jürgen fauth’s muckworld

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.

Ghost > Slave

Phish archivist Kevin Shapiro just released this soundboard recording during his latest “From the Archives” broadcast, which I highly recommend downloading in its entirety — every track is a gem. It also made me dig through my own archives for some of the earliest digital photos in my collection. One point three megapixels!

More Music

• Two recent Radiohead soundboards: Lollapalooza and Outside Lands
• Love or hate his blog, Ryan Adams’s Bedhead collections are pretty sweet
• The Steam Engine also has the MMJ @ RCMH XRT SBD
• The RIAA shut down Muxtape, but now there’s Opentape
• From my good friend Dan, a Late Summer Acoustic Mix
• Stream Jesse Jarnow’s radio show
• Dee-Lite Rocks the Vote (1992)

OK, so Matisyahu covered the Flaming Lips, Rose Hill Drive and Leslie West raged Mountain’s Mississippi Queen, Sheryl Jones and Booker T did Born Under a Bad Sign (”and that’s fine”), that “smokeshow” Grace Potter got Warren Haynes to take her to the river, Big Head Todd and Squeeze’s Glenn Tilbrook joined Tea Leaf Green for Pulling Mussles, Chevy Chase is buddies with jamclown Keller Williams, Joan Osborne belted Come Together, Stanton Moore dueled Doug E Fresh, and Page McConnell had the balls to lead jazz heavyweights Nicholas Payton, Christian McBride, James Carter, and Roy Hanes through two Phish songs.

Not too shabby, but that’s to be expected from the Jammys, Relix Magazine’s annual Theater at Madison Square Garden get-together that combines surprise collaborations with pleasant scene fluffing. Also, awards.

The only award that really mattered on Wednesday night, though, was Phish’s Lifetime Achievement Jammy (it’s fun to say!) because it was supposed to lure Trey, Mike, Jon, and Page out of rehab, seclusion, or wherever else they’ve been hiding since the 2004 breakup. The rumor mill had been churning hard, and it sort of worked: all four members showed up, sharing the stage for the first time since Coventry — but they didn’t play together.

Instead, Fishman made a joke, Page was sincere, Gordo wore purple pants, and Trey gave one of those heartfelt, halting speeches that have brought many a Phish show to a screeching stop — except this time he sounded more humble, and more final, than ever: “It was an honor to watch you all dance.”

Then they walked off, and it would have been terribly depressing if Trey hadn’t just finished playing with deliciously cheesy yet surprisingly tight Beatles cover band The Fab Faux. Phish or no Phish, sick or sober, Big Red can still — what’s the technical term? — melt faces. Here’s While My Guitar Gently Weeps.

More on the Jammys:

• Full setlist at Hidden Track
• Photos at reax
• Relix
• Runaway Dinosaur
• Burlington Free Press

For a few days each spring and fall, while the increasingly volatile meteorological pendulum swings from frozen sewer to sweltering garbage heap, New York City enjoys perfect weather. September 11, 2001 was such a day, and so is today — 60 degrees, not a cloud in the sky, and an unheard-of ratio of smiles to thrown elbows at the corner of Broadway & Steinway.

So why I am I still inside, blogging? To share a few linkworthy items, along with my ever-evolving muxtape and another lousy short film: whiplash and Mozart, together at last. If you’d like to join us for the season’s first open-air Jever, drop by the Astoria Beergarden later. I’ll be the guy pointing a camera at you.

Also of note:

• I heart Foggy.
• Jammys Lineup: Page will be there to accept Phish’s lifetime achievement award, but can Trey get out of rehab long enough for a reunion? At the official site, you can vote on the awards.
• Sturges Rules: “A chase is better than a chat.”
• Twitter to the Rescue
• Barackula! The most excited I’ve gotten about the elections yet.
• J.K. Rowling tries to make a book disappear. More.

I’ll have photos from holiday sojourn on Cape Cod later, but in the meantime I wanted to point to Commander König’s eerie and beautiful Easter-inspired photo series.

I just happened to mention Phish’s 1998 Prague shows the other day — turns out, the second night is being officially released on LivePhish today. You can listen to the Ghost for free. Some other time, I’ll tell you about how we stayed at an expat commune stalked by a mysterious “sickness” and the mirthless lectures on materialism I received from a future Park Slope real estate agent. I still have the poster we managed to rip off a downtown wall without being arrested by the Czech secret police.

Screening-wise, it’s been a slow week. I walked out of Olivier Assays’ Boarding Gate after it became clear that the tats on Asia Argento were the only interesting thing about it. Instead, I’ve been obsessing over my There Will Be Blood DVD — much more on this later.

Boarding Gate. Olivier Assayas, 2007. N/R

From The Last Waltz to Shine a Light, most concert movies leave me wishing for a more democratic, inclusive view — even if they’re not directed by Martin Scorsese. Instead of focusing on faces and fingers, I find myself longing for wide shots, audience shots, the view of the stage and crowd as a whole. The usual approach implies that the camera is somehow superior to the regular flesh-and-blood attendee because it has VIP access to the close-ups. But the concert isn’t just in the guitarist’s fingers, and in my experience, the best bands know how to make the music fit the space and all the people in it. At the very best shows, it doesn’t matter where your seats are, or if you’re standing half a mile away.

More than any other band I’ve seen, Phish completely owned any place they found themselves in, from sweaty pubs to summer sheds, hockey rinks, Indian reservations, abandoned military bases, Madison Square Garden, and the top of air traffic control towers. There’s ample proof of this in a motherlode of videos I stumbled upon last night.

Among the stash of 300+ handheld clips (think Awesome! I Fuckin’ Shot That!) uploaded by YouTube user silverchair97, I want to draw your attention to a few choice tunes that emphasize the spectacular lighting design by Chris Kuroda, famous for improvising along with the band on the light board and sometimes referred to by fans as CK5 — the fifth member of Phish. (Once upon a time in downtown Prague, Kuroda paid Marcy a compliment — but that’s a story for another post.)

Who needs closeups of Mick Jagger’s cracked face (or Bono in 3D) when you can feast your eyes on Kuroda’s work, which manages to meld the sound, the crowd, and the stage into an oozing vessel of rock’n roll that can be appreciated from any angle?

Also Sprach Zarathustra (as always, a cover of the Deodato disco version from the Being There soundtrack rather than the Richard Strauss original Kubrick used in 2001):

The Velvet Underground’s Rock’n Roll in two parts:

The alien mothership has landed in this infamous jam out of Twist, from the Island Tour:

.. and a few more after the jump…

Read the rest of this entry »

From 1989 to 2001, the Wetlands Preserve flourished just off of New York’s Houston Street. Founded by a Deadhead, the club attracted rising bands in the burgeoning “jam bands” scene, along with ska and hip-hop acts, while maintaining an activism center that held “eco-saloons” and launched inventive street theater protests. Dean Budnick’s Wetlands Preserved, produced by second and final owner Peter Shapiro, is a heartfelt tribute to a joyous anomaly in New York’s nightlife scene that eventually surrendered to Tribeca’s increasing gentrification in the days following September 11.

Continue reading my review of Wetlands Preserved, opening March 14, on About.com.

Wetlands Preserved: The Story of an Activist Nightclub. Dean Budnick, 2006. ***

And here’s a video to go along with it: Ann Marie Calhoun and her brother Joe cover Phish’s “Stash” [via Andy Gadiel]:

I solemnly swear not to post about Phish’s Fall tour of 1997 again until, say, 2017, but today marks the tenth anniversary of the show that capped it all, when the udder ball exploded in Madison Square Garden, and it’s worth one last huzzah. The culmination of a remarkable tour and a no less remarkable holiday run, the three-set show featured a strange thing hanging from the rafters which was used to project trippy animation of cheese, olive loaf, and the New Year’s countdown. At midnight, it disgorged giant balloons.

Musically, the band had a hard time topping the previous night, with its bust-out of Allan Toussaint’s Sneakin’ Sally and the greatest encore in Phishtory, which supposedly cost them hundreds of thousands in MSG overtime fees. Still, between Emotional Rescue, a segue-happy second set, and Also Sprach Zarathustra > Auld Lang Syne > Tweezer for midnight (and Page crooning New York, New York to finish it off), 12/31/97 was a spectacular time. You can download the entire run for free; the incredibly funky 12/29 is also available from LivePhish.

Here’s the NYE97 clip from Bittersweet Motel. If you squint, you can make me out dancing like a fool somewhere in the 300s on the far right when the ball bursts.

And that’s enough nostalgia for now — I’ll spend the rest of the day looking forward. So, happy 2008 one and all. Perhaps I’ll see you tonight at the ReBirth? Either way — Prost Neujahr!

Previously:

• Phish Destroys America
• Down By the River
• Izabella

As threatened, here’s one more post celebrating the tenth anniversary of the ‘97 Phish Fall Tour. The cinematography isn’t exactly The Last Waltz, but if you can get past the blur and shake, you’ll be treated to a mean cover of Jimi Hendrix’ “Izabella” leading into a trademark Fall ‘97 porno jam. If you want to skip the guitar heroics and go straight for the bow-chicka-wow-wow, move ahead to about 4:20, which is where things get truly nasty. Res Ipsa Loquitur.

Bonus: 11/28/97 has recently popped up on the web in soundboard quality mp4s, so if you’re in the mood for free Phish, you can download set 1 and set 2. If you feel like paying, I highly recommend 12/7/97, which is worth a ten spot for AC/DC Bag > Psycho Killer alone.