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Southeast Regional Report
Edited by Gil McLemore - gmclemore@mindspring.com

The blur of the holidaze has come and gone, leaving our hearts and bellies full of cheer- but for those of us here in the southeast, the season's finest moments didn't come from Santa, but instead from New Year's Eve performances delivered by our favorite bands.

When the dust cleared on January 1st, the biggest show in town proved the most historic as Widespread Panic again ripped through the Fox Theater, delivering a four round gem to the lucky freaks in Atlanta. Each night proved brilliant in its own right, with highlights including: the 28th resurrecting Halloween's surprise 'Red Hot Mama,' ending with a searing 'Cream Puff War'; the 29th making a tasty double sandwich to the tune of 'Proving > Papa's > Drums > Papa's > Proving > T'Light' only to follow with a delightful slide performance by Derek Trucks; the 30th building with a hard-edged 'Floozie,' only to be followed by another double sandwich and a 3 song encore of 'Blue Indian > Low Spark > Rock'; and finally the 31st, delivering a classic 3 set performance including 'Knockin 'Round the Zoo,' 'Coconuts,' 'Over the Hills and Far Away,' and a 'Red Beans Cookin'' that finally brought down the house.

So, in follow-up to last month's band profile, we tracked down fellow 'heads to deliver the story of 3 nights from the run. Those of ya'll that were lucky enough to make it, enjoy reminiscing about the craziness we reveled in for four unforgettable nights, and for those freaks that weren't able to attend, check out what you missed!

Enjoy!

In This Issue:

NEW YEARS AT THE FABULOUS FOX THEATER WITH WIDESPREAD PANIC
by John Lapelle (jlapelle@u.arizona.edu)

Another New Years Run has come and gone at the Fabulous Fox Theater in Atlanta, Ga. on the wonderful Peachtree Street. Thousands of ticketless folks braved cold weather in the hopes of finding that golden ticket, while others relaxed cozily with friends eagerly awaiting the first night of action.

This was the third year at the Fox for New Years for the panic and myself, and every year it feels more and more like home. There is just something about that place that makes you feel like you are part of something very special. The long flowing staircases with beautiful carpets, and the castle-like bathrooms and sitting rooms have accomodated almost every type of audience over the years. And it is hard to argue with someone when you ask them where there favorite venue is and they simply reply "the fox in atlanta".

The first night the band opened up with an appropriate "Last Dance" by Neil Young. I had been hoping for the monday morning tune to open up the run and get things greased up nice and early. A lot of folks were still scrambling to their seats by the end of the tune. "Machine" followed quickly after the opener and got the whole place pumping. After the perfect drop into "Barstools", the funk became exposed for the first time of the evening. Barstools went where it was supposed to and JB spat out some really cool shit during his rap at the end. JoJo kept the groove going with a long "Ride me High" that had the Fox pulsating together like a well oiled machine. This led into a really long jam before relaxing into a perfect "C Brown". Just like last year, the crowd seemed to tear the words out of JB and it truly was a celebration in the happening. "Tall Boy" led into an appropriate "Christmas Katie" with the crowd still eating it up. I really am a huge fan of the xmas katie and was psyched to see the crowd's reaction to it. It totally reminds me of a Dead song like "lazy river" or maybe an older "Althea". But that is just probably me thinking that. Radiochild closed out the set in standard fashion.

Set 2 fired up with Mr. Vic Chestnutt's "Lets get down to Business". This never fails to get the crowd into it as JB always gets a big hold of it at the end. And if anyone doesn't have the Brute album with this song on it then you are missing out. "One Arm Steve" came out of the tuning and was short and cool as always. "Walkin" came next and led into the first long jam of the night. It went high and then low with some nice feeling to it and then things got really cool as they went straight into "First Snow", the new tune debuted the last night of the fall tour in Chicago. Two shows in a row a month apart, I bet they just couldn't wait to play it again. This song really is cool. It has a nice little groove to it and the chorus is "Don't believe everything you see" which sounds cool again the dark backdrop of the music itself. A perfect "Space Wrangler" led into the high point of the night for me. The "Red Hot Mama" >drumz>Vacation was the powerhouse. Red Hot mama just might be the baddest tune ever and then the Vacation out of drumz. come on! Count Mbutu joined in on the drumz as well. The "Stop/Go">Cream Puff War encore let everyone know that the first night was only the beginning.

The highlight from the second night were the "Holden>Last Straw>Disco>Legba" in the first set to start with. They did not stop for one second as these four bad ass tunes flowed through one another creating a feeling that few things can compare to. The started the second set with a "Worryin" which was great placement I thought. Everyone loves to get down to a nice worryin. The big jam of the second set revolved around the monstrous Proving ground sandwich. P Ground>Papas Home>drumz>Papas Home>P Ground was hard to digest a little later but felt great going down. the encore was a pure treat. Mr. Derek Trucks on the slide guitar, Dr. Dan (Fiji Mariners) on keyboards, and the powerful combination of Yonrico Scott and Thelarmis Younkin joining in on the drumz made the stage look really cool. Then an even cooler thing happened, they busted an "Arlene" that blew the roof off. Derek got in some licks that were pretty mean and Dr. Dan was dancing all over the place. Then they all left the stage as the panic meandered into a beautiful treat, "Heaven" by the Talking Heads. In fact, two Talking Heads tunes in one show, just like chattanooga.

The third night was a blast with a beautiful "Aint no Use>Blight" in the first set that took me to my favorite land of the blue lights and somber panic. Schools sounded particularly clear tonight and everyone of my folks up on the lower right balcony were right there with me. "Pigeons" in the second set was a monster and the "driving>Pusherman>drumz>Pusherman>driving" was very spacey and long. A very psyychadelic show this one was. And the longest "flat foot" of all time, even longer than 6-28-97 park city, which I used to think was the longest. Some great jamming though came out of the floozy and i was pretty much blown away by it. The three song encore felt like another set and everyone tried to get some rest that night but few succeeded.

So New Years Eve 1999!!! The streets were mad and everyone seemed to be constantly laughing in the hours before the show. No one knew what to expect of the first set since they have shaken it up the last two years. But alas, they came out with no acoustics or no guests. Just straight up 3 sets of electric panic, thats right come on, bring it. Pleas came rolling out and everyone settled in for the night. The music was crisp, the kush was kickin, and the place looked great. The return of "Genesis" came as the third song and gave many folks what they had wanted for a while. It was a very intimate moment and JB was spilling his guts. I think it was the first one since paris in the spring. "Genesis" kept gaining speed until it spun out into a nice rolling jam that kept getting faster and faster. That is when all of a sudden I realized that they were already in their next song which was "weak brain". This Willie Dixon tune has really gained some momentum in the year and a half since they debuted it a year and a half ago. "Pickin up the pieces" was very green and smooth and a subtle breeze was flowing through every one of the people in my section. Panic. Ahhhh. JB kept this mood going with a wonderful "I'm not Alone" which sucked the breath out of the whole theater. It was purely and entirely perfect, blue lights and all and JB just was checking out the whole theater during the line "I'm feeling a little bit easier now just knowing that you're all here". It is such family that it is scary. "Knockin round the Zoo" came tumbling out of the crystals and rubies of the last song and woke everyone up. "Just knocking round the Zoo, on a thursday afternoon" rang true throughout the land as everyone was definitely feeling a little edgy. Set break was a blast as everyone stocked up on liquor drinks and free new years kisses.

Set 2 opened with one of the most ferocious Chilly Water's ever possibly and the thrill ride was on. Chilly was fast and hard and got the blood flowing again through the whole theater. After beating the crap out of this chilly they slipped into a "Jack" much to everyone's surprise. Jack is so perfect for the fox with all the talk of wizards and queens and just the whole medieval vibe. And the biscuits line at the end was one of the greatest renditions ever with the whole theater in the kitchen with Jack. Truly unbelievable. "Jack" went straight back into "chilly" with little hesitation and woke everyone up from the game of cards they were playing with themselves. A mellow "Aunt Avis" followed that led into an ancient jam and then started thomping telling us to get ready for the "IMPOSSIBLE". It came and went like a hurricane and dropped into a very bluesish "Let it Rock". Which in turn led into "ALL Time Low" which was how everyone was feeling after these four nights of insanity. Wondering into Coconuts closed down 1998 in perfect style as we waited for the countdown.

But at about 11:40 this huge screen drops over the stage and the lights go out. After some white noise and bright t.v. screens the screen turns into a huge t.v. with some news anchorwoman going off about some story. then she starts talking about widespread panic and then it clips to another story and they exclaim"Widespread Panic". So all these images were flying out and all you could hear was "Widespread Panic" over and over again in all these stories that happened in 1998. After everyones's attention was captured and the sensory high had subsided, a truly unbelievable slide show ensued which documented the whole year for the Panic. what a year it was too, the free show, live disc, europe, australia, halloween, etc. etc, they are just turning into the most bad ass thing ever and they are starting to realize it. And if they aren't then they should after watching that movie.

So after the countdown with champagnes and balloons, we were ready for some more music. "Ain't Life Grand" opened the set in fitting style and got everyone jumping on their feet in the new air of the new year. the drumz came rolling out of the feedback signaling the fishwater that was hiding out all run. "Climb to Safety" followed and was the goods. "Diner>REbirtha" was solid panic and took us into drumz with some very heavy jamming.

Then out of drumz came that feeling that you only get when the shit is about to go down. and it did. "Over the hills and Far Away" came out of drumz like a flower blooming into the biggest flower in the world. One capable of making 4,500 people the happiest they have been all year long. that feeling was truly it and everyone just kind of hugged one another in disbelief. It was too perfect. "Porch" reminded us all to live it up this year.

The three song encore was the absolute goods. "Contentment" was so fitting and the "City of Dreams" was downright epic with the southern USA line always so well recieved it gives you the goosebumps.

I hope to see ya'll next year even though this was probably the panic's last dance for new years at the fox. peace and happy new year. see ya there!!!!!!
Johnny Lapelle

Widespread Panic
12/28/98 Fox Theater - Atlanta, GA

1: Last Dance, Machine > Barstools and Dreamers, Ride Me High > C. Brown, Tall Boy, Christmas Katie, Radio Child

2: Let's Get Down To Business, One Arm Steve, Walkin' > First Snow > Space Wrangler > Red Hot Mama > Drums* > Vacation** > Love Tractor

E: Stop-Go > Cream Puff War

* with Count Mbutu (Col. Bruce Hampton and the Fiji Mariners) on percussion
** with Peter Jackson

I hit Atlanta Sunday night and found that Amy M. was waiting for me at the airport. With a warm smile and a quick hug we were off towards the party going on at her apartment. After seeing some friends and meeting new ones, we all settled in for some libations and the relating of past good times we'd shared or experienced. Only thing missing was the crackle of a campfire and the soft, glowing smell of toasting marshmallows. Amy and I seemed to be the most excited of the group and found ourselves unable to sleep all night. As Big Steve warned us, "not getting any sleep isn't how you prepare for a run", but hey, the Panic had already crept up into our systems and was just waiting to be shook loose under the painted sky of the Fox.

Some folks actually had to work that Monday so the out-of-towners just hung and waited for the show. There was some checking in to be done in various hotels so when all that was done, we started to get primed for the first night's show! And once we were all adjusted to the mindset of Widespread Panic, we were off to the show. Now being man-handled by another male isn't my idea of how to enter a concert, but there wasn't much choice in the matter on that blustery, cold December evening. They patted us down from head to toe and even felt up the ladies pretty seriously. I kept waiting for the rubber gloves to get broken out when they got tired of merely feeling us. While some in our party set up taping gear, the rest of us scattered to find places to get down. Amy and I ended up paired off and we found a spot under the balcony, right center. As the echoing first notes of 'Last Dance' resounded off the walls around us, we found ourselves in an ecstasy of unconfined pleasure. I felt like a champagne bottle whose cork was finally released followed by a shower of inebriating liquid sunshine.

Next up, Amy got her NYE run wish with a tight 'Machine' which segued right into my NYE run wish of 'Barstools and Dreamers'. We both turned to each other and exclaimed, "Well, we can go home now!". Of course, this was just the beginning. 'Ride Me High' followed next with JoJo exhorting and Mikey blazing, we foot-stomped that rocker 'till it shimmied into a svelte and smooth 'C.Brown'. I could sense the joy of my ex-girlfriend going nuts in the building as this was her first C., and I thought of the smile I'm sure was fixed on her face. There's just something about standing in a Panic crowd and hearing the, "...as good as any man" line go down and the cheer let loose in agreement over that sentiment by the collected freaks in attendance. I put that line up there with 'I'm Not Alone's, "...knowing that you're all here." The Panic rolled out the anthem carpet next and rode in on a six-pack of 'Tall Boy'(s). With no sleep for almost two days, I was indeed "feeling weak", while at the same time not feeling a thing. 'Christmas Katie' was waiting at the curb at the next stop on the Panic's first night tour of the Fox. A welcome shift in music as 'Katie' gave us all a chance to catch our breaths and allow the "medicine to take". Catching both Amy and I off guard, 'Radio Child' came storming into the set to round out part one of round one. I had turned to her during the end of Katie and asked what she thought, "MSTM or Blackout?", cause it sure felt like either could be laid out on us at any time. Dave's bombs were very welcome instead and the tune seemed to be a portent of greater things to come.

The second set found Amy and I searching for a space to boogie. The seats we'd squatted earlier had been snagged so we got another place to get down. Only problem was the little squirrel who really took his job a bit too seriously. Anyway.... 'Let's Get Down To Business' greeted us as we ran down to the floor, an air of excitement sparking our heels on down the aisle. It was most definitely show time and JB and Co. were ready to lay it on us while we were all too eager to accept. LGDTB was a perfect precursor to 'One Arm Steve', the song about one serious barstool worker looking to clean up the room. 'Walkin'' broke through the mist next and sure had me doing my little white-boy jig. As simple and basic as this song is, it always strikes me with it's straight-forward idea of self-sacrifice for the love of others. This is one of Panic's songs that, for me, echo the Dead's style of music in it's philosophy and the bouncy playfulness it brings to a show. The new song, 'First Snow', slid into the fourth spot on the second set list and I must say that this song is my favorite of the new tunes. One listen and I was humming it all that night and the next day. I'm very eager to see how this one evolves as the boys continue to work it out. FS slid directly into 'Space Wrangler' and, as always, got a large reception from the assembled freaks. As the 'Wrangler' slowed down, it was becoming clear that something was about to happen. The rhythmic beat coming from onstage seemed to signal the appearance of a certain female presence, thought to be of a very tempting persuasion. As our anticipation rose, the band fueled our dreams with some slick teases meant to feint and tempt us with the perceived possible. It was one of those brief portions of a show where the music is nothing and everything at the same time. A crossroads, if you will, where they look down either path and then lay it on down the one deemed most agreeable. All I can say is that when they looked down the road, that 'Red Hot Mama' must've been doing some serious thumbing cause when she got on the bus, it was groovin'! There's nothing like a P-Funk jam to get things hopping and that first night at the Fox was no different. JoJo's funky clav work and JB's growling vocals sent Amy and I into an orgy of JamesBrown-getdown-funkyass-moves. I had to laugh at the appearance of this song as I'd rolled a P-funk show for my hosts before I hit town and included a 10min version of RHM on their tape. Perfect! 'Mama' rode the drums on out of town and let Sunny and Todd work us into a tribal frenzy with their manic percussive beats. Drums is one of those parts of a show I really enjoy watching others, when I'm not dancing myself, and this show was no different. From the grooving chick with the long dreds to the white buttoned-down college boy, the folks in my area seemed to really be getting off to the Southern Rhythm Devils, apologies to MH and BK. With Todd taking on the vibraphones, the jam took a Caribbean turn and began to sound like some sort of South Pacific melody. Little did I know that my first 'Vacation' was about to begin. With a calypso beat to announce it's arrival, 'Vacation' was soon upon us and it was pure ecstasy for me as I turned to Amy and we hugged each other in reciprocating approval. As I stood there with my arm around her and hers around me, singing the words to one of the most beautiful songs Widespread does, a feeling of total belonging came over me which will be with me the rest of my days. And then, just as smooth and beautiful as 'Vacation' was, 'Love Tractor' pulled up at the dock with a rev of the engine and it was time to ride! Bouncin' in that seat, oh man, I didn't care where any of the levers were. I just felt like a fool inside, with all my energy, unable to hide. As Schools let out his banshee wail and the band poured it on with a NASCAR type rush, the realization came on that I was caught in a musical vise, squeezing every last ounce of real world concern out of me and replacing it with that carnival-like sense of wonder so inherent at Panic shows. More, more, more!

And more we got as the band filed out for their encore. Amy and I had no idea of what to expect. But Dave soon filled us in with the opening notes of 'Stop-Go' and what a rush that was! Completely surprised by this choice, I stood there just enjoying the moment for a bit then let the surroundings engulf me and move me to it's will. Always one of my favorites, SG didn't disappoint that first night of the Fox run. But nothing prepared me for the bomb they dropped next by doing the Dead's 'Cream Puff War'. Wish I could tell you what Amy was doing, although I assume she was dancin' as hard as I was, but all I could see were blurred images of those around me as I lost it. I could've sworn there was smoke coming off the bottom of my shoes after that tune, the amount of boot scootin' I was doing! Whew, what a first night! And as we walked out to the strains of Louis Armstrong, a sense of satisfaction came over me and I just wanted to grab the nearest woman and lay one on her. Ya'll know what I mean? When you get so pumped and overwhelmed by the incredible stage emanations that you just can't stand it? Well, that's where I was leaving the Fox that first night. And it was a place I was soon to inhabit again very soon…

by 'Uncajohn' - uncajohn@ruf.rice.edu

Widespread Panic
12/30/98 Fox Theater - Atlanta, GA

1: Happy > Conrad the Caterpillar, Ain't No Use > Blight, You Got Yours, Dying Man, Hatfield, The Waker

2: Henry Parsons Died, Pigeons, Flat Foot Flewzy > Driving Song > Pusherman > Drums > Pusherman > Driving Song > Blackout

E: Blue Indian > Low Spark Of High Heeled Boys > Rock

Anticipating a long wait to get in, we rolled across the street to the Fox about 7PM. Somehow, the security was a lot more relaxed than it was the previous two nights, and I rolled right into the show. Since the place was basically empty, I wandered down to find out where my seat was and got my bearings for the show. I ran into my friend Ethan from back home setting up his equipment to capture the night's festivities. My seat turned out to be a little more to Mikey's side than I thought from the seating chart and just under the balcony. Some more exploration of the Fox allowed me to orient myself with all the important areas, the vending area to get refreshment, the bathrooms, and the smoking area for set break conversation. Finally, the lights went down, and my first taste of '98 Panic at the Fox began.

The show kicked off with one of my calls for the night, 'Happy', which faded into the opening riffs of 'Conrad'. I've seen this little gem a lot this year, and I never get tired of it. What a way to start a show. 'Conrad' whipped everyone into a frenzy right off the bat. JB introduced the next selection as a Meters song, and I was instantly psyched to get the 'Ain't No Use' I'd been hoping for the whole year. 'Ain't No Use' stretched out into 'Blight'. Dave's vocals were really strong thanks to the great new sound system I'd been hearing about so much lately. 'Blight' wound it's way in and out before dropping soundly into a favorite of mine, 'You Got Yours'. 'Dying Man' was tight. The guy beside me named Devin hadn't ever heard it before, and he was totally impressed. It was nice to see all these tunes I've witness again and again blow someone away as they witness them for the first time. 'Hatfield' was an expected treat. I was psyched to hear this version again since I really enjoy the rap a lot. I don't remember any specifics, just a general feeling of wonder, pun intended. The sound system made Mikey's vocals really shine during 'The Waker', and I think a lot of people finally figured out all the beautiful images that Mikey conjures up. 'The Waker' finished things off for set one unexpectedly. I thought they would do one more rocker to send us to set break. Instead of leaving the theater breathless, we all just floated out on a cloud.

'Henry Parsons Died' opened up set two with a bang. I was glad to see it as the opener instead of the set closer or encore like I usually get. 'Pigeons' kept the place thumping with some really active bass work from Schools. Next came the big surprise for the night, 'Flat Foot Flewzy'. When the boys launched into this little gem, I was totally blown away. This tune has become such a Saturday standard. A little research shows that they haven't played it on a day of the week other than Saturday since 4/24/96 in Connecticut, almost 3 years ago. This was probably the most monumental 'Flewzy' I've ever seen. The jam seemed to go on forever, and I'd already assumed they were preparing to segue into the next tune when JoJo started chanting "all right... all right... all right." Wow. 'Flewzy' finally faded into the floaty-style jam that leads into the Panic classic, 'Driving Song'. Driving was nice, and 'Pusherman' was a nice surprise as the sandwich. I immediately thought of the famous 9/7/97 Boston show where one of the most monumental first sets in history was followed by this sandwich in the second set. That show probably would have contained Drums after 'Pusherman' like the show on 12/30/98 if they hadn't kicked it down in set one with DJ Apollo. As they wound down 'Pusherman', a great jam developed that a lot of people told me contained the Nutcracker. I'm really interested to hear that for myself. Drums was amazing with some of the most impressive work done my JoJo on his Lesley cabinet. I assumed Drums would fade back into 'Driving Song', but instead they dropped right back into 'Pusherman' for one final verse before finishing off the Driving sandwich. Once again I wanted the final "Breathing Slow" jam too much and scared it off. Instead, we were treated to a rollicking 'Blackout Blues' to close out the set.

The encore kicked off with the second of the new fall tunes for the night, 'Blue Indian'. I just love this song, but how can you not love a song that sings about cornbread? We all discussed 'Blue Indian' in detail the next day, and we agreed that this song doesn't appear to be blue at all, but instead very contented. The following 'Low Spark' was a real surprise, but I don't think it contained the power of many of the versions I've seen recently. The last roars of 'Low Spark' faded into the opening beat of 'Rock', which my neighbor had thought was coming out of Drums. 'Rock' was nice and tight, but once again, not as powerful as many I've seen. All in all, I was a little disappointed that the encore didn't contain any powerhouse jams, but I think I was thinking about 12/30/96 a little too much. We left the venue to Eric Cartman singing the Styx classic 'Come Sail Away'…

By Scott Holcomb - lgtsotr@earthlink.net

Widespread Panic
12/31/98 Fox Theater, Atlanta, GA

1: Pleas, Who Do You Belong To, Genesis, Weak Brain, Narrow Mind, Pickin' Up The Pieces, I'm Not Alone, Knockin' Around the Zoo

2: Chilly Water > Jack > Chilly Water, Aunt Avis > Impossible > Let It Rock > All Time Low, Wondering > Coconut

3: Ain't Life Grand, Fishwater > Climb To Safety, Diner > Rebirtha > Drums > Over The Hills And Far Away > Porch Song

E: Contentment Blues > City of Dreams > Red Beans Cookin'

Everyone had speculated what the theme of set 1 would be after the special first sets they've played the past two years. When they kicked things off with 'Pleas', I knew we were just in for 3 good sets of Panic. I guess they decided they couldn't top the history lesson we got last year, and I don't blame them. When the cute young lady in the row behind me asked what the name of the song was, I knew that there were more Panic newbies in the area that might need some guidance throughout the night. Never let it be said that I'm unwilling to help out new Panic fans, especially when they are as beautiful as she was. A nice 'Pleas' jam led into 'Who Do You Belong To', which JB flubbed the lyrics in just like he did at the Vic on 5/8/97. Some people thought that it might even have been the same verse. Regardless of the flub, the song felt great. The first surprise was 'Genesis', a song that many people thought had been retired for good. As the 'Genesis' jam planed off onto a jam over an A chord, JB kicked in the lyrics of 'Weak Brain Narrow Mind', and the rest of the band followed right along. 'Pickin' Up The Pieces' and 'I'm Not Alone' slowed the set down quite a bit, which let everyone catch their breath before the set-closing 'Knockin' Around The Zoo'. Being a weekend warrior, I was psyched to finally see this Thursday tradition. 'Knockin' Around The Zoo' whipped the room into a frenzy that left everyone ready for more in set 2.

When I returned from taking care of the set break necessities, I made sure I stepped into the row behind me where that cute young lady was hanging out and let my buddy Jason sit in my place. The set kicked off with the 'Chilly Water' that most folks had assumed they would save for set three. The power of 'Chilly' was a contrast to the tender 'Jack' that we found sandwiched in the middle. 'Avis' flowed out from the stage, and the jam rumbled down to the roar that introduced 'Impossible'. The final 'Impossible' jam wasn't stretched out too far before they brought out my second first for the night, 'Let It Rock'. I was so happy they'd brought this back this fall and even happier to be seeing it live. This version just smoked with a really cool JB "train" rap before they kicked into the last verse. 'All Time Low' was powerful as usual, and I assumed that 'Wondering' would close the set. I almost bolted during this one to take care of set break errands, but I decided I ought to wait it out. I was so glad I did when the 'Wondering' jam started to take on that familiar 'Coconut' beat. 'Coconut' was such a great way to close out the set and send us all skipping to set break.

Set break preparations took a little longer than expected and caused me to miss a lot of the video clips before the set. I got over that pretty easily since I'd come for the music and not the video. I guess I got there about two minutes before New Years. Dave led the craziness on-stage and the countdown to midnight. Balloons fell and friends embraced as they played Auld Lang Syne over the sound system. Finally it was time for Panic to bring in the New Year, and 'Ain't Life Grand' was a great anthem to remind us all what we should wish for in the new year, a grand life full of peace, love, and Panic! 'Fishwater' proved to be the first powerhouse tune of the '99, and was easily followed by a tight 'Climb To Safety'. The tune just seems to be getting better and better with each play, I can't wait to hear it on the new album. By this time, I seemed to be completely saturated from all the Panic and the songs just rolled by holding the permagrin on my face. More powerhouse Panic poured from the stage as the boys unleashed 'Diner' and 'Rebirtha' on the hungry crowd.

Drums brought the energy back down, and I finally got a chance to catch my breath and prepare for more Panic. After the beating I'd received from the boys thus far, I enjoyed the rest so much. As the band returned to the stage, JB strapped on the guitar and released the opening notes to 'Over The Hills And Far Away'. I was completely surprised to see this one appear again. Like most folks had said about 'Genesis', I had told everyone that we wouldn't be seeing 'Over The Hills' again. This version was much tighter than the version on Halloween. Instead of trying to scream the lyrics Robert Plant style, JB sang it in a low, more comfortable register until the final couple of lines, which he happened to flub by repeated words he already sang instead of the correct one. No matter, this version still blew the Halloween version away. Now I've seen two of the Halloween breakouts, and I'm waiting on my 'Red Hot Mama'. 'Porch Song' closed things off nicely allowing Panic fans both new and old to sing along with great joy. It's 1999, and it's time to live it up!

The boys returned to the stage and built up a roar that signaled a favorite of mine, 'Contentment Blues'. The power of this simple tune about happiness and chicken always fills me to the brim. Out of 'Contentment flowed 'City Of Dreams', a beautiful song to celebrate a city that's treated Panic so well. I knew they wouldn't end things off on a low note, and 'Red Beans Cookin'' didn't disappoint anyone. There had been a lot of talk about a new Prof. Longhair tune from the boys, and even though this wasn't new, any Prof. Longhair tune from JoJo is always a blast. As I'm sure many people expected, the post-show music was Prince's '1999'. With the lights up, everyone stopped right where they were and continued to boogie until the song was over. Once again, excellent post-show music to follow up an unforgettable show!

By Scott Holcomb - lgtsotr@earthlink.net

Many thanks to the Spreadnet community and all contributors

Gov't Mule - 12/31/98
John C Adicks <uncajohn@ruf.rice.edu>

For the past few years, Gov't Mule has made a habit of doing things in their own way. Live at Roseland, their second CD release, featured the Mule's entire set opening for Blues Traveler on New Years Eve 1995. Sixteen months later,slide guitarist Warren Haynes and bassist Allen Woody break from the Allman Brothers Band to pursue their fortunes with Gov't Mule along with Matt Abts providing drum support. The release of "Dose", GM's third CD release, found them hosting two release parties, one in Atlanta and the other in New York City. Guests abounded at these two gigs and proved to be a portent of things to come later in the year.

When Gov't Mule's New Year's Eve show was announced, rumors abounded as to special guests being a vital part of the show. As the days progressed, word was leaked that ringers like Chuck Leavell, Bernie Worrell, Marc Ford, Jimmy Herring, Randall Bramlett, and Derek Trucks had been recruited to help ring in the new year at the Coca-Cola Roxy Theater in Atlanta. Later, the band released information via Emule, the online listserv dedicated to Gov't Mule, that the concert would be recorded for later release through their label, Capricorn Records. With a month off between dates and only one show leading up to their NYE gig, Gov't Mule seemed to be positioning themselves for a breakout show. Derek Trucks Band opened the night off with a rousing set of jazzy blues that primed the raucous Roxy crowd for a night of celebrating. From the opening strains of Coltrane's "Naima" till the last solo of "Egg 15" was executed, The DTB kicked out a fine blending of musical genres which illustrated why Warren Haynes says the young Mr. Trucks will someday soon be the best slide player around. High praise indeed from one of the most highly regarded slide players living.

The highlight of the Trucks Band set had to be Col. Bruce Hampton's appearance for the song "Yield Not To Temptation" which featured a brief seque into "Turn On Your Lovelight" which the Col. belted out with his inimitable style. Later in the set, Jimmy Herring joined Derek and band onstage and played half of the ten-song set.

With balloons waiting above, Gov't Mule stepped out onstage at 11:40 for their opening salvo on the NYE crowd assembled at The Roxy. The first blow was struck by a new song, "Wandering Child" which then gave way to the crowd pleasing "Thorazine Shuffle". "Suffer", an unreleased Mule original was next and hope is high that this gem finds space on the upcoming release. So with about two minutes remaining till midnight, Haynes begins the distinctive picking of the song "Dolphineus" before giving way to the new years countdown. As the crowd joined in with the count, a palpable sense of anticipation rushed through the packed house in wonder over what song would open 1999.

And with a crushing bass boom which shook through the hall, Gov't Mule tore into the Black Sabbath classic, "War Pigs" at exactly midnight and released onto the Atlanta crowd a frenzied wave of power trio histrionics still echoing in some ticketholders ears. The combination of Gov't Mule's respect and love for rock-n-roll and the sheer power of their artistry, made this performance one to remember for years to come. Once the dust had settled, the band took a break in order to set up the equipment of their collection of hired guns for the showdown to follow.

Marc Ford, formerly of The Black Crowes, was the first featured guest of the evening adding his sound to Humble Pie's classic, "30 Days In The Hole" which was the track Gov't Mule contributed to the recent "freetheweed" Hempilation II CD. A stunning version of Free's "Mr. Big" came next and showed off Allen Woody's bass expertise to the hilt.

The next heavy hitter to throw his hat into the mix was keys player extraorinaire, Chuck Leavell. Joining Ford, Leavell added his sound to Albert King's "The Hunter" to a most agreeable degree. Warren Haynes was in full force belting out the lines to this blues hustle on love.

"Gambler's Roll" was the next cover tune they performed on this evening of tributes and featured just the trio and Leavell. The Allman Brothers tune co-written by Woody and Haynes, gave Leavell a chance to show off some of his blues piano chops to much approval by the audience. Elmore James was next on the hit list and a fiery version of "Look Over Yonder Wall" lit up the hall with Leavell and band trading hot licks back and forth in a seeminly neverending trail of high notes and crescendoes.

Continuing with their blues run of songs, the Mule welcomed Derek Trucks to join them with Leavell for a blazing run through Robert Johnson's "32.20 Blues". Haynes and Trucks could be seen centerstage on this song exchanging stinging slide licks and brotherly looks. The heir apparent traded blows with the reigning king while the subjects looked on stunned amazement. Rest assured the kingdom of the blues is in good hands, friends.

The Mule original tune "I Shall Return" followed the blues rave up providing an audio balm to the ears of the Mule collective trying to catch their breaths.

Bernie Worrell, the Purple Woo himself, was the next player to step up and take a swing with Gov't Mule and Co. The former Parliament/Funkadelic keyboardist got things started very nicely when he and Chuck Leavell went off on a gospel tinged duet to lead into the Warren Haynes masterpiece "Soulshine". Few sing with such passion as Mr. Haynes and with the all-star duo of Worrell and Leavell behind him, he rose to new vocal heights in his performance of this classic song he brought to the Allman Brothers Band.

The original song "Mule" was next on the playlist and only Bernie stuck around to help turn this one out. But what a turn he took helping to morph the song into a slowed down, funk jam which had butts shaking and hips moving far as the eye could see. Van Morrison's "I've Been Workin'" was sandwiched in the middle of "Mule" and provided Worrell with much material to play with. Not the crescendo-ending type of performance the song normally enjoys, but one which shows much promise for improv and exploration.

Following the funk groove of "Mule", Little Feat's "Spanish Moon" was the next cover on the bill and brought about the appearance of Yonrico Scott, percussionist for Derek Trucks Band and saxist Randall Bramlett. This was followed by a touching version of Traffic's "Sad and Deep as You" with just Leavell and Bramlett helping out. These two pieces of music back-to-back was a perfect mid-show opportunity gather strength for the final four tunes of the evening.

Jimi Hendrix was in the house, in spirit, all night, but his ghost was clearly evident onstage when the band broke into "Third Stone From The Sun" with Jimmy Herring, Bernie Worrell, and Randall Bramlett contributing. At one point, Haynes left the stage for some guitar work and left Herring alone to shoulder the brunt of keeping the Hendrix fire burning. And oh how he lit that flame that cold, blustery eve in Atlanta. Jimmy's playing soared through the night like a kite on a string, with just enough pressure to keep it afloat and an occasional jerk on the thread to keep the whole thing tight and flying high. The Mule original instrumental "Devil Likes It Slow" came on the heels of the Jimi throwdown and allowed Bernie and Jimmy a chance to get down the fast, jazzy guitar rave.

At this point in the show, the crowd had thinned considerably. After nearly four hours of music, only about a third of the crowd remained with some of those being passed out against the walls of The Roxy. But those who remained were treated to an incredible version of Neil Young's "Cortez the Killer" with Ford and Worrell providing a hand to Haynes, Woody and Abts. Continuing a trend started early in the show, Gov't Mule allowed their guest to outshine them a bit and also show off why the band invited them to play. Ford tore up every bit of his solo during "Cortez" and even provided some solid vocals for the second turn through the song. This proved to be the end of the Mule's new year's set and was perfect to round out the evening.

That is until the remaining crowd got into the act and stomped and screamed for an encore. And encore is what was provided by the trio and the collection of Scott, Herring, Worrell, Bramlett, and Trucks stretching out the Mongo Santamaria standard "Afro Blue". After thirty- five to forty-five minutes of insane playing by all collected, the show finally came to a close. The concert was an ass-kicking good time leaving most in attendance feeling as if they'd come up on the wrong end of kicking Mule. But it was one of those feelings which often encourages folks to respond, "Thank you sir, can I have another?".

No Egos Under Water
Zambiland Orchestra
21Dec98
Atlanta, GA
Variety Playhouse

If, as the Col Bruce Hampton, Ret. says, there are no egos under water, then the Variety Playhouse must've been swamped on 21st of Dec. Zambiland Orchestra made it's 3rd annual and 4th overall appearance and it was, again the musical event of the season!

Jeff "Apt Q258" Sipe started Zambiland as a tribute to the Col (Bruce Hampton) and it was named for one of the Col's longtime friends, Joe Zambi. The idea of this ensemble is to bring together friends in the music for a joyous celebration. The show includes members of various bands coming and going from the stage as they please. The drummers carry their sticks, guitarist and bassists carry their axes and keyboard players find an open keyboard whenever they can. You get members of numerous jambands, some who have direct connections to Col. Bruce Hampton and some who don't. On stage they feel the spirit of Zambi and let the music flow (with a little help from the conductor, Lincoln Metcalfe). This year's celebration included members of Leftover Salmon, Blueground Undergrass, Derek Trucks Band, Aquarium Rescue Unit, Fiji Mariners, Wild West Picture Show, Mosaic, Barry Richman Band, many local performers and, for the first time, members of moe.

As always, the show began with drums...the foundation of American popular music and an intregal part in conveying the essential spirit of Zambi (remember, it was begun by Q258, a drummer). As the beat strengthened the stage became filled with musicians, I mean, there must've been 40 people on stage, all of whom slowly started to groove. For those of us who'd been at last year's and have tapes of the all previous Zambis, the first set was slow but thanks to the amazing banjo of Eugene Chadborne the show finally settled into the avant garde and remained there for most of the night. After quite a few jams and cressendos we slowed down into one of the highlights of the evening...Derek Trucks on the Sarod. Listen to the eponymous Derek Trucks Band CD and you will hear the Sarod. This, like the Sitar is a stringed instrument with a drone but it is a slide styled instument. Derek made his first appearance of the night with this instrument. He and Tye North (LoS--bass) sat on the floor only to be joined by Kofi Burbridge (ARU, Frogwings, Oteil & The Peacemakers--flute and keys) on flute. Derek set the mood with the meditative drone of the Sarod while Tye droned bass notes and Kofi danced over the top...simply amazing.

Set 2 started with an extemely intense jam including 3 guitars, 2 basses, 3 drummers, countless percussionists, some brass and 3 keyboard players. The musicians were trading licks, following the direction of the conductor and enjoying the whole thing, there was a great treat of a drum jam lead by Q258 that included a call and response with some percussionists in the balcony! THIS was the type of magic I expected. The energy remained high during this set except for the female vocalists who were trying just a little too hard to get their point across. This set also included an unexpected and possibly one of the first vocal appearences of Count M'Butu, who came up front as "Black Pride", Charlie Pride's cousin. The Count even included a little Jimmy Rogers yodel! Now we're having fun! By this time the Rev. Jeff Mossier had taken front and center and remained there most of the 2nd and 3rd sets. Jeff is a great entertainer and banjo player, he proved to be good as an orchestra conductor too. He lead the ensemble into "A Love (Bud) Supreme" jam and some great banjo tunes. Finally bringing out Drew Emmitt (LoS) for a few tunes that lead into the setbreak.

Jeff Sipe was very prominent during the 3rd set. It seemed like his was more of a logistical director. He seemed to be attempting to make the show progress a bit quicker. No matter, it's great to see such a good guy up in front of the drum sets. The Col came out for a jam on "Nowhere is Now Here" which included Derek Trucks, Jimmy Herring, Jeff Mossier and many more but the bulk of this set was the blues of Cathy Carlisle (vocals) and Barry Richman (guitar). Here I was struck by two musicians who just tried too hard. If you are singing the blues the music should just flow but especially at an event like this. These two, along with the bass player, are talented musicians but were missing something. I think part of the problem was that they were on stage with a keyboardist and a saxophonist (I don't know the name of either..sorry guys) who were incredible. Cathy and Barry also seemed to hog the spotlight away from Jimmy Herring and Derek Trucks, both of whom were on stage and both of whom can KILL some blues guitar, but with 40+ musicians involved you can't get it right all the time. Finally, Vinnie Amico (drums) and Al Schnier (guitar) from moe. came up for a very hot but very short jam with Derek and Jimmy. The night dwindled into the Zambiland Carols..."Zambi Bells, Zambi Bells" and "We Wish You a Zambi Christmas". What could've faded out with a very soft banjo (Jeff Mossier) ending was unfortunately stretched out by vocalists who wouldn't stop.

Zambiland is a great musical example of what the holiday season should be. The musicans are there for the sake of the music and to show appreciation for the Col. They enjoy being involved, they enjoy playing with musicians they don't normally play with. The audience is treated to spontaneous composition, sparks of musical genius and virtuosity. Proceeds go to charity and EVERYBODY has a great time.

Buy your tickets early next year, bring your canned food, bring your tape decks and get ready for something like you've never experienced before.

No egos under water...no egos at Zambiland...why should there be egos anywhere?

Jai Sanders
jcsiii@bellsouth.net

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