Nov 16 2010, 18h17Bad Religion - Give You Nothing
Nov 16 2010, 18h10This is such a small update so I would normally put a blurb like it in the "Latest" section of my profile, but this is a revaluation. Up until I bought this CD (again), I had this crummy 128kbps MP3 of my original. I finally got the 2004 remaster and I'm now listening with my much better setup.
It's awesome. The bass is now incredibly clear, with every crispy note jumping off the recording. The drums are cleaner, too. The guitar fuzzier. Graffin's voice more urgent. It completely invigorates these tracks all over again. It's a kick-ass album, and it will now once again grace my regular rotation.
Where's my skateboard?
Nov 12 2010, 14h02Phish - Live Phish Volume 12 - 8/13/96 - Deer Creek Music Center - Noblesville, IN.
To me this is the most wonderful subterranean series of notes, melodies, and soundscapes I have ever heard, and it's one of my favorite jams of all time. Trey Anastasio weaves through the dark and dreary with effortless intensity and purpose channeled from somewhere far beyond the scope of the solar system. This is not machine-gun Trey; this is Lord of the Underworld Trey, commanding elements and wielding untold masses of musical matter. He telekinetically rockets the listener out of the lava and into the stratosphere, only to pull them back down and drown them in the depths. The band never loses a step, magically supporting the tension he builds and emphasizing every scorching peak and valley of this roller coaster ride through hell and back. That four people as individuals could ever be so locked into the creation of music is amazing enough, but the interplay that is happening here (on the most alien of musical landscapes) is simply phenomenal.
Often times when I listen to this, my breath is taken away and my muscles are arrested with tension. My subconscious mind reminds me to breathe, and I come up for air briefly only to dip back down again into the hypnotizing musical mire.
You're not out of the woods yet after Lord of the Underworld Trey is through with you. Led by Page at the keyboards, the ride continues through the underground extraterrestrial caves. Trey moves to a drum kit, and the percussion and subsequent awakening that supports this exit segment is a marvelous and comforting end to this epic piece of incendiary improvisation.
Only the 15-second double dose of three chords and bent high note from Trey (shortly after the 9 minute mark) is part of the scripted Mike's Song performance. Everything else after the choruses is 100% improvised.
If this sounds like your cup of tea, I suggest you get hold of this show and find 23 minutes to listen intently. (The rest of the show is also quite fantastic.) I doubt you'll be disappointed.