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| Artist | Phish |
| Show | ph1999-12-11 ::week4paug.net request:: |
Report this as
non-Trade-Friendly | Email us |
| Torrent | ph1999-12-11.torrent (click to download) |
| Downloads as | ph1999-12-11 |
| Info hash | 7c412ef6e968e150ced5e5695fde2fe4c03efc38 |
| db link | http://db.etree.org/shninfo_detail.php?shnid=918 | Show | Source |
| Description | Phish-12-11-99 Corestates Spectrum, Philadelphia, PA
Neumann U89(hypercard setting, dfc ts)>Apogee AD-1000@44.1;
DA20mkII>Audio Magic Presto II>ZA2>Soundforge XP 4.5>CDWAV>.shn
Transfer and encoding by Eric McRoberts
Disk 1
Set I:
1. Harry Hood
2. Mike's Song->
3. Simple->
4. I Am Hydrogen->
5. Weekapaug
6. When The Circus Comes
7. Scent Of A Mule
8. Cavern
Total Time: 73.59
Disk 2
Set II:
1. Boogie On
2. Sneakin Sally->
3. Ghost->
4. 2001->
5. Down With Disease
Disk 3
Encore:
1. Possum
af5b9c10d83882b4ac25ecb8a864cb20 *ph99-12-11d1t01.shn
593391e42c0c3232a0ab458a4a59c558 *ph99-12-11d1t02.shn
3167347c2cdedb7d14cdbd00f7c13760 *ph99-12-11d1t03.shn
e46bbbf5dabcb07b620299ca60155e68 *ph99-12-11d1t04.shn
bdb64fd705f7728b0d348e0322d78c1d *ph99-12-11d1t05.shn
2d41aea24820378221179788cfa946bc *ph99-12-11d1t06.shn
401799efe3fe96c693037cf267a4f05d *ph99-12-11d1t07.shn
eb43df4b7e59028f53fd43106cc2cf59 *ph99-12-11d1t08.shn
9ba7409de2f5654cb8b8cc2a073aae0c *ph99-12-11d2t01.shn
9f2cbdb113d67d9964b779d7504df34f *ph99-12-11d2t02.shn
559fd0ccf68a3f8fee4a87ac30ac3ffc *ph99-12-11d2t03.shn
5e86724e78331a7e80f61ee956aa9f0a *ph99-12-11d2t04.shn
1696e6858898898ee56d4baa332ec872 *ph99-12-11d2t05.shn
e72e521a31c76182533e6f7acbc6ebac *ph99-12-11d3t01.shn |
| Type | Phish |
| Last seeder | Last activity 308 days, 11:45:41 ago |
| Size | 847.83 MB (889017390 Bytes) |
| Added | 2006-08-03 00:31:30 |
| Views | 0 |
| Hits | 334 |
| Snatched | 118 times |
| Upped by | jedifunk |
| Num files | 18 files |
File List
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| guyforget00 |
2006-08-05 17:17:38 |
| its peolpe like IL-literacyofdance that made Phish take a break in the first place. FUCK YOU, keep you music teacher critique to yourself. Listen and enjoy asshole. "ahhh they were jammin in c and mike is just hitting g the whole time", i will bet that you could have played much better on any of thier instruments that night. ASSSSSSSSSSSSSSSSSSSS! |
| McGruppster |
2006-08-06 03:48:39 |
Nobody answered my question... grr
Literacy: i dont mean to jump on your back, but im starting to maybe notice a pattern of negative comments, or at least umm... fuck whats the word... controversial, in a lot of your replies... just an observation you might take note of.
anyway... i think its funny that you mention 10:30 as the example for non-creativity... i've posted allll over the place about how i think that at 10:20, somewhere around there, is where i always have a musical orgasm because of PAGE's absolutely glorious piano playing... hang on im gonna find it now (i have the nugs.net source, anybody know if its better/worse?)
okay... it starts right about 10:18, and continues till about 10:40. Those 20 seconds are probably my number one favorite short little "jam-time" ever.... i just bug out every time, because its when Page comes in on piano at 10:18 with that gleefully shimmering piano riffing, then accented about 10-15 seconds later when Trey starts accenting what Page had started playing. AhhH!!!!! Things go chill for the rest of the song, but i really think that those 20 seconds are just... ahh!!!!!! i dont even know how to explain it.
I'm sorry you cant enjoy it. Oh well, right? |
| jedifunk |
2006-08-06 14:04:49 |
mcgruppster... considering the shows at nugs are mp3, and these are shns, they are most certainly going to be of much much better quality...
i'm not going to take the time to DL the nugs version since its pointless, but i'll just say that you should just download this and toss the nugs version....
if sound quality is what your after, a compressed mp3 will never be anywhere as good as an uncompressed wav or aiff...
not trying to be rude, just pointing out the facts |
| PGrow |
2006-08-06 19:13:15 |
| I think literacyofdance's opinion is welcome. For me the December 99 shows weren't that great. I saw both Portlands, Providence and Big Cypress and Ive heard the entire tour except for 12/2. They each had moments but few stood front to back on their own. Personally, I like this show. I like 12/18. I like Big Cypress. The rest of 12/99 was not really my cup of tea. We all have opinions, lod's are at least well thought out as to why he doesn't like a particular show. I did think this show was a high point on a lackluster tour. |
| jedifunk |
2006-08-07 09:24:33 |
pgrow... you didnt like the portland, me shows? they both rip! the piper from 12/8 is one of the best jams of the year. ditto for the halleys on 12/7... this tour was sick... 2 weeks of serious jamming...
but i hear ya, one mans trash is another mans treat! |
| literacyofdance |
2006-08-07 11:22:29 |
Thank you McGruppster and PGrow for your comments.
McGruppster, I've given another listen, and I hear what you mean. This song IS a nice bit of playing towards that end, the type of modular or continuous music that becomes more charged the longer it is sustained. PHiSH's playing had been shifting away from the discrete types of playing of the early to mid 90's since 1996, and Piper is a song which directly taps into this mode. To a certain extent, this type of playing takes greater attention, on both the performer and the audience's part, and you can hear some give a big shout right when Page begins to play that piano you mention. Good call!
As for the "negativity" that you mention, I take it as a compliment that people are feeling pushed by my comments. In the short time that I've been posting ideas to this field (and remember that, it is a comments field) I've run up against a lot of ignorance and resistance. On the one hand, it's really surprising. PHiSH's music has almost always pushed: pushed it's audience to broaden it's definition first as to what constitutes (pop) music in general (think vacuum as instrument, voice jams, electric drills, punk rock, heavy metal, etc) and then later on what constitutes PHiSH music. Part of the demise of any sort of avant movement is going to stem from an expectation from an audience, when one comes to ask things to be pushed or to want to be pulled. But I think it's important to realize that when these guys first hit the stage, people were often being repelled. Pushed. Away.
If you have no desire to question this music, to push back at it in a critical way, ignore my comments every time. To be a mindless sheep simply ingesting music for its enjoyment level is robotic and boring. If, on the other hand, you are striving to articulate yourself as to why this music moves you, and want to find parallels between musics and life experiences in order to help you do that, then let's do it.
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| literacyofdance |
2006-08-07 11:23:07 |
Thank you McGruppster and PGrow for your comments.
McGruppster, I've given another listen, and I hear what you mean. This song IS a nice bit of playing towards that end, the type of modular or continuous music that becomes more charged the longer it is sustained. PHiSH's playing had been shifting away from the discrete types of playing of the early to mid 90's since 1996, and Piper is a song which directly taps into this mode. To a certain extent, this type of playing takes greater attention, on both the performer and the audience's part, and you can hear some give a big shout right when Page begins to play that piano you mention. Good call!
As for the "negativity" that you mention, I take it as a compliment that people are feeling pushed by my comments. In the short time that I've been posting ideas to this field (and remember that, it is a comments field) I've run up against a lot of ignorance and resistance. On the one hand, it's really surprising. PHiSH's music has almost always pushed: pushed it's audience to broaden it's definition first as to what constitutes (pop) music in general (think vacuum as instrument, voice jams, electric drills, punk rock, heavy metal, etc) and then later on what constitutes PHiSH music. Part of the demise of any sort of avant movement is going to stem from an expectation from an audience, when one comes to ask things to be pushed or to want to be pulled. But I think it's important to realize that when these guys first hit the stage, people were often being repelled. Pushed. Away.
If you have no desire to question this music, to push back at it in a critical way, ignore my comments every time. To be a mindless sheep simply ingesting music for its enjoyment level is robotic and boring. If, on the other hand, you are striving to articulate yourself as to why this music moves you, and want to find parallels between musics and life experiences in order to help you do that, then let's do it.
|
| literacyofdance |
2006-08-07 11:24:29 |
Thank you McGruppster and PGrow for your comments.
McGruppster, I've given another listen, and I hear what you mean. This song IS a nice bit of playing towards that end, the type of modular or continuous music that becomes more charged the longer it is sustained. PHiSH's playing had been shifting away from the discrete types of playing of the early to mid 90's since 1996, and Piper is a song which directly taps into this mode. To a certain extent, this type of playing takes greater attention, on both the performer and the audience's part, and you can hear some give a big shout right when Page begins to play that piano you mention. Good call!
As for the "negativity" that you mention, I take it as a compliment that people are feeling pushed by my comments. In the short time that I've been posting ideas to this field (and remember that, it is a comments field) I've run up against a lot of ignorance and resistance. On the one hand, it's really surprising. PHiSH's music has almost always pushed: pushed it's audience to broaden it's definition first as to what constitutes (pop) music in general (think vacuum as instrument, voice jams, electric drills, punk rock, heavy metal, etc) and then later on what constitutes PHiSH music. Part of the demise of any sort of avant movement is going to stem from an expectation from an audience, when one comes to ask things to be pushed or to want to be pulled. But I think it's important to realize that when these guys first hit the stage, people were often being repelled. Pushed. Away.
If you have no desire to question this music, to push back at it in a critical way, ignore my comments every time. To be a mindless sheep simply ingesting music for its enjoyment level is robotic and boring. If, on the other hand, you are striving to articulate yourself as to why this music moves you, and want to find parallels between musics and life experiences in order to help you do that, then let's do it.
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| literacyofdance |
2006-08-07 11:30:59 |
| apologies for the triple post. server foul-up. |
| Fleezer |
2006-08-07 13:37:57 |
| your pretentiousness and self-importance is staggering, simply put your a jackass. your opinions are nothing but misguided wanderings devoid of any logic and reason. you think you have a clue but alas only you think that. i recommend you stop trying cause it ain't working son... |
| McGruppster |
2006-08-08 18:38:59 |
| hey Jedi, its me, Gumbo... hehe |
| phil111979 |
2012-03-26 11:39:22 |
can someone seed this I have the first night taped with this gear and it sounds great would love to get the second night if someone could help
thanks |
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