From Sat Sep 12 23:35:43 1998
Date: Wed, 2 Sep 1998 01:51:48 -0500
Subject: 8/2/98 Bowie **REVIEW**

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8/2/98 Deer Creek Amphitheater- Noblesville, IN.

SET II: Possum, Ghost, Lifeboy, DAVID BOWIE, I Get a Kick^Ň., Loving Cup

E: Hood, Bittersweet Motel

There is a brief spacey interlude following Lifeboy which gracefully segues
into the^Ň

0:00 HI-HAT SEGEMENT- Very short and to the point, with the usual array of
delay loops and warbling swirls that simulate the sounds of a spaceship from
a faraway land as it descends upon the venue. A far cry from the lengthy
five minute plus HHS from the previous year^“s performance at Deer Creek.

0:57 COMPOSED SEGEMENT- This segment is played at a fairly normal pace with
little or no effects on the vocals. The delicate intricacies of this section
are played without a hitch. The relatively newfound presence of Mike^“s bass
sound is evident and a very welcome addition to the Phish sound.

4:23 THE JAM- This jam starts off classic style and slightly faster than
usual. Trey adds some delicate natural harmonics during the first minute or
so, a really cool effect. The jam proceeds at a predictable rate and at 5:50
Fishman adds some interesting rhythmic accompaniments which Trey briefly
toys with for a brief time. At around the seven minute mark Trey breaks into
a really cool solo which deviates slightly from the central Bowie theme.
The solo has a very jazzy feel, with a slightly major sounding, melodic
melody, an interesting little embedded nugget in this jam, but nothing
groundbreaking. After this little detour, the jam continues to build at a
smooth and predictable pace as all band members contribute equally. At 9:49
the jam peaks and makes its first run through the outro progression. Trey
opts to slowly play the melody rather than solo madly over the chords as
heard in many other performances, a pleasant touch.

10:40 THE TRILL- The trill segment is beautifully transitioned to and neatly
played. The trill is played through eight times and the latter four
breakdown segments in between trills feature the teasing of ^”Divided Sky^‘
and ^”Possum^‘, another nice touch. There also maybe a ^”Lizards^‘ tease, but I^“
m not sure on that one. The last melody is a soaring portion of ^”Divided
 Sky^‘, which Trey splendidly plays in a silky, smooth Satriani-esque tone.


SUMMARY: All in all this is a pleasant, but average Bowie. Outside of the
short jazzy guitar solo during the jam and the playful trill segment,
nothing else really stands out. There isn^“t anything groundbreaking or new
being explored here, but there is nothing wrong with that, every version can
^“t be a MONSTER! This is just your typical, average, everyday, run of the
mill Bowie.