Tag: Headlines (Page 65 of 76)

The low cost of recording equipment: good thing, or bad thing?

January 4, 2010 /

The other day, I had a random thought: will anyone ever be nostalgic for the ’00s? From my admittedly biased perspective (I didn’t come of age in this decade, so my perspective isn’t as rose-colored as it may be for others), the answer is an emphatic ‘no.’ The political climate was as toxic and divisive as the country has ever known. The music business fell to pieces. Baseball suffered, and is still suffering, its worst scandal. A football player was caught killing dogs. Tweens started dressing like strippers. Sexting. Paris Hilton. Television was as good as it’s ever been, but so what? It’s only television.

Then again, we’re sometimes nostalgic for days gone by not because of what happened in the world, but because of what happened to us. (Again, that whole coming-of-age thing.) Someone will lose their virginity to a Creed song, and have a soft spot for the band for the rest of their lives because of it. That’s how nostalgia works; it can’t be reasoned with, which means that someone will think of these as the best days of their lives. Yikes.

And yet, it would be wrong to say that the ’00s were without their charms. As I said, television was pretty awesome, and that “Umbrella” song will bury every man, woman and child currently living today. As the Bullz-Eye staff assemble their lists for favorite this and that of 2009 and the decade as a whole, I began with something a little more personal: the ten things that had the biggest impact on my life and those around me, both good and bad. Here is one of the bad things.

The low cost of recording equipment

Let me guess: you just said, “You’re arguing against the low cost of recording equipment?” Absolutely. Now that virtually anyone can make their own music, every spoiled, over-privileged teenager now feels that it is their God-given right to do so.

It’s not.

Say what you want about the major label system before downloads brought them to their knees, but there was some quality control taking place when they were the gatekeepers. That filter has since been removed, and now all it takes is a few million fake hits on a MySpace page, a greased palm on this or that music blog (writers are ridiculously easy to bribe; start with booze), and boom, suddenly Johnny Bedroom is a big deal. (In fact, our own Jeff Giles is convinced that the success of Conor Oberst is a practical joke hatched by the editors of Pitchfork gone horribly wrong.) Where bands used to have to gig for years – and thus improve in the process, which benefited all concerned – they can now make waves with little more than sleight of hand.

This isn’t good for anyone. The marketplace was already overcrowded; now it’s ten times worse, making it virtually impossible for a band to maintain a high commercial profile for more than an album or two. As bands have struggled to maintain chart success, listeners’ tastes have become more liquid (which is a nice way of saying ‘fickle’), compounding the problem even more and all but ensuring that only the most mainstream of pop acts ascend to the upper reaches of the Hot 100. New bands now have to literally give their songs away in order to be heard, with little thought given to how that only further devalues their product.

The idea behind cheaper recording equipment is that it will level the playing field. The reality behind it is that the upper class is unaffected – and in fact are getting much, much richer – while the lower class has suddenly tripled in size. (The middle class, ironically, remains the same because it consists mostly of heritage acts who spend more time on the road than in the studio.) And on the off chance that some unknown artist scores national attention thanks to their bedroom pop record, what is the first thing they do with their newfound name recognition? Sign to a major label, of course. Not exactly the act of rebellion that home recording was supposed to inspire.

The bottom line is that music is subject to the same principles of supply and demand as everything else. When supply goes up but demand stays the same, the value drops. (Technically, it’s the price that’s supposed to drop, but we all know that that’s not going to happen.) Releasing an album used to be a big deal; it meant that you had talent – or at the very least, a marketable quality – and someone in a position of power believed in you enough to pay for your studio time. Now, it merely means that you were able to save up a little bit of cash.

To read the entire article, which also includes a handy comment section translation table, click here.

Artists, Downloads, Lists

Trek through Canada with the White Stripes

December 18, 2009 /

During the summer of 2007 (seems like ages ago, doesn’t it?), the White Stripes stuck to their promise of touring every province in Canada. With camera crew in tow, Jack and Meg also stopped at an old folks home, rocked out on a public bus, and snuck in frames of bowling before their culminating gig in Nova Scotia. The result is Under Great White Northern Skies, a beautifully shot tour documentary due in March.

Third Man is currently selling the documentary as part of a mega box set, which includes a live album, live DVD, and photo book. If you have $179 to spare and are a White Stripes nut, have at it.

Artists, Documentaries, Videos

21st Century Breakdown: James B. Eldred’s Top 10 Albums of the Decade

December 18, 2009 /

Oy, this decade was a mess. The ’90s were easy. Rock had grunge, hip-hop had gangsta rap and a genre-defining electronic album seemed to come out every week thanks to artists like Aphex Twin, the Prodigy and the Orb (just to name a few). There was no Zeitgeist-turning moment in music this decade, no Next Big Thing. Instead, we saw mainstream rock dissolve into a post-grunge funk from which it might never recover, while pop music infiltrated rap music in insulting and embarrassing ways (thanks, Auto-Tune). Meanwhile, both the punk rock kids and hippies discovered electronic music, giving Pitchfork whole new genres of music to build up and tear down.

We’re more fragmented then ever – case in point: of all the albums selected by the writers who’ve contributed to our End of Decade series, only one album has been selected twice – which means that there’s something out there for anyone, but nothing for everyone. It sucks if you like the idea of a rock band being bigger than Jesus, especially if you don’t want that band to be U2. But if you like the idea that at any given moment there’s probably an album being released that will appeal to just you a few thousand other people, then this is a great time to be alive. However, that also means the chances of finding something truly “original” are next to nil. We’re getting to a point where it feels like everything has been done, and everyone is just paying homage, making pastiche or ripping off something that came before.

That being said, there were still a few original albums to make their way to my ears this decade, and almost all of them ended up being my favorites. So while you say this is my “best of” list for the decade, you could also call it my “most original” list as well.

1. Fucked Up: Chemistry of Common Life
Canadian indie rock seemed to be the scene of the ’00s, and while it gave us some good music, most of it bored me. It was just so damn pleasant. And Fucked Up is a lot of things, but pleasant isn’t one of them. In fact, almost everything about them, from their R-rated name to the abrasive vocals of their lead singer (who goes by the name Pink Eyes) almost dares you not to like them. I sure as hell didn’t at first; it seemed like they were trying too hard to be “outrageous.” But when they give you a song as brilliant as “Son the Father” with its goosebump-inducing riff and the best lyric of the decade (“It’s hard enough being born in the first place / Who would ever wanna be born again?”), it’s impossible not to take notice. This is hardcore punk’s Dark Side of the Moon and will probably be just as influential in the years to come.

2. Arcade Fire: Funeral
Okay, so not all of the indie-rock from Canada bored me. I didn’t want to like Arcade Fire, I didn’t want to fall for their melancholy lyrics and haunting melodies, and I didn’t want to be put under enchantment by the haunting closing track “In The Backseat.” It just kind of happened that way. Damn Canadians and their near-perfect records.

3. Hell: Teufelswerk
An as-yet-unheard masterpiece, although there is some hope still since it only came out this year. Teufelswerk picks up where The Orb’s Adventures into the Underworld left off, taking the listener on a journey across two discs that include ambient, house, electro and just about everything else in between. Not made entirely for the dance floor, it’s the kind of electronic album that should have mainstream appeal, even with its 13-minute tracks and bizarre guest appearance roster of Bryan Ferry and Diddy. If you consider yourself a fan of electronic music and you don’t have this album, you’re doing it wrong.

4. At the Drive-In: Relationship of Command
It came out in 2000, and nearly 10 years later there’s still nothing that sounds remotely like it. It’s usually pegged as an emo record, (the first time I heard the word “emo” was in regards to this record) but modern emo has little in common with this masterpiece of tempo changes, passionate vocals and adrenaline-fueled insanity. Too bad the band couldn’t survive much past the album’s release, and the two offshoots they formed after the break-up, the Mars Volta and Sparta, have come close to even matching this record in the years that have followed. Of course, almost no one else has, either.

5. Marnie Stern: This Is It And I Am It…
“This chick is kinda nuts,” said my editor when he pitched this CD to me. I’m naturally attracted to insane women, so that’s partially why I took a shine to Stern so quickly, but it mostly had to do with the fact that I’ve heard nothing like her before. She’s some heavenly combination of Van Halen and Sleater-Kinney, taking guitar virtuosity and mixing it with riot grrl passion to create an entirely one-of-a-kind sound in the process. She’s her own beast, creating her own genre which should just be called “holy shit music,” because that’s all I can think to myself when I hear her.

6. Deltron 3030: Deltron 3030
Indie hip-hop may be easy to find now, but in 2000 there was no scene for that, at least there wasn’t in my consciousness. I still don’t remember how I found this record, which is a crazy concept album about an intergalactic rap battle in the year 3030, but I remember being pleasantly surprised when a year later everyone involved on it (Del Tha Funkee Homosapien, DJ Kid Koala, Dan the Automator and Damon Albarn) went on to form Gorillaz. But this album is still better than anything those animated monkeys put out. It isn’t only the best hip-hop album of the decade, but the most original as well.

7. Mastodon: Leviathan
Prog-rock and heavy metal, two great tastes that taste great together, especially when used to create a concept album based on “Moby Dick.” Mastodon’s early albums showed promise, but this seafaring epic really sealed the deal and heralded their arrival as “the” metal band in 2004. It was also the first album to show me that popular metal was finally getting past that nu-metal BS that nearly ruined the genre at the turn of the millennium. There needs to be more metal based on classic American novels. I’m waiting for a metal interpretation of “The Age of Innocence.”

8. Yeah Yeah Yeahs: It’s Blitz!
The biggest 180 of the decade. Sounding nothing like their previous records, the Yeah Yeah Yeahs didn’t go dance-punk for their third LP, they went full-on dance – like a rocking version of Kylie Minogue. You’re not going to hear a better dance track this year than “Zero,” unless you count all the other up-tempo numbers on this flawless record.

9. Yeah Yeah Yeahs: Fever to Tell
Oh yeah, and their first album wasn’t half bad, either.

10. The Strokes: Is This It?
The poster band and the poster album for the for the poster genre (post-punk revival) that was supposed to become the Next Big Thing. And while that didn’t really happen, we still got some really good records out of it, this one still being the best. And even if you didn’t like it, you have to admit that it probably got a bunch of kids listening to the Stooges for the first time. And the UK version (see photo) had the best album cover of the decade as well.

Alternative, Ambient, Artists, Best of 2000s, Dance, Electronica, Emo, Hip Hop, Lists, Metal, Pop, Progressive, Rap, Rock

21st Century Breakdown: Overl00ked: James Eldred’s List of the Best Music of the 2000s That You Never Heard

December 17, 2009 /

A lot of music came out this decade, some might say too much. (Definitely too much. -Ed.) Definitely more than any one person could keep track of. So as a public service, in our ongoing series on Music in the 2000s, here are some of the best songs and albums that you most likely haven’t heard (especially if you live in America). Some of these tracks are by established artists that have waned in popularity, so no one took note of their new material no matter how good it was. Others are by up-and-coming young artists, so hopefully they’ll serve as a solid foundation for which to build a solid fan base off of in the future. But sadly the best of the bunch here has since disbanded, so way to go for not discovering them sooner.

10. Oasis: “Falling Down (A Monstrous Psychedelic Bubble Remix)”
Most of latter-day Oasis was okay, but boring. And their last album (if their recent break-up sticks) didn’t really change that. However, this 22-minute remix of that album’s best single was a home run. Done by the guys from the Future Sound Of London, it transforms the simple Brit-pop ditty into a psychedelic freakout of epic proportions. Bring your own acid.

9. Polly Scattergood: “I Hate The Way”
Definitely an artist to watch in the coming decade, Scattergood lived up to her name on her debut, delivering a scattershot collection of piano-based rock that missed the mark as much as it hit it. And nothing on that record fulfilled the promise of this opening number, an seven-minute confessional that tumbles back and forth between “You Oughta Know” anger and “Landslide”-style sadness. If she keeps this up, she could be the next Tori Amos.

8. Division Day: “Ricky”
Beartrap Island was a perfectly fine record with perfectly fine songs. It was also boring as hell. The exception being this pulse-pounding trip into paranoia filled about one hell of a dangerous river (or something, it’s kind of vague). Since Beartrap Island, Division Day has changed their sound dramatically, so they’ll never record a track like this again, which is a shame since it’s what they do best, even if they don’t know it.

7. King Biscuit Time: “I Walk The Earth”
Steve Mason from the Beta Band seemingly had so many great songs in him during first half of this millennium that he released some solo under this awful stage name. The best of the bunch was this beautiful, minimalist track, which also had an awesome video. The Beta Band is gone, but King Biscuit Time remains, and Mason is still releasing amazing music under the moniker, but this track from the rarely heard No Style EP remains the best of the bunch.

6. The Young Knives: “Terra Firma”
Man, British nerd rock is way nerdier than American nerd rock. Check out the chorus for this wacky little number: “Fake rabbit, real snake, terra firma terra firma!” Wait, what? Don’t think about it too much, your head might explode. If you know a TMBG fan and you want to get them into post-punk, this track, and Superabundance, the 2008 album it comes from, is the way to go.

5. Ludo: Broken Bride
Ludo is a band on the rise for sure, and their 2008 album You’re Awful I Love You was one of the smartest pop-punk albums in recent memory (and you can read my interview with lead singer Andrew Volpe here). However, they preceded that record with this infinitely bizarre EP, a rock opera about a time-traveling scientist trying to save the life of his wife who died in a car accident in 1985. Instead his invention takes him to the time of dinosaurs, where he has to fight pterodactyls, and eventually to the Rapture. The subject matter is done dead serious and beautiful, if a little impossible to describe.

4. Tub Ring: “Bite the Wax Tadpole”
Mr. Bungle inspired (and produced) hardcore metal about a guy who dreams about a formula for cold fusion but is disappointed with its texture and flavor. It’s twice as awesome as it sounds. This Chicago-based act opens for Mindless Self Indulgence a lot, but they might even be weirder than that lot. Which is really saying something.

4. Bran Van 3000: Discosis
Best known for their minor-hit “Drinking In LA” from their 1997 debut Glee, Bran Van 3000 (aka BV3) really knocked one out of the park for their 2001 sophomore album. There was the brilliantly funky “Astounded” (which featured an unused Curtis Mayfield vocal), the spacey pop of “Speed” and the crazy two parter “Go Shoppin’/More Shopping,” which featured dub-style rap and Pet Shop Boys-style singing all at once. Unfortunately what they didn’t have was American distribution, since their label, the Beastie Boys’ Grand Royal, folded right before the record was due to be released.

2. Air Traffic: “Charlotte”
Where the hell did this one come from? Air Traffic’s debut album Fractured Life was good but bland, with the sole exception being this brilliant piece of Brit-pop so good that it not only rivals anything Oasis and Blur did this decade, but last decade as well. This was a hit single in the UK, but not nearly as big as it should have been. In America I think it’s a safe bet that next to no one has heard it. Damn shame, since it’s probably one of the 10 best songs of the decade.

1. Vaux: Beyond Virtue, Beyond Vice
One of the greatest musical tragedies of the 20th century so far is that no one has heard of this now-defunct Denver rock band who truly defied all genres with their brilliant (and entirely unheard) second album. The band was signed to Atlantic in 2005, but the label refused to release the album for reasons beyond me (they must not want to be associated with commercially viable rock music with artistic merit). The album sounds like a hardcore version of Muse’s Black Holes and Revelations, which is really amazing when you consider it was complete (if unreleased) a full year before that record.

Alternative, Artists, Best of 2000s, Dance, Dub, Electronica, Lists, Metal, Pop, Punk, Rock

21st Century Breakdown: Greg M. Schwartz’s Top 10 Concerts of the 2000s

December 17, 2009 /

Yesterday I listed my ten favorite albums of the decade. (To view that list, click here.) As promised, in conjunction with our End of Decade series, here are my top ten concerts of the decade, again in chronological order.

Galactic, 6/10/00 @ The Warfield, San Francisco, CA
The New Orleans funk masters made the Bay Area their second home this decade, with one stellar show after another. This was the night they unofficially evolved from a good funk group to an amazing big league jam band. The evening concluded the band’s spring tour and they paid extra to extend the show past the normal venue closing time. This enabled a memorable three-set affair whose final set didn’t start until after 2 AM. The Dirty Dozen Brass Band joined the band for that entire third set of acid jazz ecstasy. There’s nothing quite like seeing a band on a night when they know from the start that they’re going to drop “the bomb,” which Galactic clearly did since the event poster was a picture of an old school-style sphere bomb with fuse.

The String Cheese Incident, 8/7/01 @ Mt. Shasta Ski Park – Mt. Shasta, CA
The jam rock stalwarts often work with Peak Experience Productions to put on shows that transcend the typical concert experience. This time they went to an actual peak for two shows – Mt. Shasta is known as one of the Earth’s true natural wonders and is a genuine Earth power spot. (??? – Ed.) The mountain loomed behind the crowd of about 3,000 as the band delivered a monumental performance on this second night, topping a brilliant first night and matching the majesty of the wondrous setting. The huge version of the band’s classic “Rivertrance” is arguably the best ever performed. Thematic selections like “Windy Mountain” and “High on a Mountain Top” only enhanced the vibe further, and the “Midnight Moonlight” encore was perfect. It’s only a shame there aren’t more shows at this magical location. Stream or download free here:

http://www.archive.org/details/sci2001-08-07.shnf

The Other Ones, 8/04/02 @ Alpine Valley Ampitheater – Troy, WI
The four surviving members of the Grateful Dead reunited for the first time since 1998 with a pair of shows before 40,000+ at Alpine Valley in a weekend dubbed “Terrapin Station – a Grateful Dead Family Reunion.” Each of the members’ own bands delivered a set during the weekend, followed by a pair of two-set shows from the Other Ones. The first night was great fun, if a bit uneven. The second night was pure bliss, with a set list featuring only classic tunes and great chemistry from the band. Jimmy Herring ripped on lead guitar and the band gelled for what turned out to be a great 2002 tour, as bassist Phil Lesh was able to influence his mates to do things his way. This meant adventurous playing, bringing back the old songs that hadn’t been played in years and pushing the envelope like the band did back in the day. Stream or download free here:

http://www.archive.org/details/too2002-08-04.schoeps-mk4.unknown.11116.shnf

Phil Lesh & Friends, 10/30/05 @ The Joint, Las Vegas, NV
Part of the Vegoose at Night Concert Series (late night shows at venues on the Vegas Strip following daytime festival performances at the Sam Boyd Silver Bowl), the Grateful Dead bassist and his band threw down a huge three-set performance that started around midnight and lasted until the wee hours of the morning. The bass master has been at the height of his powers in his 60s, aging like a fine wine. This show followed a superb stadium set the day before where Warren Haynes sat in. “Don’t these guys ever fucking quit?” a bartender asked me during the third set that featured a monster “Unbroken Chain” and a bust-out cover of the Stones’ “Gimme Shelter” with Joan Osborne on vocals. Osborne, who toured with the Dead in 2003, was a last-minute replacement for Ryan Adams, and played the role of alchemist – everything she touched turned to gold, including Adams songs like “Hardest Part” and “Let It Ride.” Stream or download for free here:

http://www.archive.org/details/paf2005-10-30.dpa4023.31513.flac16

Pearl Jam, 5/20/06 @ Quicken Loans Arena– Cleveland, OH
I’d always seen Pearl Jam in California, but being back home in Ohio going to grad school gave me the chance to catch them in my hometown for the first time, and did they ever deliver. The new tunes kicked ass. They threw down great rarities like “Faithful,” “Thumbing My Way” and “Spin the Black Circle.” They included plenty of fan-fave classics too. The crowd was absolutely amped and grew more so when Eddie Vedder mentioned that the band’s next stop would be in Detroit (the Cavaliers had just dropped a heartbreaking playoff game six to the Pistons at the Q the previous night and were headed north for an ill-fated game seven the next day.) The crowd started chanting “Pistons suck,” and got Vedder to say it once too. Before “Unemployable,” Vedder had commented on the dour economy in Ohio and invited the crowd to move to Seattle, where they would “be not only unemployed but also wet… but you’ll be out drinking with us.” Songs like “Alive”, “Why Go” and “Fuckin Up” all raged with peak intensity. It was Pearl Jam at their best.

The Black Crowes, 8/1/06 @ Lifestyles Community Pavilion, Columbus, OH
With no opening band on this particular night, it was an “evening with” show where the band took the opportunity to open with a stellar acoustic set and follow it with a superb electric set. Thank goodness I passed on the Cleveland show at the lame Tower City Ampitheater with two opening bands to see this one instead. The word is getting out that this gem of a venue is one of the Midwest’s best. With great sound and not a bad view in the place, it’s become a venue not to miss when one of your favorite bands is in the house. The second set opened with an electrifying cover of Eric Clapton’s “Got to Get Better in a Little While,” featured 18 minutes of rock grandeur with “Thorn in My Pride” and concluded with a “Sugaree” encore in tribute to Jerry Garcia’s birthday. Buy it here:

http://www.liveblackcrowes.com/live-music/0,2295/The-Black-Crowes-mp3-flac-download-8-1-2006-LC-Pavilion-Columbus-OH.html

Smashing Pumpkins, 7/30/07 @ The Fillmore, San Francisco, CA
The Pumpkins re-opened the Fillmore in 1994, so seeing the band reunite to deliver a 12-show residency at what some have dubbed “the greatest venue in the known universe” was an unexpected and special treat. In egalitarian fashion, tickets for the shows were just $25. Two of the four original members had been replaced, but with Billy Corgan on guitar and Jimmy Chamberlin on drums, this epic three hour-plus show featuring a mix of classics and stellar new material was grunge bliss at its finest. New songs like “Doomsday Clock,” “United States” and “That’s the Way (My Love Is)” rocked with a live intensity that was at an entirely higher level above the studio versions. Corgan stated that this was a new band, but deep rocking on “Drown,” “Hummer” and “Cherub Rock” turned back the clock in the best way. Monster jams on “Heavy Metal Machine” and the 36-minute “Gossamer” that ended the show threatened to blow the roof off. Check out the If All Goes Wrong DVD for some flavor from this residency. Stream or download the show free here:

http://www.archive.org/details/tsp2007-07-30.st11.flac16

Sound Tribe Sector 9, 3/1/09 @ The Fillmore, San Francisco, CA
STS9 were the closest thing to a house band for the venerable Fillmore in the first half of the decade, before outgrowing the venue and moving on to larger ones. But they returned this year for a four-night run that concluded with a scintillating throwback performance for the ages. The positive energy inside the building on this Sunday night was something special, yet another testament to the Fillmore’s timeless vibe. The ever-evolving band left their high-tech toys on the shelf for a night and featured their older material in a show that won such raves from the fan base that the band changed their policy on releasing the soundboards. The group had barred the normally-allowed audience taping for the run, ostensibly to use the shows for a new live album or DVD. But after this show, a fever pitch outcry from the fans saw the band reverse course within a week and make the soundboard recordings immediately available. The “Baraka” opener set the tone, “Tap In & We’ll Meet in Our Dreams” was groovy psychedelic bliss, while the “Hubble” encore was simply transcendent. Stream it for free or purchase downloads here:

http://sts9.com/?p=578

Jefferson Starship, 7/3/09 @ Pearson Auditorium, The Roswell UFO Festival, Roswell, NM
With amazing new vocalist Cathy Richardson in tow since 2008, Jefferson Airplane founder Paul Kantner has had this modern version of the band riding a new wave of artistic power. The band has sadly flown under the mainstream radar and had plans to capture this unique performance on DVD for mass consumption. But like a mind-blowing UFO sighting that doesn’t show up on video, the HD video feed crashed and left this spectacular show as just a memory. Kantner brought in former vocalist Darby Gould along with a slew of other special guests like bassist Pete Sears, guitarist Barry Sless and former Grateful Dead keyboardist Tom Constanten for a special performance that featured a mostly acoustic first set and a sci-fi themed, mostly electric second set. The four-part harmonies between Richardson, Gould, Kantner and David Freiberg on 1970’s “Have You Seen the Saucers” were truly out of this world, as were performances of Bowie’s “Space Oddity,” the Dead’s “Dark Star” and Airplane classics like “Crown of Creation,” “Wooden Ships,” “Somebody to Love” and an electrifying “Volunteers” encore.

Phish, 10/31/09 @ Festival 8, Indio, CA
For their first Halloween show since 1998, the band combined two of their greatest traditions for the first time to create an unprecedented event – a Halloween performanc featuring an instant classic musical costume set, joined with one of their legendary multi-day festival events. The show of the year went down at the Coachella Festival site in Southern California, a gorgeous setting for Halloween fun, especially with the site tricked out with all kinds of psychedelic ambience. The three-set Halloween show featured a complete performance of the Rolling Stones’ Exile on Main Street, with the band joined by Sharon Jones and a horn section for a dazzling performance that took the crowd to “cloud 8” (it was the band’s eighth festival event.) “Torn and Frayed” was jammed to heights the Stones never dreamed, “All Down the Line” conjured a joyous dance party into gear and “Shine a Light” took on a truly transcendent flavor I’d never gleamed from the album. Buy it here:

http://livephish.com/live-music/0,504/Phish-mp3-flac-download-10-31-2009-Festival-8-Indio-CA.html

Alternative, Artists, Concerts, Jam Band, Lists, Rock

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