Legal P2P MashBoxx Scores EMI Catalog

EMI Music, the world's largest independent music company, has agreed to make its entire catalog of digital recordings available to Mashboxx, a legal peer-to-peer (P2P) service currently in development.

The Mashboxx P2P software or "client," will allow consumers to preview and purchase copyrighted music content from EMI artists from within existing P2P networks, giving music fans the ability to take advantage of the community and music discovery aspects of P2P services while also ensuring that artists and copyright owners are compensated. EMI will make its entire digital catalog in the US available for the service. EMI also plans to make additional repertoire from its international digital catalog available when Mashboxx rolls out its service in additional markets in the future.

The Mashboxx client accesses existing P2P networks, and allows users to perform searches for artists, albums and tracks. Using filtering technology, Mashboxx can identify tracks that labels like EMI have authorized for trade, monetization or blocking, and returns search results accordingly. These results are then presented to the user, who can choose to sample tracks for free, or purchase them as downloads. In order to make its music available through legitimate P2P services including Mashboxx, EMI is having its digital catalog fingerprinted by SNOCAP

Offers Free, Try-Before-You-Buy Download Option

For the free, sampler option, users will be able to play full length tracks up to five times. These sampler tracks will expire after they have been played five times. After five plays, users will only be able to play a 30-second clip of the track, unless they decide to purchase it. This try-before-you-buy feature was exclusively designed by Mashboxx for usage within P2P platforms.

According to the most recent NPD Digital Music Study, nearly 75 percent of P2P users found sampling to be important before deciding whether to purchase music.

A La Carte Paid Download Option

For the a la carte download option, permanent, full-fidelity tracks downloaded via Mashboxx can be burned onto CD up to seven times, played on five PCs, and transferred to Windows Media-compatible portable players an unlimited number of times.

"Legal peer-to-peer services which offer consumers a great user experience and which compensate creators appropriately are good for music fans, good for artists, and good for the digital music market as a whole," said David Munns, Chairman and CEO of EMI Music North America and Vice Chairman of EMI Music worldwide. "When it rolls out, Mashboxx will be a no-obligation way for fans to really immerse themselves in discovering music, turning their friends on to what they like and getting excited about artists and music they've not yet heard. It has the potential to be a very good revenue stream for those who make their living from creating and investing in music."

EMI's complete digital catalog of recorded music in the US will be available through Mashboxx when it launches. The Mashboxx application will soon be available to beta testers, and additional details about the beta service are available at the Mashboxx web site, www.mashboxx.com.

"Alain Levy, David Munns and their EMI team have certainly proven that they are a forward thinking group in the digital space. They have further reinforced that by partnering with Mashboxx and our unique offering. On a personal note, I am grateful for the terrific amount of support that David has given us all along the way. We all look forward to working with EMI to deliver millions of authorized tracks from great EMI artists like Coldplay, Dem Franchize Boyz, Gorillaz, The Rolling Stones, Joss Stone, KT Tunstall, Keith Urban and Robbie Williams among many others, to our future customers."


Biography: Taj Mahal - Blues Explorer

photo: C. Taylor Crothers<br />2006
"I have songs in my head from so many languages and people. I know my sound is in the middle of this whole." – Taj Mahal

Describe legendary musician Taj Mahal in a single word or phrase? Impossible.

You could call him a singer, multi-instrumentalist, composer, producer, ethnomusicologist, two-time Grammy-winner, world-class musical collaborator, musicians' advocate, world traveler, fisherman, or cigar aficionado. These titles are all accurate, yet none convey the warmth, humor, and soulfulness of Taj and his music.

Taj has been playing his own distinctive brand of music -- variously described as Afro-Caribbean blues, folk-world-blues, hula blues, folk-funk, and a host of other hyphenations -- for more than 40 years. Caribbean, Hawaiian, African, Latin, and Cuban sounds and rhythms mix with folk, jazz, zydeco, gospel, rock, pop, soul, and R&B, all layered on top of a solid country blues foundation.

What ties it all together is Taj's abiding interest in musical discovery, particularly in tracing many American musical forms back to their roots in Africa and Europe. Following his passion, Taj has spent time in the Caribbean, West Africa, Hawaii, Europe, the South Pacific, Australia, South America, and all over the continental U.S. His music reflects his global perspective, incorporating sounds from everywhere he's lived and traveled.

A self-taught musician, Taj plays more than 20 instruments, including the National Steel and Dobro guitars. His remarkable voice ranges from gruff and gravelly to smooth and sultry.


"The blues is a tone that puts me in contact with a lot of things, culturally, spiritually, cosmically. I really enjoy it, and I'm not going to let it go, because it's that good." – Taj Mahal

Born Henry St. Claire Fredericks in Harlem on May 17, 1942, Taj grew up in Springfield, Massachusetts. His father, a jazz pianist/composer/arranger of Caribbean descent, and his mother, a gospel-singing schoolteacher from South Carolina, encouraged their children to respect and be proud of their roots. His father had an extensive record collection and a short-wave radio that brought sounds from near and far to Taj’s ears. His parents also started him on classical piano lessons, but after two weeks, he says, "it was already clear I had my own concept of how I wanted to play." The lessons stopped, but Taj didn't.

In addition to piano, the young musician learned to play the clarinet, trombone and harmonica, and he loved to sing. He discovered his step-father’s guitar and became serious about it in his early teens when Lynnwood Perry, an accomplished young guitarist from North Carolina, moved in next door. Perry was an expert in the Piedmont style of playing, but he could also play like Muddy Waters, Lightin’ Hopkins, John Lee Hooker and Jimmy Reed. Taj was inspired to begin playing guitar in earnest.

Springfield in the '50s was full of recent arrivals, both from abroad and from elsewhere in the U.S. "We spoke several dialects in my house -- Southern, Caribbean, African -- and we heard dialects from eastern and western Europe," says Taj. In addition, musicians from the Caribbean, Africa, and all over the U.S. frequently visited the Fredericks household. Taj became even more fascinated with roots -- where all the different forms of music he was hearing came from, what path they took to get to their current states, how they influenced each other on the way. He threw himself into the study of older forms of African-American music, music the record companies largely ignored.

While attending the University of Massachusetts at Amherst as an agriculture student in the early 1960s, the musician transformed himself into Taj Mahal, an idea that came to him in a dream. He began playing with the popular U. Mass. party band The Elektras, then left Massachusetts in 1964 for the blues-heavy L.A. club scene. There he formed The Rising Sons with Ry Cooder, Ed Cassidy, Jesse Lee Kinkaid, Gary Marker, and Kevin Kelly. At the Whiskey A Go Go in Los Angeles, The Rising Sons opened for Otis Redding, Sam the Sham, The Temptations, and Martha and the Vandellas at The Trip. Taj also had the opportunity to hear, meet, and play with such blues legends as Howlin' Wolf, Muddy Waters, Junior Wells, Buddy Guy, Louis and Dave Meyers, Sleepy John Estes, Yank Rachel, Lightin' Hopkins, Bessie Jones, the Georgia Sea Island Singers, and Hammy Nixon.

Taj tapped these experiences on three hugely influential records: Taj Mahal (1967), The Natch'l Blues (1968), and Giant Step/De Old Folks at Home (1969). Drawing on all the musical forms he'd absorbed as a child, these early albums showed signs of the musical exploration that would be Taj's hallmark over the years to come.


"I didn't want to fall into the trap of complacency. I wanted to keep pushing the musical ideas I had about jazz, music from Africa and the Caribbean. I wanted to explore the connections between different kinds of music." – Taj Mahal

In 1970, Taj traveled to Spain to have a well-deserved rest and vacation in the home of the Guitar. He carved out his own musical niche with a string of adventurous recordings throughout the '70s, including Happy to Be Just Like I Am (1971), Recycling the Blues and Other Related Stuff (1972), the Grammy-nominated soundtrack to the movie Sounder (1973), Mo' Roots (1974), Music Fuh Ya' (Music Para Tu) (1977), and Evolution (The Most Recent) (1978).

Taj's recorded output slowed considerably during the 1980s as he toured relentlessly and immersed himself in the music and culture of his new home in Hawaii. Still, that decade saw the well-received Taj (1987) as well as the first three of his celebrated children's albums.

Taj returned to a full recording and touring schedule in the 1990s, including such projects as the musical scores for the Lanston Hughes/Zora Neale Hurston play Mule Bone (1991) and the movie Zebrahead (1992). Later in the decade, Dancing the Blues (1993), Phantom Blues (1996), An Evening of Acoustic Music (1996) and the Grammy Award-winning Señor Blues (1997) were both commercial and critical successes.

At the same time, Taj continued to explore world music, beginning with the aptly named World Music in 1993. He joined Indian classical musicians on Mumtaz Mahal in 1995, recorded Sacred Island, a blend of Hawaiian music and blues, with The Hula Blues in 1998, and paired with Malian kora player Toumani Diabate for Kulanjan in 1999.

Since 2000, Taj has released a second Grammy-winning album, Shoutin' in Key (2000) and recorded a second album with The Hula Blues (2003's lush Hanapepe Dream).


"I walk with the energy of music every day. I don't have to turn it on to hear it play." – Taj Mahal

While Taj's music has always been well received, popular culture finally caught up to him the '90s and 2000s. Taj walked away with the Grammy for Best Contemporary Blues Album for 1997's Señor Blues and again for 2000's Shoutin' in Key, both recorded with The Phantom Blues Band. He has garnered nine Grammy nominations in all.

Taj credits much of his success to the freedom that independent record companies have given him later in his career. Too often, he says, big record companies try to put artists in a box musically. "There is a lot of music that people do not get to hear, and it's unfortunate. It's because of marketing and the fact that somebody [at the record company] says you won't like this. But the people who come hear me get to hear everything I know about."

Now with his own independent label, Kandu Records, Taj plans to help other musicians the way other independents have helped him. "I'll be working with some young contemporary people to get their work out there. I might like to produce some people in the not-so-distant future."

A Look Ahead

"In the end, ultimately the music plays you, you don't play the music." – Taj Mahal

After more than a decade of playing with larger ensembles, Taj wanted to do more guitar playing with a smaller group. He is now touring with The Taj Mahal Trio – just Taj on guitar, piano, and banjo, Bill Rich on bass and Kester Smith on drums. These musicians have been playing together on and off for more than 30 years. Together, they draw on a long, shared history of Taj's music.

"The Trio allows the music between voice and guitar to happen with the smallest amount of accompaniment – bass and drums," says Taj. "That leaves a lot of space to be filled. The guitar is not submerged but right up front in the music. It's a challenging place to play." Taj looks forward to touring with the Trio through the end of 2004 and into early 2005, when the Trio (and possibly The Hula Blues) will play in Costa Rica.

Taj is also booked to play Jazz at the Lincoln Center on October 25. Along with jazz innovator Randy Weston, blues singer/guitarist Corey Harris, Malian griot and kora player Mamadou Diabate, and Senegalese percussionist/kora master Abdou M'Boup, Taj will explore the North African musical traditions that helped shape the sound of the blues.

Another project in the works is an album of music he recorded in Zanzibar with musicians from eastern Africa. "Their music is amazing," he says. "They were open to the sea, everything that came from China, India, Sri Lanka, Ceylon, the Philippines, the Arab influence from the north, other African influences."

More collaborations are on the way as well. He mentions a second edition of the Rolling Stones' Rock and Roll Circus, more work with African musicians, and a desire to do more tuba band music "sooner rather than later." There will also be projects even he doesn't know about yet. "I work with this person and that person. Most of this stuff has not been stuff that I planned, it just worked out that way."

Whoever Taj works with and whatever sounds he puts his hand to in the coming years, you can bet that the blues will play a big part. "You got that tone together," he says, "everything else is flavor."


Blow Up Hollywood Unveils The Diaries of Private Henry Hill

by Mark Kirby,

One of the greatest anti-war films of all time was "Johnny Got His Gun." Based on the book by Dalton Trumbo about the horrors of war, specifically WWI, the movie was released at height of the militant and mass protests against the Vietnam War. About a year after the book's release, American forces withdrew in the face of disintegration, i.e., troops refusing to fight, draftees smoking pot instead of patrolling, and gung ho officers being killed by those under their command. If only there were such instances of the human spirit asserting itself now. At least there is a growing peace movement here in America, and, as in the past, this is reflected in music. And I ain't talkin' about the Dixie Chicks.

If the 60's had Bob Dylan's "Subterranean Homesick Blues" and Country Joe and the Fish's "Feel Like I'm Fixing to Die Rag," then today we have the anti-war concept album, The Diaries of Private Henry Hill. Created by the mysterious entity known as Blow Up Hollywood (BUH), this CD/DVD, like Trumbo's book, takes a soldier-eyed view of the hell that is war. The group is completely anonymous. Their faces are never seen, neither on CD covers nor during live performances.

Blow Up Hollywood's intention is stated in their manifesto: "Beyond the illusion, without regard of egoism... comes a new breed of artists for the new millennium... Blow up Hollywood is a metaphor expressing our willingness to eradicate all hype." Lead singer and guitarist, Steve Messina, explained how Blow Up Hollywood was born. "It really started as a musical vacation, a group of friends renting a beach house for a few weeks. We took that time to just record whatever we wanted to." This freedom and isolation started to grow on them. "We talked a lot about our frustration with the music industry and how we just wanted to be creative on our own terms. After the vacation was over, without even realizing it, we had our first album."

One might wonder how they came to create their anti-image and why all the secrecy regarding the group's identity? "We decided from the very inception of the band that the group members would remain anonymous. We wanted to create an egoless environment to work in. We believe what's important is not who's in the band but the music the group makes. The name is a representation of our disenchantment with the entertainment industry, with big corporate giants creating puppets instead of artists, creating Barbie dolls instead of musicians." states Messina.

Musically, Blow Up Hollywood reminds one of Radiohead, or classic greats like Electric Light Orchestra, Penguin Café Orchestra and, of course, the Beatles. The group's guitar and piano-based songs are embellished with keyboards, sound effects, bass, drums, strings and saxophone. These elements are used sparingly, elegantly, and tastefully.

Download the video 'WMD'
Messina's journey began with discovering the magic of music at an early age. "... the first song I remember is 'Michele' by the Beatles. My Dad played it all the time on his guitar," he said. "I loved listening to him play when I was young. The way the sound made me feel was incredible. I was hooked. I grew up listening to everything. I was exposed to a lot of different styles. A lot of Beatles and classical music. My Dad played guitar and piano. My Uncle and Grandmother played piano. All of them played for the pure love of it." From such exposure comes a view of music that is not as limited as, say, punk and other forms of rock, which equate passion and emotional intensity with screaming.

The power of BUH's music is in the emotional gravitas of songs, which reflect the simple truth of one soldier's experience in Iraq. Besides bringing to today's music scene little used devices like lush orchestration, they have also brought the concept album into the 21st century. The concept here is a simple one and came about in a way that lends credence to the idea that events in this life are interconnected.

Download the video 'WMD'
Mr. Messina volunteers at a homeless shelter in New York City. Blow Up Hollywood's manager, Karen Lee, related to me that when she was walking down a New York street with Messina one day, marginal and destitute people seemed to gravitate toward him. He stopped and dealt with them, giving spare change to some, and directing others to a shelter and various places where they could seek aid. When asked why he does this, he responds nonchalantly. "I'll just say it's a great practice to help other people. It's easy and it makes me feel better. I feel compelled by it."

It was there at the shelter where the project began. "I stumbled onto these amazing journals here. A transient came in that night, but he wasn't a regular; he was inconsolable about his son who died in Iraq. We talked for hours. He didn't even stay the night and he left without the journals and I poured over them. It's interesting to learn about a life that isn't your own. It's amazing the choices people make in their life and the journey it leads them on. I was really moved by what this young man went through. So we decided to make songs based on some of his journal entries. It really felt quite natural."

Download the video 'WMD'
The songs cover the emotional, spiritual, and political peaks, valleys, and epiphanies that young Henry Hill experienced. The record opens with "The Pledge," which sets the tone of the album by mixing an eerie piano theme and backwards tapes sounds with a disembodied child's voice reciting the Pledge of Allegiance. The next cut, "WMD", tells the story of many of our brave men and women fighting in Iraq. "Did really poor in high school it wasn't my thing / I wanted to leave this small town but I had no money / so I visit my uncle sam and he tells me he has a plan / I can see the world for free /. ... they put me on the front line / and they told me to wait for a sign / I'd be looking out for WMD's / WMD's what are these?"

The next two cuts show the Private getting caught up in the war machine. "Bombs Away" has simple, strummed guitar chords underpinning a semi-sweet chorus of voices, singing "oh bombs away, how I love the sound of you ... I want to drop my bombs on you, I want to see the damage they can do." On the aptly titled
"Charge" combat lust rears up along with the hopes encouraged and exploited by recruitment ads: "If you could see the way that I fight / I'd make you proud / ... god is on our side, this you can't deny ... and when the fighting's done, I'll be coming home / charge." Pride, strength, growth, blessings by the creator, and victory all within reach.

Over time, death and destruction apparently caused Private Hill to have the crisis of conscience and subsequent melancholy expressed on "Salvation," where he searches for salvation in the "wreckage of a life (among) all these lies, bury me alive." In the song "Shots Fired", Henry Hill escapes from his horrible present via dreams and fantasies of love, perhaps his (last) thoughts before, during or after being mortally wounded: "Nothing's gonna keep me tonight from you ... it's so peaceful now at home with you ... I'm in love with you..." Two standout tracks are the instrumentals
"Shock and Awe" and "Requiem", which incorporate musical themes and motifs from other songs on the record and expand on them. The music is so colorful and emotionally evocative that no words are needed, and their placement in the narrative of this musical story is positively cinematic.

Don't think for a moment that all this detailed description of the content and flow of the songs constitute what is referred to in movie reviews as spoilers. The power of "The Diaries of Private Henry Hill" can't be blunted by knowing what's going to happen; the songs get better with repeated listenings. Furthermore, they have a multimedia show featuring films projected on a screen, while the band, obscured by shadows and lights, plays a live soundtrack. The band's commentary for a fallen soldier makes them a unique and important one. Don't miss this one.

Provided by the MusicDish Network. Copyright © Tag It 2005 - Republished with Permission


WeeN Fan Reclaims License Plate from DMV

Last fall Tom Rose, a diehard WeeN fan, had his vanity license plate revoked by the DMV for indecent language. Mr. Rose received a letter last September stating that his plate reading "WEEN ME" had sexual connotations and was inappropriate.

After several months of slugging it out with the DMV, Tom Rose has his plates back in tribute to his favorite band. For the full inspiring story please click here


Bele Chere Festival in Asheville NC this Weekend

ASHEVILLE, NC (June 22, 2006) – The Bele Chere Festival, July 28-30 has just added two new headliners to its already packed line up. Both Shooter Jennings and Galactic with special guest JJ Grey of Mofro are scheduled to play at this year’s festival.

Shooter Jennings will hit the Rock n’ Kiss Stage at Coxe Ave. Friday night at 9 p.m. Other performers to include Train, Gov't Mule, Tinsley Ellis, Yo Mama's Big Fat Booty Band, the Codetalkers, Cracker, Cowboy Mouth, Martin Sexton, Steep Canyon Rangers, Papa Grows Funk, Cadillac Jones and many others

Bele Chere Music Schedule

Friday, July 28th

Celebration Stage at Renaissance Parking Lot
Tinsley Ellis 5:00-6:30
Cowboy Mouth 7:00-8:30
Gov’t Mule 9:00-11:00

Rock n’ Kiss Stage at Coxe Ave.

Wolf Ridge Cloggers 3:30-4:00
Last Man Standing 5:00-6:30
Jerome McComb 7:00-8:30
Shooter Jennings 9:00-10:30

Biltmore Ave. Stage
Mac Arnold 5:00-6:30
Stephanie’s Id 7:15-8:45
Martin Sexton 9:30-11:00

Battery Park Stage
The Cisco Playboys 2:30-4:00
Papa Grows Funk 4:45-6:15
Steep Canyon Rangers 7:00-8:30

eGlobal Stage at Lexington Ave.

Hollywood Red 2:00-3:30
Ras Alan 4:15-5:45
Phat Phunktion 6:30-8:00

Haywood St. Stage
Mad Tea Party 12:30-2:00
Caroline Herring 2:45-4:15
David LaMotte 5:00-6:30
Ann Rabson 7:00-8:15

Saturday July 29th

Celebration Stage at Renaissance Parking Lot

Yo Mama’s Big Fat Booty Band 5:00-6:30
Cracker 7:00-8:30
Train 9:00-11:00

Rock n’ Kiss Stage at Coxe Ave.

Wolf Ridge Cloggers 11:15-11:30
Jonah Smith noon-1:00
Warriors of Anikituhwa 1:00-1:15
Lee Whitaker 1:30-3:00
Warriors of Anikituhwa 3:00-3:15
Gamble Brothers Band 3:30-5:00
Kyle Petty Charity Ride 5:00-6:30
The Codetalkers 6:30-8:00
Galactic 8:30-10:30

Biltmore Ave. Stage

Cadillac Jones 12:30-2:00
STRUT 2:45-4:15
Mystic Vibrations 5:00-6:30
Turbine 7:00-8:30
Kenny Neal 9:00-10:30

Battery Park Stage
Dawn of the Dude 12:15-1:45
Whitewater Bluegrass Co. 2:30-4:00
Dead Strings Brothers 4:45-6:15
David Holt and the Lighting Bolts 7:00-8:30

eGlobal Stage at Lexington Ave.

Sidney Barnes 2:00-3:30
Buncombe Turnpike 4:15-5:45
Jimbo Mathis 6:30-8:00

Haywood St. Stage
Red Street 12:30-2:00
Scott Ainslie 2:30-4:00
Laura Blackley and The Love Handles 4:30-6:00
Menage 6:45-8:00

Children’s Stage

Asheville PALS 10:30-11:00
Rick Hubbard: The Kazoo Guy 11:30-12:15
Rick Hubbard: The Kazoo Guy 1:00-1:45
Rick Hubbard: The Kazoo Guy 2:30-3:15
The Health Adventure Clown Troupe – Roving 1:00-4:00

Sunday July 30th

Celebration Stage at Renaissance Parking Lot

Tait 1:30-2:30
Biltmore Baptist Choir 3:00-4:00
FFH 4:30-5:30

Rock n’ Kiss Stage at Coxe Ave.
Dave Desmelik & Hillbilly Cadavers 12:30-1:30
One Leg Up 2:00-3:30
Randall Bramblett 4:00-5:30

Biltmore Ave. Stage
Rich Willey Jazz Band 12:00-1:15
Ruby Slippers 1:45-3:15
Watermelon Slim 3:45-5:15

Battery Park Stage
Every Mother’s Dream 12:00-1:30
Lil’ Malcolm 2:15-3:45
Rosie Ledet 4:30-6:00

eGlobal Stage at Lexington Ave.
Rick Huckaby 12:15-1:45
The Sigmon Stringers 2:15-3:45
Chicago Afrobeat Project 4:15-5:45

Haywood St. Stage

The Buckerettes 12:00-1:15
Chris Rosser with River Guerguerian 1:45-3:15
Christine Kane 3:45-5:15


Help on the Way

Hello everyone and thanks for coming back to PhresWater.net again and again and again... all the traffic and correspondence is very flattering! Especially from all the previously posted material - it has been an inspiration to me personally, thanks again for your support!

Big changes are on the way although I have no specific ETA on when this all will take place. We just purchased the domain PhreshWater.net last week after a botched attempt at gaining our .COM back from domain registration pirates..... friggin scumbags! So, at the present time PhreshWater.net is pointing to this Blog space which has served as a partial archive of the old PhreshWater.com from years past.

The 'Plan A' is to get PhreshWater kick started again, get its own space back, and then re-publish all that juicy content, in its entirety, and start serving up quality independent music journalism again. Sounds grand, eh? Got any ideas or want to pitch in on getting the engine reloaded? Great! Send me an email [or a comment below] and I'll consider all options from the readership

I'm tidying up the place this week in preparation for new material on a more frequent and predictable basis. That Phil and Friends show with Mike and the Duo closing down the house in Asheville just set my mind on fire, like I had been in a long slumber. I'm not sure if it was the master crafted goo-balls or John Scofields Dark Star, both complete with ethereal mind altering pyrotechnics, that led me back to the PhreshWater's early days and thoughts of its revival. Whichever substance, ingested or audibly injected, got my wheels turning - I will mark that show as "The Day" I picked up the ball and ran again.....

Quick Note: Finally, Blogger set up 'Comment Moderation' and 'Verification' of comments so the spam-bots can be stymied. So, if you're browsing the archive and see 35 comments on how to improve the girth of your rhubarb, please be advised that these comments were posted prior to this amazing upgrade to Blogger's services.

Thanks for sticking with us!



Phil Lesh & Friends, Asheville NC 06.27.2006

Went with a group of buds to Phil Lesh and Friends at the Asheville Civic Center this past Tuesday. What a show! John Scofield completely blew my mind in the second set - a Scofield Dark Star!!! Yeahaheahaha! Mike Gordon + the Duo closed the show. I grabbed a few pics with the Razr and eventually made it down on the floor for the second set and up to the end. Saw a lot of old friends, danced, had a few drinks, freaked out and went home very late and buzzing from an epic performance. Downloading the audience recording right now!

I spent the second set up on the rails standing right in front of Joan Osbourne who was swaying and wailing like a banshee in time with the thumping of Phils bass and the titanium screams of Sco's celestial guitar solos. I think I'm 100% in love with that woman now! Joan will haunt my dream life forever.......

The Duo set ROCKED! But where did everybody go?!?!?!?! 90% of the civic center emptied out after the PLF show! You can't tell me that everybody missed those large optic-pink signs hung on every entrance announcing that Mike + the Duo were closing the night.... Musta been the goo-balls..... oh well!

Oh yeah - a special thanks to the kind brother with the cooler chock full of Fat Tire's in the parking lot. That was a great lead-off watering before the show!

Set 1: Sitting On Top Of The World, Pride Of Cucamonga, Mr. Charlie, Deep Elem Blues, Candyman, Cosmic Charlie, Casey Jones

Set 2: jam > Joan Moan > Dark Star > China Cat Sunflower > The Eleven> Other One > He's Gone > Eyes of the World > The Wheel > Joan Moan > Viola Lee Blues, E: A Little Piece For You


Shine On You Crazy Diamond......

On the threshold of stardom, members of the psychedelic rock band Pink Floyd leap from the steps of EMI House in London in this March 3, 1967 file photo. From left: Roger Waters, Nick Mason, Syd Barrett and Richard Wright.

LONDON — Syd Barrett, the troubled genius who co-founded Pink Floyd but spent his last years in reclusive anonymity, has died, a spokeswoman for the band said Tuesday. He was 60.

Syd Barrett - 01.06.1946 – 07.07.2006