Thursday, May 6, 2010

ohkeepahblog: "Recommended Download" Phish 8.11.93 Club Eastbrook ~ Grand Rapids, MI

Wednesday Augutst 8th, 1993 Eastbrook Theatre ~ Grand Rapids, MI

Set 1: Buried Alive > Runaway Jim > Weigh > It's Ice, Ginseng Sullivan, My Friend, My Friend, The Mango Song, Stash, Sparkle > Cavern

Set 2: Mike's Song > The Great Gig in the Sky > Weekapaug Groove, Esther > All Things Reconsidered, Bouncing Around the Room -> Rift > Jesus Just Left Chicago, My Sweet One > Run Like an Antelope
Encore: Sweet Adeline, Bold As Love

Notes: Ginseng Sullivan made its Phish debut in the first set, featuring Trey on acoustic and Fish on washboard. Sweet Adeline was performed without microphones. My Sweet One and Antelope each contained multiple Simpsons signals, and My Sweet One also contained an Aw Fuck! signal and Oom Pa Pa signal. Mike teased the Jeopardy! theme during Antelope, which also included a tease of A Love Supreme. Fishman quoted the vocals of Games Without Frontiers during Mike’s Song. This Mike’s Groove is included as filler on Live Phish 07.

SOURCE(F.O.B.) B&K 4011's>DA-P20 

transfered: da-20mkii>montego II plus s/pdif>soundforge>cdwav>shn
Received From : Brandon Johnston

Special thanks to hoydog23 for the mps links and maintaining the Phish spreadsheet

ArkansasTimes: Brain-dead and made of money [Phish 3D Review]

However, while the band's studio albums are built on taut, three-minute pop songs, the infamous live shows are unlistenable to my ears. The band, in signature fashion, will glut a gorgeous tune to bloated proportions with meandering, decadent solos that are technically astounding but usually indistinguishable from the previous one. While feverishly gilding the proverbial lily in concert, they rarely add anything of substance to the track, instead distracting and obscuring the core, the soul of the great songs themselves.

For better or worse, it's the official Phish stamp that defines them. The band's fans love it; it's not for me.

Now, can the same things be said about this extra-dimensional “stampede” of 3D, this “juvenile abomination,” as the increasingly outspoken Roger Ebert recently branded it? Are studios beginning to obfuscate what makes movies great — the simple heart of each — for extraneous 3D technology?

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