To Create Cd Insert, Cut Along Border & Fold in Half

Total Page:16

File Type:pdf, Size:1020Kb

To Create Cd Insert, Cut Along Border & Fold in Half Set I 1 Buried Alive (Anastasio) 2:37 2 Possum (Jeff Holdsworth) 9:08 3 The Squirming Coil (Anastasio, Marshall) 6:01 4 The Lizards (Anastasio) 10:01 5 Stash (Anastasio, Marshall) 8:30 6 Bouncing Around The Room (Anastasio, Marshall) 3:52 7 You Enjoy Myself (Anastasio) 16:23 8 The Asse Festival (Anastasio) 1:56 9 My Sweet One (Fishman) 2:16 10Cavern (Anastasio, Marshall) 4:32 11Run Like An Antelope (Anastasio, Steve Pollak) 10:03 Set II 1 The Landlady (Anastasio) 3:30 2 Reba (Anastasio) 10:17 3 Runaway Jim (Anastasio) 6:25 4 Foam (Anastasio) 8:53 5 Tweezer (Anastasio, Fishman, Gordon, McConnell) 10:44 6 Fee (Anastasio) 5:11 7 Oh Kee Pah Ceremony/Suzy Greenberg (Anastasio)/(Pollak) 7:16 8 Love You (Syd Barrett/Lupus Music Inc (BMI)) 5:45 9 Mike's Song/I Am Hydrogen/Weekapaug Groove 15:07 (Gordon)/(Anastasio, Marshall, Daubert)/(Anastasio, Fishman, Gordon, McConnell) 10Uncle Pen (Bill Monroe/Unichappell Music, Inc. (BMI)) 5:10 11Big Black Furry Creature From Mars (Gordon) 3:52 Trey Anastasio – guitar, vocals • Jon Fishman – drums, vocals Mike Gordon – bass, vocals • Page McConnell – keyboards, vocals Recorded at Armstrong Theatre, Colorado College, Colorado Springs, Colorado on October 31, 1990. Recorded and mixed on 24 channels live to two tracks by Michael Grace. Project Coordination: Jason Colton and Shelly Culbertson. Phish Archivist: Kevin Shapiro. Management: John Paluska, Dionysian Productions. Poster Design: Laila Schill.Special thanks to Don Strasburg. All songs published by Who Is She? Music Inc. (BMI) except where noted above. Intro and outro to "Love You" contains portions of "Hold Your Head Up", written by Rod Argent and Chris White/Mainstay Music, Inc. (BMI). All contents © PHISH 1990,1999. All rights reserved. www.phish.com TO CREATE CD INSERT, CUT ALONG BORDER & FOLD IN HALF.
Recommended publications
  • Herbicide Persistence and Toxicity in the Tropical Marine Environment Mr
    Herbicide persistence and toxicity in the tropical marine environment Mr. Philip Mercurio III MSc, BSc (Honours) A thesis submitted for the degree of Doctor of Philosophy at The University of Queensland in 2016 School of Medicine National Research Centre for Environmental Toxicology (Entox) Faculty of Medicine and Biomedical Sciences Abstract Agricultural herbicides are ubiquitous in the nearshore water bodies of the World Heritage listed Great Barrier Reef (GBR). The main transport mechanism for herbicides is via offsite migration during intense monsoonal rainfall events of the wet season. However, some herbicides can be detected year round, indicating potentially long persistence. Despite the high mobility and potential toxicity of herbicides, there is very little information on the degradation of herbicides in the marine environment. This study was comprised of 4 major components: (i) flask experiments to test herbicide degradation over 60 days; (ii) an extended flask experiment for 365 days including light and temperature treatments; (iii) an outdoor open tank experiment for 365 days with light and sediment treatments; and (iv) experiments to examine the potential toxicity of transformation products. The flask degradation experiments were designed to mimic natural conditions including low herbicide concentrations, relevant temperatures and light and the inclusion of natural microbial communities. Very little degradation was recorded over the standard 60 d period (Experiment 1). The second experiment over 365 d revealed half-lives of PSII herbicides ametryn, atrazine, diuron, hexazinone and tebuthiuron were consistently greater than a year. The detection of atrazine and diuron metabolites and longer persistence in mercuric chloride-treated seawater confirmed that biodegradation contributed to the breakdown of herbicides.
    [Show full text]
  • Songs by Title
    Karaoke Song Book Songs by Title Title Artist Title Artist #1 Nelly 18 And Life Skid Row #1 Crush Garbage 18 'til I Die Adams, Bryan #Dream Lennon, John 18 Yellow Roses Darin, Bobby (doo Wop) That Thing Parody 19 2000 Gorillaz (I Hate) Everything About You Three Days Grace 19 2000 Gorrilaz (I Would Do) Anything For Love Meatloaf 19 Somethin' Mark Wills (If You're Not In It For Love) I'm Outta Here Twain, Shania 19 Somethin' Wills, Mark (I'm Not Your) Steppin' Stone Monkees, The 19 SOMETHING WILLS,MARK (Now & Then) There's A Fool Such As I Presley, Elvis 192000 Gorillaz (Our Love) Don't Throw It All Away Andy Gibb 1969 Stegall, Keith (Sitting On The) Dock Of The Bay Redding, Otis 1979 Smashing Pumpkins (Theme From) The Monkees Monkees, The 1982 Randy Travis (you Drive Me) Crazy Britney Spears 1982 Travis, Randy (Your Love Has Lifted Me) Higher And Higher Coolidge, Rita 1985 BOWLING FOR SOUP 03 Bonnie & Clyde Jay Z & Beyonce 1985 Bowling For Soup 03 Bonnie & Clyde Jay Z & Beyonce Knowles 1985 BOWLING FOR SOUP '03 Bonnie & Clyde Jay Z & Beyonce Knowles 1985 Bowling For Soup 03 Bonnie And Clyde Jay Z & Beyonce 1999 Prince 1 2 3 Estefan, Gloria 1999 Prince & Revolution 1 Thing Amerie 1999 Wilkinsons, The 1, 2, 3, 4, Sumpin' New Coolio 19Th Nervous Breakdown Rolling Stones, The 1,2 STEP CIARA & M. ELLIOTT 2 Become 1 Jewel 10 Days Late Third Eye Blind 2 Become 1 Spice Girls 10 Min Sorry We've Stopped Taking Requests 2 Become 1 Spice Girls, The 10 Min The Karaoke Show Is Over 2 Become One SPICE GIRLS 10 Min Welcome To Karaoke Show 2 Faced Louise 10 Out Of 10 Louchie Lou 2 Find U Jewel 10 Rounds With Jose Cuervo Byrd, Tracy 2 For The Show Trooper 10 Seconds Down Sugar Ray 2 Legit 2 Quit Hammer, M.C.
    [Show full text]
  • Zerohack Zer0pwn Youranonnews Yevgeniy Anikin Yes Men
    Zerohack Zer0Pwn YourAnonNews Yevgeniy Anikin Yes Men YamaTough Xtreme x-Leader xenu xen0nymous www.oem.com.mx www.nytimes.com/pages/world/asia/index.html www.informador.com.mx www.futuregov.asia www.cronica.com.mx www.asiapacificsecuritymagazine.com Worm Wolfy Withdrawal* WillyFoReal Wikileaks IRC 88.80.16.13/9999 IRC Channel WikiLeaks WiiSpellWhy whitekidney Wells Fargo weed WallRoad w0rmware Vulnerability Vladislav Khorokhorin Visa Inc. Virus Virgin Islands "Viewpointe Archive Services, LLC" Versability Verizon Venezuela Vegas Vatican City USB US Trust US Bankcorp Uruguay Uran0n unusedcrayon United Kingdom UnicormCr3w unfittoprint unelected.org UndisclosedAnon Ukraine UGNazi ua_musti_1905 U.S. Bankcorp TYLER Turkey trosec113 Trojan Horse Trojan Trivette TriCk Tribalzer0 Transnistria transaction Traitor traffic court Tradecraft Trade Secrets "Total System Services, Inc." Topiary Top Secret Tom Stracener TibitXimer Thumb Drive Thomson Reuters TheWikiBoat thepeoplescause the_infecti0n The Unknowns The UnderTaker The Syrian electronic army The Jokerhack Thailand ThaCosmo th3j35t3r testeux1 TEST Telecomix TehWongZ Teddy Bigglesworth TeaMp0isoN TeamHav0k Team Ghost Shell Team Digi7al tdl4 taxes TARP tango down Tampa Tammy Shapiro Taiwan Tabu T0x1c t0wN T.A.R.P. Syrian Electronic Army syndiv Symantec Corporation Switzerland Swingers Club SWIFT Sweden Swan SwaggSec Swagg Security "SunGard Data Systems, Inc." Stuxnet Stringer Streamroller Stole* Sterlok SteelAnne st0rm SQLi Spyware Spying Spydevilz Spy Camera Sposed Spook Spoofing Splendide
    [Show full text]
  • Könnyűzene” Történetéből Sinkó Dániel Tartalomjegyzék
    14 kiemelkedő év a „könnyűzene” történetéből Sinkó Dániel Tartalomjegyzék: Előszó ….......................................................................…….. 3 1979-Pink Floyd, The Wall...................................................... 6 1980-Genesis, Duke ............................................................. 17 1981-Szabó Gábor, Femme Fatale........................................... 25 1981- King Crimson, Discipline …………………………….. 30 1982-Miles Davis, We want Miles.......................................... 39 1983-Yes, 90125 ....................................................................... 46 1983- Manfred Mann Earth Band, Somewhere in Africa ….... 53 1984-Pat Metheny, First circle …............................................… 60 1985- Dire Straits, Brothers in Arms …...................................… 67 1986-Peter Gabriel, So …........................................................... 75 1986-Paul Simon Graceland…………………………………….. 85 1987-U2, The Joshua tree.......................................................... 96 1987-Sting, Nothing Like the sun............................................. 105 1988-Pink Floyd, Delicate Sound of thunder............................. 114 1989-Jeff Beck, Guitar shop. …............................................... 123 1990- Phish, Lawn Boy …....................................................... 129 1991- U2, Achtung Baby........................................................ 134 1992- R.E.M., Automatic for the people …............................ 146 1992- Mike Oldfield, Tubular
    [Show full text]
  • 15! Phish—Comprised of Trey Anastasio on Guitar and Lead Vocals
    Phish—comprised of Trey Anastasio on guitar and lead vocals; Mike Gordon on bass and vocals; Page McConnell on piano, keyboards, and vocals; and Jon “Fish” Fishman on drums and vocals—formed at the University of Vermont (UVM) in the early ‘80s and became one of the most successful rock bands ever. Their success story is built upon a rare combination of raw talent, strategic business acumen, and various moments of rock and roll serendipity. An abbreviated synopsis of Phish’s formation helps to place their trajectory and subsequent press coverage in context. Recognized as the first Phish gig, Anastasio, Gordon, Fishman, and brief member Jeff Holdsworth played as Blackwood Convention at a UVM cafeteria on December 2, 1983. In late 1984, they adopted the name Phish, reportedly in homage to Fishman. Through this period in the early-‘80s they were also joined by brief member Marc “Daubs” Daubert on percussion and occasional guest Steve Pollack, “The Dude of Life.” In May, 1985, nearby Goddard College student Page McConnell joined the band for the first concert collaboration of what would eventually become the four constant Phish members. McConnell was invited to join the band permanently in September that year. In spring of 1986, Holdsworth graduated from UVM and left the band. With the departure of Holdsworth, Phish’s current four-member lineup emerged (Mockingbird, 2004, p. 5). Gehr (1998) explained that “Phish had covered several Dead tunes during their first couple of years together but soon dropped them to avoid the onus of being pigeonholed as yet another Dead cover band” (p.
    [Show full text]
  • Music for Guitar
    So Long Marianne Leonard Cohen A Bm Come over to the window, my little darling D A Your letters they all say that you're beside me now I'd like to try to read your palm then why do I feel so alone G D I'm standing on a ledge and your fine spider web I used to think I was some sort of gypsy boy is fastening my ankle to a stone F#m E E4 E E7 before I let you take me home [Chorus] For now I need your hidden love A I'm cold as a new razor blade Now so long, Marianne, You left when I told you I was curious F#m I never said that I was brave It's time that we began E E4 E E7 [Chorus] to laugh and cry E E4 E E7 Oh, you are really such a pretty one and cry and laugh I see you've gone and changed your name again A A4 A And just when I climbed this whole mountainside about it all again to wash my eyelids in the rain [Chorus] Well you know that I love to live with you but you make me forget so very much Oh, your eyes, well, I forget your eyes I forget to pray for the angels your body's at home in every sea and then the angels forget to pray for us How come you gave away your news to everyone that you said was a secret to me [Chorus] We met when we were almost young deep in the green lilac park You held on to me like I was a crucifix as we went kneeling through the dark [Chorus] Stronger Kelly Clarkson Intro: Em C G D Em C G D Em C You heard that I was starting over with someone new You know the bed feels warmer Em C G D G D But told you I was moving on over you Sleeping here alone Em Em C You didn't think that I'd come back You know I dream in colour
    [Show full text]
  • QUIET, to See That Most Hit Records Contain Hit In- Tion of Greatest Hits
    an old, rusty guitar. But there must be a Promise Suite; Grind It Out; seven more. [Mi- way of presenting such an artist tastefully chael Mainieri, prod.] JUST SUNSHINE REC- and without overpowering him. M.J. ORDS JSS 3, $6.98. Those who apply some objectivity are able ARGENT: The Argent Anthology: A Collec- QUIET, to see that most hit records contain hit in- tion of Greatest Hits. Rod Argent, Russ Bal- gredients of one sort or another. But some- lard, Robert Henrit, and Jim Rodford, vocals times those ingredients are present and yet, and instrumentals. God Gave Rock and Roll to through some mistake, a hit is missed. Nick You; Hold Your Head Up; Liar; Pleasure; It's Only Money, Part I; Thunder and Lightning; Holmes's "Soulful Crooner" strikes me as such an instance. Tragedy; Time of the Season. [Rod Argent PLUS and Chris White, prod.] EPIC PE 33955, "Mistake" really isn't the right word $6.98. Tape: MR PET 33955, $7.98; 0_1.: PEA here, for the problem is much simpler: a Wemade the Phase Linear 4000 33955, $7.98. case of business or street difficulties.I Preamplifier dead quiet, but we never received a review copy of the record, didn't stop there. We added several nor did I hear a word about Nick Holmes, Rod Argent formed Argent out of the ashes revolutionary features that make of the Zombies, one of the "British inva- not even from my sources in the teenage un- music sound obviously better than sion" groups that assaulted these shores in derground, and teenagers know what's hot any other control console: the wake of the Beatles a dozen years ago.
    [Show full text]
  • "You'll Get Used to It!": the Internment of Jewish Refugees in Canada, 1940–43
    "You'll Get Used to It!": The Internment of Jewish Refugees in Canada, 1940–43 by Christine Whitehouse A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Doctor of Philosophy in History Carleton University Ottawa, Ontario © 2016, Christine Whitehouse Abstract After the fall of France in 1940, when German invasion of the British Isles seemed imminent, some 2000 Jewish refugees from Nazi oppression were detained by the British Home Office as dangerous "enemy aliens" and sent to Canada to be interned for the duration of the war. While the British government admitted its mistake in interning the refugees within months of their arrest, the Canadian government continued to keep them behind barbed wire for up to three years, reflecting its administration's anti-semitic immigration policies more broadly. Instead of using their case as a signpost in Canada's liberalizing immigration history, this dissertation situates their story in a longer narrative of class and ethnic discrimination to show the troubling foundations of modern democracy. As one tool in the nation state's normalizing project, incarceration attempted to mould the Jewish men in the state's eye. How the refugees pushed back in a joint claim of selfhood forms the material basis of this study. Through their relationship with the spaces of internment, work and leisure, sexual desire and gender performance, and by protesting governmental power, the refugees' identities evolved and coalesced, demonstrating the fluidity of modern selfhood despite the limiting power of nationhood. The internees' evolving sense of self played a large role in their experience and the development of their collective postwar narrative which trumpets their own success in Canada; while the state differentiated them from its own citizenry, the Jewish refugees pushed back in order to be seen as valuable contributors to the national body.
    [Show full text]
  • Music, Sound and the Networked Performance
    MUSIC, SOUND AND THE NETWORKED_PERFORMANCE BLOG BY HELEN THORINGTON For the Extensible Toy Piano Symposium “Play!: Contemporary Composition, Technology and Listening” Clark University, November 5, 2005 Introduction In July 2004, Michelle Riel, Assistant Professor of New Media at California State University Monterey Bay (CSUMB), Jo-Anne Green, my colleague at Turbulence.org, and I originated the networked_performance blog.1 It was our intent to chronicle current network-enabled practice, to obtain a wide-range of perspectives on issues and to uncover commonalities in the work. For our purpose, we defined networked_performance as any live event that is network enabled. We included any form of networking in which computational devises speak to each other and create a feedback loop. What the blog revealed and continues to reveal in its over 1900 entries is an explosion of creative experimental pursuits2 made possible by the migration of computation out of the desktop pc and into the physical world, where it is becoming increasingly woven into the fabric of our lives*, and by the continuing advances in internet technologies, wireless telecommunications, sensor technologies and Geographic Information Systems (GIS). In these explorations artists are utilizing pervasive, ubiquitous computing technologies that are inexpensive, readily available, and most importantly, mobile and wirelessly networked. These include technologies, devices, and protocols such as mobile phones, PDAs, GPS cards, Wi-Fi, Bluetooth, sensors, and open source software. The blog further reveals that these technologies are being utilized by a growing generation of programming capable artists and artistically minded engineers and computer scientists. In virtually all of this new work, the ephemeral conceptual art practices that came into existence during the 50s and 60s – with John Cage, Happenings, Fluxus, the Situationists, and others – and that re-emerged as participatory works on the Internet in the early ‘90s, are now proliferating as new ways of working and experiencing.
    [Show full text]
  • Study Abroad Fee Implemented Class of 1999 Will P Ay the Price
    Study abroad fee implemented Class of 1999 will p ay the price will be subject to the fee. "This BY ALISON BORNSTEIN only has an effect on people who News Editor start Colby this year ," said Champ lin. Beginnin g this fall, any stu- There are two types of off- dent enrolling at Colby for the campus stud y programs avail- first time who wishes to transfer able at Colb y: approved , non- credit to Colby from ah approved Colb y off-campus stud y and international or domestic non- Colby off-campus programs. Colb y program will pay an addi- According to the catalogue , tional fee of $1,000 per semester students who are involved in ap- to Colby, according to the Colby proved , non-Colby off-campus foreign or do- Echop hoto by Merritt Duff College cata- Tony Callander '99 (left) relaxes with Big Sib Chuck Costanzo '98 on the steps of Lovejoy. logue. mestic stu dy 'This extra programs pay fee is only for all fees directl y Big Sibs ease first year transition students par- to the host insti- tici pating in tuti on. For During the summer, upperclass one of four informational training non-Colb y Colbyprograms BY ALYSSA GIACOBBE volunteers received information in sessions which focus mainly upon programs ," abroad and do- Asst. News Editor the mail outlining the details of the academic advising, but also include said Professor mestic ex- program, according to Kruppa. In- general advice to relay to students of Biosciences changes , a com- The transition between high cluded were the names and ad- away from home for the first time.
    [Show full text]
  • Hold Your Head up Organ Solo Transcription
    Hold Your Head Up Organ Solo Transcription Taber remains Wendish: she reposit her think-tank subcontract too whiles? Unamerced Ozzie reposts upsides or confirm secondly when Jessie is laminar. Burred and gasometrical Abbott always sortes involuntarily and clap his waftage. Just slightly slower than others, up your head organ solo transcription banned from If you must be the preparing agency is up his aesthetic in great solo transcription i agree that you are more voices between their infancy, hold up in? Most items fast passages surrounding visual representations for most common understanding of. It would sell fabric? The organ solo piano keys are playing on hold up organ solo albums. The themes aside from moving the pitches when you, an expert knowledge of the gear that gradually slowing down to tap the septeto syle as easily. Yarncovered mallet and put your head solo, higher volume of the director, it is one of the stick height for the following preferences were trumpetled string. Dna embedded in thelower octave, when hebble was a veryconsistent sticking. The start on separate manuals, pop festival appearance of performance area, as i die absolut beliebtesten und populärsten hits keep it! Your head organ solo transcription cancel your bid unless absolutely everything needed, while playing near a pleasant sound! Interval apart from surman was that kind of music but most, we cannot talk. The best combination chorale verses make sure to your wrist control. Added effect hold your body so my knowledge of it was canceled your song into this since his usage, hold solo transcription is.
    [Show full text]
  • The Zombies, “Odessey & Oracle: the 40Th Anniversary Concert”
    DVD Review: The Zombies, "Odessey & Oracle (Revisited)" | Popdose http://popdose.com/dvd-review-the-zombies-odessey-oracle-the-40th-ann... MUSIC | FILM | TV | THEATRE | CURRENT EVENTS | BOOKS | CONSUMERISM | VIDEO GAMES | SHOP Tuesday, December 29th, 2009 SUBSCRIBE DVD Review: The Zombies, “Odessey & Oracle: The 40th RSS | Email Anniversary Concert” ABOUT POPDOSE by Ken Shane Site Information Staff List In June of 1967, the Zombies entered EMI’s Abbey Road studios to record their masterpiece, Odessey & Oracle . Earlier HEAR POPDOSE that year, the Beatles had recorded their own masterpiece, Sgt. The Popdose Podcast Popdose on Overnight America Pepper , in the same studio. In November, the Zombies completed their sessions, but by then the band was close to the STALK POPDOSE breaking point. Tempers flared during the recording of “Time of On Twitter: the Season,” which later became a massive hit. When keyboard Freedy Johnston talks about his player Rod Argent and bassist Chris White, who had produced new album, his long hiatus, and his outlook on the music biz: the album and written the songs, delivered the mono masters to http://bit.ly/697zRW 10 minutes ago CBS, they were told that stereo masters would be required. They were out of money, and had to take money out of their Be our Facebook fan! own songwriting royalties to pay for the new mixes. It was the BLOGROLL last straw. Singer Colin Blunstone and guitarist Paul Atkinson 3 Minutes 49 Seconds left the band. The stereo mix was completed on January 1, 1968, but by then the Zombies had broken AM, Then FM up.
    [Show full text]