227

Phish: Halloween 2010, Atlantic City, NJ: Little Feat - Waiting For Columbus

C. Michael Bailey By

Sign in to view read count
Phish

Halloween 2010, Atlantic City, NJ: Little Feat—Waiting For Columbus

Self Produced

2010

Phish's "Musical Costumes" fully hit their stride with 2009's Halloween cover of the Rolling Stones' Exile On Main Street (Rolling Stones, 1972). That show was the first Halloween "Musical Costume" show since 1998's cover of The Velvet Underground's Loaded (Cotillion, 1970) (and the subsequent cover, a month later, of Pink Floyd's Dark Side of the Moon (Capitol, 1973)). So, what was America's favorite over-talented garage band, Phish, to cover in 2010? Guitarist Trey Anastasio was coy in interview with Pop and Hiss , stating, "This year, this one's for me. The one we picked, I'm going to get more out of this as a musician than I ever have before. Three songs into it, I called everybody and told them, 'None of the other ones—I wouldn't think, hopefully—will have nearly the effect on my playing this one's going to.' "

Several source albums were considered. Derek and the Dominoes' Layla and Other Assorted Love Songs (Atco, 1970), the Jimi Hendrix Experience's Are You Experienced (Reprise, 1967), Led Zeppelin (Atlantic, 1969) and Led Zeppelin IV (Atlantic, 1971). But it was Little Feat's 1978 live set Waiting for Columbus that won out in 2010. Little Feat's masterpiece, recorded and released during the band's disintegration and only months before founder Lowell George's death, is rivaled only by the Allman Brothers' At Fillmore East (Polydor, 1971) as the finest rock live album recorded.

As with the band's performance of Exile On Main Street, Phish put their own spin on Waiting for Columbus, one that remains completely true to the music while not making it a stiffly rote act of reverence. While Phish will not be mistaken for a group of exceptional vocalists, its members nevertheless all sing with a lyricist's confidence and conviction. The show is introduced with the original Feat soundtrack of "Join the Band," followed by a spelling of F-E-A-T (by the announcers and "Ph-I-S-H" by the expectant crowd).

Anastasio eschews the slide guitar in favor of his excellent and informed standard playing. He does this to great effect on "Fat Man In The Bathtub" and "Mercenary Territory" and anywhere Lowell George's unique slide style was apparent. The "Ventalator Blues" of this performance is a molten "Spanish Moon," featuring percussionist Giovanni Hidalgo and Phish's estimation of the Tower of Power horn section. Tenor saxophonist Stuart Bogie is potently effective on "Night and Day" and "Mercenary Territory."

Treatment of the concert centerpiece, "Dixie Chicken/Tripe Face Boogie" is pure ambrosia, right down to the sprite Dixieland break (played live here and not added in the studio as with the original). Phish shows the lesser considered songs from the album the greatest care. "Don't Bogart That Joint" is given the famous Phish barbershop quartet treatment. "Apolitical Blues" and a nicely funked-up "Sailin' Shoes" bubble with lava ferocity and an extended "Feats Don't Fail Me Now" is rimmed with excitement and fun.

Tracks: CD1: Frankenstein; Big Black Furry Creature from Mars; Ghost; Spooky/The Divided Sky; Roses Are Free/Funky Bitch; Boogie On Reggae Woman; Stash; Character Zero. CD2: Fat Man in the Bathtub; All That You Dream; Oh Atlanta; Old Folks Boogie; Time Loves a Hero/Day or Night; Mercenary Territory; Spanish Moon; Dixie Chicken/Tripe Face Boogie; Rocket in My Pocket; Willin'; Don't Bogart That Joint; Apolitical Blues; Sailin' Shoes; Feats Don't Fail Me Now. CD3: Down with Disease/Back on the Train/Gotta Jibboo/Camel Walk; Suzy Greenberg/Wilson/Harry Hood/The Horse/Silent in the Morning/You Enjoy Myself.

Personnel: Trey Anastasio: guitars, vocals; Mike Gordon: bass, vocals; Jon Fishman: drums, vocals; Page McConnell: keybaords, vocals; Giovanni Hidalgo: percussion; Aaron Johnson: trombone; Stuart Bogie: saxophones; Ian Hendrickson: saxophones; Michael Leonhart: Trumpet; Eric Biondo: Trumpet.

Year Released: 2011 | Record Label: Self Produced


Related Video

Shop

More Articles

Read Tim Bowness: Lost in the Ghostlight Extended Analysis Tim Bowness: Lost in the Ghostlight
by John Kelman
Published: February 19, 2017
Read Way Down Inside: Songs of Willie Dixon Extended Analysis Way Down Inside: Songs of Willie Dixon
by Doug Collette
Published: February 18, 2017
Read Chicago II (Steven Wilson Remix) Extended Analysis Chicago II (Steven Wilson Remix)
by John Kelman
Published: February 12, 2017
Read The Rolling Stones: Blue and Lonesome Extended Analysis The Rolling Stones: Blue and Lonesome
by Nenad Georgievski
Published: November 27, 2016
Read Nat Birchall: Creation Extended Analysis Nat Birchall: Creation
by Phil Barnes
Published: November 23, 2016
Read "King Crimson: Radical Action (To Unseat The Hold of Monkey Mind)" Extended Analysis King Crimson: Radical Action (To Unseat The Hold of Monkey Mind)
by John Kelman
Published: September 10, 2016
Read "Tim Bowness: Lost in the Ghostlight" Extended Analysis Tim Bowness: Lost in the Ghostlight
by John Kelman
Published: February 19, 2017
Read "Steve Reich: The ECM Recordings" Extended Analysis Steve Reich: The ECM Recordings
by Nenad Georgievski
Published: October 29, 2016
Read "Eve Risser White Desert Orchestra: Les Deux Versants Se Regardent" Extended Analysis Eve Risser White Desert Orchestra: Les Deux Versants Se Regardent
by Phil Barnes
Published: November 10, 2016
Read "Peter Case: Peter Case" Extended Analysis Peter Case: Peter Case
by Doug Collette
Published: October 1, 2016

Post a comment

comments powered by Disqus

Sponsor: ECM Records | BUY NOW  

Support our sponsor

Support All About Jazz's Future

We need your help and we have a deal. Contribute $20 and we'll hide the six Google ads that appear on every page for a full year!

Buy it!