Michael shaped part of my musical listening, that is for sure. I still remember getting the Thriller album on vinyl. Jacket folds out to show Mike and the tiger.
Hopefully he has found peace . . .
I Want You Back, Umphrey's McGee (our wedding)
Thursday, June 25, 2009
Friday, June 19, 2009
A Monday Out of the Apartment
I just wanted to touch base this overcast and muggy Friday. First of all, the weather so far this summer has been the oddest in the four years we have been in Manhattan. I think there were better days in May, maybe April. When you can see the sun, wear shorts, and enjoy being outside. The rain, the clouds, mugginess minus the pay-off has just been less that satisfactory. Especially when you are home looking for excuses to get out of the apartment.
Like on Monday, when Lisa Hannigan and her band set up in the children's section of the TriBeCa Barnes & Noble to play a short, free set. All songs from Sea Sew, of course, but still lovely to be right in front of her, during the day, with kids around. And for free. Got to talk with her briefly afterward -- she remembered meeting me before (blush). I am in the process of uploading photos, so I will make sure to share as soon as they are there. And I get to see her tonight at The Gramercy Theatre. Four times in a few months makes me smile.
(more photos)
After a Whole Foods salad, I decided to walk north along Greenwich and Washington Streets to The High Line, which had just opened up a few days before. All of the discussion about and planning of The High Line seemed to happen since we had moved to New York, so I was excited to actually see it come to completion. And, well, my focus in urban design and redevelopment certainly added an extra level of interest. The walk north was actually quite interesting for me -- it is fun to be able to explore Manhattan in a neighborhood and along streets that I had yet to travel. And that part of the City, even though it is so close to Downtown and SoHo and the Holland Tunnel, is actually quite quiet on a Monday afternoon. There were blocks where I had the sidewalk to myself. And Calexico (in my ears).
Shortly, I noticed an abandoned section of train above me to the left. The intersection of the tracks and the buildings provided for some interesting spaces just above street level.
I reached Gansevoort and the entrance to the elevated train line. While I was expecting someone to regulate the number of visitors, there were just three people sitting on a table, clicking their counters. The only regulation that happened was instructing those with bikes to use the numerous racks underneath the stairs (no bikes allowed).
I found the park to be incredibly successful. In its simplicity, choice of materials, "wild" landscaping, and variety of experiences. While the park is currently only eight or nine blocks long, it sure felt longer. You walk under, or through, two buildings. There are moments when you are elevated over a road looking east, or north. Twists and turns provide views south, even back towards the Statue of Liberty. The park is a completely realized design, from what I can tell, and a success.
(more photos)
As soon as I got home on Monday, the skies opened up. And it seems like it hasn't stopped raining . . . Hey, at least I got out of the apartment.
Like on Monday, when Lisa Hannigan and her band set up in the children's section of the TriBeCa Barnes & Noble to play a short, free set. All songs from Sea Sew, of course, but still lovely to be right in front of her, during the day, with kids around. And for free. Got to talk with her briefly afterward -- she remembered meeting me before (blush). I am in the process of uploading photos, so I will make sure to share as soon as they are there. And I get to see her tonight at The Gramercy Theatre. Four times in a few months makes me smile.
(more photos)
After a Whole Foods salad, I decided to walk north along Greenwich and Washington Streets to The High Line, which had just opened up a few days before. All of the discussion about and planning of The High Line seemed to happen since we had moved to New York, so I was excited to actually see it come to completion. And, well, my focus in urban design and redevelopment certainly added an extra level of interest. The walk north was actually quite interesting for me -- it is fun to be able to explore Manhattan in a neighborhood and along streets that I had yet to travel. And that part of the City, even though it is so close to Downtown and SoHo and the Holland Tunnel, is actually quite quiet on a Monday afternoon. There were blocks where I had the sidewalk to myself. And Calexico (in my ears).
Shortly, I noticed an abandoned section of train above me to the left. The intersection of the tracks and the buildings provided for some interesting spaces just above street level.
I reached Gansevoort and the entrance to the elevated train line. While I was expecting someone to regulate the number of visitors, there were just three people sitting on a table, clicking their counters. The only regulation that happened was instructing those with bikes to use the numerous racks underneath the stairs (no bikes allowed).
I found the park to be incredibly successful. In its simplicity, choice of materials, "wild" landscaping, and variety of experiences. While the park is currently only eight or nine blocks long, it sure felt longer. You walk under, or through, two buildings. There are moments when you are elevated over a road looking east, or north. Twists and turns provide views south, even back towards the Statue of Liberty. The park is a completely realized design, from what I can tell, and a success.
(more photos)
As soon as I got home on Monday, the skies opened up. And it seems like it hasn't stopped raining . . . Hey, at least I got out of the apartment.
Tuesday, June 16, 2009
Upper East Side Supermarket Comparison
I am finally getting around to posting the results of Jen and My First Annual Upper East Side Grocery Store Prices Comparison. We did the research a few weeks ago, visiting six grocery stores in about 90 minutes. I then went home and created a spreadsheet, adding Fresh Direct into the mix. I have laid out a spreadsheet, and have color-coded our results, with Green being the lowest price per category and Red the highest. That Eli's comes across red from embarrassment was no surprise to us; there were small surprises, though, on the low end.
Feel free to post any questions or suggestions for our next go-round.
Feel free to post any questions or suggestions for our next go-round.
Sunday, June 14, 2009
City of Champions!
Still smiling. God, I am so happy . . .
- 5 and 0 all time in game Sevens on the road
- Fourth sports team to come back from down 0-2 to win on the road; first since '71
- Last team to win game Seven in the road since '79 Pirates
- 5 and 0 all time in game Sevens on the road
- Fourth sports team to come back from down 0-2 to win on the road; first since '71
- Last team to win game Seven in the road since '79 Pirates
Friday, June 12, 2009
City of Champion(s)
First, let's go to China Jack for some inspiration.
Go Grins!
Next, I would like to repost this blog post from The Pens Blog:
Go Grins!
Next, I would like to repost this blog post from The Pens Blog:
This team had many dark days in the past.
Michel Briere, a promising rookie with a very bright future, played only one season before he tragically died in a car accident.
The team finished last in the league in both 1983 and 1984.
Mario Lemieux was diagnosed with Hodgkin's disease.
David Volek.
The rats in Florida.
Chapter 11.
Jaromir Jagr and Frantisek Kucera were traded for Kris Beech, Michal Sivek and Ross Lupaschuk.
In 2002 the team missed the playoffs for the first time in 12 years.
They finished last place once again in 2004.
But the idea that the Penguins would suit up in a different city was by far the lowest point for any fan of the franchise.
It was especially cruel considering that, fueled by Sidney Crosby and Evgeni Malkin, the Penguins were once again competitive.
Just as things started looking up on the ice, they started falling apart off of it.
But, obviously, the story didn't end with the Penguins moving to Kansas City.
___
No matter where you look, you see people that are doubting the Pittsburgh Penguins.
They point to Detroit's 11-1 home record this postseason.
They tell you that 12 of the 14 game sevens in Stanley Cup history have been won by the home team.
They state that the Red Wings' experience and skill will be too much for the Penguins to overcome on Friday night.
To be honest, when you look at the numbers, those people are right.
When you look at historical evidence, those people are right as well.
The Pittsburgh Penguins will be in the fight of their lives on Friday night.
But, to state that they will fail just because the odds are against them is ludicrous.
If you've read this far you have already seen how many odds the Pittsburgh Penguins franchise has overcome to get to where they are today.
But everything we just said is only historical evidence.
In the grand scheme of things something that happened ten years ago has no relevance today, even if the players were wearing black and gold.
All that matters is what has happened to THIS team, the 2008-2009 edition of the Pittsburgh Penguins.
If you want to talk about facing down adversity and succeeding, this team is an outstanding example.
During the offseason the Penguins lost a lot of talent.
Marian Hossa, Ryan Malone, Gary Roberts, Ty Conklin, Adam Hall, Jarko Ruutu and Georges Laraque all suited up for different teams to start this season.
The media immediately jumped all over it.
They said that the turnover was too much.
They said that the Pittsburgh Penguins could not possibly succeed without those players.
When Sergei Gonchar injured his shoulder in the preseason the world had already written this team off.
The Pittsburgh Penguins opened the season with one of the best records in franchise history.
And then there was the "runner-up jinx."
The Penguins and their fans were repeatedly told how difficult it would be to succeed after losing in the Stanley Cup Final the year before.
And those warnings were correct.
It was difficult.
It was extremely difficult.
In fact, by February it looked like the pundits were right.
The Pittsburgh Penguins were in tenth place in the Eastern Conference.
Michel Therrien had been fired.
Ryan Whitney had been traded.
Everyone assumed that the Pittsburgh Penguins would miss the playoffs.
They had their "I told you sos" ready.
The Pittsburgh Penguins finished fourth in the Eastern Conference.
They were told they could not match the Philadelphia Flyers and their six 25 goal scorers.
They defeated them in six games.
After dropping the first two games in the Verizon Center, critics gave the Penguins no hope against the Washington Capitals and "the best player in the NHL by far."
The Penguins beat the Capitals 6-2 in Washington in game seven.
Cam Ward was the hottest goaltender in the playoffs. His record again the Pittsburgh Penguins was stellar.
The "Cardiac Canes" fell in four games.
The Pittsburgh Penguins then entered a familiar scenario.
They lost the first two games of the Stanley Cup Final in Detroit.
The world was ready to start engraving the Red Wings' named on the Cup.
The Pittsburgh Penguins fought back and evened up the series.
Then they lost 5-0 in Detroit in game five.
You could ask every sports commentator in the world what their thoughts were and 99% of them would have said "Detroit in six."
Friday night is game seven.
___
Over the last few days Penguins fans have been given a million reasons why the Red Wings will dominate tomorrow night's game.
None of them matter.
Every time this team has been told they can't, they respond with one phrase:
Yes We Can.
Saturday, June 6, 2009
I feel the feeling I forgot
Since it had been raining all day in New York, I made sure to drag out all of our rain gear before picking up Laura in SoHo before we got on the road. That included pants, jackets, and extra plastic bags for the seats (she already was wearing her Wellies). And even though we were in the uppermost part of the venue Trey-side (Sec 26, Row L), we stayed relatively dry throughout the whole show. It wasn't until 2001 that Laura flashed me a look that said "Ok, now it is really getting damp." Thankfully, the funk forced us to get down and warm up before the beautiful Slave to the Traffic Light closer (we heard A Day In the Life walking out . . . )
As I have made clear, I am struggling a bit in comparing show to show to show. It is my natural instinct to automatically start putting this version up against that, what was "better." And one would think that having seen three in six days, it would be easier. But maybe it can be attributed to the five years, or simply that I am taking each as it comes, as I can't tell you which show was "better." I know that I didn't mind any of the songs in the first set last night. (I didn't want to hear every song in the first set, but I wasn't irritated with any of the song choices as I was with the first set on Tuesday.) And the second set actually had some flow and structure to it that was missing in Tuesday and Fenway.
Someone somewhere called Wilson. I was holding out for Tube, but it was a good call to try and get the soaked-but-spirited crowd involved. First Buried Alive of 3.0 was short and sweet. I was taken aback at first when I heard Trey launch into Kill Devil Falls -- twice in the same three-night stand? -- but I quickly let that pass and enjoyed hearing it again. I thought that the last part of the song (after the pause) was quite rippin'. I honestly don't remember much with the AC/DC Bag. Standard? The I Didn't Know was a repeat for me from Hampton, but Fishman seemed to put a bit more effort into last night's vacuum solo. As a fan of My Friend My Friend, it was a treat to hear it. It was played pretty well, actually, for being one of the more "composed" songs.
It was during Ya Mar where things last night started to get really good. Trey was clearly enjoying himself, smiling, tweaking the lyrics (calling out to Leo, "Mike's grandpa"). Maybe his fingers were finally warm. Nice solos from Page and then Mike. My favorite Phish album is Billy Breathes, and I enjoy hearing just about every song off of that album -- Phish offered two last night, one in each set. I thought that Theme was played well and pushed ever so slightly. Although, the band saved the best for last. Well, second to last, actually. Highlight for me has to have been the Boogie On Reggae Woman. Nothing adventurous or overblown, this version just got everyone moving and grooving in the mist. Deep, deep bass from Mike during this song with some great funk-laden keys from Page. At some point in the jam, Laura yells out "I ain't afraid of no ghost!" A few moments later, I heard what she was talking about with the Ghostbusters teases (proud husband, lol). Really fun. And the Melt that followed was no slouch, either. I was hoping to hear this song last night, and this one ventured into some dark chaos. Laura asked me if it was normal for Phish to venture into that territory. Maybe not as powerful as, say, Cypress Mike's Song, but for 3.0, it was notable.
All in all, a good first set. Certainly without the lulls of JB1. And enough "movers" to get those of us in the nose-bleeds out of our seats, dancing off the rain.
I was still holding out for a Tube, or maybe a Crosseyed & Painless. Guys in line for the bathroom were calling a 2001 opener. But after a 30-minute break, the band came out and Mike began banging and rumbling on his bass -- Down With Disease. Fenway's version was rocking Type I all the way through, and simply added to an otherwise packed first set. This version, while also essentially Type I, seemed to carry a bit more weight as a Set Two opener. And maybe since it segued into another song. Either way, I quite enjoyed this version. And I really liked the segue into Twist. Possibly the smoothest of 3.0? I wasn't at Thursday night's show, but there was mention of a brief Oye Coma Va, I believe? Well, Twist had a full on Oye Coma Va jam. First Page, I think, then Trey, slipped out of it slightly, then everyone was on board before finishing up Twist . . . and it dissolved into the twinkling beginning of Piper. Such a sucker for Piper; although, I think I will always compare to the '98 Prague version. This wasn't that forceful, or far ranging, but I am not at all complaining. Backwards Down the Number Line has completely grown on me -- the jangly Dead-like melody, the chorus interlocking with Page and Trey. Happy to hear it last night -- and sing along. Free, the second Billy Breathes song and a repeat from Fenway; good version, pushed maybe slightly?
I am going to have to listen to Twenty Years Later again, but I kind of dug it on first listen. Maybe it is in a minor key? Something about it is a bit dark. Trey rattles off a number of fictional (?) situations that he has dealt with -- add it to the growing list of introspective Trey tunes. The way the chorus is delivered reminded me a bit of Bug, with that off-beat rhythm. Interesting, maybe not the best song to follow Free. The closing 2001 > Slave to the Traffic Light was good. Trey seemed to struggle a little bit with the notes on 2001, but it had a nice build to it, getting a little funky. Slave, on the other hand, was simply beautiful. Really well done to my ears. Funny how you realize you were missing something only after it reappeared -- Slave is like that.
As I mentioned, Laura and I took off during A Day In the Life. It sounded fine as we walked way, excited to beat the rush and remove our soggy rain gear . . . I left last night not upset that I am missing Camden on Sunday (I had a lawn ticket), but excited for Connecticut and SPAC later in the summer. I am really happy that I was able to see Phish this week, and am even more happy with how they are playing and looking and seemingly enjoying themselves on stage. As Laura and I talked about it in the car, it is almost as though they have returned to graduate school or something after gone through a number of years in undergrad. They are focused, and know what works and what doesn't. They aren't perfect, but there seems to be this cautious wisdom to their playing.
Or maybe it was just late in the car . . .
As I have made clear, I am struggling a bit in comparing show to show to show. It is my natural instinct to automatically start putting this version up against that, what was "better." And one would think that having seen three in six days, it would be easier. But maybe it can be attributed to the five years, or simply that I am taking each as it comes, as I can't tell you which show was "better." I know that I didn't mind any of the songs in the first set last night. (I didn't want to hear every song in the first set, but I wasn't irritated with any of the song choices as I was with the first set on Tuesday.) And the second set actually had some flow and structure to it that was missing in Tuesday and Fenway.
Someone somewhere called Wilson. I was holding out for Tube, but it was a good call to try and get the soaked-but-spirited crowd involved. First Buried Alive of 3.0 was short and sweet. I was taken aback at first when I heard Trey launch into Kill Devil Falls -- twice in the same three-night stand? -- but I quickly let that pass and enjoyed hearing it again. I thought that the last part of the song (after the pause) was quite rippin'. I honestly don't remember much with the AC/DC Bag. Standard? The I Didn't Know was a repeat for me from Hampton, but Fishman seemed to put a bit more effort into last night's vacuum solo. As a fan of My Friend My Friend, it was a treat to hear it. It was played pretty well, actually, for being one of the more "composed" songs.
It was during Ya Mar where things last night started to get really good. Trey was clearly enjoying himself, smiling, tweaking the lyrics (calling out to Leo, "Mike's grandpa"). Maybe his fingers were finally warm. Nice solos from Page and then Mike. My favorite Phish album is Billy Breathes, and I enjoy hearing just about every song off of that album -- Phish offered two last night, one in each set. I thought that Theme was played well and pushed ever so slightly. Although, the band saved the best for last. Well, second to last, actually. Highlight for me has to have been the Boogie On Reggae Woman. Nothing adventurous or overblown, this version just got everyone moving and grooving in the mist. Deep, deep bass from Mike during this song with some great funk-laden keys from Page. At some point in the jam, Laura yells out "I ain't afraid of no ghost!" A few moments later, I heard what she was talking about with the Ghostbusters teases (proud husband, lol). Really fun. And the Melt that followed was no slouch, either. I was hoping to hear this song last night, and this one ventured into some dark chaos. Laura asked me if it was normal for Phish to venture into that territory. Maybe not as powerful as, say, Cypress Mike's Song, but for 3.0, it was notable.
All in all, a good first set. Certainly without the lulls of JB1. And enough "movers" to get those of us in the nose-bleeds out of our seats, dancing off the rain.
I was still holding out for a Tube, or maybe a Crosseyed & Painless. Guys in line for the bathroom were calling a 2001 opener. But after a 30-minute break, the band came out and Mike began banging and rumbling on his bass -- Down With Disease. Fenway's version was rocking Type I all the way through, and simply added to an otherwise packed first set. This version, while also essentially Type I, seemed to carry a bit more weight as a Set Two opener. And maybe since it segued into another song. Either way, I quite enjoyed this version. And I really liked the segue into Twist. Possibly the smoothest of 3.0? I wasn't at Thursday night's show, but there was mention of a brief Oye Coma Va, I believe? Well, Twist had a full on Oye Coma Va jam. First Page, I think, then Trey, slipped out of it slightly, then everyone was on board before finishing up Twist . . . and it dissolved into the twinkling beginning of Piper. Such a sucker for Piper; although, I think I will always compare to the '98 Prague version. This wasn't that forceful, or far ranging, but I am not at all complaining. Backwards Down the Number Line has completely grown on me -- the jangly Dead-like melody, the chorus interlocking with Page and Trey. Happy to hear it last night -- and sing along. Free, the second Billy Breathes song and a repeat from Fenway; good version, pushed maybe slightly?
I am going to have to listen to Twenty Years Later again, but I kind of dug it on first listen. Maybe it is in a minor key? Something about it is a bit dark. Trey rattles off a number of fictional (?) situations that he has dealt with -- add it to the growing list of introspective Trey tunes. The way the chorus is delivered reminded me a bit of Bug, with that off-beat rhythm. Interesting, maybe not the best song to follow Free. The closing 2001 > Slave to the Traffic Light was good. Trey seemed to struggle a little bit with the notes on 2001, but it had a nice build to it, getting a little funky. Slave, on the other hand, was simply beautiful. Really well done to my ears. Funny how you realize you were missing something only after it reappeared -- Slave is like that.
As I mentioned, Laura and I took off during A Day In the Life. It sounded fine as we walked way, excited to beat the rush and remove our soggy rain gear . . . I left last night not upset that I am missing Camden on Sunday (I had a lawn ticket), but excited for Connecticut and SPAC later in the summer. I am really happy that I was able to see Phish this week, and am even more happy with how they are playing and looking and seemingly enjoying themselves on stage. As Laura and I talked about it in the car, it is almost as though they have returned to graduate school or something after gone through a number of years in undergrad. They are focused, and know what works and what doesn't. They aren't perfect, but there seems to be this cautious wisdom to their playing.
Or maybe it was just late in the car . . .
Thursday, June 4, 2009
For the Price of a Cab Ride . . .
My friend Phillip asked me at some point last night How many people do I think would have been at the winery without the internet? Twenty, thirty? It was a rainy Wednesday night with no concerts scheduled for the new, upscale wine bar/concert venue, City Winery. But last night, around 10:00, I received an email that a message board was all, well, atwitter about a Twitter sent out by a magazine. See how that works? Phish was supposedly at City Winery. It was Mike, the bass player's birthday, and with the night off, I thought that it could very well be true.
Well, Phish didn't play. But it was still more than worth it . . .
06.03.09
Mike Gordon, Billy Kreutzman, Scott Murawski
City Winery, New York, New York
Set One:
Doin My Time, (arrived . . . ) Eyes of the World > Cumberland Blues
Set Two:
Peggy-O^, Tore Up, Come Together > Skin it Back, US Blues, Express Yourself, Quinn the Eskimo > Mercury Blues
Notes:
Mike's birthday
(Mike playing a new bass given to him for his birthday by Page before show; red with this flame cut out)
^ with Tara Nevins (Donna The Buffalo) on vocals
Phillip and I arrived during Eyes of the World to find Steve holding a table for us near the back. Throughout the rest of the first set, the venue just became more and more packed. The wonders of technology. I thought the music was perfect. Fun and loose and a bit ragged. As we were sitting there, we talked about the appeal of trios for all of those reasons. Billy had that slightly reckless confidence; Scott is a really good guitar player; and birthday boy was doing his thing, rocking this crazy looking bass. Eyes into Cumberland was great; always been a fan of Donna the Buffalo and Peggy-O was a pretty little number; I had *just* told Steve and Phillip how I wanted to hear Skin it Back when the song started. And it was worth the cab ride alone to hear Mike sing Express Yourself . . .
Fun stuff.
Well, Phish didn't play. But it was still more than worth it . . .
06.03.09
Mike Gordon, Billy Kreutzman, Scott Murawski
City Winery, New York, New York
Set One:
Doin My Time, (arrived . . . ) Eyes of the World > Cumberland Blues
Set Two:
Peggy-O^, Tore Up, Come Together > Skin it Back, US Blues, Express Yourself, Quinn the Eskimo > Mercury Blues
Notes:
Mike's birthday
(Mike playing a new bass given to him for his birthday by Page before show; red with this flame cut out)
^ with Tara Nevins (Donna The Buffalo) on vocals
Phillip and I arrived during Eyes of the World to find Steve holding a table for us near the back. Throughout the rest of the first set, the venue just became more and more packed. The wonders of technology. I thought the music was perfect. Fun and loose and a bit ragged. As we were sitting there, we talked about the appeal of trios for all of those reasons. Billy had that slightly reckless confidence; Scott is a really good guitar player; and birthday boy was doing his thing, rocking this crazy looking bass. Eyes into Cumberland was great; always been a fan of Donna the Buffalo and Peggy-O was a pretty little number; I had *just* told Steve and Phillip how I wanted to hear Skin it Back when the song started. And it was worth the cab ride alone to hear Mike sing Express Yourself . . .
Fun stuff.
Wednesday, June 3, 2009
This time will be different/until I do it again. (Phish, Night One Jones Beach)
As I was leaving Fenway Sunday evening, I was slowly starting to feel it, what it was like to see Phish "back when." I did not attend Coventry, so my last 2.0 concert was the pre-Coventry show at Camden. It was a solid Phish show, with definite highlights (early set YEM > Ghost, Sneakin Sally). As I caught the ferry to Philadelphia, I was convincing myself that I was ok with never experiencing that again. Fast forward almost five years to the Hampton Coliseum when I stood for three hours with this giant grin on my face. My happiness focused on simply seeing those four musicians on stage again. Now, I have discussed my feelings about Hampton as a "Phish show" and the business-like attitude as they seemingly crossed songs off a list. Sunday, at Fenway, my feelings began navigate from spectacle to show. And last evening, at Jones Beach, I am convinced I felt it again.
I realize we can nit-pick the songs and the transitions (be happy, there were segues!), as there certainly were hiccups. And the improvisation is still lacking, at least compared to what most Phish fans expect. But something about Trey's focus and energy, and how the music got me moving, hit me where it hadn't for five years. I am sure my proximity to the stage helped, and the loud and clear sound, as well as the casual nature of the day (thanks Phillip and Lily). But it was the music that hit.
After a late lunch, we left the City around 5:15 pm, opting for the circuitous route than the more-direct-with-more-traffic. Who knows if it saved us any time, but after we passed JFK, it was smooth sailing and we hit the furthest lot around 7:30 or so. Beer in hand (well, in a cup), we joined the procession to the venue hassle free (other than the balloon vender behind the bush). For all the warnings I read about Jones Beach and the cops (and then the sound), the trip was completely harmless and uneventful.
As we made our way to the venue, we encountered many fans and scalpers alike with extra tickets. We even had three or four extras with us that we knew we wouldn't be able to get rid of. So just before reaching the check point, we ran across some guy with three tickets aloft. "Free, take 'em." Since my ticket was in an upper section, I took a look at where these tickets were -- Section E. So I upgraded myself, just to the right of the soundboard, immediately behind a "corporate" box. Certainly one reason for my spirits . . .
After sitting through some Neko Case and I believe Al Green, the band came out around 8:10. I have always been a huge fan of Runaway Jim openers, but for some reason this was off of my radar, so I was pleasantly surprised with the opening notes. Relatively short (seven minutes) it served its purpose. Foam was another surprise, and I couldn't help but think of my first show fifteen years ago when that song also was the second song in the first set. The first of two new debuts came next, Stealing Time from the Faulty Plan. I quite liked it; on second and third listens, I think it reminds me of a slowed down Birds of a Feather; to others it sounds like 46 Days. Either way, I think it is Trey's lyrics that stand out: "I've got a blank space where my mind should be." Along with the second debut of the night, Kill Devil Falls, it is clear Trey is looking to the last few years for inspiration for these tunes (more so than the three debuts at Fenway).
A nice driving Timber Ho! followed, along with a crowd pleasing albeit standard cover of Cities. Driver, a song I haven't thought about for years was a short treat; its lyrics have always made me smile. The first "jam song" of the evening, Reba, was great to hear. About sixteen minutes long, this version featured the obligatory fan-led glow stick war along with "some great Trey" (as I wrote in my book). For how much Mike was up front in Fenway, Trey was front and center last night. Possum, Farmhouse, If I Could was an interesting triumvirate to close the show. It is almost as though the three songs should have been flipped or something, if I was writing the setlist. With that said, though, Farmhouse got me to stare at the stars above me and the If I Could was longer than I was expecting. There was some nice back and forth and held up well as a set closer.
Set break featured what sounded to be some Mingus big band. All in all, I enjoyed the first set. It was about 80 minutes long, featured some songs that were surprises, a new one I quite liked, and I was dancing. Successful.
If I was happy with a Runaway Jim opener, then I was thrilled with Mike's Song. Again, it harkened back to my first show, which opened with Mike's > Simple. The eight-minute Mike's was really good, from what I can remember. I wrote "Jedi Trey! Awesome." Trey focused, bending and squeezing notes out of his guitar for a great jam. Although, that playing wasn't carried completely through with a bit of a forced transition into Simple along with a lyrics flub. I will say, though, that the song became turned quite pretty in its jam. The segue from Simple into Wolfman's Brother -- a song I was hoping for in Boston -- was smoother. And the Blues-based jam coming out of Wolfman's was great, I thought . . . until Fishman cut it to an early halt. Right in the middle of Trey's playing, Fishman pushed his nose in with the fast intro drumming to Weekapaug Groove. At that, Trey and Mike shared a glance and had to gather themselves for the transition. It just seemed completely out of place as I was caught up in the jam. And while I knew it was Weekapaug he was playing, in the back of my mind, I was hoping it was Brother. It could have worked -- Fishman pushing through with that odd quick drumming, capturing the off-kilter song that is Brother. Just wishful thinking. Not to take away from Weekapaug, as I am a fan, but it just didn't sit well. Circus Comes to Town really brought the energy down, but I thought that the lyric "never thought I could make it this far" was fitting.
The second debut of the evening followed, Kill Devil Falls. Some fans had heard a new song soundchecked at Fenway and it was identified as this song. But it is a surprise that it garnered enough attention to be requested from the crowd. But according to Trey, someone did request it. And Trey complied. "Thank you for listening and thank you for requesting. The thanks are all yours." To my ears, it sounded as though it was a sped up 46 Days. That rock or rockabilly sound, with maybe some Stones mixed in. "This time will be different/until I do it again." "Stared at the ceiling for over a day/but none of my questions are answered this way." Made me think of Trey in a small room with lots of time to think . . . Maybe I am putting too much into the lyrics.
The Harry Hood late in the second set was the longest song of the evening. It became a bit spacey, complete with Trey staring off past the bleachers. And I remember Page using some interesting keyboard effects during the "pretty section." It seemed as though the band was actually trying some new ideas in the middle of Hood. While I appreciate their efforts, I am going to have to relisten to assess their success. Hood had a soft segue into Loving Cup, which proved to be quite the rocking version. The choice of Suzy Greenberg as an encore just solidified this fan's feeling that "back when" is inching closer to now . . .
"I stepped right up to the cliff side . . . this time's gonna be different." Lyrics from Kill Devil Falls. I am starting to realize that as a fan, I am longing for something that was and hope it will be. But with everything that Trey and the band was dealing with those last years before Coventry, I am sure they want it to be different. I guess we need to wait and see how the two are resolved . . .
I realize we can nit-pick the songs and the transitions (be happy, there were segues!), as there certainly were hiccups. And the improvisation is still lacking, at least compared to what most Phish fans expect. But something about Trey's focus and energy, and how the music got me moving, hit me where it hadn't for five years. I am sure my proximity to the stage helped, and the loud and clear sound, as well as the casual nature of the day (thanks Phillip and Lily). But it was the music that hit.
After a late lunch, we left the City around 5:15 pm, opting for the circuitous route than the more-direct-with-more-traffic. Who knows if it saved us any time, but after we passed JFK, it was smooth sailing and we hit the furthest lot around 7:30 or so. Beer in hand (well, in a cup), we joined the procession to the venue hassle free (other than the balloon vender behind the bush). For all the warnings I read about Jones Beach and the cops (and then the sound), the trip was completely harmless and uneventful.
As we made our way to the venue, we encountered many fans and scalpers alike with extra tickets. We even had three or four extras with us that we knew we wouldn't be able to get rid of. So just before reaching the check point, we ran across some guy with three tickets aloft. "Free, take 'em." Since my ticket was in an upper section, I took a look at where these tickets were -- Section E. So I upgraded myself, just to the right of the soundboard, immediately behind a "corporate" box. Certainly one reason for my spirits . . .
After sitting through some Neko Case and I believe Al Green, the band came out around 8:10. I have always been a huge fan of Runaway Jim openers, but for some reason this was off of my radar, so I was pleasantly surprised with the opening notes. Relatively short (seven minutes) it served its purpose. Foam was another surprise, and I couldn't help but think of my first show fifteen years ago when that song also was the second song in the first set. The first of two new debuts came next, Stealing Time from the Faulty Plan. I quite liked it; on second and third listens, I think it reminds me of a slowed down Birds of a Feather; to others it sounds like 46 Days. Either way, I think it is Trey's lyrics that stand out: "I've got a blank space where my mind should be." Along with the second debut of the night, Kill Devil Falls, it is clear Trey is looking to the last few years for inspiration for these tunes (more so than the three debuts at Fenway).
A nice driving Timber Ho! followed, along with a crowd pleasing albeit standard cover of Cities. Driver, a song I haven't thought about for years was a short treat; its lyrics have always made me smile. The first "jam song" of the evening, Reba, was great to hear. About sixteen minutes long, this version featured the obligatory fan-led glow stick war along with "some great Trey" (as I wrote in my book). For how much Mike was up front in Fenway, Trey was front and center last night. Possum, Farmhouse, If I Could was an interesting triumvirate to close the show. It is almost as though the three songs should have been flipped or something, if I was writing the setlist. With that said, though, Farmhouse got me to stare at the stars above me and the If I Could was longer than I was expecting. There was some nice back and forth and held up well as a set closer.
Set break featured what sounded to be some Mingus big band. All in all, I enjoyed the first set. It was about 80 minutes long, featured some songs that were surprises, a new one I quite liked, and I was dancing. Successful.
If I was happy with a Runaway Jim opener, then I was thrilled with Mike's Song. Again, it harkened back to my first show, which opened with Mike's > Simple. The eight-minute Mike's was really good, from what I can remember. I wrote "Jedi Trey! Awesome." Trey focused, bending and squeezing notes out of his guitar for a great jam. Although, that playing wasn't carried completely through with a bit of a forced transition into Simple along with a lyrics flub. I will say, though, that the song became turned quite pretty in its jam. The segue from Simple into Wolfman's Brother -- a song I was hoping for in Boston -- was smoother. And the Blues-based jam coming out of Wolfman's was great, I thought . . . until Fishman cut it to an early halt. Right in the middle of Trey's playing, Fishman pushed his nose in with the fast intro drumming to Weekapaug Groove. At that, Trey and Mike shared a glance and had to gather themselves for the transition. It just seemed completely out of place as I was caught up in the jam. And while I knew it was Weekapaug he was playing, in the back of my mind, I was hoping it was Brother. It could have worked -- Fishman pushing through with that odd quick drumming, capturing the off-kilter song that is Brother. Just wishful thinking. Not to take away from Weekapaug, as I am a fan, but it just didn't sit well. Circus Comes to Town really brought the energy down, but I thought that the lyric "never thought I could make it this far" was fitting.
The second debut of the evening followed, Kill Devil Falls. Some fans had heard a new song soundchecked at Fenway and it was identified as this song. But it is a surprise that it garnered enough attention to be requested from the crowd. But according to Trey, someone did request it. And Trey complied. "Thank you for listening and thank you for requesting. The thanks are all yours." To my ears, it sounded as though it was a sped up 46 Days. That rock or rockabilly sound, with maybe some Stones mixed in. "This time will be different/until I do it again." "Stared at the ceiling for over a day/but none of my questions are answered this way." Made me think of Trey in a small room with lots of time to think . . . Maybe I am putting too much into the lyrics.
The Harry Hood late in the second set was the longest song of the evening. It became a bit spacey, complete with Trey staring off past the bleachers. And I remember Page using some interesting keyboard effects during the "pretty section." It seemed as though the band was actually trying some new ideas in the middle of Hood. While I appreciate their efforts, I am going to have to relisten to assess their success. Hood had a soft segue into Loving Cup, which proved to be quite the rocking version. The choice of Suzy Greenberg as an encore just solidified this fan's feeling that "back when" is inching closer to now . . .
"I stepped right up to the cliff side . . . this time's gonna be different." Lyrics from Kill Devil Falls. I am starting to realize that as a fan, I am longing for something that was and hope it will be. But with everything that Trey and the band was dealing with those last years before Coventry, I am sure they want it to be different. I guess we need to wait and see how the two are resolved . . .
Tuesday, June 2, 2009
Monday, June 1, 2009
Taking Care of Your Shoes (Phish at Phenway)
After last evening's concert at Fenway Park in Boston, I believe Phish is taking the right steps in becoming the band that so many of us listened to, planned trips around, and (over) analyzed for so many years. The show still fell within the category of "spectacle," similar to the first night of Hampton that I attended, but it "felt" more like a Phish show. Which is what I was hoping would happen with practice and time together. That is to say, they seemed to be a bit more relaxed on stage, looser, not as business-like. In Hampton, they seemed to almost play a song to get it over with and cross off the list. Last night, I think they started to let the songs happen a bit more.
I had not initially planned to attend Fenway. But when I found myself with a ticket, and a place to stay, and the mileage to get me there for free, I could not say No. The trip to Boston was uneventful, and after some time catching up with a classmate, I headed to the pre-show gathering spot, an Irish bar on the other side of the stadium. As I approached the hallowed grounds of Fenway, the "scene" began to infiltrate into the fabric of the street. I am not sure what it is like for baseball games, but I doubt VW campers are parked along the streets, with sidewalks crowded to the point of being impassable. Glimpses into the parking lot showed scenes that just seemed to pick up from where they left off in Summer of 2004. Venders, fingers raised (although not too many with the re-release of tickets over the past week or so), puppies on leashes. The bar was loud, hot, and packed -- too loud to have a conversation and too packed to comfortably stand around. Excitement everywhere.
A few of us decided to enter the venue about a quarter to six, forty-five minutes before the "opening pitch." I was sitting by myself -- at least I thought I was -- so I decided to just get a lay of the land. My seat ended up being just to the third-base side of home plate, about a third of the way up. It was a bit disconcerting to, for one, see the stage so far away, and to have the infield completely empty and roped off. An odd set-up for a concert, although I am not sure how else they could have laid out the seats. I was a bit under the overhang, which proved to be advantageous once the skies opened up. I must say that I love Fenway as a structure, and I would love to see a baseball game there now. The high canopy and the slender columns marching their way around; how the first "level" is just one constant slope, all the way to the back wall; the resolution -- or lack there of -- of the funky angles.
When I had entered the bar, the sky was just starting to get dark. When we left, it was much more ominous. And within ten or fifteen minutes of finding my seat, the rain really came down. Complete with one lightning flash and a thunder clap. I knew the band needed to start close to 6:30 and was worried it would put a crimp into the show. But everything seemed to work out (and I stayed dry). To my pleasant surprise, my classmate and her friends ended up being just eleven rows behind me -- out of anywhere in the whole stadium, we were in the same section. (With extra space around them, it was to be able to spend some time with her during her first show.)
Waiting for the show to start, watching everyone trickle in, I could see four flag bearers practicing their steps with shiny chrome helmets. I had a feeling the band would start the evening with the National Anthem and this honor guard. So I was not too surprised when the announcer took to the pitchers mound and started to announce "JEMP Recording Artists." The four of them came out in Red Sox jerseys, two throw-back and two new, and sang the Star Spangled Banner directed to home plate. After a quick wave and photo op, they headed back to the dug-out to make their way under? the field to the stage.
I thought about waiting to discuss the overall sound, but as it colored my overall enjoyment of the show, it is best that it is mentioned here. Throughout the show, I found the sound to be sub-par. It was quite muddy and boomy, bass-heavy, without much definition at all. My seats, eleven rows in front of my friends', sounded better, but not by much. And it wasn't until the last song of the first set that I thought I heard something coming from one of the relay stacks in front of home plate (a bit of Fishman's high-hat). During the second set, I decided to take a walk around the stadium and headed to my right, behind home plate, over to the right field foul pole. Even from the lower part of the seats, near the field, I found the sound to be lacking. Even directly behind the stage. Now, those who had field seats may have had a different experience. And I realize it is probably difficult to set up a PA for such an odd configuration, but I am a bit disappointed with this aspect of the production last night. I had to strain to listen to the music, and I am sure I missed quite a bit of the minutiae. (I am reading reports of flubs in certain songs that I thought were pretty well played, for example.) I usually try not to let something like the sound color my overall enjoyment; but when I am straining to hear the music and separate the four musicians, it becomes difficult to separate the two.
With that said, I certainly enjoyed aspects of the show. Sample was a nice opener, I guess, in a safe sort of way. I was still settling in, and the song didn't do a whole lot to engage me. Although I believe it was during Sample that the sun came out, so something must have worked. On the other hand, I really felt, Moma Dance. Something about the slinkiness of the song sucked me in immediately and I started to dance and move, smiling, "getting it." I do not remember this happening at Hampton, at least not often. It was nice to have it happen with the second song last night. Chalkdust brought both a burst of energy as well as a rainbow over the right field wall -- both of which made me smile. This was followed by the first of the three debuts last evening, Ocelot. I had read mention of the song while browsing some message boards pre-show, and since it was repeated a number of times, it was easy to identify. I wrote down "pretty good" in my book. Needs another listen. A "Take me out to the ballgame" preceded the Stash -- a favorite of mine, I was particularly happy that Trey started it off correctly (at least to my ears). The only unique thing about it was that Fishman had this odd funky drum thing early in the jam -- odd enough that I thought they were heading into another song. Bouncing and Poor Heart kind of brought things almost to a halt, only to be slightly resuscitated by Limb By Limb, and then knocked down again by Wading in the Velvet Sea. These four were certainly the low point of the show. Thankfully, the twelve-minute Down With Disease breathed life back into both the band and he crowd. One of those Diseases that didn't let go from the very beginning -- I can't wait to hear this one again and see if it was as good as I was remembering (or maybe after the previous string of songs, I needed a pick me up). The Destiny Unbound was a huge treat for me -- my first. I wish I could have shared my excitement with more people around me, but there seemed to be an ignorance to the treat we were getting (second Destiny in over 840 shows, people!). Character Zero closed with some energy. All in all, a good first set. Long, reminding me of Hampton. And not much improvisation -- again, Hampton. Highlights for me were Moma, Disease, and Destiny.
After a relatively short set break (curfew?), the second set started with a nice twelve-minute Tweezer. Similar to Hampton as it was early in the second set, although I don't remember last night getting as funky as Hampton's version. What was different was the nice segue into the second new song of the evening, Light. (I had written "Light is Floating Around" in my book.) I quite liked this -- it seemed a bit short and packed full of good stuff, almost like that last section of Time Turns Elastic. I will be curious to see if it always is played as a segue out of a song, or if it ever stands alone. Bathtub Gin was fun, of course. And the David Bowie brought some nice energy to the set. I was walking around at this point, eventually making my way to the lower section of seats, almost in line with the stage, for the live (Phish) debut of Time Turns Elastic. I am still up in the air about this song. I had hoped the latter half would make up for the beginning, especially in a live setting; just not sure last night's did that. (Oh, Trey was on his gray/green 'doc guitar for this song.) I normally don't think of Free as a good Mike song, but I was reminded last night -- some great little pieces of bass work from Mr. Gordon. The second rare bust out of the evening came in the form of The Ballad of Curtis Lowe. Another treat that might have gone unnoticed. I must say, though, that I am a sucker for Page singing. And the risk of repeating myself, YEM to close like at Hampton. Without the false start this time around, this version seemed much tighter than Hampton's. And with what sounded like a great bass solo from Mike pre-vocal jam. Less songs than the first set, but set two featured quite a few heavy hitters.
I wasn't sure what to expect for the encore, as they were closing in on 10:30. I don't think you can go wrong with Cavern, to be honest. Good Times Band Times was a great rocker. And I should have seen Tweeprise coming.
Pretty much the perfect encore, if you ask me. Especially since it sent me walking from Fenway smiling. Smiling and excited for tomorrow and Friday at Jones Beach. I really can't tell you the last time I have seen Phish three times in one week. Ever? I look forward to seeing an arc of shows so that I can start to make some accurate assessments on their playing along with hopefully some more new music. They are off to a good start, with simply comparing Hampton night one to Fenway. I'm feelin' it . . .
I had not initially planned to attend Fenway. But when I found myself with a ticket, and a place to stay, and the mileage to get me there for free, I could not say No. The trip to Boston was uneventful, and after some time catching up with a classmate, I headed to the pre-show gathering spot, an Irish bar on the other side of the stadium. As I approached the hallowed grounds of Fenway, the "scene" began to infiltrate into the fabric of the street. I am not sure what it is like for baseball games, but I doubt VW campers are parked along the streets, with sidewalks crowded to the point of being impassable. Glimpses into the parking lot showed scenes that just seemed to pick up from where they left off in Summer of 2004. Venders, fingers raised (although not too many with the re-release of tickets over the past week or so), puppies on leashes. The bar was loud, hot, and packed -- too loud to have a conversation and too packed to comfortably stand around. Excitement everywhere.
A few of us decided to enter the venue about a quarter to six, forty-five minutes before the "opening pitch." I was sitting by myself -- at least I thought I was -- so I decided to just get a lay of the land. My seat ended up being just to the third-base side of home plate, about a third of the way up. It was a bit disconcerting to, for one, see the stage so far away, and to have the infield completely empty and roped off. An odd set-up for a concert, although I am not sure how else they could have laid out the seats. I was a bit under the overhang, which proved to be advantageous once the skies opened up. I must say that I love Fenway as a structure, and I would love to see a baseball game there now. The high canopy and the slender columns marching their way around; how the first "level" is just one constant slope, all the way to the back wall; the resolution -- or lack there of -- of the funky angles.
When I had entered the bar, the sky was just starting to get dark. When we left, it was much more ominous. And within ten or fifteen minutes of finding my seat, the rain really came down. Complete with one lightning flash and a thunder clap. I knew the band needed to start close to 6:30 and was worried it would put a crimp into the show. But everything seemed to work out (and I stayed dry). To my pleasant surprise, my classmate and her friends ended up being just eleven rows behind me -- out of anywhere in the whole stadium, we were in the same section. (With extra space around them, it was to be able to spend some time with her during her first show.)
Waiting for the show to start, watching everyone trickle in, I could see four flag bearers practicing their steps with shiny chrome helmets. I had a feeling the band would start the evening with the National Anthem and this honor guard. So I was not too surprised when the announcer took to the pitchers mound and started to announce "JEMP Recording Artists." The four of them came out in Red Sox jerseys, two throw-back and two new, and sang the Star Spangled Banner directed to home plate. After a quick wave and photo op, they headed back to the dug-out to make their way under? the field to the stage.
I thought about waiting to discuss the overall sound, but as it colored my overall enjoyment of the show, it is best that it is mentioned here. Throughout the show, I found the sound to be sub-par. It was quite muddy and boomy, bass-heavy, without much definition at all. My seats, eleven rows in front of my friends', sounded better, but not by much. And it wasn't until the last song of the first set that I thought I heard something coming from one of the relay stacks in front of home plate (a bit of Fishman's high-hat). During the second set, I decided to take a walk around the stadium and headed to my right, behind home plate, over to the right field foul pole. Even from the lower part of the seats, near the field, I found the sound to be lacking. Even directly behind the stage. Now, those who had field seats may have had a different experience. And I realize it is probably difficult to set up a PA for such an odd configuration, but I am a bit disappointed with this aspect of the production last night. I had to strain to listen to the music, and I am sure I missed quite a bit of the minutiae. (I am reading reports of flubs in certain songs that I thought were pretty well played, for example.) I usually try not to let something like the sound color my overall enjoyment; but when I am straining to hear the music and separate the four musicians, it becomes difficult to separate the two.
With that said, I certainly enjoyed aspects of the show. Sample was a nice opener, I guess, in a safe sort of way. I was still settling in, and the song didn't do a whole lot to engage me. Although I believe it was during Sample that the sun came out, so something must have worked. On the other hand, I really felt, Moma Dance. Something about the slinkiness of the song sucked me in immediately and I started to dance and move, smiling, "getting it." I do not remember this happening at Hampton, at least not often. It was nice to have it happen with the second song last night. Chalkdust brought both a burst of energy as well as a rainbow over the right field wall -- both of which made me smile. This was followed by the first of the three debuts last evening, Ocelot. I had read mention of the song while browsing some message boards pre-show, and since it was repeated a number of times, it was easy to identify. I wrote down "pretty good" in my book. Needs another listen. A "Take me out to the ballgame" preceded the Stash -- a favorite of mine, I was particularly happy that Trey started it off correctly (at least to my ears). The only unique thing about it was that Fishman had this odd funky drum thing early in the jam -- odd enough that I thought they were heading into another song. Bouncing and Poor Heart kind of brought things almost to a halt, only to be slightly resuscitated by Limb By Limb, and then knocked down again by Wading in the Velvet Sea. These four were certainly the low point of the show. Thankfully, the twelve-minute Down With Disease breathed life back into both the band and he crowd. One of those Diseases that didn't let go from the very beginning -- I can't wait to hear this one again and see if it was as good as I was remembering (or maybe after the previous string of songs, I needed a pick me up). The Destiny Unbound was a huge treat for me -- my first. I wish I could have shared my excitement with more people around me, but there seemed to be an ignorance to the treat we were getting (second Destiny in over 840 shows, people!). Character Zero closed with some energy. All in all, a good first set. Long, reminding me of Hampton. And not much improvisation -- again, Hampton. Highlights for me were Moma, Disease, and Destiny.
After a relatively short set break (curfew?), the second set started with a nice twelve-minute Tweezer. Similar to Hampton as it was early in the second set, although I don't remember last night getting as funky as Hampton's version. What was different was the nice segue into the second new song of the evening, Light. (I had written "Light is Floating Around" in my book.) I quite liked this -- it seemed a bit short and packed full of good stuff, almost like that last section of Time Turns Elastic. I will be curious to see if it always is played as a segue out of a song, or if it ever stands alone. Bathtub Gin was fun, of course. And the David Bowie brought some nice energy to the set. I was walking around at this point, eventually making my way to the lower section of seats, almost in line with the stage, for the live (Phish) debut of Time Turns Elastic. I am still up in the air about this song. I had hoped the latter half would make up for the beginning, especially in a live setting; just not sure last night's did that. (Oh, Trey was on his gray/green 'doc guitar for this song.) I normally don't think of Free as a good Mike song, but I was reminded last night -- some great little pieces of bass work from Mr. Gordon. The second rare bust out of the evening came in the form of The Ballad of Curtis Lowe. Another treat that might have gone unnoticed. I must say, though, that I am a sucker for Page singing. And the risk of repeating myself, YEM to close like at Hampton. Without the false start this time around, this version seemed much tighter than Hampton's. And with what sounded like a great bass solo from Mike pre-vocal jam. Less songs than the first set, but set two featured quite a few heavy hitters.
I wasn't sure what to expect for the encore, as they were closing in on 10:30. I don't think you can go wrong with Cavern, to be honest. Good Times Band Times was a great rocker. And I should have seen Tweeprise coming.
Pretty much the perfect encore, if you ask me. Especially since it sent me walking from Fenway smiling. Smiling and excited for tomorrow and Friday at Jones Beach. I really can't tell you the last time I have seen Phish three times in one week. Ever? I look forward to seeing an arc of shows so that I can start to make some accurate assessments on their playing along with hopefully some more new music. They are off to a good start, with simply comparing Hampton night one to Fenway. I'm feelin' it . . .
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