One sweaty August night in 1997, Prince was strutting across the stage of the Mississippi Coliseum in Jackson, segueing from “Purple Rain” into “Little Red Corvette,” and I felt like I was finally done with him…
Longevity is not exactly a feature of the Internet, so it’s especially nice when long-ago work suddenly resurfaces in unexpected places. This week brought not just one but two references to pieces I wrote decades ago — quite literally:
The Sloppy Heads played in Williamsburg the other night, and I took my brand-new camera for a spin. The Canon T2i takes both stills and HD video. Love it so far. And hey: go download the Sloppy Heads’ EP, First Gasp!
This post has nothing to do with Gone With the Wind or the South’s shameful history of chattel slavery. Instead, it’s your chance to sink your ears into “one of the most sublime transitions Phish has ever pulled off,” the set-opening Story of the Ghost > Slave to the Traffic Light from Atlanta’s Lakewood Amphitheater, July 4, 1999. Go on, click it. You won’t regret it. Trust me. I was there.
A much delayed post about this highly enjoyable show. Apparently, tickets sold out in 22 minutes, but I was lucky enough to score an extra the week of, having only just caught on to MMJ’s live prowess after their much-praised Bonnaroo set and via the Okonokoslive album and DVD.
The songwriting is first rate, and once the band settled into the vaunted venue, they won me over by hitting some spectacularly grand rock’n roll moments. The crowd went wild for Jim James’s balcony-climbing stunts, and I’m sure their first Madison Square Garden show is going to be the place to be this New Year’s Eve — unless the brahphecy is fulfilled in time (but more about that later.)
From the author of the historical thriller Kino, a “fast, complex, exhilarating roadster ride through history and time” (Frederick Barthelme) comes a gripping psychedelic mystery steeped in sex, drugs, and rock ’n’ roll.
When legendary improvisational rock band Phish returns to the stage after a five-year breakup, longtime fan and hardboiled hippie sleuth Quentin Pfeiffer has to be there — even though he is older, wiser, and the father of an adorable baby daughter now.
But not everything is sunshine and rainbows in the freewheeling circus surrounding the band’s summer tour: after the millionaire skipper of a drug-drenched luxury yacht goes missing, Q and his crew are drawn into a dangerous intrigue of dreadlocked dames, shady tape collectors, and spun-out wookies chasing after the long-lost recording of a mysterious late-night jam.
Inspired by Raymond Chandler and set during a series of concerts at Long Island’s Jones Beach amphitheater, The Ashakiran Tapetakes readers deep into the spiraling ecstasy of Phish’s epic shows and the seductive underworld of the obsessive fans following them.
Praise for Kino:
“Kino is an intoxicating Euro-brew, written with enormous skill and dedication.” – Frederick Barthelme
“A debut of great intellectual force.” – Teddy Wayne
“A delirious melange of conspiracy, magic, sex, history, bad behavior, and cinema, Kino is a stellar entertainment, and Jurgen Fauth is a writer of rare, sinister imagination.” – Owen King