April 07, 2001

This was my first show. It left quite the impression.

Let's start by saying I wasn't exactly sober for this one. I went in with no real expectations and had an unreasonable amount of fun. I danced my ass off, had a long and entertaining discussion with one of the tapers over set break, and even had a memorable chat with the guy manning the merch table.

I was later quite happy to learn that, as it turns out, this show was one for the ages.

Not too long after the show, the CDs arrived in the mail. This was the era of the B&P - Blanks and Postage. While I went on to collect perhaps about 50 shows on CD, I listened to this one (along with 03-31-2001) over and over and over. Every damn note is burned into my brain.

When I think about the music, the first word that comes to mind is "flow." This show has uncanny flow - the first set in particular. There's an atmosphere throughout that's transcendent and mystical. The sum is somehow greater than the parts.

The second word that comes to mind is "Spaga." That's right, not the Nughuffer (which many justifiably point to as the highlight)... Spaga. This song kicks off the show with an intoxicating bang. The first jam in particular is freaky and edgy and tantalizingly psychedelic. It immediately drew me in and took me over.

I also love the News From Nowhere. The segue from Shem is buttery smooth, and the placement is sublime.

Spacebird isn't necessarily better than [name-drop your favorite from 2001 here], and yet when considered in the greater context of this show, it somehow feels soooo right. It's got that indescribable atmosphere, that je ne sais quoi. The air crackles with invisible energy.

The echo on Brownie's vocals during Floodlights in dialed up to 11. It's a bit overwhelming. I appreciate this very much.

The Nughuffer is absurdly good. If you haven't heard this show yet, you can drop what you're doing now and go right for the Nughuffer. Maybe stretch your neck first. And sit down. Definitely don't drive.

Apart from the Nughuffer, I won't go into detail about set 2. I suppose I'll just say, give it a listen - you won't be disappointed. After all, this is a 5-star show.

Even the encore - Radiator - feels like a natural fit. It's another song that demands to be considered as one puzzle piece of an eerily cohesive show. And they absolutely nail it.

All said, this is the show that turned me into a fan. This is the show that inspired me to drive from Michigan all the way to Philly for the 2001 New Years shows at the Electric Factory. By myself.

I guess "life changing" is a cliche that gets thrown around a lot when it comes to music. I feel pretty confident applying it here.

The storied show opens with a definitive version of Spaga. The jam begins with a simple descending synth line from Magner, and the theme comes to its sinister head around 7:30. Shortly thereafter, Barber becomes a more notable presence in the jam, as he finds strong complements to Magner’s theme. Barber seems to want to keep pushing the jam, but Sammy signals the ending early. Barber takes a moment to recover, but recover he does, and the jam is still one of the strongest ever. The second jam in Spaga is stronger than usual as well, with strong trance synth presence from Magner. Spaga has an outro jam that begins chaotically, defined by furtive riffs from Barber. It settles into a tense passage shortly thereafter, and develops into a very digital full-band jam, while maintaining the tense atmosphere. The Shem-Rah is another contender for strongest ever. Magner dominates the jam, crafting a theme that is both raging and thematic. The MOTH MOTY section is one of the strongest ever. There is a drawn-out breakdown with notable piano presence before Barber takes over and builds to a rager of an ending. The second solo in MOTH MOTY, instead of wrapping up the song, moves toward a serene News From Nowhere intro for one of the best uses of News ever. Spacebird follows, and the jam section continues to be fleshed out and expanded. It remains type one, but it’s beginning to show some potential. The Floodlights jam is type one as well, but it’s a fist-pumping good time.

The second set opens with another definitive version of a beloved song. The first five minutes of Nughuffer is dedicated to the perfunctory story in which Brownie professes his love for Michigan. The jam begins as hypnotic, minimalist trance. Magner utilizes his cleanest synth sounds and Barber isn’t even present for the first minute. The monolithic theme gradually builds in intensity, and Magner begins layering on new synth effects: first the subtle trance synths around 13 minutes, then Gates of Hell around 14, and more distorted trance synths shortly after that. The jam finally comes to a head and builds to a massive peak. The strongest version of Nughuffer yet (and probably ever) also contains the strongest Jon the Barber solo at the end. It is beautifully executed, and thematic in a way that the rest of them are not. The phrasing at 14:20 is some of Barber’s best playing ever. The Munchkin is another top-shelf version. The jam has two distinct phases, and both are excellent. The first (and stronger) begins as a pretty strong Munchkin jam with an infectious theme from Magner. It builds to a head, culminating in a joyous and triumphant crescendo signified by an iconic Barber riff at 9:20. The crescendo continues to 10:30 or so when it begins to rapidly break down. The second phase is pretty distinctly a drawn-out Vassilos intro, but there are some very cool moments. Chief among these is the simultaneously gorgeous and melancholy riffs theme that the jam builds to around 15 minutes. The transition into Vassilios is, of course, drawn out and smooth. The Vassilios jam is a very steady, purposeful build that culminates in a massive Waves peak (again, one of the strongest ever, at least the peak itself). The Waves jam begins as minimal trance but quickly settles into a dub jam reminiscent of the best of fall 99. A great theme develops, eventually incorporating (perhaps ironically) a slowed down, grooved out version of the Waves peak riff. Around 16 minutes the jam begins to move back towards Munchkin, and a terrific crescendo (reminiscent of the first phase of the earlier Munchkin jam) takes us into the ending. The set closing Home Again is far more sinister than usual, and has an interesting return to the type one territory. The Radiator is standard.

A perfect 5. The second of two titans of spring 01, along with 3/31 (and I think 4/7 easily tops it). Too many highlights to list, but the Spaga, Shem, Nughuffer and Munchkin are the best, and all among the best versions of those songs ever.

Stray Observations: In the opening banter, you can hear someone in the audience yell (what sounds like) “we love crack” to which Brownie replies “I’ve noticed.” It’s been lies, all lies. There are Waves teases in the Waves jam >:)