Tampa Calling

A new weekly column (with media!) about the jam band supergroup; logo art by Phil Bardi.

On October 1, when the members of Phish — guitarist Trey Anastasio, bassist Mike Gordon, drummer Jon Fishman, and keyboardist Page McConnell — announced they were getting back together right in the middle of what was turning out to be a really difficult year for my husband and I (not to mention for the rest of the country), it was as if they were performing a public service, as if they’d tuned into the collective subconscious and realized that their fans and America as a whole needed something to lift us.

An increased mortgage payment, termites, a car accident, a string of break-downs, the Creative Loafing Chapter 11 bankruptcy, stress-related heart palpitations, the gas price hike, Sarah Palin and John McCain and George Bush and all the dark and dreary days of bad news after bad news, of living paycheck to paycheck, the bleak and undeniable truth of our country’s recession — all of it was put into perspective when my four favorite musicians decided that it was finally time to get back together and make great music again.

It sounds ludicrous, of course.  I know there’s other music out there — I’m an unfaltering advocate for most of it. I get on my soapbox all the time to tell whoever will listen to me about it, spend hours at my laptop because of it, and develop enduring obsessions that span the sonic spectrum as a result of it.

But my ability to appreciate and enjoy such a wide range of musical genres and my very career as a music writer can be directly attributed to being turned onto Phish. It’s Phish that gave me new ears and prompted a different way of listening to music, Phish that nurtured my desire to seek out the latest sound and all those sounds I’d never taken the time to check out before and have come to love dearly — The Velvet Underground, Ween, Frank Zappa, Talking Heads. I learned, by way of Phish, that yes, I can travel anywhere I want, that I can hop a plane and fly away for the weekend and see a show and new city (or re-visit a favorite one), I can jump in my car and just go (provided my car works).

Most of all, Phish introduced me to a community of devoted fans who really seem to care about each other, who are a warm, welcoming, good-natured bunch with the tendency to form instant bonds with fellow admitted phans; I’ve met some of my closest friends via our shared love of Phish.

Phish changed my life, made me who I am today — both as a person and as a music journalist — and they are near and dear to my heart because of it. The band’s reunion has given me something shiny and bright to look forward to in the near future. That and the upcoming Clifford Ball DVD Set, a concert doc featuring Phish’s first fest, which was held on a decommissioned air force base in New York. (More on that and a soundboard copy of the fest’s “Harry Hood” at the bottom of the post).

So back to my point. I have a theory that the Phish reunion is not only a great thing for Phishheads but for America as a whole. Here’s why: Read the rest of this entry »

What will acoustic funk favorite Christie Lenee perform from '68?

WMNF’s Flee is straying from his typical tribute show tradition. Instead of having a diverse lineup of local acts honor a single artist he has asked all the bands listed below to cover a tune from 1968 for the community radio station’s upcoming New Year’s Eve bash.

Songs I would like to hear from that year? How about killer renditions of The Rolling Stones’ “Factory Girl,” The Beatles’ “Happiness Is a Warm Gun,” Otis Redding’s “Hard to Handle,” Loretta Lynn’s “Fist City” and The Velvet Underground’s “White Light/White Heat.” Seriously, that would be a rad setlist!

Rewind: The WMNF Tribute to the Music and Songs of 1968 w/ Boon/Christie Lenee (pictured)/Crabgrass Cowboys/Ted Lukas/Johnny Zoom/Lush Progress/Midnight Bowler’s League/Rancid Polecats/Roppongi’s Ace/Talk to Mark, Wed., Dec. 31, Skipper’s Smokehouse, Tampa.