BROOKLYNSTEVE

September 5, 2012

UMPHREY'S MCGEE - CHICAGO, IL. - 09/01/2012

One Set...
Gurgle >
Ocean Billy
Miami Virtue >
Mantis Ghetts
Crucial Taunt
Voyager
Push the Pig
JaJunk
Encore:
Puppet String >
Eminence Front >
Puppet String

http://fp.io/3m4dd1ed/

September 4, 2012

UMPHREY'S MCGEE - THE CROSSROADS KC KANSAS CITY, MISSOURI - 08/30/2012

Disc I:
Set One...
Made to Measure (6:28)
Space Funk Booty (4:21)
The Linear (14:29)
The Floor (6:57)
Red Tape (17:00)
Morning Song (8:47)
Mulche's Odyssey (9:55)

Disc II:
Set Two...
We're Going to War (5:04)
Andy's Last Beer (6:55)
Women Wine And Song (9:20)
Domino Theory (8:05)
Cheap Sunglasses (6:05)
Domino Theory (2:36)

Disc III:
August (19:00)
Search 4 (9:44)
Encore:
Plunger (3:33)
No Comment (5:44)
Plunger (3:30)

http://fp.io/d771dm95/

LOS LOBOS - Kiko Live (2012)

Los Lobos – Kiko Live (2012)

As a general rule, Los Lobos aren’t given to flights of fancy. Their music is traditionally very down to earth, detailing working class struggles, relationship struggles, and the joy of rising above.
If you want to look for anything remotely fantastical in their music, you have to search long and hard, and chances are you won’t use up all your fingers counting. “One Time, One Night” includes the lines “A quiet voice is singing something to me / An age-old song about the home of the brave”. “River of Fools” envisions “A trio of angels holding candles of light / Guide the ship to an unknown shore / Sad soul riders with arms drawn tight / As they stopped for just one more”. “Colossal Head” begins by borrowing from Little Red Riding Hood: … — PopMatters 8/10 “What big eyes you have / What big lips you have”.
That’s pretty much it, and apart from those lines, the songs don’t really deviate from the Los Lobos real-world template. There’s one album, though, that takes on a glimmer of nighttime and wonder: 1992’s Kiko. Kiko is at once a typical Los Lobos album—full of hard-luck tales and hopes for a better future—but it’s also the only Los Lobos album that might be a little “touched” (as some of our grandmothers might have put it). On this one album, Los Lobos allow more wonder into their lyrics than in the rest of their albums combined. “Dream in Blue” recalls, “I flew around with shiny things / And when I spoke, I seemed to sing”. “Wake Up Dolores” intones “Oh sacred night / On Quetzal plumes / Of dying suns / And purple moons”. Ont he darker side, “Angels with Dirty Faces” looks at a world with a “broken window smile” and “weeds for hair”, while “Short Side of Nothing” imagines “Crows up on the rooftop / Laughing out my name.”
Admittedly, it might be a stretch to look for flashes of magic in Los Lobos’s music. Maybe they were just feeling a little bit more poetic than usual. Then again, there’s the album’s title track and centerpiece, so unlike anything the band have recorded before or since. “Kiko and the Lavender Moon”, drifting in on a bed of jazzy lounge music that Little Nemo would have killed for, tells the tale (as best I can tell) about a boy who plays and bends and shakes, and when he “flies up to the wall / Stands on one foot / Doesn’t even fall”, it’s hard to know if he’s awake or dreaming. The whole song could be a dream, and a large part of its charm is that it glides along on that dreamlike ambiguity. Or Kiko could be some fey night child, more at home with black cats than with the people he seems to avoid by sleeping all day—if you really want to stretch your interpretation of the song.
The point is: there’s a spirit to Kiko that’s shared by no other Los Lobos album. It captures a unique moment in time for the band. While it’s still a Los Lobos album with the usual real-world concerns (“Angels with Dirty Faces”, for example, is informed by the harsh conditions outside the studio.“Two Janes” is about suicide. “Just a Man” is one long cry of regret.), it’s also the closest Los Lobos ever came to magical realism, and it might help explain why the album still stands so tall today on its 20th anniversary.
To commemorate that milestone, Kiko is being re-released in a deluxe format with extra tracks, and as live CD and DVD. That live recording is from a 2006 performance at San Diego’s House of Blues, at which Los Lobos played the album in its entirety. It marked the first time some of Kiko‘s songs had been played live, not that you could ever tell it from the skill the band brings to the stage. It’s just what you’d expect from Los Lobos: great songs, skillfully played. They hew close to the recorded versions, with periods of jamming that show, after 40 years together, that these guys can follow each other down any improvisational road they fancy.
When Kiko was recorded, Los Lobos were at a crossroads. Fresh from the success of La Bamba and the recording of 1990’s The Neighborhood, which they considered a compromised disappointment, the band did some soul-searching and holed-up to record Kiko, following whatever weird ideas, rhythms, and textures seemed interesting at the time. The inclusion of producer Mitchell Froom and engineer Tchad Blake (who were apparently navigating their own sonic crossroads) added new wrinkles to the album’s sound, giving it the shimmering vintage feel that Los Lobos would further explore on albums like 1996’s Colossal Head and 1999’s This Time. So part of the challenge of Kiko Live is returning some of the songs back to their unvarnished roots without the effects and the dreamlike vibe. It’s fun to hear the album played with some live crackle, and there’s plenty of that in moments like the extended guitar workouts of “That Train Don’t Stop Here”, “Just a Man”, and “Wicked Rain”. The live sound takes the album back to its gritty roots.
The Kiko Live DVD presents the show in two ways: as the performance by itself, or intercut with interviews about the song or the album. You can’t lose either way. The performance is shot primarily in close-ups of the band, so you lose some of the club vibe in favor of what initially feels like an in-studio performance. You quickly forget about that, though, once the show heats up. The interview segments are informative, providing insight into the meanings of the songs, or the little tricks that resulted in them sounding the way they did. In fact, it’s a shame there aren’t even more interview segments, since the album represented such a turning point for the band.
Despite Kiko being the focus of the performance, one of the DVD’s real treats is the encore, which features Cesar Rosas dropping his cool stoicism to lead Los Cenzontles (who brought a mariachi feel to “Rio de Tenampa” to close the main set) and eventually Los Lobos through raucous takes on “Carabina 30-30” and “Volver, Volver”. The band opts to perform the closing “La Bamba” in its traditional form, complete with harp. Kiko might have been the album that found them fusing all of their inspirations together, but this short encore shows how they never forgot their roots.
There’s no doubt that Kiko is an achievement worthy of celebration. The album holds up as well today as it did when it was released, but this performance reveals some of the fire hidden behind the album’s unique sonic mask. It’s Los Lobos performing Kiko, and there’s no way that’s going to be bad.
1. Dream In Blue
2. Wake Up Dolores
3. Angels with Dirty Faces
4. That Train Don’t Stop Here
5. Kiko and the Lavender Moon
6. Saint Behind The Glass
7. Reva’s House
8. When the Circus Comes
9. Arizona Skies
10. Short Side of Nothing
11. Two Janes
12. Wicked Rain
13. Whiskey Trail
14. Just A Man
15. Peace
16. Rio De Tenampa
http://fp.io/35e237m4/

ZZ TOP - LA FUTURA

ZZ Top – La Futura (2012)

ZZ Top are set to release La Futura, their first new album in nine years, on September 10.
The legendary guitar band’s new album is their 15th studio LP, and has been produced by Rick Rubin and Billy Gibbons of the band. It is made up of 10 tracks and was recorded at Foam Box Recordings in Houston and at Shangri La Studios in Malibu. Of the follow-up to 2003's ‘Mescalero’, Gibbons says: “We thought long and hard about what this album should be. We wanted to recall the directness of our early stuff but not turn our backs on contemporary technology. The result of this melding of the past and the present is, of course, ‘La Futura’.” Earlier this summer, Gibbons revealed that he and bandmate Dusty Hill once turned down an offer of $1million (£638,000) to shave off their beards. The singer, who has sported a lengthy beard since the group’s formation, told Brave Worlds that he and Hill were approached by Gillette, who offered them the staggering amount of money to shave.
Asked why he turned it down, Gibbons said: “No dice. Even adjusted for inflation, this isn’t going to fly. The prospect of seeing oneself in the mirror clean-shaven is too close to a Vincent Price film… a prospect not to be contemplated, no matter the compensation.”
‘I Gotsta Get Paid’
‘Chartreuse’
‘Consumption’
‘Over You’
‘Heartache In Blue’
‘I Don’t Wanna Lose, Lose, You’
‘Flyin’ High’
‘It’s Too Easy Mañana’
‘Big Shiny Nine’
‘Have A Little Mercy’
http://fp.io/df493d1d/

Col. Bruce Hampton & the Aquarium Rescue Unit - Mirrors of Embarassment [1993]

Col. Bruce Hampton & the Aquarium Rescue Unit - Mirrors of Embarassment [1993]

Bruce Hampton, very late of the Hampton Grease Band, has learned to let it all stretch and flow, and, boy, does it flow. This sophomore set is a treat and a half, filled with jazzy grooves that get bluesy and then rocky, only to stand up and toss Bela Fleck out front for a banjo attack on "Too Many Guitars." It's relaxed, smart, fun music with big fat friendly shouter vocals from the Colonel.

Oteil Burbridge - Bass, Vocals (Background)
Matt Mundy - Mandolin, Vocals
Col. Bruce Hampton - Chazoid, Vocals
Jimmy Herring - Guitar
Apt. Q258 - drums, talk-box, hydro phase enchantment, background vocals
with
Chuck Leavell - Wurlitzer
Béla Fleck - Banjo
Count Mbutu - Conga
John Popper - Harp
Oliver Wells - Organ (Hammond)

No Ego's Under Water /Burbridge, Hampton 3:56
Lost My Mule in Texas /Mundy 4:35
It's Not the Same Old Thing /Burbridge, Hampton 4:22
Too Many Guitars /Johnson 5:00
Gone Today, Here Tomorrow /Hampton, Williams 3:40
Shoeless Joe /Burbridge, Hampton, Mundy 4:44
Lives of Longevity /Mundy 3:30
Memory Is a Gimmick /Hampton, Mundy 3:50
Dead Presidents /Hampton, Mundy, Sandlin 3:21
Trondossa /Johnson 5:07
Swing /Hampton 2:42
Payday /Burbridge, Hampton 3:55
http://fp.io/mdc7bcb4/

COL. BRUCE HAMPTON & THE AQUARIUM RESCUE UNIT - 1991

Col. Bruce Hampton & the Aquarium Rescue Unit - self-titled [1991]

Recorded live at the Georgia Theatre in Athens, Georgia, Col. Bruce Hampton & the Aquarium Rescue Unit serve up their unique brand of party music. Mix together some Southern rock, some blues, some funk, a little jazz, and a touch of psychedelia, and that's what you'll find on this enjoyable live set. Hampton and the Aquarium Rescue Unit tell real-world, blue-collar tales in a guitar-dominated sonic environment with Jimmy Herring (guitar), Oteil Burbridge (bass, vocals), and Chuck Leavell (piano, organ) making notable contributions. The Colonel himself plays some guitar and takes the lead vocals in a manner that is better described as rhythmic shouting rather than singing. Highlights of the album include the groovy "Yield Not To Temptation," and the free form, improvisational "Quinius Thoth," but it is "Basically Frightened" which truly captures the essence of the band as a fun, eclectic, rocking good time.

Oteil Burbridge - Bass, Guitar, , Vocals
Col. Bruce Hampton - Chazoid, Drums, Guitar, Sound Effects, Synthesizer, Vocals
Jimmy Herring - Guitar
Chuck Leavell - Organ, Piano
Count Mbutu - Conga

Introduction /Bell 1:29
Fixin' to Die /White 3:23
Yield Not to Temptation /Bass, Thompson 4:01
Working on a Building /Traditional 4:46
Time Is Free /Johnson 6:47
Basically Frightened /Ellis, Hampton, Keller 4:19
Compared to What /McCann 5:04
Time Flack /Burbridge, Hampton 4:47
Davy Crockett /Hampton, Williams 5:07
A Walk With Peltor /Sipe 3:57
Jazz Bank /Francs, Hampton 3:50
Quinius Thoth /Aquarium Rescue Unit 6:47
Planet Earth /Burbridge, Hampton 4:14
http://fp.io/c4547476/

PINK FLOYD - The Wembley Soundboard 1974

Pink Floyd - The Wembley Soundboard 1974
Unknown date - Empire Pool, London, England

Type Unauthorized Bootleg
Source: Soundboard
Quality: A Excellent
Download size: 1 file 729 MB

Notes: This show is from Plink Floyd's British Winter Tour. It is listed as Soundboard but I believe it is PRE-FM. Nonetheless it is a excellent sounding Floyd show and just a most excellent all around show. There are alot of versions floating around of this show and most are low rate mp3 and not a complete show. This is the Complete show and is in loss less Flac format @ 793 kbps

Pink Floyd:
David Gilmour
Nick Mason
Roger Waters
Richard Wright
-
Venetta Fields
Dick Parry
Carlena Williams

Disc 1
01 Shine On You Crazy Diamond 21:25
02 Raving and Drooling 14:16
03 You've Gotta Be Crazy 18:05

Disc 2
01 Speak To Me 02:28
02 Breathe 02:59
03 On The Run 05:02
04 Time 06:32
05 The Great Gig In The Sky 06:41
06 Money 08:05
07 Us And Them 07:49
08 Any Colour You Like 07:30
09 Brain Damage 03:39
10 Eclipse 01:48
11 Echoes 23:13

http://fp.io/719m5add/

September 3, 2012

STANLEY CLARKE - The Complete 1970s Epic Albums Collection [7CD]

Stanley Clarke – The Complete 1970s Epic Albums Collection [7CD] (2012)

The Complete 1970s Epic Albums Collection collecting Stanley Clarke‘s five recordings from 1974-78 (some out of print for years) plus a live recording that was not released until 1991 (Live 1976-1977). Clarke’s meteoric rise was, perhaps, only eclipsed by the late Jaco Pastorius, whose own one-two-three punch in 1976— Jaco Pastorius (Epic), his first appearance with Weather Report on Black Market (Columbia), and lyrical work with the increasingly jazz-focused singer/songwriter Joni Mitchell on Hejira(Asylum)—demonstrated greater compositional and stylistic breadth, and a stronger jazz disposition, even as Clarke moved further into the arenas of funk and rock over the course of these recordings.
Stanley Clarke (Epic, 1974) was the bassist’s second album following Children of Forever (Polydor, 1973), and in some ways those two recordings mirrored Clarke’s ongoing work in Chick Corea‘s Return to Forever, his debut, a more acoustic and straight-ahead session that reflected the similar (albeit more Latin) bent on RTF’s self-titled 1972 ECM debut and bigger cross-over hit, Light as a Feather (Polydor, 1973). When RTF went more fully electric later that year, with the guitar-heavy, high-octane Hymn of the Seventh Galaxy (Polydor, 1973), so, too, did Clarke—even going so far as to recruit Hymn‘s six-stringer, Bill Connors, for Stanley Clarke. It’s no surprise, either, that the line-up mirrors RTF, although in order to provide some differentiation Clarke opts for drummer Tony Williams and, in a particularly inspired move, ex-Mahavishnu Orchestra keyboardist Jan Hammer, whose guitar-like Mini-Moog synth playing was always more credible than Corea’s less meaty tones. There’s plenty of formidable soloing, amidst writing that ranges from the straightforward and groove-laden (“Lopsy Lu,” “Vulcan Princess”) to the more ambitious (“Spanish Phases for Strings & Bass”) and expansive (the four-part “Life Suite”), both orchestrated by Michael Gibbs and some of Clarke’s best overall work on record.
Journey to Love (1975) delivers more of the same, though the same amping up of testosterone that was taking place over in RTF-land with the recruitment of Al Di Meola to replace the departing Connors, means that Clarke’s third album as a leader began pumping up the muscle, too. Still, a core group with drummer Steve Gadd, guitarist David Sancious and, in particular, keyboardist George Duke (with whom Clarke would later collaborate for three records with the Clarke/Duke Project between 1981 and 1990) meant that the grooves were even deeper on tracks like “Silly Putty” and the title track. Blasphemous though it may seem, when it came to laying it down with direct and largely unadorned simplicity, beautifully behind the beat and always in the pocket, Gadd trumped the often busier Williams.
The album also introduced a larger cast of characters beyond the strings and horns, with RTF-mate Corea and Mahavishnu’s John McLaughlin collaborating on the all-acoustic, two-part “Song to John” (dedicated to saxophonist John Coltrane that made Journey to Love even more eclectic than its predecessor. Jeff Beck—whose Blow by Blow, released on the same label that same year and which moved the British rock god closer to Clarke with his own brand of fusion—guests on “Hello Jeff,” a sign from the bassist that he was taking the “rock” side of the jazz-rock equation very seriously, while “Concerto for Jazz/Rock Orchestra” demonstrated the Clarke had learned some lessons from working with Gibbs on Stanley Clarke, though Gibbs never demonstrated the same degree of outright bombast.
But it would be Clarke’s third album for Epic, 1976's School Days, that would introduce two players who would remain key for the rest of Clarke’s ’70s Epic tenure. It was Clarke’s most successful album, charting the highest in both the Billboard pop and jazz charts. A more focused recording that retained all the bass pyrotechnics that Clarke had honed on his earlier releases and through extensive touring with RT—the bassist sometimes reaching a degree of blinding speed unequalled by anyone until Marcus Miller and Victor Wooten, two unmistakable Clarke protégés, emerged about a decade apart—but with a leaner, more direct approach. With the exception of the episodic closer, “Life is Just a Game” and the acoustic reprise with McLaughlin and, this time, percussionist Milt Holland on “Desert Song,” there was also a focus on largely shorter songs, including a very radio-friendly 2:55 running time with the frenzied funk of “Hot Fun.”
Drummer Gerry Brown appears with Clarke for the first time, and it’s his work here, combining some of Gadd’s grease with a busier approach more in keeping with the rest of his band mates (Gadd often flying in direct contrast, capable of massive chops but rarely resorting to them) that, no doubt, led to his recruitment for RTF following its post-Romantic Warrior (Columbia, 1976) flip from guitar-heavy to brass and string-driven. Guitarist Raymond Gomez leaned considerably more to the visceral feel of Bill Connors, rather than the admittedly virtuosic but somehow soulless mechanics of Di Meola, but possessed greater dexterity to match some of Clarke’s seemingly impossible gymnastics.
If Clarke’s first three recordings for Epic represented a muscular and extremely impressive trilogy of outrageous bombast, bringin’ home the funk, arena rock-centricities and the occasional glimmer of tasteful restraint and lower-volume acoustics, then 1977's Modern Man amplified the very worst of Clarke’s traits and almost completely eliminated the positives. Clarke had sung before, and on each of his recordings—not to mention becoming more key in that role, alongside Corea’s wife, Gayle Moran, in the MusicMagic (Columbia, 1977) incarnation of RTF—but Modern Man features his singing on two radio-intended Earth, Wind & Fire rip-offs (“He Lives On” and “Got to Find My Own Place”) and an extended and excessive rework of one of RTF’s best songs on the first side of No Mystery (Polydor, 1975), the ebullient “Dayride.”
“It’s people like you what’s cause unrest,” Monty Python’s John Cleese once said, and it’s tracks like “Opening (Statement)” and “Closing (Statement)” that began to give ’70s fusion a (somewhat deservedly) bad name, including kitchen sink production values (including Clarke’s “Cast of Thousands” footstompers and James Fiducia’s 44 Magnum gun), with too much information vying for attention, and most of it superfluous and downright distracting. If School Days represented Clarke at his powerful best, Modern Man was the bassist at his ego-fueled worst.
With little else to go but up, I Wanna Play For You was a significant improvement, although its odd combination of live and studio recordings makes for an uneven listen. In the studio, Clarke continues to move towards a strange mix of R&B and flat-out rock ‘n’ roll, with the synth-driven “All About” sounding like a strange harbinger of what was to come in AOR—and not in a good way. And if “Jamaican Boy” finds Clarke getting “ire with I,” the actual melodies have become a little repetitive—Clarke’s thumb-popping, finger-slapping approach to layering themes over low-end harmonic movement beginning to lose its freshness.
Still, there’s less excess, as Clarke relies largely on smaller groups and guest turns by saxophonist Tom Scott, George Duke and Freddie Hubbard, though the trumpeter is hard-pushed to do much with the discofied, handclap-driven “Together Again.” This double-disc release of I Wanna Play for Youdoes, however, return it to its original running order, the previous CD release omitting three tracks, in order to squeeze it onto a single CD, and reordering it so that the studio and live tracks are segregated. Not that it was a bad idea, as the live material definitely eclipses the studio tracks, even the more straight-ahead “Blues for Mingus,” which sticks out as a superfluous piece of esoterica. Still, Clarke’s high-speed volleys over Gerry Brown and pianist Michael Garson’s incendiary playing on the too-brief “Off the Planet” makes clear that Clarke’s lost none of his jazz cred—he’s just chosen to bury it.
Live 1976-1977 is the album that delivers on I Wanna Play For You‘s promise of four live songs totaling just 30 minutes. The only crossovers are the title track to School Days and the softer “Quiet Afternoon” from the same album, here given an even better reading with the inclusion of Bob Malach and Alfie Williams’ flutes. And while “Dayride” is expanded from the version on RTF’s No Mystery, this version works where the one on Modern Man didn’t, sporting a set-defining soprano saxophone solo from Williams. The heavily scored “The Magician,” first heard on RTF’s Romantic Warrior, actually works better here, with Al Harrison and James Tinsley’s horns grounding it more than Corea’s synths. Recorded largely from two tours with line-ups that, including horns, range in size from the duo of “Bass Folk Song No. 2? to the full-blown septet of “Lopsy Lu”—and with Raymond Gomez and Gerry Brown the constants throughout—these performances are leaner, meaner and far better than anything on I Wanna Play for You.
All of which gives The Complete 1970s Epic Albums Collection a score of somewhere considerably less than perfect: four superbly strong recordings in Stanley Clarke, Journey to Love, School Days and Live 1976-1977; one dud with Modern Man and one middling recording with I Wanna Play For You. Sometimes you’ve gotta take the bad with the good, and if the bad here is, indeed, very bad, then the good—for fans of a time when major labels supported unfettered (and, admittedly, sometimes overreaching) experimentation, to the betterment and detriment of all—is very, very good. Clarke’s successes largely outweigh his failures, rendering them, if not exactly acceptable, then certainly ignorable.
CD 1: Stanley Clarke (Nemperor/Epic NE 431, 1974)
Vulcan Princess
Yesterday Princess
Lopsy Lu
Power
Spanish Phases for Strings and Bass
Life Suite
CD 2: Journey to Love (Nemperor/Epic NE 433, 1975)
Silly Putty
Journey to Love
Hello Jeff
Song to John (Part One)
Song to John (Part Two)
Concerto for Jazz/Rock Orchestra
CD 3: School Days (Nemperor/Epic NE 439, 1976)
School Days
Quiet Afternoon
The Dancer
Desert Song
Hot Fun
Life is Just a Game
CD 4: Modern Man (Nemperor/Epic 35303, 1978)
Opening (Statement)
He Lives On (Story About the Last Journey of a Warrior)
More Hot Fun
Slow Dance
Interlude: A Serious Occasion
Got to Find My Own Place
Dayride
Interlude: It’s What She Didn’t Say
Modern Man
Interlude: A Relaxed Occasion
Rock ‘N Roll Jelly
Closing (Statement)
CDs 5 & 6: I Wanna Play For You (Nemperor/Epic 35680, 1979)
Rock ‘N Roll Jelly
All About
Jamaican Boy
Christopher Ivanhoe
My Greatest Hits
Strange Weather
I Wanna Play For You
Just a Feeling
The Streets of Philadelphia
School Days
Quiet Afternoon
Together Again
Blues for Mingus
Off the Planet
Hot Fun/Closing
CD 7: Live 1976-1977 (Epic EK 48529, 1991)
School Days
Lopsy Lu
Quiet Afternoon
Silly Putty
Day Ride
Bass Folk Song No. 3
The Magician
Desert Song
Vulcan Princess
http://fp.io/666m4cm6/

THE BREW - HARD ENOUGH TO BREAK

The Brew – Hard Enough To Break (2012)

Artist: The Brew
Album: Hard Enough To Break
Release Date: 2012
Genres: Blues Rock, Jam Band
Format : Mp3 320Kbps
Size: 74MB

Tracklist:
1. Into The Remembering Sun
2. Make Me Stay
3. Thunder Pain
4. Broke Me Down
5. Ghost
6. Let Go
7. Sad But True
8. Poison Stone
9. Hard Enough To Break
http://fp.io/356c524f/

THE WOOD BROTHERS ''LIVE, VOL. 2: NAIL & TOOTH

THE WOOD BROTHERS
''LIVE VOLUME TWO: NAIL & TOOTH''
AUGUST 28 2012
34:40

1. Up Above My Head/2:49
2. Where My Baby Might Be/5:10
3. When I Was Young/5:07
4. Spirit/4:00
5. Shoofly Pie/4:37
6. Ain't No More Cane/3:46
7. Get Out My Life Woman/5:01
8. Atlas/4:10
http://fp.io/9d7f1526/

AQUARIUM RESCUE UNIT - Athens, GA Georgia Theatre - 12/31/1994

Aquarium Rescue Unit
1994-12-31
Athens, GA
Georgia Theatre
(White Buffalo and Gov't Mule opened)
Soundboard

Working on the Building
No Egos Underwater
Time Flack
Satisfaction Guaranteed
Search Yourself
Payday
Time is Free

Two Truckloads*
Fixin' to Die**
How Tights Yer Drawers***
It's Not the Same Old Thing****
Stand Up People****

encore:
Drum Jam*****
Mr. Chickenman*

* - with Warren Haynes on slide guitar, Allen Woody on mandolin, Matt
Abts on drums
** - with Haynes, Woody, Abts, and Roosevelt on vocals
*** - with Haynes and Woody
**** - with Roosevelt
***** - Jeff and Abts on drums, Oteil and Roosevelt on vocals

http://fp.io/44b3mcem/

AQUARIUM RESCUE UNIT - New York State Fairgrounds, Syracuse, NY - 7/10/1992

Aquarium Rescue Unit
1992-07-10
New York State Fairgrounds, Syracuse, NY
SBD
Unknown Lineage But A+ Sound Quality

01. All Night Long [05:55.28]
02. Poor Boy [03:23.49]
03. Time Flack [04:58.02]
04. Working On A Building [05:28.69]
05. Compared To What [05:45.40]
06. Shoeless Joe [04:58.55]
07. Time Is Free* [11:28.09]
08. Throndossul [06:24.64]
09. Fixin' To Die* [07:44.40]
10. Zambi/Space Is The Place> [09:20.05]
11. ARU/WSP Segue Jam [11:38.44]

Notes:
* with John Popper on harmonica
This show was part of the H.O.R.D.E. tour that also featured Phish, Blues Traveler, The Spin Doctors & Widespread Panic.

mp3(cbr 320)...

http://fp.io/314a7732/

JAZZ IS DEAD - LIVE AT ZIGGYS: WINSTON- SALEM, NC. - 2/03/1998

Jazz Is Dead
Ziggys
Winston-Salem, NC
2-03-1998
Soundboard

01 Space, Help On The Way, Slipknot, Franklins Tower
02 Crazy Fingers
03 Truckin
04 Unbroken Chain
05 China Doll
06 Friend Of The Devil
07 Scarlet Begonias
08 King Solomons Marrbles
09 Dark Star
10 Red Barron*

*with Merl Saunders
Total time 92:16

http://fp.io/c4b1fb65/

PHISH - Dick's Sporting Goods Park, Commerce City, CO - 09/02/2012

Set I:
Cars Trucks Buses
AC/DC Bag >
Down With Disease
Bathtub Gin
Nellie Kane >
Sample In A Jar
Back On The Train >
Rift >
Free
Ride Captain Ride >
Maze
Halley's Comet >
46 Days >
Possum

Set II:
Sand >
Ghost >
Piper >
Twenty Years Later >
The Lizards
Harry Hood
Encore:
Character Zero http://fp.io/462f1ccf/