oh kee pah

LivePhish.com Haiti Relief 2010 - A Live Phish Download to benefit Haiti Earthquake Efforts - Partners In Health and American Red Cross.

Set 1: Maze, Fee -> Foam, Glide, Split Open and Melt, Mound, The Divided Sky, Esther, Axilla, The Horse > Silent in the Morning, Run Like an Antelope

Set 2: Mike's Song > I Am Hydrogen > Weekapaug Groove, Bouncing Around the Room, It's Ice, I Walk the Line, Tweezer -> Big Black Furry Creature from Mars -> Tweezer, Big Ball Jam, Poor Heart, Fast Enough for You, Llama, Hold Your Head Up > Lengthwise > Hold Your Head Up, Cavern

Encore: Bold As Love

Notes:
Opening show of the band's Fall Tour. Before the show, they appeared on a radio interview with Mike Luoma on WIZN where they talked about the impending release of the new album "Rift" and joked about burying a pair of tickets in the (cold) ground of Burlington CIty Hall Park.

Maze began with an introduction by Mike Luoma from WIZN FM - an alumnus of St. Michael's College

The Divided Sky contained an extended instrumental play on Those Were The Days (The All In The Family Theme by Adams and Strouse)

First Axilla, I Walk The Line (Johnny Cash cover), Big Ball Jam, Fast Enough For You and Lengthwise

Run Like An Antelope contained teases of Those Were The Days and The Lizards as well as "All Fall Down" language

Tuneup before Mike's Song included an Owner Of A Lonely Heart tease

Weekapaug Groove contained teases of Those Were The Days, a vocal jam and some lyrics believed to be from Ninja Custodian's The Price Of Love

Big Black Furry Creature From Mars was performed as an instrumental with lyrics and music from I Walk The Line and Ring Of Fire

Trey dedicated Big Ball Jam to Monitor Engineer and Ball Coordinator Pete Schall and explained the Jam after it happened.

Poor Heart, Fast Enough For You and Llama were performed with Gordon Stone on pedal steel

First Bold As Love since 4/18/90 Denver, CO (~256 shows)

Help support the Haiti Relief efforts and purchase at LivePhish.com


Personal Thoughts: 

My first reaction upon listening this morning in the middle of a lake effect snow band was a how something about this show sounded like Phish 3.0. Then somewhere during the bridge section in Mound and one-tenth of a mile driving visibility it hit me. The vibe. The band sounds excited, playful and joyous. It's a characteristic in their music I never fully appreciated about the earlier days, and I don't believe I would have had that not been so well represented in their music in 2009. Anyway, this whole show smokes from start to finish. Do Haiti a favor, donate 10 bucks and receive this show for free.

Via The Floor:

And here is your official multimedia recap of the first Stew Art event of 2010 held this past Saturday at The Fillmore in Denver. Good stuff all around. Thanks to Brian Spady for the still shots.

This video contains snippets of technobluegrass > Rastafarian Snooop Dogg > How Ryan Felt When The Steelers Missed The Playoffs > Q&A > Cemetery Walk Part III > Panty Droppin' Pop.

By Alan Bisbort

In the fullness of time, Vermont's two greatest exports may not be Ben and Jerry. They may just turn out to be former Burlington mayor Howard Dean and Phish, the Burlington-based band who, in fact, have their own Ben & Jerry's flavor.

Similarities can be found—if you squint real hard—between Dean and Phish. Both nurtured their visions in Burlington, the low-key city on lovely Lake Champlain and then, slowly and organically, worked their way into the national consciousness. Both valued the grassroots over the top-down model and proved it could lead to victory. Both eschewed cults of personality or pre-fab images and carried on with their game plans despite an initial lack of mainstream acceptance. And, once they hit the big time, both were harshly criticized by those who did not "get" the Deaniac or Phishhead phenomenon.

Parke Puterbaugh, author of a revealing new book about the band, Phish: The Biography (Da Capo), gets it. He can, in fact, personally attest to the disrespect the band seems to generate among the hip cognoscenti. Puterbaugh met Phish, and first really listened to their music, in 1995, when Rolling Stone sent him to Vermont in the dead of winter to write a profile. He filed his piece on deadline and then it "languished in editorial inventory as a new regime in Rolling Stone's music department sat on the story." Meanwhile, hip-hoppers, alterno-pretty-boy bands and caterwauling divas all received their moments in the media sun—and are now, of course, totally forgotten.

But, Puterbaugh noted, "Phish just kept ballooning in popularity," and the hip music press didn't know what to do with a band that had bypassed the hit-making machinery altogether. By the time Rolling Stone finally ran Puterbaugh's profile of the band two years later, Puterbaugh had made several more trips to Vermont and the piece itself ballooned to 5,000 words, a mini-epic by Stone standards. By then, Phish already owned six gold albums (500,000 sales) and two platinum albums (1 million) and consistently drew the biggest crowds on their tours. The once trendsetting magazine looked like Johnny-Come-Latelys to the party. Read more