of paper, for each time he has been visited by his muse.

“I have notebooks stacked with pages, and pages of lyrics and poems and random thoughts I quickly write down,” said Miller.

“My notebook has turned into my cell phone notepad,” said Miller, “but if I have paper around and don’t think about my cell phone I’ll write down ideas quick. (Laughs.) If I don’t do that I could forget the idea as soon as I think of it.”

One Last Shot carries the label of “local band”, one that calls Syracuse home as the band struggles to branch out farther. They’ve played Buffalo and Rochester. As one would expect, they aspire to do more.

One Last Shot, out of Syracuse, NY, includes Rikki Kemz, David Royal, Angelo Zinkovitch, Adam Vlassis and Jeremy Miller. (Photo credit: One Last Shot)

Calling them a local band would be misleading. They avoid the mistake of relating their sound to Metallica – is that before And Justice for All or after the Black Album when they went grunge? Nah.

“Our influence (musically) is based off of a lot of music,” said Miller. “We’re very musically diverse people.”

This October, the band released Bastards of the Plague. It’s a 12-song LP that clocks in a little over a half-an-hour. No bombastic tracks on this one, as the longest track noses around the four-minute range. The band’s musical diversity is most apparent as their sound transitions from metal to almost punk as one goes chronologically through the CD.

“I was listening to a lot of Elvis, Smashing Pumpkins, Danzig and Every Time I Die,” said Miller. “[But}the band as a whole really is influenced by the post-hardcore of the early 2000’s. It’s when we really felt the scene was amazing.

“Usually I close my eyes when listening to the guitars and drums and think of a story going on to the music. If it was a soundtrack to a movie, what would be going on in the scene? Then I see if I already have something I wrote forever ago that works… but usually I write new lyrics to the songs.”

The soundtrack to Bastards of the Plague includes many action sequences. “Hell’s Empty” is one of a few battle anthems that pits the protagonist against the forces of Hell itself.

This is the moment to choose your sides

Everyone’s got to pick

If not you’re just born to die

They’re coming

We’re running

But I refuse to feel the fire burn inside the Devil’s eyes

Hell’s empty

They walk among us tonight!

“Bring Out the Dead” is another such anthem, one that showcases some of the precision of Rikki Kemz rapid drum play. He brings the cadence to a feverish pace that accompanies the theme of the song nicely.

The metal aspect of this LP ends with “A Lizard in Brenda.” (Now, hardcore metal fans should not be concerned about this perceived shift in genres. It’s subtle, if there at all.) Matt Good of From First to Last contributes an eerily angelic voice to an otherwise graphic song describing vengeance in the most violent of ways. Good’s addition provides depth and complexity that makes this track standout. William Control (Aiden) also makes a noteworthy contribution on “Bury A Legend”, not only providing his pipes but his wordsmith talents as well.

Brenda is followed by “Neon Gods” paying homage to the barroom brawlers of the world, and continues to impress from there. Each of the remaining songs possess introductions that are reminiscent of The Offspring’s Smash. The first few seconds of guitars , played by David Royal, Angelo Zinkovitch and Adam Vlassis (bass), play along with Kemz in a similar fashion to the legendary California punk rockers.

Steve Sopchak, who has produced and mixed for larger acts like, The Venetia Fair, Ice Nine Kills, The Ataris, and Such Gold, adds a professional touch that does not allow the vocals or any one instrument overpower the rest. Should you have the opportunity to see One Last Shot, take that opportunity. A CD purchase would also not be regrettable. Bastards of the Plague is a well-polished showcase of a local band that is deserving of more attention.

CDs can be purchased by visiting http://onelastshot.storenvy.com/.

December 16, 2013
Hearing Aide: Colby Dix – i am. it is. you should be.

Colby Dix puts his talent and experience front and center on his first standalone album, i am. it is. you should be. Showcasing his singing and songwriting abilities, Dix conveys deep emotion through his acoustic guitar and his humbled, yet steadfast vocals. Having grown up in Southern Vermont, Colby showed early musical promise and was proficient with multiple instruments at an early age.

Returning to guitar and finding his way to Berklee College of Music in Boston, he received a Bachelor’s Degree in Music Production & Engineering and then spent time on the road with national artists such as Brooks & Dunn, Brad Paisley, Matt & Kim, Sonia Kitchell, Jazz Mandolin Project, The Breakfast, Touchpants, Soulive, and Spookie Daly Pride, either as a sound engineer, producer, or as a musician.

i am. it is. you should be. never gets too loud but is bold in the direction of some songs and the ambitious length of the 11 tracks on the album showcase Colby’s range. “Two” starts the album with soft ’70s rock, ala Jim Croce and Don McLean, with a long and paced acoustic melody binding the music to the lyrics. A little country grit is exhibited on “Forget This”, but not too much; there’s even a hint of Bon Jovi in this track.

“I Know I Know I Know” is in the vein of Bon Iver, but without the hipster baggage while “Too Far” features eerie keyboards and languid, lingering lyrics from Dix, “And I’ll turn the outside into wind, I’ll blow you away with the darkness of my sin”, then embarking on a guitar solo worthy of your full attention. “Away”, while short, rings of a Dave Matthews and Tim Reynolds duet. Sounding very Pet Sounds-ish is “Try as you Might”, one of the best songs on the album, while the closing song, “20 June”, features soft flute in the background, almost pulled right out of studio “Stairway to Heaven”.

Colby Dix has a solid musical resume and this album features profoundly entrancing vocals and fantastic acoustic guitar work. Give a listen below to “Too Far”, and if you’re near Burlington on Saturday, stop by Nectar’s starting at 7pm for the Official CD release party.

Key Tracks: Too Far, Away, Try as you Might

December 13, 2013
Hearing Aide: Tim Herron Corporation ‘It’s All In Your Head’

Upstate New York and Syracuse natives Tim Herron Corporation will release their fifth full length album, It’s All In Your Head at a December 14th record release show at the Syracuse Dinosaur BBQ and the following December 19th at the Rochester, NY location. Tim Herron Corporation’s multifarious approach to genre blending, good time music, and inspiring live performances can be delectably sampled on this anticipated new release. The band refers to their rock, bluegrass, folk and dance conglomerate as “Ameribeat’, a funky down home mixture of back porch sensibilities, and forward thinking instrumentation. The band has been entertaining the Upstate masses for fourteen years, and this upcoming release displays their road tested and practiced abilities.

Herron’s glistening chrome guitar lines adorn the numerous vintage musical foundations of the group that are on display. A highlight of the recording are the clean water guitar licks that pour over the majority of the songs on the collection. The opening ‘Big Brown Boot’ contains an slippery and addictive bottleneck slide guitar melody that boxes the listeners ears immediately. The rhythm section of Eric McElveen on bass and Christopher English on drums collaborate to formulate the juke joint cadences that lend the music its unique and timeless sway, in addition to the well timed flourishes of second guitarist Ed Nolan. The band as a whole succeeds in their music by staying with the times, as well as keeping one foot firmly settled on the dusty dirt roads of the past.

A standout performance, ‘Recession Blues’ is a song that effectively encapsulates the talents and abilities of the group on this collection. The song contains humorous and tasteful lyrics, rubbery clean tone guitar statements, and a country lilt that encourages ass shaking and closed eye swaying. The collaborative vocals channel smoky campfire singalongs and elicit an old time party vive. In contrast, another song ‘Voices’ contains overlapping gospel vocals in its chorus, eliciting images of Delaney and Bonnie’s early revival performances, before embarking on a funky and contemporary musical breakdown that allows a quick glimpse into the breadth of the bands influences. In an age where music’s slickness often outweighs its creative balance, the Tim Herron Corporation leans on rustic, yet well produced tunes that reflect their professionalism while staying rooted in the fertile earth of Americana.

The new release by Tim Herron Corporation is a refreshing and original collection of music that stays true to its roots and to the intentions of its creators. This new release covers the spectrum of the groups talents and captures the excitement of their live performances. Fans of well crafted roots music will uncover numerous moments of surprise and interest in this compact collection of songs. Find more information about the band including news on future appearances and releases here.

Key Tracks: Big Brown Boot, Recession Blues, Voices

December 10, 2013
Hearing Aide: John Medeski’s ‘A Different Time’

As a member of the avant-garde jazz trio, Medeski Martin & Wood, John Medeski’s experience as a musician is largely defined by his groove-based keyboard work. Originating in New York City, MMW has stood out as one of jazz’s most talented, innovative acts over the past twenty years. The group’s discography represents a range in style and genre achieved by incredible musicianship, and John Medeski’s influence as a keyboardist has made MMW’s work so consistently creative.

A Different Time marks Medeski’s debut appearance as a solo recording artist. Released by Okeh Records, a recently revived jazz imprint on Sony Masterworks, the album features the unequivocal combination of Medeski and a 1924 Gaveau piano. A Different Time is the product of a season spent in Upstate New York’s Hudson Valley, where Medeski recorded the album in a 19^th-century church-turned recording studio known as Waterfront Studios. Throughout the album’s nine tracks, Medeski explores a style of music characteristic of an earlier, more modestly ambitious time period.

Medeski has described the album as “meditative” and “contemplative.” In its opening, self-titled track, sparse melodies and alluring structures induce a sense of calm while provoking a level of insight generally brought about by weighty lyricism. Medeski’s work communicates sentiments in its composition; A Different Time is a compilation of poetic music. Concluding with two improvised tracks, “Lacrima” and “Otis,” the album is a clear illustration of Medeski’s talent, a progression in his career as a musician.

Key Tracks: A Different Time, I’m Falling In Love Again, Lacrima

December 5, 2013
Hearing Aide: Jimkata Live Album ’10 More Songs’

Upstate’s own Jimkata continues to buzzsaw through genres and expected timetables for success. They have been diligent in the studio over the years and have worked even harder touring, which is why their newest live release 10 More Songs fittingly celebrates the latter. A 14-song commemoration of the embodiment of both Jimkata and their Upstate NY roots, live tracks were plucked from shows in their resident Ithaca and also Rochester, Oriskany Falls and even Brooklyn. Yes, 14 songs.

Looks like the boys over there in the ‘Kata Kamp’ have quite the sense of humor, adding with it an enjoyable 80’s esque cover art with 8th Grade Media Arts type-graphics atop at sunset cover with two pelicans. All I really know about pelicans is they are especially hungry and the same could be said about Jimkata’s meteoric rise to success.

The live compilation for 10 More Songs was masterfully selected. At times during multiple re-listens, I found myself yearning for a bit more hi-fidelity in the mastering of the audio but that is often quickly subsided with slowly-building jams on nearly all the tracks. Not only do most 10 More Songs’ 14 tracks consist of Upstate tour dates, but fittingly, they truly embody the entire body of Jimkata’s song catalog, which fittingly, was often first tested on Upstate NY jam crowds. At least a tune from every Jimkata era or album is represented, including several from their latest release Die Digital, which appropriately is one of the best damn live tracks on the album.

In addition to long-time jam vehicles’ “Greyhound”, from their breakthrough LP Burn my Money, two real surprises come from the tracks “One to Ten” and “Soap.” In the former, listeners are urged to be patient with the song’s live progression as the final two minutes really highlight what Jimkata is capable of as a band when it all gels at the end of real live exploration. Similarly, the album’s fourth song, “Soap”, also starts out of the gates rather slow but layers and layers into a dominant, clean hard jam, driven by Jimkata drummer Packy Lunn and bassist David Rossi.

While some may scoff at the idea of a live album this early in Jimkata’s resume, closer inspection will reveal that Jimkata’s body of work is not only experienced but mature, whereas those two adjectives are not always synonymous. 10 More Songs is a great live-album introduction from this band. Jimkata, as a band with a unique sound with great vocals continues to grow bigger and badder with every tour stop they cram in or festival they play. This new live release contains enough octane to continue furthering that mission for those not going to shows or festivals but chillin on their couches or driving their cars.

Key Tracks: Greyhound, One to Ten, Soap

December 2, 2013
Hearing Aide: North Mississippi Allstars ‘World Boogie’

New Orleans and Chicago can lay claim to their own blues sound, but the Memphis and North Mississippi Hill Country sound is the rarer, less explored gem of sound to discover. Fortunately, Luther and Cody Dickinson, the core of North Mississippi Allstars have spent the better part of the past 20 years sharing this sound with fans, following in the footsteps of producer-father Jim Dickinson. The sound – a gritty, unrefined and powerful force gushes forth in the fantastic World Boogie is Coming. Featuring tracks varying in length from one to ten minutes, the full pantheon of the regional blues sound is delivered through covers from blues legends the Allstars are happy to introduce you to, as well as originals and instrumentals.

“Rollin ‘n Tumblin”, best interpreted by Muddy Waters, kicks off with gritty guitar work from Luther, both plucked acoustic and shredded electric, and primal drums from Cody, leading to a fresh take on the early blues number. “Snake Drive”, the RL Burnside original the trio has performed for years has the vocals strained through a megaphone that makes for a distant, stripped down juke joint vibe. “Meet me in the City”, one of the more upbeat songs on the album (as close to a ballad as NMA gets, via Junior Kimbrough) drifts off into “Turn Up Satan”, where Luther Dickinson sings with a love-scorned blues infusion at its core.

“Shimmy”, another staple from the NMA live catalog is pure instrumental howling guitar while “World Boogie” and “Goin’ to Brownsville” give a taste of local flavors embedded in the vocals. “Jumper on the Line” is 10 minutes of bluesy bliss, anchored by Luther’s guitar and Cody’s drumming and a bass beat held down by Chris Chew, but it is the vocals on this RL Burnside tune that are inviting throughout.

A unique aspect to the album are the short interludes between the main tracks – “That Dog After That Rabbit”, “My Babe”, “Cuttin’ Shorty” – add to the album by providing slight valleys to the multiple peaks on the album. The bonus tracks are solid as well – “Back Back Train”, a lively and seemingly spontaneous “Hodown” and a studio take on a fun live tune, “ML (Goin Home)” are great extras for an album that is strong and thorough. Produced by the Dickinson brothers and featuring Lightnin Malcolm, Alvin Youngblood Hart and Duwayne and Garry Burnside, among many others, the musical history heard in this album is a rare-treat.

Key Tracks: Rollin n Tumblin, Turn up Satan, Shimmy, Jumper on the Line

November 27, 2013
Hearing Aide: Brendan Benson ‘You Were Right’

Singer/Songwriter and power pop emissary Brendan Benson will be releasing his eighth solo album on November 29, 2013 for a Record Store Day Black Friday vinyl only exclusive, and in official digital/CD capacity on December 10^th, through his own Readymade Records.

Benson, who is recognized as the other principal songwriter in addition to Jack White in the Raconteurs, has again developed a melodically infectious and lyrically intelligent collection of songs. Released only a year removed from 2012’s What Kind of World, You Were Right collects the entirety of Brendan’s special Readmade single releases throughout 2013, in addition to demos unearthed and reworked from Benson’s vault to round out the substantial 15 song release.

For fans of Brendan Benson, the usual hallmarks can be expected on this release, sugary sweet melodies, lofty vocals and a willingness to experiment. For those new to Benson, expect to find relevant and often self-depreciating lyrics supported by sturdy melodic foundations that echo Benson’s long and varied list of influences. Benson is blessed with the innate ability to draw the blood out of any melody and inject it with originality and a humble translation. Through his truthful and often humorous commentary on the male/female dynamics of relationships, Benson has developed into one of the greatest modern day songwriters, and on You Were Right, he again delivers a divergent collection, able to sit comfortably under any classification or critique. After a few spins this LP soaks in to you skin, finding you singing in the shower, humming in the car, and waking with its numerous melodies bouncing around your skull.

The LP opens with the hook of a song that is instantly recognizable, yet brand new and completely unique. Just like an ‘old familiar friend’, the opening track ‘It’s Your Choice’ elicits the rare feeling of loving a song the first time you hear it. The addictive instrumentation forces the listener’s ear to crane, like a dog who has just heard a random rustle or tussle outside the window. Benson’s full pop sensibilities are on display with this introduction to the album. Sounding like a classic in the making, the harmonies give the song a big and sleek sound and an groovy aesthetic.

Tracks like ‘Rejuvenate Me and ‘As of Tonight’ continue the theme of Benson’s penchant for opening his records with powerful tracks, a habit that can be traced back to his debut LP. In contrast, ‘Diamond’ which was released as a single, reflects some of the down home influence Nashville (where Brendan lives and the LP was recorded) has had on Benson, both in attitude and melodic expression. This track is a recipient of Benson’s inherent gift to mix any genre with his pop influence, coming out with something contemporary and mellifluous. ‘Diamond’s’ melody line is a high and lonesome back porch holler, smelling of wood smoke and booze, it’s Appalachia backbone transposed with a urban recording studio. The myriad of diverse styles and approaches continue throughout the record spotlighted in tracks such as the 1960’s flashback “I Don’t Want To See You Anymore’, the smoky reggae burn of concert favorite ‘I’ll Never Tell’, and a song that encapsulates Benson’s songwriting style, the vocally dead pan, musically flamboyant ‘She’s Trying To Poison Me’

‘Purely Automatic’ was also one of the singles Benson released this year, and for good reason. Beginning on an edgy descending rock and roll introduction, the longest song on the LP springs excitedly into a banging march. The song was originally a contender for Benson’s 2009 LP My Old Familiar Friend, somehow falling by the wayside, and luckily reappearing here. ‘New Words of Wisdom’, ‘Oh My Love’ and ‘The Fritz’ all use the acoustic guitar as their respective foundation and are the melodic teeter-totters rebounding Benson’s resonant musical ideas. The next to last track of the record is another song featured as a 2013 single release, ‘Swimming’ is easily one of the strongest tracks both musically and lyrically from Benson on the LP. The album concludes with the number ‘Red White and Blues’, a honky-tonk bar room brawl of a tune. Metaphorically referring to certain pharmaceuticals, the track feels as if it could have come from a Raconteur’s recording session, lending itself to that kind of edgy reading.

Brendon Benson’s new LP release You Were Right is a record that offers a rare guarantee to the listener, a promise that the music found within will be honest, made with an attention to detail, and played with conviction and attitude. Benson’s consistent musical output has shown no decline in quality, only an increase in willingness to experiment, and the ability to take chances through artistic expression. Benson has and will continue to offer an honest analysis of the dynamics and intricacies of interpersonal relationships, as well as humorous and always self-aware glimpses of his life and commentaries on our own. His musical development is in constant flux, and his collection of melodies, harmonies and production talents continues to grow and find differing avenues for expression. Lovers of rock and roll that can make you think, as well as dance should look no further that Brendan Benson’s new record You Were Right, available November 29 in a limited LP release and December 10 here in its official capacity.

November 21, 2013
Hearing Aide: Tennis’ ‘Small Sound’ EP

It’s been more than three years since the North Atlantic sailing trip that inspired Alaina Moore and Patrick Riley’s first album under the musical moniker, Tennis. The duo released Cape Dory in 2011, a collection of surf pop tunes that displayed Moore’s swooning vocals among breezy guitar riffs and beach rock beats. Their 2012 follow-up, Young and Old, showed progression; with producer Patrick Carney of the Black Keys involved, Tennis’ music became more than just a summer soundtrack. The album provided a more complete set of tracks, blending rock ‘n roll elements with their signature island sound.

Tennis’ most recent release comes at a time when the sunshine days of summer finally feel like the distant past. Their new EP, Small Sound, features Moore and Riley moving forward as musicians, distancing themselves even further from their Cape Dory days. After working with Carney on their previous project, Small Sound’s production is the product of another one of today’s biggest indie rockers, the Shins’ Richard Swift. This collaboration results the most developed sound Tennis has created to date.

Small Sound opens with its first single, “Mean Streets.” From the get-go, Small Sound continues Young and Old’s focus on Tennis’ evolved musicianship. In an age where indie pop’s utilization of keys generally means danceable synth sounds, piano acts as a driving element throughout the EP. Introducing itself in “Mean Streets,” Tennis’ usage of piano continues into “Dimming Light,” a song whose R&B influences are apparent in a chorus of percussive claps and incredible vocal range. As Small Sound progresses throughout its five tracks, Moore and Riley continue to provide listeners with new components of their music. Small Sound is Tennis’ most complete piece of work yet; it’s the next step in an already impressive career.

Key Tracks: Mean Streets, Dimming Light, 100 Lovers

November 19, 2013
Hearing Aide: Phish Niagara Falls – December 7, 1995

The newest edition of the Live Phish series will be available for purchase and features a classic show from one of the seminal eras of Phish history. The selection is the December 7, 1995 show at the Niagara Falls Convention Center, plucked from a time where Phish began to shed the smaller theaters and arenas of the early 90s, but before they embraced the massive popularity they enjoy today, this show contains almost every element that makes this band one of a kind and serves as a can’t miss purchase this holiday season.

Listen to Taper Lenny Stubbe’s recording of the show

Phish greets the crowd with a somewhat fitting opener in the form of ‘The Old Home Place’. After all, they are in Upstate New York, the scene of many memorable shows in their formative years. Bassist Mike Gordon belts out the lyrics in this short but sweet opener before the band gives way to ‘The Curtain’, one of their earliest original compositions and a somewhat more logical choice to open a show based on the title alone. This is a short but technically sound version and the final guitar chord struck by Trey Anastasio ushers in the beginning of another old school original, “AC/DC Bag”, a segue in the truest sense of the word. Here, the band finally gets a chance to let loose and develop the first true jam of the evening as the energy and power of this Gamehendge classic builds to a frantic finish. As it always does, the jam eventually dissipates, with drummer Jon Fishman immediately moving to the hi-hat and begins ‘Demand’, a short and rather odd original that is found on the band’s fifth major album, Hoist. The first set energy picks back up instantly as Phish dives into the title track of their fourth album, Rift. Poignant solos by both Anastasio and keyboardist Page McConnell highlight this song which is played with a fervor so typical of this band in the early to mid 90’s.

With energy in the room at a peak, the choice is made to go big with ‘Slave to Traffic Light’ and big they went. Even though this may be an odd song placement by today’s standards, Phish destroys this version with all the passion and exuberance of a show closer. The song’s signature slow build is executed to complete perfection and gets capped off by yet another rousing guitar solo that surely left an audience member or two with mouths agape.

‘Guyute,’ a song that made its debut the year prior, follows and ‘Bouncing Around the Room’ then gives the Niagara Falls crowd somewhat of a chance to catch their breath. This turns out to be important as an absolutely smoking ‘Possum’ is then delivered replete with scorching guitar licks and precise drum fills courtesy of Anastasio and Fishman, respectively. The two are clearly locked in, as is the whole band really, and this 14+ minute version goes through many a twist and turn before climaxing. While some may say it’s a song overplayed these days, this version is surely one even the most jaded vet wouldn’t mind hearing on a regular basis; it’s that good. A rare first set a capella closer in ‘Hello My Baby’ follows before Trey tells the audience they’ll resume melting faces in 15 minutes.

The second set picks up right where the first left off with a stellar rendition of ‘Split Open and Melt’ that features a prominent ‘In-A-Gadda-Da-Vida’ tease at the outset of the jam. This song shows Phish at their improvisational best as the jam just drives along and slowly but surely picks up energy and intensity along the way. More inspirational guitar work and well placed piano fills from McConnell highlight this version which clocks in at over 17 minutes. Always cognizant of the ebb and flow of a setlist, ‘Strange Design’ then follows which is succeeded by the primitive version of ‘Taste’ which went by ‘Taste That Surrounds’ in this era. In fact, this song made its debut not even two months prior and is now a regular on setlists.

Feeling the crowd has had a sufficient chance to regain its collective faculties, the Vermont quartet delves into an almost comically uptempo version of ‘Reba’. The composed section is played with such a frenzy that if this were a cassette recording, one might think the stereo was in 2x or fast forward mode; it’s not even close to the speed of a modern day rendition. However, the ensuing jam slips back into classic ‘Reba’ mode as the band moves fluidly and cohesively towards yet another stirring peak, highlighted by sublime bass playing and tempo control from Gordon. This is a truly special version and a must hear if only for the novelty of the composed section and the spaced out “sustain” ending. Instead of the typical “whistle” ending, Phish keeps its moving with a standard (read: powerful) version of ‘Julius’ that allows McConnell another chance to show his chops much to the audible delight of band members and crowd alike.

‘Sleeping Monkey’ and ‘Sparkle’ then follow and serve as two short and sweet second set fillers before giving way to one of the true treats of this show, an absolutely stellar ‘Mike’s Song -> Weekapaug Groove’. They tear through the composed section of ‘Mike’s’ and immediately find themselves locked in a tight, thick groove, no pun intended. Anastasio once again shows off his prowess on the sustain pedal before jumping onto his percussion kit, a staple of the mid 90s’s, and leading the group through yet another monster 17+ minute joy ride that’s equal parts drum circle and arena rock throwdown. Instead of something light and easy to segue into, Anastasio slowly but surely begins to structure the opening of ‘Weekapaug’, the rhythm section soon follows suit and an impeccable segue ushers in the arena rock anthem that is ‘Weekapaug Groove’ that’s played with its typical force and energy before yielding into a somewhat spacey finish.

Fishman then seems to start the hi-hat intro that signifies the beginning of ‘Maze’, which surely would’ve blown the roof off the Convention Center, but instead the band vamps out the ending a little before shutting it down altogether. Never ones to be slaves to conformity, an a capella number also closes the second set in ‘Amazing Grace’. ‘Uncle Pen’ serves as the encore which is another seemingly odd choice for a show with such classic hits and magical moments. As an added bonus, this Live Phish release contains a cut from the show’s soundcheck.

This is a fantastic show selection from one of the seminal points in this band’s history. It has everything from fun bluegrass covers to classic originals, from precise technical compositions to long, free form improv, from breathers to ragers – all the things that make up the very essence of this band. Live Phish has struck gold once again with this release which is sure to please fans of all varieties.

Key Tracks: AC/DC Bag, Slave to the Traffic Light, Reba, Mike’s Song -> Weekapaug Groove

Buy it at Phish Dry Goods

November 12, 2013