At age 67, Neil Young is looking classically weathered for a rocker his age, but no more so than any other celebrity who came of age in the 1960's, and definitely not withered in form . The "Godfather Of Grunge" saddles up again with bandmates Billy Talbot (Bass), Ralph Molina (Drums) & Frank "Poncho" Sampedro (Guitar) of Crazy Horse for "The Alchemy Tour", showcasing the band's first original material in nine years from their October 2012 release "Psychedelic Pill".

With blistering sound that has transcended time, Neil Young & Crazy Horse revisit the days of thunder and lightning, and invite their legions to dance and frolic in the storm along with them. The material from "Psychedelic Pill" strongly holds its own, and can be mounted on a golden shelf alongside the likes of Crazy Horse staples "Rust Never Sleeps" and "Ragged Glory".

As easy as it would be to classify the music as self or overindulgent based on its length and freeform style, those who are most familiar with the history of the band, its style and its methods of operation, know better than to attach such labels. The long, freeform jam was applied to extended versions of much of the material performed onstage.

The twenty plus minute, arena shaking "Walk Like A Giant" is an instant classic; as "giant" as the well known centerpieces "Like A Hurricane", "Cinnamon Girl" & "Powderfinger", which were also performed at Thursday night's show, although its footsteps loomed larger and louder, threatening to stomp the Wells Fargo Center and all inhabitants like a child's toy.

Neil Young's genius on new songs "Ramada Inn", "Twisted Road" & "Born In Ontario" play softly to the heart and soul of the listener like so many of his songs over the years have done. Doing what he does best; he takes us under his wing and shares intimate stories with us, and the audience hang on his every last word and note.

"Love And Only Love" & "Fuckin' Up" harkens back 22 years to Ragged Glory", while "Needle And The Damage Done", "Hey Hey, My My (Into The Black)" & "Mr. Soul" take us back nearly to the beginning. It's not a walk down memory lane (Or a trip in an "analog time machine" as Young described it) ; It's more like a ride down the freeway on the back of a Harley with extremely, righteously loud pipes.

Curiously missing from the set list were selections from the summer 2012 release "Americana". Also absent, the epic 27:37 "Psychedelic Pill" opener, Driftin' Back (And oddly enough, the album's title track, "Psychedelic Pill", too). No surprise forty minute jam here, although the unreleased acoustic "Singer Without A Song" made an appearance, complete with Greendale-like theatrics, as an unknown woman wandered the stage aimlessly with guitar case in hand as the song unfolded its tale.

No one could be disappointed or offended by the overall offering of material or its presentation. Amazing. Iconic. Timeless. Neil Young & Crazy Horse in their finest hour and sounding as young as when the Horse was new.

(11-29-2012 Setlist) Love & Only Love, Powderfinger, Born In Ontario, Walk Like A Giant, Needle And The Damage Done, Twisted Road, Singer Without A Song, Ramada Inn, Cinnamon Girl, Fuckin' Up, Mr. Soul, Hey Hey, My My (Into The Black) Encore: Like A Hurricane

It's the age old debate (Or at least one that’s been fretted over for about the last 10 years or so): “Couch Touring” Vs. the “In Person” experience.

I have been privy to those who claim couch touring is not a valid way to see a performance; In fact, I’ve heard people say that those who have streamed shows in the comfort of their homes can’t really count that as officially “seeing the shows”. In other words, if I’d been to 30 shows, but 15 were on couch tour, I’ve technically only seen 15 shows.

Well, I beg to differ for the following reasons, and I’d like to use the recent Phish “2012-2013 New Year’s Run” at Madison Square Garden in New York as an example.

JUMPING THRU HOOPS

Like every other Phish fan in the world, my son Phil (My concert going partner in crime) and I heard about the holiday run the minute it was announced. We entered the lottery and, yet again for another year, were disappointed by the news a week later saying we hadn’t been chosen to receive tickets. Yeah, yeah – the lottery sucks – grumble grumble.

Flash forward to Friday Oct 19, 2012 – One day before tickets go on sale at Ticketmaster, and I am prowling the parking lot of the local mall to formulate my morning invasion plan...

Saturday morning, we arrived around 9am. It really didn’t make a difference what time we got there because the store did a “line lottery” at 11 am which placed us near the back of the line (Numbers 13 & 14 respectively).

At noon, we were ushered thru the store and to the ticket desk. Oh no - The line is moving slowly. The Ticketmaster clerks are taking their time. The computers are freezing due to overwhelming volume. It’s impossible to get through on our cell phones. We fear a sellout before we even get a chance to make an attempt.

When we finally made it to the desk (12 minutes later), we luckily managed to score (1) New Year’s Eve ticket and (2) tickets for 12/28 (My heart can settle down now).

We sold the New Year’s ticket to a friend, and used the proceeds from that for transportation by train from Hamilton, NJ to Penn Station, New York on the 28th.

We got off the train and snaked our way through the overcrowded New York streets to Stout’s Bar on 33^rd Street, where some of our favorite “pinners” had assembled for a preshow get together, and then back to Madison Square Garden when the doors opened around 6:30 pm.

Without going into too much detail, the 12/28 show was worth every single hardship it took to get there. The 2^nd set was exceptional - The Tweezer/Maze &  Fluffhead/David Bowie jams were mesmerizing and reminiscent of some of the material I’ve been hearing from the late 90’s. It should enter the books as a 12/28 show to be remembered and revered.

MY POINT

Honestly, I’m a concert veteran. I’ve been to hundreds of shows in my lifetime and have experienced all of the above more times than I can remember. It really is fun to be on a mission - To drive, fly, take a train, hitch hike or do whatever it takes to get to that “special” destination; To meet up with old friends that have become like family; To stay in that swank hotel or not so swank motel or even less swank tent; To make new, lasting memories that live on timelessly in your mind and heart.  I understand every part of that wholeheartedly, but……..

FROM THE COMFORT OF MY HOME

I can think of all the things that can be avoided such as waiting in line for tickets (Or even worse, having to be raped by scalpers or ticket agencies), paying for gas and tolls or plane fare and rent-a-cars or  overpriced parking, food, alcohol or shelter. I can have my friends over to watch in HD (With a 10 angle pro shot) on a 46 inch TV thru a decent sound system and we can eat, drink and be merry in the comfort and privacy of home. I know this because my son and I couch toured the rest of the nights of the run, and then went back and watched the 12/28 show as an added bonus and the experience was “all that”, just the same as every other couch tour event we’ve sat in for.

I think anyone who saw the shows in any way, shape or form would be fit to agree that 12/28 was the strongest show of the 4. The golf “tee off” routine on New Year’s Eve was not as exciting as watching the guys fly in, but was still fun (Especially for that fan up front that Page nailed with a line drive to the face – Ouch).

For all you couch tour naysayers – My $58 for a 4 night webcast was my admission to the show. It was my ticket. I may have been there in a different perspective, but I was still there.

Trust me. It counts.

Setlist 12/28/2012

Set One:  Stealing Time From The Faulty Plan, The Moma Dance,  Funky Bitch, Army Of One, Tube, Stash,  Nellie Kane,  Kill Devil Falls, Free, Wolfman's Brother / Little Drummer Boy Jam

 Set Two: Tweezer, Maze, Twist, Theme From The Bottom, Fluffhead, David Bowie, (Encore) Bouncing Around The Room, Good Times Bad Times

Setlist 12/29/2012

Set One: Crowd Control, Mound, AC/DC Bag, Rock And Roll, Sugar Shack, Reba, Halley's Comet, Limb By Limb, Wading In The Velvet Sea, Bathtub Gin,

Set Two: Golden Age, Waves, Prince Caspian, Boogie On Reggae Woman, Suzy Greenberg, Bug, Cavern, 46 Days, (Encore) The Squirming Coil, Grind, First Tube

Setlist 12/30/2012

Set One: Runaway Jim, Cities, The Divided Sky, Back On The Train, Ride Captain Ride, Ocelot, Ya Mar, Horn, My Friend, My Friend, Run Like An Antelope,

Set Two: Down With Disease, Twenty Years Later, Carini, Backwards Down The Number Line, Julius, Slave To The Traffic Light, (Encore) Harry Hood, Show Of Life

Setlist 12/31/2012

Set One: Garden Party, Possum, Roses Are Free, Rift, Sample In A Jar, Alaska, Mike's Song, Walk Away, Weekapaug Groove, Character Zero

Set Two: Birds Of A Feather, Ghost, Piper, Light, 2001, The Horse, Silent In The Morning, You Enjoy Myself

Set Three: Party Time, Kung, Chalk Dust Torture, Auld Lang Syne, Tweezer Reprise, Sand, The Wedge, Fly Like An Eagle, Wilson, Lawn Boy, (Encore) Driver, Iron Man

Who doesn’t appreciate a great Christmas song?A well-crafted Christmas song is akin to a present to the world from the artist who created it. I’m not referring to the type of warmed over, watered down holiday schmaltz that artists rush into the studio to re-record to cash in on their celebrity (Especially now that we can’t get through one holiday without dealing with another; Please people, my turkey is still digesting).What I am referring to are artists who step out of the typical, traditional holiday doldrums to produce something not only original and imaginative, but distinctive and unique as well. Such was the rare gift I received when first acquainted to the music of local Philly natives, Hiding From Andy.I happened to stumble upon the band’s holiday single “Rudolph Was A Reindeer” while researching music from their newly released album “You Can Go Home Tomorrow”, and at a time when I had been subjected to Andy Williams (God rest his soul) singing “It’s The Most Wonderful Time Of The Year” for what felt like the 8 millionth time that week, I actually smiled at the notion that there are still artists in existence who care enough to step outside the boundaries and create an individuality they can call their own; Something that first time listeners and longtime fans alike can truly welcome and embrace.“Rudolph Was A Reindeer” puts the fun back into funky. It’s classic, festive cheer that goes well with both eggnog & yule log. If you’ve lost your Christmas spirit, this is sure to help you to find it again.“Rudolph” was my prelude to Hiding From Andy’s latest material from the new album, but in many ways, was the perfect indicator of what direction the band was pointing towards.Listening to the tracks on “You Can Go Home Tomorrow”, one cannot deny the originality and inventiveness of the band. The music is Groove/Funk/Rock/Jam in a similar vein as G. Love & Special Sauce, with just a slight twist of The Dead Milkmen stirred in to keep things happy, entertaining and bright.The album is in many ways a debut for the band, as it is their first definitive work in the jamband scene. The songs “The Bearded Lady”, “Stepping On The Moon”, “Light The Way” & “Ycght” reflect the band’s interpersonal relationship with each other and their fans, and to the experiences they’ve encountered along the way.The band, formed in the mid 90’s and hailing from Warrington, Pa, is comprised of members Fady Khalil (Lead Guitar, Lead Vocals), Steve Heine (Rhythm Guitar), and brothers Brandon Berry (Bass) & Brad Berry (Drums).They are friends of Philadelphia’s WXPN college radio circuit, and their original material, including their latest single “Light The Way”, has received featured airplay at the station.An upcoming album release party for “You Can Go Home Tomorrow” is scheduled for March 3, 2013 on the WXPN World Café Live stage, with further dates to be announced.You can find “You Can Go Home Tomorrow” as well as “Rudolph Was A Reindeer” at http://hidingfromandy.bandcamp.com

An exciting March release to announce!Southern Hospitality's debut album Easy Livin’ (Available March 12th) offers up Cajun spice and just about every other secret ingredient imaginable to craft a tasty, near perfect recipe of all things southern fried.The band, comprised of Damon Fowler (Lap Steel Guitar), JP Soars (Guitarist) and Victor Wainwright (Keyboards), utilize a masterful blend” of New Orleans Jazz, Blues, Country, Rock, Gospel and Soul to construct an album worthy of every influence that drips from its sonic foundations.And influence it contains – IN ABUNDANCE!Dr. John, Levon Helm, Gregg & Duane Allman, Otis Redding & Carlos Santana would all be proud sponsors of this 2013 gem.The album, produced by legendary delta bluesman Tab Benoit and released by Blind Pig Records, is a southern specialty that beckons all sounds familiar and classic. It’s a delicious, Dixie Gumbo for the modern world. Second helpings are most encouraged.For more band info & tour dates, go to http://www.southernhospitalityband.com

Comparisons - The world is littered with them. We compare this to that for reasons only the people doing the comparing can comprehend. Sometimes they are interesting, sometimes they are not.

Furthur @ Boardwalk Hall in Atlantic City, NJ on Saturday 4/27/13 left me comparing a laundry list of items.

Personal Comparison #1 – Deadheads Then Vs. Now

The “Scene” has not changed very much over the years - All is as it has always been; Old devotees, new recruits, family, friends, smiles, smells, sounds – A symphony of the celebration of life in its finest form and moments; an overwhelming sense of happiness, bliss and well-being.

The sand, the ocean, the mist along the surf as the sun descends, the sight of fellow brethren basking and taking in the salt air in anticipation of a very special evening with old friends only adds to the beauty of the moment and the event about to take place.

The 10,000 or so “beautiful people” that converge onto Atlantic City on this day have done so with all the grace that has been shown countless times over in numerous venues around the world when the “psychedelic circus” comes to town, and I feel an overwhelming sense of pride to be a part of it. This feels very much like home.

7:15 PM Boardwalk Hall…….

The first notes of “Jack Straw” ring out.

Dancing our way to our seats... “We can share the women we can share the wine”. Every person wandering the outer concourse is singing, dancing, smiling, happy & free. Much like love, it is a feeling that cannot be expressed in words. It must be witnessed and felt to be understood. Those who “get it” really get it, though.

Worrisome expectations diminish...

Many had doubts that this show would even happen. Cancellation was a definite possibility on everyone’s mind after Bob Weir collapsed onstage during the final performance at the Capitol Theatre in New York just 2 days prior (Due to reasons still unclear).

Personal Comparison #2 – The Grateful Dead vs. Furthur

The band has changed over the years, but that is not surprising. It’s been in an almost constant state of flux in its nearly half century of existence in its many incarnations. Pigpen, Tom Constanten, Keith & Donna Godchaux, Brent Mydland, Bruce Hornsby, Vince Welnick, Bill Kreutzmann, Mickey Hart,

Jerry.....

They’ve lost key components deemed irreplaceable and they’ve carried on. They’ve morphed into a vehicle of dedicated trueness. They’ve spun off into new areas of space. They’ve carried on old traditions and created new ones along the way.

Furthur might very well be the ultimate Grateful Dead tribute band. They carry the torch in a way that is worthy, honorable and acceptable. The team of Bob Weir, Phil Lesh, Jeff Chimenti, John Kadlecik, Joe Russo, Sunshine Becker & Jeff Pehrson brought an authentic sound and quality performance to a beloved state of mind & spirit, and they did it extremely well.

Personal Comparison #3 – The Music Vs. The Music

One can look for flaws in the music, but they would be hard pressed to find any. The material is every bit as energetic as it was in the days of old - In many ways, even more so. That is not to take away merit from the Grateful Dead, or their music, or how it was played, or from the material they decided to cover, but truth be told, how many fans wishing for a Dark Star in the days of yore never got to see one?

Set 1 – Jack Straw, Crazy Fingers, Bird Song, Cumberland Blues, Doin’ That Rag, In The Midnight Hour

Set 2 – Mountains Of The Moon, St Stephen, Dark Star, Let It Grow, Days Between, Dark Star, Help On The Way, Slipknot, Franklin’s Tower, Touch Of Grey (Encore)

Inventive and daring can be a great thing. A great thing indeed…

Recently, I read an online article arguing the inevitable demise of rock music. The writer saw fit to place the blame upon a variety of conditions, from the public unfairly judging bands by their looks (As opposed to their music), to band classifications and whether or not they deserve to be considered “classic”, to the topic of sexism in music, stating that it should be more appealing to the “fairer sex”.

He then went on to list a litany of bands (Whom shall remain nameless), and begged the question, “Have you taken the time to check them out?”, because according to him, if I hadn’t, than I was the reason rock music was going to die.

Why, yes. Yes, I have checked them out.

And truth be told, I didn’t care for any of them. I found them all to be lackluster, uninspired, and undeserving to carry the torch that their forefathers before them ignited to procure their everlasting niche in history.

Entertainment that matters must be able to shape and mold generations as well as play to the heart, soul & spirit of all who embrace it. The bands that the aforementioned writer thought I should be listening to were mediocre at best and unworthy of my time.

I contemplated the overall diversity of musical opinions, and how they actually aren’t that different than say, attitudes regarding religious, political, racial or socio-economic issues. Everybody’s got a say, and ultimately, it’s not always what you may want to hear.

Just as you may not agree with or enjoy listening to the following:

I honestly feel that much of the music we are subjected to today is not unique enough to adequately hold the attention of the seasoned listener. Personally, I blame record companies as much as I do artists for repeatedly serving up the same old regurgitated plate again and again to audiophiles who desire and deserve more than they’re being offered.

The good news is, there are still artists as well as record companies worthy of exposure who have honed their craft and understand the true meaning of the word “art”.

The really good stuff has to be mined like precious metal. It’s there, you just have to work a little harder and dig a little deeper to find it.

Which is the reason I’d like to say thank you to the staff at Blind Pig Records for maintaining and promoting a roster of artists deserving of a closer listen, and for preserving the thing we as listeners cherish most; Quality.

Damon Fowler has been described as “The next big-time guitar slinger” by the Chicago Times. His playing has been compared to the likes of Johnny Winter, Jeff Beck & Duane Allman. His mastery of slide guitar, pedal steel and Dobro is unmistakable and distinctive; his singing and songwriting skills, well-crafted and polished. The music is decidedly Southern, enveloped in blues, country and gospel. His versatility of musical style demands your recognition and immediate attention. If you are a fan of Southern Blues, you need to check this out.

His third solo effort comes on the heels of his work with the band Southern Hospitality, whose 2013 album Easy Livin’ was released to critical acclaim to blues critics worldwide.

Sounds Of Home truly delivers to listeners in need of a straight, arterial shot of smooth, Southern sunshine. From the fiery, heartfelt blues of “Thought I Had It All” to the soothing, soul rendering gospel of “I Shall Not Be Moved”, this is an effort worthy of a “start to finish” listen, bursting with fresh originality.

Raucous, moving and fulfilling, Damon Fowler’s Sounds Of Home is the gold you’ll find when you dig a little deeper to find the good stuff.

Ghost Owl, from Athens, Georgia, blend an ethereal mix of unique electronica sounds, indie pop and psychedelic soundscapes to create a dream-like trance that’s both driving and hypnotic.Featuring the singles “Sky Yellow,” “Idiot Kid” and “Vela 500”, the album Say Goodbye To Finland (Release date Tuesday May 6, 2014 on CDbaby, Itunes, Spotify & more) is the mental, studio cohort to their stunning, live visual performances.Band members Adam Perry, Albert Suttle, & Matthew McDonald, who created the band in January 2013, describe it this way:THE STORY: In 2009 the sounds that would become the music of Ghost Owl first began to take shape inside the bedroom studio of bassist Adam Perry under the guise of a pet project he entitled Elephant Zaio Sunrise. At the time, Adam was in a decade-long musical partnership with a successful and full-time nationally-touring band. All was not well. The band's self-destruction became not a matter of if, but when. But as the sun began to set on his former band, Sunrise came into focus. By 2013 the vignettes had become songs, and there was a new direction that was fusing many modern influences into the material. There were signs of epic post-rock, experimental indie rock, and uplifting electro-pop. It was psychedelic, anthemic, atmospheric and simultaneously dance floor ready. Adam then enlisted the help of two former bandmates, Matt McDonald and Albert Suttle. Together they crafted a technology-driven live show that integrated live visual projections and multi-layered sonics into a mind-bending and emotive musical experience. They named it Ghost Owl. But this was just a warm-up. In the summer, they started work on composing a full length album; and by the fall had entered the studio with producer Newton Carter and engineer Richard Salino in Athens, Georgia. The raw power of the material was then distilled into something even more potent. The song-craft came to the foreground; and during the bitter cold winter of 2013-14, the record and the band found their voice. The result is Say Goodbye to Finland. An astonishing debut album that conveys both a sense of loss and of hopeful renewal. This is how Ghost Owl begins.The 10 song track list, recorded over the winter of 2013 – 20141. A Horse Named Reckless 2:412. Eleven 2:413. Idiot Kid 2:50*4. Sky Yellow 2:43*5. Vela 500 4:37*6. Heads Above Water 4:307. Crooked Youth 4:29*8. Phantom Heart 3:089. Clouds Will Lift 4:3910. Sun Will Shine 2:43          

Blending the elements of Blues, Rock, Funk, Jam & Soul, Chicago’s own Nick Moss Band, on this, their 10th album release, bring an electrifying smorgasboard to the table with Time Ain’t Free (Released March 18th 2014 and in stores now).With the addition of Michael Ledbetter (Descedant of Lead Belly) as rhythm guitarist and second lead vocalist, there comes along with him his soulful vocal renderings on Light It Up, Fare Thee Well, Tell You Somethin’ Bout Yourself, I Want The World To Know, Walkin’ On A Ledge & Bad ‘n’ Ruin. In the comparable stylings of Wilson Pickett, Otis Redding, Al Green & Marvin Gaye, Ledbetter’s talents move the band in a fresh and newly expressive direction.Nick Moss' guitar work speaks in volumes; From soft and moving to scorching and ferocious, he runs the absolute gamut of a blues legend in complete control of his style, form and virtuosity; As relevant as any other master of his craft, Moss proves to be an exceptional force in the world of blues.Chicago Houserocking Blues has never sounded so good.

Meshing musical styles ranging from Prog to Pop, with wholesome doses of 90’s Alternative & Electronica, Umphprey’s McGee “Similar Skin” (Release Date: June 10. 2014) reinvents the jam ethos uniquely, truly and respectably with sounds that simultaneously sail and soar.Case in point: What other band do you know that, upon a first listen, you can identify the subtle influences of Yes, Rush, Genesis, The Police, Oasis, Alice In Chains, Soundgarden and countless others, without thinking to yourself, “Well, they sound like (Fill in the blank)’.What UM have done here is faithfully and effectively taken these bands, sounds & genres and bent them into a dynamic treat for the ears.But don’t take my word for it, check out the official studio/video for “Cut The Cable” and judge for yourself.No worries; You’ll be back for the rest.

Let’s Talk Phish... "The Phish from Burlington Vermont are morphing and evolving and thrusting forward with the momentum of an unstoppable freight train into uncharted realms”. John Baker – WARP Radio

Rewind… Our story begins with the introduction of “new” Phish material (An album’s worth of material, in fact, and then some) at the band’s Halloween 2013 show at Boardwalk Hall in Atlantic City, and the audience’s (mostly) warm reception and reaction to said material (As well as the changing up of Halloween tradition in which the band would put on its “disguise” and cover another artist’s album). Surprise! They covered themselves and unveiled their secret unto the world.

Like it or hate it, the new stuff was here and, regardless of your opinion, you were going to hear it.

And so, let there be born the songs “Fuego”, “Wingsuit”, “Wombat”, “555”, “Devotion To A Dream”, “The Line”, “Waiting All Night”, “The Winterqueen”, “Halfway To The Moon”, and “Sing Monica” into Live Phish rotation (Sadly, the song “Snow” did not make the cut).

Without going into a complete album review, the new songs are memorable and appealing, and upon repeat exposure, have a tendency to grow on one, especially in a live setting. Chances are, if you didn’t like it at first, you’ll change your mind and come around to the idea of them being part of the current repertoire.

The album, tentatively titled Wingsuit, but later changed to Fuego (And produced by the incomparable Bob Ezrin), was released June 24, 2014, 6 days before the opening of their summer tour on July 1^st, in Mansfield, Massachusetts. The 25 show summer tour covers 14 cities, and wraps up September 1^st in Colorado.

For The Phans… Phish Phans are among the most discerning group of people I have ever come to be associated with. They are fun, witty, heavily opinionated, generous, smart-assed, and wear really cool tee shirts. It is a coming together of like-minds that is akin to that “other band” whose fans dressed in tie dye and thought similar thoughts, but we won’t go into that.

I’m not certain who pushes who harder - the band pushing the fans, or the fans pushing the band (After all, Trey did lovingly refer to the fans as “persnickety” in a recent interview for CBS News), - but take one step back and one can see and feel the love, respect & devotion Phish has for its fans, and vice versa. Without doubt, the music of Phish 3.0 has been incredible, and continues to top itself over and over again. Just when you thought you’d heard the best version of (Insert song here), the band takes it to a whole new level. Just when you’d thought you’d had the greatest time of your life in one city, they up the ante in the next.

The people who “get it” really get it in spades, and it’s no wonder why so many live their lives around tour dates and travel thousands of miles to be part of a cultural phenomenon.

The 5 Show Mini Tour… Honestly, I’ve listened repeatedly to the shows we attended at both SPAC & The Mann Music Center, and I am hard pressed to find anything negative to say about any of them (I will say “The Winterqueen” is slow and can be a bit of a buzz kill if not properly placed within a set). Hell, I can’t even pick a favorite out of the bunch, because they all are. The energy is ferocious. The new material, although put into heavy rotation and heard often, is coming together in a superior way, and the band is even experimenting with select songs as jam vehicles (Fuego, for example, @ The Mann on July 8^th clocks in at 25:58).

We got our covers back (In your face Billy), and destroyed a lawn (Allegedly) in the span of a week. Lighting Director Chris Kuroda has given us a new, awesome lighting rig. The band are playing with a fervent energy not seen since the 1990’s, & Phans are posting glowing, personal reviews in city after city. What is there not to like?

The Setlists….

SPAC July 3^rd – Set 1: Farmhouse, Wolfman’s Brother, Maze, Yarmouth Road, Strange Design, Devotion To A Dream, Ocelot, Chalk Dust Torture, Mound, Roggae, Possum Set 2: Bathtub Gin, Limb By Limb, Winterqueen, The Line, Tweezer, Prince Caspian, Sparkle, Run Like An Antelope Encore: Sing Monica, Tweezer Reprise

SPAC July 4^th – Set 1: Star Spangled Banner, 555, Kill Devil Falls, The Moma Dance, Reba, Waiting All Night, Runaway Jim, 46 Days, Rift, Split Open & Melt, The Squirming Coil, Set 2: Fuego, Down With Disease, Twist, Light, Theme From The Bottom, Backwards Down The Number Line, First Tube, Encore: Character Zero

SPAC July 5^th – Set 1: Crowd Control, My Friend, My Friend, Scent Of A Mule, Undermind, A Song I Heard The Ocean Sing, I Didn’t Know, Foam, Wombat, Divided Sky, Wading In The Velvet Sea, David Bowie    Set 2: Carini, Waves, Wingsuit, Piper, Fluffhead, Heavy Things, Slave To The Traffic Light, You Enjoy Myself Encore: Suzy Greenberg

The Mann July 8^th – Set 1: Axilla 1, Gumbo, Taste, 555, Tube, Halfway To The Moon, Camel Walk, Sparkle, Halley’s Comet, It’s Ice, Ocelot, Walls Of The Cave Set 2: 46 Days, Fuego, The Line, Backwards Down The Number Line, Tweezer, Ghost, 2001, Harry Hood, Tweezer Reprise Encore: Possum

The Mann July 9^th – Set 1: Glide, Sing Monica, Birds Of A Feather, Wolfman’s Brother, Sugar Shack, Alaska, McGrupp & The Watchful Horsemasters, Stealing Time From The Faulty Plan, Horn, Devotion To A Dream, Silent In The Morning, Run Like An Antelope Set 2: Chalkdust Torture, Wingsuit, Winterqueen, Twist, Crosseyed & Painless, Waste, Mike’s Song, Sneakin’ Sally Thru The Alley Encore: Julius, Weekapaug Groove

After playing “Glide” on July 8th at the Mann, Trey stated to the audience, “We hope that rocked your faces as much as you’re all rocking ours at this very moment”.

Yes Trey, you guys rocked the faces of your persnickety fans very well. Good job.