#col bruce hampton

[immaculatelyamiss]

The legendary Colonel Bruce Hampton and the Madrid Express playing live at The Northside Tavern in Atlanta - October 3, 2015

[krispyweiss]

Album Review: Todd Snider - Live: Return of the Storyteller

No one was happier to return to the post-quarantine road than Todd Snider.

The joy is evident on Live: Return of the Storyteller, an album that culls 27 songs and stories from Snider’s 2021 gigs to recreate one spectacular Todd Snider concert, which in this era tended to open with “Big Finish” and close with “Opening Statement.”

So does this record.

Few live albums - including 2011’s Live: The Storyteller - capture the essence of a performer the way Return of the Storyteller captures the essence of Todd Snider.

And with the benefit of editing, there’s no ebb, only flow. The listener winds up with 95 minutes of excellent performances, laugh-out-loud-hysterical stories, engaged audiences and an even more-engaged Snider, who accompanies himself on acoustic guitar, harmonica and jokes.

The tracklist spans Songs for the Daily Planet (“Alright Guy”) through First Agnostic Church of Hope and Wonder (“Sail On, My Friend”) and finds Snider talking about taking acid with Hard Working Americans, witnessing Col. Bruce Hampton’s storybook death, walking off stage when a fan kept yelling for “Freebird” and lying about how well he knew John Prine.

Music lovers who haven’t witnessed Snider for themselves have an item left on the bucket list. In the meantime, Return of the Storyteller is the best you-were-there substitute one could ask for.

Grade card: Todd Snider - Live: Return of the Storyteller - A

9/28/22

[burlveneer-music]

Lonnie Holley - Oh Me Oh My - part secular gospel, part spoken-word memoir, with musical backing that sounds like a collaboration between Daniel Lanois and Bill Laswell (but is actually produced by Jacknife Lee)

Some years ago, there was a magazine piece wherein the writer meditated on the concept of the “Cosmic Southerner”: the late Pharoah Sanders, André 3000 and Col. Bruce Hampton (on whom the piece was ultimately focused) were all mentioned. Somehow, Alabama-born, Atlanta-based self-taught artist Lonnie Holley was left out of the piece. But Holley, 72, has improvised — nay, conjured! — ecstatic, baffling and heavy moments that can often only be described as “cosmic.” In a mere two lines of a song, Holley can zoom in on the pores of one’s skin and pull back to encompass the whole of the Milky Way. All that said, Holley’s music and visual art (for which he has shown at The Met, The Smithsonian and is represented by the illustrious Blum & Poe) is much more about our place in the cosmos than the cosmos itself. It’s about how we overcome adversity and tremendous pain; about how we develop and maintain an affection for our fellow travelers; about how we stop wishing for some “beyond” and start caring for the one rock we have. Holley has never delivered this message as clear, as concise and as exhilaratingly as he does on his new album ‘Oh Me Oh My.’ ‘Oh Me Oh My’ is both elegant and ferocious, sharpening the work contained on his 2018 Jagjaguwar debut ‘MITH’. It is stirring in one moment and a balm the next. It details histories both global and personal. Holley’s harrowing youth and young manhood in the Jim Crow South are well-told at this point — his sale into a different home as a child for just a bottle of whiskey; his abuse at the infamous Mount Meigs correctional facility for boys; the destruction of his art environment by the Birmingham airport expansion. But, as mentioned, Holley’s music is less a performance of pain endured and more a display of perseverance, of relentless hope, of Thumbs Up For Mother Universe. Intricately and lovingly produced by LA’s Jacknife Lee (The Cure, REM, Modest Mouse), ‘Oh Me Oh My’ features both kinetic, shortwave funk that calls to mind Brian Eno’s ‘My Life in the Bush of Ghosts’ and the deep space satellite sounds of Eno’s ambient works. There are also elements of Laurie Anderson’s meditations, elements of Gil Scott-Heron’s profound longform soul, elements of John Lurie’s grabbag jazz, and yes, elements of Sun Ra’s bold afrofuturism. But ‘Oh Me Oh My’ is a triumphant sonic achievement of its own. Acclaimed collaborators like Michael Stipe (“Oh Me, Oh My”), Sharon Van Etten (“None of Us Will Have But a Little While”), Moor Mother (“I Am Part of the Wonder,” “Earth Will Be There”), Justin Vernon of Bon Iver (“Kindness Will Follow Your Tears”) and Rokia Koné (“If We Get Lost They Will Find Us”) serve as choirs of angels and co-pilots, giving Lonnie’s message flight, and reaffirming him as a galvanizing, iconoclastic force across the music community. Holley reflects, “My art and my music are always closely tied to what is happening around me, and the last few years have given me a lot to thoughtsmith about. When I listen back to these songs I can feel the times we were living through. I’m deeply appreciative of the collaborators, especially Jacknife, who helped the songs take shape and really inspired me to dig deeper within myself.” ‘Oh Me Oh My’ is also an achievement in the refinement of Holley’s impressionistic, stream-of-consciousness lyrics. During each session, Holley and Lee would discuss the essence of the songs and distill Holley’s words to their most immediate center. On the title track, which deals with mutual human understanding, Holley is as profound as ever in far fewer phrases: “The deeper we go, the more chances there are, for us to understand the oh-me’s and understand the oh-my’s.”  Produced and mixed by Jacknife Lee

[zhanteimi]

Col. Bruce Hampton - Arkansas

USA, 1987, experimental / zolo SAMPLE

[independentartistbuzz]

Indie 5-0 with Grant Green Jr.

Growing up, Grant Green Jr. heard a constant flow of music from his Grandfather, John Green. Playing recordings of Grant Green being a proud father, the younger Green heard guitar playing all the time, the first instrument Jr. learned was the harmonica at the age of five. He would watch and listen to an old blues player walk down the alley playing the harmonica and ask his Grandfather to buy him one. His Grandfather bought him a C harmonica and soon he was playing what he heard the blues Musician playing.

His watch party, where fans can watch his An Empty Room performance and interact with Grant Green Jr. will air on Sunday December 4th on Volume.com here.

We got a chance to speak with Grant Green Jr. in this edition of Indie 5-0, so without further ado, let’s dive in:

Did your father teach you guitar?

No my father never taught me anything on guitar, He wanted me to be a doctor or a Lawyer, I learned by watching him and mimicking what I saw him doing, My father never took me seriously until he heard me playing with his keyboard player, I used to rehearse some of the new members of his band because I knew my father’s songs and one day I started to play a song I wrote with his keyboard player and my father came down the stairs and asked who’s song is that, and the keyboard player said that’s your son’s song and from that point on he took me seriously! 

I played with Organist greats Groove Holmes, Jimmy McGriff, Dr. Lonnie Smith, Melvin Rhyne, Gene Ludwig. 

Drummer great’s Max Roach, Jimmy Cobb, Bernard Purdie, Clyde Stubblefield, Grady Tate, and Cindy Blackmon.

Saxophonists Lou Donaldson and Bobby Watson.

Singers Leon Thomas, Col Bruce Hampton, and so on.

If you could perform with anyone you haven’t yet performed with, who would it be and why?

If I could perform with someone one would be Sting! I have always loved his music because there was always this jazz element in his later work that was very melodic, I am a jazz musician, that loves all types of music and also Burt Bacharach because he is the king of modern melodic music and a huge catalog of music!

What’s the best part of being part of Masters of Groove? How did you all get the group started?

The greatest thing about playing with the Masters of Groove was playing with these musical legends! Organist Reuben Wilson was on the Blue Note label with my father in the sixties and my father recorded on his love bug album in 1969 so it was a honor playing with him and Bernard Purdie is the world’s most recorded drummer, he has played with everyone from Aretha Franklin to Steely Dan, there was so much history there and I learned a lot playing with them and being around them!

Reuben recorded on one of my records Jungle Strut that I did for a Japanese record company in the late 90’s when I lived in NY so about a year later I got a call to do a recording session and later that week I was sent the music and was the music from Dr. No, the James Bond movie and recorded the album. The Masters of Groove meets Dr. No and the album got critical acclaim! And that’s how the band started.

What’s your favorite song to perform and why?

Well I have many but I guess It’s Just my Imagination by the Temptations as a kid I always loved them and I lived in Detroit when I was a teenager my favorite Temptation was Eddie Kendricks and one day I was going to St Louis from Detroit where I was born and I ran into Eddie Kendricks and he was a wonderful human being! I sat with him and he bought me lunch, I will never forget that! And he was also the lead singer on Just my Imagination, I remember singing it at a concert in Spain and the coolest thing happened everyone speaks Spanish in Spain but everyone sang the chorus in English, I thought that was the coolest thing ever!

What are you most excited about for your Empty Room performance? 

It’s a small band no keyboards no percussion and a lot of improvisation so we can stretch out more and be more creative interacting with people online It’s something different for me and also challenging for me because I don’t have have the other instruments Just bass and drums to tell a story!

[overlooked-tracks]

Todd Snider Celebrates Playing Live Music Again With New LP ‘Return of the Storyteller’

The following article has been posted on July 30, 2022 at 06:55AM:

An Overlooked Tracks News Finding: Here’s an article you might have overlooked. Having a partnership with NewsAPI, we try to catch music entertainment news for you to view, read and possibly enjoy. We will continue to find what’s available in the world of music entertainment, concert information and music releases. But obviously you – the listener and reader are the biggest source for news in your area, so if you can share with us. For right now, look at what we found for you:

“From The Rolling Stone Magazine Website – Todd Snider Celebrates Playing Live Music Again With New LP ‘Return of the Storyteller’”

Todd Snider celebrates playing in front of an audience again and pays tribute to dearly departed friends on his new album Live: Return of the Storyteller, a collection of tracks recorded during the singer’s first post-pandemic shows in 2021.

Ahead of the live LP’s Sept. 23 release, Snider has shared the new video for a live rendition of his 2006 fan favorite “Just Like Old Times,” a track that inspired the film Hard Luck Love Song:

Please accept YouTube cookies to play this video. By accepting you will be accessing content from YouTube, a service provided by an external third party.

YouTube privacy policy

If you accept this notice, your choice will be saved and the page will refresh. Thank you very much from the media staff of Overlooked Tracks.

Accept Overlooked Tracks & YouTube Content

“This album is dedicated to all the people who come to these shows whether this last tour was the first one you caught you’ve been coming since 94, or you joined the family somewhere in between, you have my undying gratitude,” Snider said of the album in a statement. “Traveling and singing has been the great joy of my life and it’s not lost on me who makes it possible. Thank you.”

Live: Return of the Storyteller, a sequel of sorts to 2011’s Live: The Storyteller, features songs spanning Snider’s entire discography, from his 1994 debut Songs From The Daily Planet through 2021’s First Agnostic Church Of Hope And Wonder. In between tracks, Snider shares stories from his life, including tributes to late friends like John Prine, Jerry Jeff Walker, Neal Casal and Colonel Bruce Hampton.

Live: Return of the Storyteller (9/23/22) Check out the video for “Just Like Old Times” & the album pre-order collectionhttps://t.co/VKJtNez5qb

A note from Todd

pic.twitter.com/08rM0kAWgs

— todd snider (@ToddSnider) July 29, 2022

Snider will mark the live LP’s arrival with a Sept. 24 album release show at Nashville’s Ryman Auditorium; the gig is surrounded by dates — from Aug. 20 to Nov. 19 — on Snider’s American Troubadour tour; check out Snider’s site for the list of tour dates.

Live: Return of the Storyteller Track List

1. Big Finish 2. [Col. Bruce Hampton Ret.] 3. Turn Me Loose 4. [East Nashville] 5. Play A Train Song 6. [Old Man Shakes Fist At Sky] 7. Too Soon To Tell 8. Like A Force Of Nature 9. [John Prine] 10. Handsome John 11. [Hard Luck Love Song] 12. Just Like Old Times 13. [Speakneck Speedball] 14. Roman Candles 15. The Very Last Time 16. Sail On, My Friend 17. [Being Outdoors] 18. Ballad Of The Devil’s Backbone Tavern 19. Alright Guy 20. [Free Bird] 21. [Sock Water] 22. Just Like Overnight 23. [Alan Greenspan] 24. In Between Jobs 25. [Where Will I Go] 26. Working On A Song 27. Opening Statement

Read More Music Headllines

and can be found on the Overlooked Tracks website: https://bit.ly/3JjdCS9. Check out more music news from Overlooked Tracks! Music Headline News, Covid-19, Music Video

[pear-pies]

Guitar World magazine - March 1993

[josephpatrickmoore]

#ColBruceHampton

I’m shocked and saddened to hear of the passing of Col. Bruce Hampton…There’s not enough words to say (or print) of the many valuable life lessons that I learned from him. From 1996 to 2001, I played with Bruce as part of the Fiji Mariners and I cherished the time spent with him on and off stage. Anyone who ever met Bruce was touched in one way or another from his charm, humor and charisma. I’m forever grateful…Rest In Peace #ColBruceHampton

[krispyweiss]

Widespread Panic’s “The Earth Will Swallow You” to Make Streaming Debut

- Film available on Nugs.net from Jan. 21

The 2002 Widespread Panic documentary, “The Earth Will Swallow You,” is set to make its streaming debut.

The film will premiere at 8 p.m. Eastern, Jan. 21 on Nugs.net.

Billed as a “behind-the-scenes look at Widespread Panic’s 2000 summer tour,” the doc features interviews with band members - including the departed Michael Houser and Todd Nance - and friends and associates such as the Dirty Dozen Brass Band, Taj Mahal, Vic Chesnutt, Merl Saunders, Jorma Kaukonen, Col. Bruce Hampton (Ret.) and others.

Live performances at Red Rocks and the Warfield are also part of the package.

Each $9.99 purchase comes with 48-hour, on-demand playback.

1/19/23

[zhanteimi]

Col. Bruce Hampton – Outside Looking Out

Col. Bruce Hampton – Outside Looking Out

USA, 1980, jazz-rock Jazz-rock doesn’t cover the music of this album, for Hampton isn’t afraid to dip his fat fingers in a lot of genre pies, even straying into psychedelic folk territory. Right off the bat, the comparisons to Zappa are inevitable, but that feeling goes away pretty quickly as the album descends into wonderful absurdity (as in, chopped up meaningless lyrics). You’re gonna need…

[tfc2211]

Program Source: MusicToEat

Hampton Grease Band was Col. Bruce Hampton's first legendary band. They only released one album, Music To Eat, in 1971. Though the record was supposedly Columbia's second worst selling record ever, the record has since gained a cult following and is considered one of the great records of the early psychedelic rock era. The record contains dazzling guitar work, long weird compositions and meaningless lyrics read off of a spray paint can and an atlas. Music To Eat was a weird audio sculpture that had no context within the normative world other than that it was there. Mike Holbrook - Bass Glenn Phillips - Guitar, Saxophone Harold Kelling - Vocals, Guitar Jerry Fields - Vocals, Percussion Bruce Hampton - Vocals, Trumpet Intro to program 1 - Halifax 2 - Maria 3 - Six 4 - Evans   >Egyptian Beaver   >Evans 5 - Lawton 6 - Hey Old Lady / Bert's Song 7 - Hendon   >Spray Paint   >Major Bones   >Sewell Park   >Improvisation Bonus 8 - Live Improvisation (1970)

[rgray34]

RIP Col. Bruce Hampton

[channelperiwinkle-blog]

TBT: Col. Bruce Hampton and the Aquarium Rescue Unit - “Fixin’ to Die”

RIP Bruce

[krispyweiss]

Todd Snider at Holland Theatre, Bellefontaine, Ohio, Nov. 13, 2021

Todd Snider opened with “Big Finish” and closed his main set with Hard Working Americans’ “Opening Statement.”

Then, he encored with “Freebird.” This after earlier telling one of his trademark stories about how requests for the Lynyrd Skynyrd song once caused him to flee the stage two songs in to a show.

“These colors run like the wind at the first sign of trouble,” Snider said.

Such is the humor of Todd Snider, who played a terrific, mask-mandatory concert to a two-thirds-full house Nov. 13 in Bellefontaine’s Holland Theatre.

“I’ve missed you so much,” he said at the beginning of the 100-minute show during his first post-lockdown tour, which is being recorded for a live record.

“I’ve been getting away with this shit for so fucking long,” Snider said. “I still love it. … I did my fist tour in ’94 and never stopped until this pandemic. This is my second tour.”

Snider played free, weekly livestream concerts and recorded a new album, First Agnostic Church of Hope and Wonder - “always hoping for something and wondering what the fuck,” he said - during lockdown, so there was no rust. And though he copped to lamenting “new shit” when he goes to shows as a fan, Snider played several well-received tracks from the funky, full-band LP, which were much different in this solo-acoustic presentation.

This time out, there was no piano or banjo. Just Snider, a guitar, a harmonica rack, his ubiquitous red Solo cups and a bouquet of flowers on a table alongside him on the theater’s large stage.

“Sail On, My Friend” was a touching farewell to Snider’s late HWA bandmate Neil Casal. “Turn Me Loose (I’ll Never be the Same)” nodded to Col. Bruce Hampton. “Handsome John” was a sweet paean to John Prine. And “That Great Pacific Garbage Patch” was a lament of environmental degradation in the lyrical style of “Statistician’s Blues” - percentages and percentages of percentages, for example.

But Snider wasn’t all doomy and gloomy as the recalled the days when Americana “used to be called unsuccessful country music.”

He took requests for funny, older songs like “Alright Guy,” “Beer Run” and “Happy to be Here,” which turned into rambunctious, Saturday-night singalongs. He told riotous stories about traipsing - and tripping (on acid) - his way through the woods at night, looking for a song and realizing no mother would ever wish this for her child. And Snider imparted sage advice:

“When in doubt, give up.”

The simpatico Chelsea Lovitt, a self-described “broken-hearted songwriter from East Nashville,” opened with 40 minutes of similarly stripped-down - guitar, harmonica, foot percussion - often-biting songs like “Only a Pussy Runs from True Love” and “Order Me a Pizza.”

Grade card: Todd Snider at Holland Theatre - 11/13/21 - A-

11/14/21

[usgunn]

September 1, 2019

CLICK HERE for the September 1, 2019 playlist

1.    Furniture - “Transatlantic Cable” (1983)

I stumbled across this band for the first time this week.  Led by Jim Irvin, who went on to be a British music journalist and also has a co-write credit on a Lana Del Rey song?  Only one EP is on Spotify, but I was so smitten with it I had to lead off with something from it this week.  I’m getting a David Sylvian-vibe.

2.    The Late Bronze Age - “King Greed” (1980)

Spotify credits this song to Col. Bruce Hampton and the Late Bronze Age, but when this record, Outside Looking Out, first came out, they were just the Late Bronze Age.  No offense to my hippie pals out there, but due to his frequent visits to the Georgia Theater back when it was a jam-band haunt I always assumed I would never want to have anything to do with Col. Bruce.  But nobody told me he was in a jazzy new wave band in the early 80′s that sounded like what I always wished Pere Ubu sounded like.

3.    Tesco Bombers - “Break The Ice at Parties” (1982)

London band with but one release, the 7″ from which this song comes, on Y Records, which also put out killer music from Maximum Joy and Shriekback.  I only know this from a compilation,  Cease & Desist: DIY!, put together by JD Twitch of Optimo, the legendary Glaswegian DJ team.

4.    Social Climbers - “Palm Springs” (1981)

NYC-band (by way of Bloomington, IN) who made one self-titled record and disappeared as far as I know, later reissued through the combined power of Drag City and Yoga Records.  Now you know as much as I do.  A lot of the album is more vocal-driven, but this track felt right to kick off a run of instrumental tracks coming up.

5.    Fernando Falcão - “Ladeira dos Inocentes” (1981)

Back to Optimo - they also run a label, Optimo Music, which has picked up a sub-label, Selva Discos, that is putting out some fantastic and forgotten Brazilian music--and that label has just reissued two private-press Fernando Falcão albums.  I first heard Fernando Falcão on the great Outro Tempo compilation a couple of years ago of avant-garde Brazilian music from the 80′s (the Os Mulheres Negras track from a few weeks back came from that compilation).  I don’t know what you call this music.  I like it when you don’t know what to call it.

6.    Ennio Morricone - “Seguita” (1971)

I’m not gonna pretend to know much about Morricone beyond what everyone knows (Italian film composer, did several Sergio Leone movies).  But I always love hearing his music, and I’ve always really liked the Crime and Dissonance compilation (from which this song is taken) of some of his lesser-known work put together by Alan Bishop of Sun City Girls and released on Mike Patton of Faith No More’s Ipecac Records.  This menacing jazz tune is from the movie Gli Occhi Freddi Della Paura, if knowing that sort of thing is important to you.

7.    Sons of Kemet - “My Queen is Harriet Tubman” (2018)

One of several projects of Shabaka Hutchings, a British saxophonist and restless collaborator.  Seems to exist somewhere between jazz and afrobeat, with two drummers pounding out frenetic rhythms.  The album this comes from, Your Queen is a Reptile, was The Wire magazine’s #1 album of 2018.

8.    75 Dollar Bill - “Tetuzi Akiyama” (2019)

75 Dollar Bill started as a guitar and drums duo but have expanded to something much different, playing music that seems steeped in the traditions of some mythical country.  This song is like the blues on acid.

9.    5ive Style - “Pledge Drive” (1999)

5ive Style was a Chicago supergroup (if a supergroup can consist of people no-one has ever heard of): John Herndon (Tortoise, Poster Children) on drums, Leroy Bach (Chicago man-about-town, later in Wilco) on bass, Jeremy Jacobson (one-man-band The Lonesome Organist) on keys, and the inestimable Billy Dolan (later of Heroic Doses) on guitar.  Dolan is one of THE great unsung guitar players of the last, I don’t know, 40 years, and you get a taste of that here.

10.   Orange Juice - “Two Hearts Together (10″ Version)” (1982)

Whether you like this song will determine whether we can be friends.  Not really, but I will die on the Orange Juice hill.  Orange Juice was a Glasgow indie-pop band that most people only care about for their early singles and first-draft of their first album, when they were a scrappy, lo-fi band on Glasgow indie-lable Postcard Records.  But I prefer Orange Juice after they signed to Polydor and became an over-produced also-ran.  This Caribbean-inflected non-album single came between their first and second albums on Polydor, when the band had shed its original guitarist and drummer and added Malcolm Ross on guitar (from Edinburgh’s Josef K) and Zeke Manyika on drums, a Zimbabwe-born multi-talented musician who later recorded with The The and The Style Council, and who in my opinion was a catalyst for the best phase of Orange Juice’s career (but who otherwise seems to be a footnote in most people’s Orange Juice histories--to the extent other people have Orange Juice histories). 

11.    Archer Prewitt - “Gifts of Love” (2002)

Archer Prewitt is best known as the lead guitar player for The Sea and Cake, but made several solo albums of his own in the late 90′s/early 2000′s.  No one would ever accuse The Sea and Cake’s bossa-nova inflected, jazzy post-rock of being “hard,” but Archer’s albums really veered into 70′s soft rock territory, in the best way possible.  There’s a lot to like about this song, but the string-laden outro may be the best part, so good that I’m always disappointed when it fades out so soon.

12.    The Clientele - “Bookshop Casanova” (2007)

The Clientele are a long-time Merge Records band that’s never really caught fire like some others, likely due to their spurts of inactivity and seeming reluctance to tour the U.S. in any meaningful way.  Their catalog is deep at this point, full of poignant moments of beauty and deceptively complex arrangements that invite repeat listens.  This song, though, is probably the closest they ever got at translating what they do into something that might catch a casual listener’s ear at first blush.  

13.    Howard Ivans - “Red Face Boy” (2013)

Howard Ivans is the alter-ego of Ivan Howard, co-leader of another Merge Records band, The Rosebuds.  While The Rosebuds always rooted their genre-experiments in the world of indie-rock, the Howard Ivans persona allows Howard to go full R&B, with wonderful results.  This was one of the first singles put out by Matthew E. White’s Spacebomb Records, and they went all out, with horns arranged by White and strings arranged by Trey Pollard, all cut to tape in Richmond, VA.

14.   BADBADNOTGOOD & Ghostface Killah (ft. MF Doom) - “Ray Gun” (2015)

BADBADNOTGOOD is, as far as I can tell, a bunch of nerds from Canada who play really inventine funk, soul and jazz music, and they made a whole record, Sour Soul, backing Ghostface Killa from Wu-Tang Clan.  I haven’t dived in too deep yet, but really like this song featuring the legendary MF Doom.  Doom and Ghostface have been teasing a collaborative album for years under the name DOOMSTARKS, but so far, nothing.

15.    Baby Huey - “Hard Times” (1971)

Larger than life at 400 lbs. and dead at 26 due to heroin, Baby Huey was not around long enough to make much of a mark.  But he did manage to record one full-length, produced by Curtis Mayfield, from which this song comes (the song was also penned by Mayfield).  There’s an amazing, nearly 10-minute performance of “A Change is Going to Come” on there too, but there wasn’t room this week (I reserve the right to put 10-minute long songs on this playlist, though).

16.    Craig Finn - “Something to Hope For” (2019)

I was never much of a Hold Steady fan -- I appreciated them more than I liked them.  But I feel like frontman Craig Finn is really coming into his own on the solo side of things, and the album he put out this year, I Need a New War, has some great moments, including this earnest, soul-inflected tune.

[thisdayinphishtory]

29 years ago: The Cotton Club - Atlanta, GA - 1990

Phish • June 01, 1990 • The Cotton Club • Atlanta, GA

Set 1: Take the 'A' Train > Reba, Colonel Forbin's Ascent[1] > Fly Famous Mockingbird, Bathtub Gin, David Bowie, Lawn Boy, Bouncing Around the Room, The Oh Kee Pa Ceremony > AC/DC Bag

Set 2: Rocky Top[2], Uncle Pen[2], Run Like an Antelope[3], Mike's Song > I Am Hydrogen > Weekapaug Groove, Hold Your Head Up[4] > Fee[5], Terrapin[6] > Hold Your Head Up, Possum, Fee, Big Black Furry Creature from Mars, Contact

[1] Lyrics changed to refer to Col. (Bruce) Hampton. [2] "Reverend" Jeff Mosier on banjo. [3] "Reverend" Jeff Mosier on banjo and Oteil Burbridge on bass. [4] Crowd chanted for Fee as Fish took the stage. Fish sounded perplexed and remarked that he doesn't sing Fee, but Trey and Page started the song up anyway and left Fish on the spot. [5] Fish on vocals, aborted in chorus after first verse. [6] Fish on trombone.

After Reba, the crowd was chanting "cheeseburger." Fish and Trey subsequently went into a rap about burgers. Trey dedicated Forbin's to the Colonial (Bruce Hampton). Forbin's was then performed with a variety of lyric substitutions of Col. (Bruce) Hampton for Col Forbin. Rocky Top through Antelope featured the “Reverend” Jeff Mosier on banjo; Antelope also featured Oteil Burbridge on bass. As Fish took the stage during HYHU, the crowd chanted for Fee. Fish sounded perplexed and remarked that he doesn’t sing Fee, but Trey and Page started the song up anyway and left Fish on the spot. He tried his best and got through the first verse before falling apart during the chorus. Terrapin featured Fish on trombone. The band said "Fee" several times at that start of Possum, which contained subsequent Blue Monk teases from Trey and a Rhapsody in Blue tease from Page. BBFCFM contained an Auld Lang Syne tease from Trey. The source of Set I is phish.com.