Kimock in Japan
Dan Alford
2003-09-27
Quick Picks From the Disc Changer: Phish, 8/3/03- Control Tower Jam moe., 2/7/03- Kyle's Song > Timmy Tucker SKB, 4/19/03- Official release of the Bend, OR show Duo, 7/4/03- High Sierra set, Seven Nation Army Jam The Dead, 6/20/03- Cryptical > Other One > Cryptical (HUGE!) Discman: STS9, 9/6/03- Red Rocks set, Breath In In December of 2002, near the end of Alphonso Johnson's tenure with the band, SKB traveled to Japan for a short four date run. The band was at its most imaginative that month, taking songs in new directions, and making use of the clockwork precision they had developed. While each show of the run has its own highlights, the eight sets are best considered as an entire body of work, where the ebb and flow of the music can be measured, and the topography inspected. All of the shows are available for download at www.archive.org. 12/5/02 The first night of the run is very nice; in fact the first disc is probably the best single disc of the entire tour. A really fine Kissing the Boo Boo opens, with some deft interaction between Alphonso and Steve early on, and rowdy, rude-boy solo from Mitch in the center. It's so good, he toasts the Toaster! Actually Mitch is on top the entire show, playing fantastically developed ideas with confidence and, well, guts. In the rich, heavy Electric Wildlife (still known as Song Two at the time), he's plays another rager and you can just about see Steve hunched over his guitar, smiling with his eyes from across the stage. It's Up to You is also great, sweet and deranged in turns- as I said, probably the best single disc of the tour. However, the second disc also features a strong Why Can't We All Just Samba, with cascading stacks of sound from Mitch on the first solo. On the second outing, Steve rides a galloping rhythm, tweaking the slide and slipping into piercingly high registers before gunning at the close of the song. At 28 minutes, it's a healthy version. 12/6/02 The second night has a number of strong performances throughout, including a dark, brooding Bronx Experiment, Rodney laying down the groove on the intro and Alphonso driving it home. Also, the 5B4 Funk stretches out nicely as Steve develops a strangely Elizabethan sounding jam; it's incredibly interesting, and would sound even better on the octave mandolin. But the real highlight is the Cole's Law > Tangled Hangers early in the first set. The classic jam takes off about 8 minutes into the first song, as the music is suddenly incredibly clean, Alphonso and Rodney locked up tight and Steve issuing forth sterling beauty. The transition is phenomenal, Alphonso and Rodney all alone, the bassist defining the path while the drummer scatters light on his cymbals. The movement dissipates and become very spacey before the sweet, body rocking intro to Hangers starts up. The band exemplifies Swiss precision through the composition, allowing Steve to unleash a fast and full-toned solo- guitar hero show boating at its best. Definitely an excellent version of a Kimock calling card. 12/7/02 The third night has an early Bad Hair that stretches out so wonderfully, it's breath taking. Alphonso pulls down three distinct notes to start the jam and it's heaven. To call any of SKB's music with Alphonso loose would be a misrepresentation, but this song is so easy and comfortable and warm, there may not be a better word. The Samba is at times interesting (when Steve is picking instead of sliding), at times awkward (also when Steve is picking instead of sliding) and at times amazing (when the final climax melts into rhythmic vibrations). Cole's is beautiful but short, Alphonso running scales as Steve glides across the lead. The centerpiece of the show is a thick, densely packed and layered solo from Alphonso (there is also an incredibly long bass solo in Rainbow's Cadillac late in the show), precise and thematic, working out the intro to Ice Cream Factory. This is spectacular playing, even for Alphonso. In fact, there are a number of full intro solos from both Rodney and the bassist throughout the four nights, and each one is worth drooling over. During Ice Cream Factory itself, the band wanders down a goofy side street with Alphonso and Mitch firing off rhythmically spaced lines as Rodney clacks on his kit and Steve whips out more arbitrarily chosen ideas- it's a unique version and very engaging. 12/8/02 If the first disc from 12/5 is the best single disc, 12/8 is the best whole show. The band jumps right into an early It's Up to You (no drums fills, noodling, etc.), with a sprightly bouncing first jam, and an absolutely wicked second jam. Steve's guitar playing is devastating, and nicely accentuated by a series of black sliding rhythm riffs from Mitch and Alphonso mid way through. Severe Tire Damage is dark, dark, dark, lumbering and looming large. There is so much space so excellently defined by the notes played, it threatens to crush the listener. You Are the One features a truly inspired solo from Steve, as he effortlessly flies over bar after bar. Alphonso has an equally wonderful solo, playing imaginative, fluid lines that extend forever- it's the bass solo that won't end. But beyond the standard succession of solos, Mitch initiates a late song ska jam that is, like so many other performances from this run, unique. 12/8 also features my personal favorite Long Form Part One. In the first outing, Mitch sets up a tweaked little loop that takes the band to a strangely spacious and atmospheric place- very different, very cool. The second jam is a more deeply grooved experiment in ambient space funk- a thrilling listen. Check it out.
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