Mikes review - 11/27/98 Worcester Centrum, Worcester, MA

Date: Fri, 14 Apr 2000 16:47:29 -0700
From: Charles Dirksen [email protected]
Subject: 11/27/98 Worcester Mike'sGroove
 
11/27/98 Worcester Centrum, Worcester, MA
 
Mike's Song opens very strong.  Trey commands the (long!) tramps jam,
and even though he mostly noodles around (there's nothing terribly
inspired, IMO), he does so over a very dark, forceful groove pounded
out by Mike, Page and Fish.  The only thing out of the ordinary (other
than the length of this Mike's tramps segment) is that Trey sustains a
note for a very long time around the 9 min point. There's just nothing
particularly unusual about this Mike's beyond it's length (it's about
as average-great as they get, in other words).  The closing chords of
the tramps segment don't come in until around 10:28, and they are
executed passionately and fiercely.  The Note that opens the
post-tramps jam (and often starts "Simple") appears at 10:44, and the
jam immediately cools off.  Fish segues into a Hydrogen rhythm after
only a measure or two, as Trey sustains a chord.  But around 12 mins
or so, Trey starts playing these eerie riffs, which Mike accompanies
(it ain't Hydrogen yet, despite Fish's drumming).  That chord that
Trey sustained out of the Mike's is still sustained ominously in the
background.
 
There is a magnificently mystical segue into Hydrogen, which must have
been awesome with Kuroda's lighting! This is probably up there with
the "most magical segues into Hydrogen out of Mike's Song" in my
opinion.  Worth checking out and hearing for yourself.  Mike -- after
playing the opening note a few times and sustaining it -- finally
starts playing Hydrogen (in the midst of a spacey, enchanting,
mesmerizingly misty Wall of Sound) around 13:45.  Trey dallies a bit
with his effects, finishing them off (and Page respectfully plays a
note here and there in the background), before he begins playing
Hydrogen at 15:06.  There's a flub or two in Hydrogen, but nothing
major.  It's actually a bit more improvisational than usual, with
flourishes from all parties.
 
Weekapaug kicks in at 18:02.  There's a phaaaat solo from Mike in the
opening measures before Trey comes in chording 'paug around 18:36.
This 'paug reviews itself.  It COOKS.  It's definitely must-hear.
 From the very beginning of the Jam segment, the whole band plays at a
feverish tempo.  The jam cools off a bit around 22:35 -- Page takes
off on the clav, and Mike plays mellifluously on the bass.  Fish has
maintained the very upbeat tempo, but isn't as loud as he'd been in
the opening few minutes (everyone has quieted down a bit).  Mike is
very melodic around the 23:15 point, for several measures, as Trey
chords here and there, feeding the groove but not leading it.  They
launch back into a more ferocious Weekapaugian groove around 24 mins.
 
Trey returns to melodic, typical 'paug soloing around 25 mins, but
this only lasts for a few measures, after which a more collective
groove evolves around 25:40 or so, and at 26:18, Trey launches into
WIPEOUT.  Fishman  doesn't play the typical tom-heavy Wipeout solo in
this WIPEOUT, but sticks to an only slightly more intricate/complex
Weekapaug rhythm.  It's almost an anti-WIPEOUT drum "solo". But the
pace picks up and at 28 or so, Trey launches into Weekapaug's closing
chords.  The closing lyrics come in around 28:35 and they are fast as
all hell.  (several versions from the last few years have been really
fast)  There's a false ending to this 'paug, taboot.  The band
sustains out the end, and just when you think it is over, Trey and
Fish kick back into Weekapaug!!
 
Trey sustains a note in the background, before soloing in this eerie,
twisted fashion, around 31 mins or so. Mike melodically tools around
in the foreground.  Fish maintains a 'paug rhythm through this very,
very, unusual jam after Weekapaug's closing lyrics/chords.  Sounds
like Page lightly sustains a chord in the background, too.  Trey's
scratchy, eerie, almost Frippian riffs remind me of his work in the
10/30/98 Tweezer (33 mins).  This jam doesn't really go anywhere,
IMO.  It just meanders along.  Trey stops riffing around 33:40 or
something, and, I think, makes scratchy squeaky noises on the frets
(34:50).
 
There's still a note sustained in the background.  This is a very
bizarre jam.  Fish continues to belt out a 'paug rhythm around
34:50... but he changes it up after a few measures.  Mike is only
playing one or two notes at this point (35:30).  The jam is very
aimless.  Around 36 mins, Fish segues into a light reggae beat of
sorts.  He kicks things back up after a measure or two, perhaps trying
to make something happen.  Mike grooves along with him pretty well.
Trey continues to play with effects and make squeaky riffs. Mike and
Fish start banging out a groove -- with Page, who is back on keys more
prominently -- around 37:30.  Fish at 38 kinda hints at a 'paug
rhythm.   But around 38:50 it just kinda ends, with Trey sustaining a
note, and everyone dropping out hastily... Trey starts up Antelope at
39:06 or so.
 
An easy "N/R" rating to this Mike'sGroove.  Though the Mike's didn't
do much for me, I really liked the 'paug.  However, given how
unusually improvisational it is (particularly the jam AFTER 'paug
technically should have ended), I think it deserves the
 
N/R     Not rated.  This basically means the version is
        insane, and it wouldn't be fair to rate it.
        I would recommend, strongly, that you hear it
        for yourself.  I may have liked, or disliked,
        it immensely.
 
two cents,
charlie
 
(thanks, Dennis, for prompting me to post this review!)
 
p.s.  This is a really fun set.. highly recommended by many people!
Check it out!  One of the best sets of 1998?  I think so, even though
some things could have been played better (e.g., Buffalo Bill).



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