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South Regional Report
Edited by Mike Jones - lovetoy2@geocities.com

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Hey all! A summer wrap up of concert events that I've been to will appear next month. There will also be some news posted on various bands that I have mentioned here before. In the meantime, everyone be sure to check out your favorite band(s) at Woodstock '99. One band that I discussed on here recently, King Konga, will be performing there! That's right, the band from the little college town of Hattiesburg, MS will be at the big shin dig in New York! Well, till next month, take care and go out and support live music in your area.

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Panic in the Summertime
Trying to catch that chilly breeze

by Eric Rothschild

Summertime. It was always started by tearing through the halls of whatever elementary, middle or high school one attended. Loose-leaf papers flew through the air, and the season was met with a reckless abandon that can fade with the idea of maturity. Summer lingered on through countless jobs and lazy days by the pool, finally coming to much too soon of an end as August closed and classes resumed.

With college came more jobs and mad dashes for internships, consuming more of the idea of leisure that was taken for granted in our adolescent years. Then comes the real world with its cruel, cold hand and a whap-bap-bap across the face.

I shielded myself from the fierce blows by getting out of town. Out of town and on the road to Memphis for a fun filled weekend of BBQ and the southern fried sounds of Widespread Panic, the Kudzu Kings and whatever else felt like coming my way.

The drive was long, about 10 hours, but with the six-disc loaded and the highway as our guide the trip was butter. We pulled into Memphis via Dallas, Little Rock and that Mighty Mississippi with a few hours to spare before concert time.

Checking into the Benchmark Inn, we quickly found more Widespread Panic brethren, including good friends from Oxford, MS, and Athens, GA. We traded a few stories about our drives, then headed down to the parking lot for some veggie burritos and other treats that come with the scene. It's always easy to start spinning your wheels and going nowhere as balloons of nitrous oxide fly through the air jumbled with a myriad music, mostly Widespread and the Grateful Dead. Finally moving, we crossed the long bridge that leads to the Mud Island Amphitheater, seated about a quarter into the Mississipi. We watched as car-loads of fans were led across on the same Monorail seen in the movie The Firm.

As we made our way into the show Memphis' own Big Ass Truck was laying down there free-flying funk groove that is kept in line by Austin's Dros Lipsack on bass. Big Ass Truck ended with a flurry of hard hitting licks that caught the attention of many in attendance.

The tension was building as BAT's set was taken down and Widespread's went up.

Finally the Athens sextet came out, kicking things off with One Arm Steve, a newer song that is featured on their upcoming album, 'Til the Medicine Takes. The lively tune, first played last March at their free show in Athens, stirred the crowd into an immediate frenzy. Some fans were singing word for word as their fists and feet pumped emphatically to the raucous rhythm of the song, and all were grabbed by the high-energy performance that has won Widespread Panic acclaim all over the world.

One Arm Steve quickly gave way into a blistering Chilly Water, an older song that defines the back-woods, swampy sound that is only part of the Widespread Panic arsenal. The pace slowed a bit as the band played Picking up the Pieces. On their previous album, Light Fuse, Get Away, Picking features the smooth sax work of Branford Marsalis.

I lost myself in the reflective tune. My mind went wandering through the sparkling streets of the city sitting before me. Memphis was alive and glowing with a spirit that was out-shined only by the spectacle that separated us. To the left I could see the outline of the Pyramid, a place I have heard tales of a similar magic taking form when the Grateful Dead used to visit, and to the right, the mammoth Mississippi, moving with a power unknown to this spectator.

A few songs had gone by as I snapped out of the shifty daze. The band was drifting from J.J. Cale's saucy Ride Me High into a loose jam that trickled away into another Panic original, Hatfield. The crowd erupted with excitement as the story of rainmaker Charles Hatfield unraveled into a 12-minute musical adventure that I expected to end the set. When the boys didn’t leave the stage and tore into Chuck Berry’s Long Live Rock I began to question my ability to survive the show, or the weekend as a whole. Luckily my arms and legs just 'a kept on moving, and after one more song they let us rest'.

The set break is not all solace. It's an awkward feeling when the music stops and the lights come on. There's a buzzing in your ear and your eyes are little out of focus, and those weary legs don’t really want to stop moving. Time seems to slow and the only truly settling thought is that the music will come back on… sometime.

Sometime passed and each member made their way back on stage. The grinding guitar of Mike Houser and booming drums of Todd Nance came together for a thunderous Contentment Blues to start the second set. Cool breezes blew up from the river as John Bell crooned "I love my chicken/Ooooh my chicken tastes good."

The barrel-house blues-gone-pop Big Wooly Mammoth followed as keyboardist John "JoJo" Herman took helm at the vocals. In a tradition that Herman calls the … campaign, cigarette lighters flew at the stage as he sang, "Somebody throw me a fire/so we can burn this river down."

The show rolled on like a well-oiled machine, then turned into a rocket ship as Big Ass Truck's DJ, Colin Butler, took stage. Butler scratched on Dyin' Man, another song from the forthcoming album, as well as Arlene and a drum jam. The set finished with up with Pilgrims and Ain't Life Grand, the show with …

We quickly gathered our belonging, then made a slow dash for the hotel, then to a bar called Newby's. Oxford, MS's Kudzu Kings were already on stage delivering a hot set of pine-smoked, beer soaked tunes at Newby's. Songs were intermingled with shouts to the bar for Jaegermiester shots as a sleepless crowd shuffled around to favorites old and new. Street Walking and Amsterdam were among the older songs, as many from their most recent release, Y2KOW, soared through the smoky air.

The night grew late and we headed home, only to wake up a few short hours later to do it all again. Before the music started we headed to Rendezvous for some famous dry ribs, then down to Beale St. (a bigger 6th with open container laws and live music) for some blues and the greasiest burger I’ve ever seen at Dyer's.

From Beale we headed back to the lot, then up to the show after New Orleans' Dirty Dozen Brass Band warmed up the crowd. As Panic took stage, the night took a rowdy turn as a slow version of Porch Song blasted us to the moon, going into Bloodkin's 'Who Do You Belong To?'. Other highlights of the show included the Dirty Dozen taking stage for Fishwater and Stevie Wonder's Superstitious.

It was back to Beale after the show, and a post-concert fiesta at Legend's. The sun came up as we left the club and after a few hours sleep it was back to Austin.

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Phish at First American Music Center
July 1, 1999 - Antioch, TN

by Rob Turner

From the second we approached this little treasure of an amphitheater off of I-24, we all knew we were in for a nice mellow scene. Things have gotten kind of crazy at Phish's Northeast shows lately. As happy as I am for the band's success, it's nice to pull right up to the show without a lick of traffic. This, commonplace as recently as 1995, has become quite rare on summer tour these days. Sometimes it’s nice to be in the south. Unfortunately, anyone unaware that this venue used to be called Starwood Amphitheater might have had a hard time finding the show. We only saw one sign after we took the exit off the highway, and it was very small and it just said "Starwood" and it had a lil' left arrow.

The parking lot scene was very chill, with the police just driving through and smiling at the reveling Phishophiles. There were no reports of any hassles. The search going in was quite vigorous, but they didn't seem to find anything on anybody when I went through, it seemed to just serve to make everyone wait in line for a few extra minutes.

There were still many empty seats in my area of the pavilion when the band took the stage and launched into "Punch You In The Eye." It wasn't the tightest version, but Trey offered some jazzy little fills the like not usually heard on the quick breaks in this song. The band clearly was rusty from their longest break ever, as they stumbled through "Billy Breathes.” There were some notes that were so off it was almost painful. Phish has created such a legacy of superior performance that when they hit a bunch of wrong notes it is beyond strange. Even the ensuing "Guyute" had some errors in key segments of the song.

This wasn't the only reason I was overjoyed that Jerry Douglas showed up. As everyone who was at this show now knows, Jerry is an incredible dobro player who is brilliant at complementing and challenging the musicians with whom he performs. He offers his acumen so tastefully on every stage he graces. He has played with all of the living bluegrass legends (Tony Rice, Bela Fleck, Nashville Bluegrass Band…etc.), his recordings with Peter Rowan are among the favorite releases of many bluegrass fans, and his current release Restless On The Farm is definitely worth purchasing. Douglas toured with Alison Krauss and Union Station's as a permanent guest for a series of outstanding shows (I missed Phish’s version of “Terrapin Station” to see the Jerry-enhanced Union Station at a tiny venue on the water in New Jersey last summer). Phish was clearly excited to have Douglas in tow, and they placed him center stage directly in front of Fishman's new, more traditional drumming location. Douglas wasted little time tossing in funky fills during a very twisted and entertaining "Wolfman's Brother." Jerry took full advantage of the solo space he was given in the song. His presence inspired Phish as their level of musical brilliance returned immediately. When the band reached the jam at the end of the song, they seemed to let Douglas lead it, and it gently wafted into some very ethereal spaces which reminded me of the music he had created with Bill Frisell on Frisell's Nashville tour a couple of years back. The Douglas-enhanced Phish returned to the melody of the song so gracefully that a newer Phish fan would probably never have known that this was Douglas' first time playing in public with the Vermonters.

Then the sparks (or should I say hay) really began to fly when Ronnie McCoury (son of the legendary guitarist and singer Del McCoury, who was one of Bill Monroe's Bluegrass Boys for a period in the sixties) and one of my favorite musicians of any genre, Tim O'Brien took over the right side of the stage. Phish saluted Ronnie's father by playing "Beauty Of My Dreams," which was written by Del and is performed by the Del McCoury Band (of which Ronnie and his banjoist brother are members). Ronnie shared Trey's mike for the chorus on this spirited version of Del's song which also featured some rapid fire soloing that made me wonder if Phish had added a rehearsal detour through Nashville on their way to Kansas City. Tim O'Brien then took over Trey's mike to sing "Doin' My Time" which he had performed with Phish at Red Rocks in 1996. Tim was on mandolin then, but tonight he was tearing up a fiddle, and the band basically let him lead for this number. The most interesting version of "Roggae" ever ensued, and Douglas again amazed with some luscious dobro. The seven musicians onstage were blending gorgeously and the audience was treated to a lush musical landscape. Having these traditional instruments weave through the ethereal realms of this song reminded me of Flyin’ Mice, a band I used to follow around in the early to mid nineties. They were often described as a “psychedelic bluegrass” band, a term that could’ve applied to much or Phish’s first set tonight. The "Water In The Sky" that followed was loose but it featured some great interplay, and it reminded me of the "All-Star Jams" I had caught at the Merle Watson (mostly bluegrass) Festivals. Tim’s fiddle, and Ronnie’s mandolin gently filled in some of the musical spaces creating a soothing musical ride. I was halfway back in the pavilion, and I have poor eyesight, but I swear I saw a gleam in Mike Gordon's eye. He is reportedly a huge bluegrass fan, and he surely must have been tickled to have these giants of bluegrass sitting in on Phish's own material.

Phish, the band that once debuted a song on national TV ("Farmhouse" on Conan O'Brien) showed their balls once again by performing the second public version of "Get Back On The Train" with three guests on stage. I was very surprised how well it came off, and I am once again convinced that there is nothing this band won't, or can’t do. Trey performed this song acoustically at many of his solo shows in May, but it really comes to life with Phish. The arrangement is reminiscent of Eric Clapton’s version of “Lay Down Sally.” This mega-treat of a cross-genre jam session concluded with a wild "Poor Heart," which was augmented by Giant Country Horn member Gary Gazaway, and the rapid fire soloing returned. The crowd was truly whipped into a frenzy on this one, and it earned the strongest response of all of the material they performed with guest accompanists on this night. I remember realizing that the set was probably ending, and thinking that Ronnie hadn't had enough solo space. Perhaps Trey was thinking the same thing, as at one point he signaled to the musicians to "take it around again" allowing Ronnie an extended solo. Another bit of props for Trey, he seemed very conscious of keeping his guitar from getting too loud when the band had company on stage. It’s nice to see him act as such a generous host, as he repeatedly was in the background letting the guests shine.

Phish fans desiring to hear the four members take a musical excursion on their own were treated to a solid version of "Down With Disease" to open the second set. They delivered some fine improvisation, although I don't think the hard-core Phishophiles will consider it one of the best versions, it was very fun to feel a storm approaching as Phish was deep in jam. "Prince Caspian" had some strong moments although they did a couple of times return to the sloppy playing exhibited early in the first set. "You Enjoy Myself" started with some minor errors, but it grew into an outstanding version. Trey was bouncing around his new side of the stage while ripping some amazing guitar at one point. I couldn't help but wonder if his left side presence at Phil and Friends, on his solo tour, and at the Vermont Jazz All-Stars had the net effect of making him feel more comfortable with the other players on stage all to his right. On this "YEM" (and on the "Ghost" in Atlanta) he seemed particularly pleased with his positioning on the stage, as he danced, swung, and shuffled while playing some mesmerizing lead guitar. The storm reached the shed during "YEM" and there were some cosmic blasts of lightening that were sometimes eerily in time with the funky changes of this seminal Phish classic.

They encored with a very strong "Character Zero,” for those of you who keep score of such things “rush and never waste the day” received considerably more lightning blasts than “bide my time and take it slow.” So, feel free to adjust your lifestyle accordingly if you so choose. Toward the end of the song we ran out to our car to beat the traffic, and we realized that the rain was torrential and the storm was still approaching. We later found out that Phish’s management had suggested that the band cut their set 15-20 minutes short, and it was probably a wise decision. As we headed back home to Atlanta, we were pleased that the band would be following us for a change, as they were due for July 3 and 4 shows at Atlanta's Lakewood Amphitheater.

One final note, I was very pleased to see that even the tapers were benefiting from the low-stress environment of this show. These people often give up the ability to lose themselves in the music the one time that it is performed live in order to document the shows for countless people. Tonight I was near the tapers and many had dancing room, and they all seemed very comfortable…a far cry from what they deal with in many Northeast arenas. However, I was disappointed to see one taper shushing people between songs. Even though the band has issued a new taping policy discouraging tapers from asking people to be quiet, I think if one is near the tapers (s)he should be respectful. Sure, music like Phish’s will elicit involuntary responses from time to time, but in general if one is near the tapers one should give them (and in turn, everyone who will get the tape down the road) the courtesy of making an effort to be quiet. This is particularly important when the band is playing somewhat quietly. Tapers should return this courtesy though, and not try to quiet people down between songs. This is the time to let the band know we appreciate their efforts, not the time to worry about the nature of audience noise that will end up on someone’s tape when music isn’t being performed. Sure, if someone in the band is talking, or if their is tuning going on that may lead to a song…then maybe it’s time to shut up again. However, if the stage is quiet, there’s no reason the crowd can’t be loud. Tapers often lose sight of the fact that taping any band is a privilege, not a right. Asking people who have also paid to see the band to be quiet between songs is unquestionably behavior that could help to lead everyone losing the privilege of taping Phish (or any band for that matter). If you are able to read between the lines of the band’s taping policy, they are not pleased that people have been asked to modify their behavior by tapers…so be smart folks…we are all in this together.

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Allman Brothers Band
July 4, 1999

By Chip Schramm

Set I: Don't Want You No More -> It's Not My Cross To Bear, Don't Keep Me Wonderin', Ramblin' Man, Please Call Home, J.J.'s Alley, Southbound*, Black Hearted Woman

Set II: Seven Turns, Melissa, Sailin' 'Cross the Devil's Sea, Blue Sky, Statesboro Blues**, Les Brers In A Minor

Encore: One Way Out***, No One To Run With

*Jimmy Hall on harmonica, Sean Ferguson on guitar
** Jack Pearson on guitar, William Howse on harmonica
*** w/Hot Tuna

On July 4th, 1999 the Allman Brothers Band played a concert with Hot Tuna and various special guests at the First American Music Center in Nashville, Tennessee. The concert marked a milestone for the band as they celebrated their 30th anniversary tour on the most patriotic of all American holidays. Thirty years is a long time for any group of people to hang together, regardless of occupation or origin. Much has changed since 1969 as music fans have mourned the passing of elder brothers and now cheer the resurgence of young blood. In the times between, distinguished musicians such as Warren Haynes and Allen Woody have given much to the Allman Brothers family and also taken much with them as they left. The current band configuration includes Oteil Burbridge on bass and Marc Quinones on percussion. The band has stuck to its bloodlines in its most recent addition as Derek Trucks, nephew of original member Butch, replaced the departing Jack Pearson early in the year. If Sunday's performance was any indication, the decision to tap Derek is certainly no gesture of nepotism on the band's part. The jams created by the band flowed smoothly between band members and special guests alike all night long.

Hot Tuna played a blazing set to open the show. That was only fitting as blazing heat beat down from the southern skies sending the fans with lawn tickets on a steady pilgrimage to and from the refreshment stands. The security in the parking lot seemed particularly annoyed that some folks might like to sit around and throw a Frisbee before the show. They chased everyone in from the lots on 4-wheelers and threatened those who dared to stay behind. The scene in the parking lot might have been satirical were it not so real. This would all be water under the bridge as it turned out the fun for this day was clearly in the amphitheater and not on the pebbles of the parking lot. Jorma Kaukonen, Jack Casady, and Pete Sears showed that they hadn't gathered too much rust themselves in the past 30+ years. Though they rarely perform in the southeastern part of the U.S., Hot Tuna is still a powerful representative of the San Francisco Bay area's music legacy.

The Brothers would show a little bit of everything on this night, both musically and lyrically. The first set was mostly blues, giving Derek Trucks and Dickey Betts plenty of room to spar in-between Greg Allman's deep, soul-filled vocals. Dickey loudly encouraged everyone in attendance to cut loose and have a good time. The momentum of the set would start to build as Dickey and Derek built up a wild exchange during "Ramblin' Man." Those who were curious as to how well the guitarists had meshed since the beginning of the tour found out in a hurry. The interplay between the two was tighter than rattlesnakes mating in a bush. The jam went spiraling upward, almost out of control, until the two both returned to earth, landing on their feet at precisely the same moment.

Dickey also sang a blues ballad of his own, "Please Call Home," to the delight of many fans who had never heard the song. The first set had its share of special guests. Jimmy Hall grabbed his harmonica and Sean Ferguson stepped in on guitar for a raucous "Southbound". The band would end the set with "Black Hearted Woman," but not before a brief yet intense tease of "The Other One," a Grateful Dead staple. The tight rapport between the three percussionists: Jaimoe Johnson, Butch Trucks, and Marc Quinones had the entire venue jumping and shakin' with every beat. The first set was short but sweet, setting the table with hints of what was to come.

The second set began with acoustic guitars on "Seven Turns" and "Melissa," one of the classic songs from the band's original repertoire. The tempo really picked up as the band plugged back in and ripped into "Sailin' 'Cross the Devil's Sea." The Allman Brothers have always been known to employ an entertaining light and visual show on the screens behind the stage. Even those whose vision was otherwise unaltered seemed to really enjoy the special effects throughout the day. On "Sailin'," visions of pirates and ships flashed quickly across the screen while the Greg and the guitarists fought to overcome the raging tides created by Oteil Burbridge and the powerful rhythm section. As the original jam broke down, the band steered the jam into calmer waters and played around with the chords in "Franklin's Tower" before going into "Blue Sky." The brief nod to Jerry Garcia before playing probably the biggest fan favorite of all the songs they sing highlighted a thoroughly enjoyable day.

More old friends joined the stage at the end of the set as Murfreesboro, TN native Jack Pearson came out to play on Statesboro Blues. William Howse added some harmonica as well. They would close the set with "Les Brers in A Minor," and a fine instrumental performance by all. The encore brought everyone to their feet as Hot Tuna shared the stage with the Allman Brothers for the ballad of the back-door man, "One Way Out." The Allmans would perform the final number "No One To Run With" as a testament to their creativity, longevity and independence over the past 30 years. The fact that NASCAR sponsors the 30th anniversary tour is more than a footnote. The Allman Brothers are the original Midnight Riders. The moving words, chords, and rhythms of Allman Brothers past and present have inspired people on motorcycle, car and foot. All indications point to the Allman Brothers Band making melodic music for a long time to come.