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Yeah you're right, I'm an idiot, because clearly I was literally talking about Television History like the last episode of M.A.S.H. Glad you caught that one.

No I think a cover is in fact largely a note for note cover of the original. A rendition is what I think you're referring to. For instance Jeff Buckley's rendition of Hallelujah is so supremely rendered that it eclipses the original in terms of sheer beauty and takes the song to places Cohen's gruff talk song never could have.

Vampire Weekend and host Zach Galifanakis just fucking killed it on SNL- handily some of the best ensemble work, sketches and outside pieces of recent memory. The drummer was standing right behind Zach on the sax outro and clearly had a maroon Phillies Phish tee on, which he flashed from under his cardigan. I always find it so geekish that we all follow every single moment in a telecast or sporting event and when Phish music was played but anyways there you have it- television history.

I don't think that setlist adequitely conveys what a monstrous show that was. Brad really got at the crux of the nut about the size of the venue, height of the ceiling, amplification and room to move (Kevin was literally doing hoochie coochie striptease type over the top weirdness). They also definitely tailored their set to the jovial but slimmish crowd, I have to take back a bit what I said about HPD it turned out to be a good warmup band and the audience got into it and Jay was having a great time. Basically the Sisters just came out of the gates running and that first set is sort of a stock set that they've been running Lalama through so he really had it down. Faith Cola is just so anthemic and the head is incredibly inspiring and builds wonderfully. Sylvester is something else entirely and taking shape. Frank 'n Earnest is easily their most monstrous funky number and as it's penned by DeSouza it's a showpiece for his modular funky mode of playing which was really muscular and evident all night. I Should Be With You, Brad explained was a new Kevin original which he sung beautifully about clearly his wife Trish. And then there's Southern Man. I would have to say that because clearly this is a jazz funk rock composition that follows some of the main cues and vocal lines of Neil's original - well clearly it doesn't sound like a Crazy Horse version without the vocals. Kevin piercingly plays Neil's voice on slide (which was almost completely unadorned all night by any effect whatsoever) - like pierced in the eye painfully on point wailing notes. Then the band just sort of eviscerates and spills Southern Man's guts on the killing floor. Literally that good. Like on a head full of half decent drugs any of you would have swallowed half your tongue. Also, and Brad asked me at the time to come up with a word for this figure that Lalama was playing on the Wurlitzer that was eery and fucking scary and the frame on which Southern Man was built. I think he said 'voices screaming from hell'. It was a baroque sort of thing like a little minuet or something that wouldn't have sounded out of piece on a harpsichord and isn't anywhere evident on the original but gave the entire song a spectral quality. I literally wanted the night to be over and thought it was it was such a complete and tight set of music - with a good shape. Yet they plowed through an even more monstrous second set again leaning on DeSouza's funk modes that made the band sound decidedly more pleasing on the whole and listenable - more inside than outside in jazz terms. Can't really get into the second there's a bunch that could be said. In particular it needs to be said that I would describe Lalama as fully integrated into the Sisters sound now. His accordion playing in particular was deft and truly beautiful throughout the evening, the Southern Man bit, every contribution he was making was well thought out and showed great listening. This was really evident on Lowell which again like Southern Man, and I didn't realize this until really just that night, sort of takes Lowell George and the Little Feat sound (in this case a bunch of distinctive sounds condensed into a deceptively 'simple' song) capturing the group dynamic and Lowell's actual sorrow and singing voice. Because Rob Gusevs was limited to the B3 Hammond, Lalama is really able to explore some funkier more contemporary if you like sounds that echoed Bill Payne's playing.

Hope to see some of you cats tonight.

This should be a great great night all around. I ran into Ian DeSouza the monster funk bass player from the Sisters again yesterday on the street and reminded him they had to 'trip it up' for this audience. Honestly a classic Sisters show is really for their amusement in a way and often rippingly complex and sometimes downright challenging. With a dancing jovial audience all bets are off.

So wait explain I legitimately haven't paid to the last two since musicology. Cause and Effect isn't on Lotusflow3r is it? It's a brand new track that's just streaming right?

Holy Fuck! That's like Prince steals a page from Rage or Nickelback in a good way- a totally bruising song.

I seriously fucking hate you right now Sean. Like I couldn't ex out fast enough to wipe that filth off of my mind.

... Do you know who's a genius off the top of my head Prince, Noam Chomsky, probably Obama, Nietzsche, David Foster Wallace. Do you know who That 1 Guy is - a dude who plays PVC tubing. Do you know who Keller Williams is? Why bother.

And in other HUGE news Mike Weir is really impressed by Tiger Woods approach shot.

AND High Plains Drifter have agreed to both play ultra short and sweet sets leaving the Sisters copious amounts of time to fry our minds.

They are a steal and a work of art and I guaranfuckingtee it that if you bought a lot of 20 of those before he passed they would be worth thousands. I honestly believe that. There's japanese dudes that would snap that shit up a decade from now. I just want to get a custom say Ash with Tiger Stripe Special (it's the only style for soloing). I don't really like how it's more rigid but only the Ash has really cool striping.

You can check out the different types here. Ray Kettlewell Paddles. You can also custom order different woods but cherry is really nice because it flexes and it tans.

I totally value that input and likely would have echoed it but bear in mind this is a songbook of intensely charted songs that sound like improvisations and there is a strong improvisational element but it's a tough tough book to learn. I think he has merit as a player he's no B3 wizard like Gusevs but I think he's finding his niche. It was interesting seeing all the charts he had on his Wurlitzer and Kevin coaching him through things and picking songs based on what he has or hasn't played. I have no doubt the Rivoli show will kill. He's going to find his place. And as far as hand clappy things I wouldn't be busting out too many of those Mr. Bouche. We can't all sit around in Wakefield with the missus drinking wine with Mr. Breit or finagle him to play our, f'ing, weddings Megafawn.

Some interesting tidbits about the new album and tour here Heaven Is Whenever (Pitchfork). Also there's a press release from Tad Kubler and Craig Finn.

There was a time when my only prized possession in life was my Ray K Special (Cherry, nice grain, well tanned, measured to fit by Ray himself). Well that and my copy of Big Pink signed by Rick, Levon and Garth. Both have been lost to the sands of time. Well my brother just fucked my paddle. I've been really coveting one again and realized they're only $130 which is an insanely good price for this sort of craftsmanship. If you know a canoeist I wouldn't necessarily recommend a Special unless they solo or are quite competent. A Mod Ott (Modified Ottertail) would be a great paddle for a woman. Or for a generally paddling paddle. Sorry totally random I know but I'm amazed that more people don't know about one of our most definitive 'crafted' brands.

Wasn't last night but I've got a lead on some high quality digital pics.

I got off work at the restaurant a bit early and managed to zip over by bike (in a fairly decent cover of snow, which I rightly expected would keep folks away). I counted in the second set (which is all I was able to catch) 28 people including bar staff and Harry Manx! The setlist as far as I can gather from the older beardos that see Kevin all the time and the band was. Sisters Euclid, The Orbit Room, 12/22/10 I 1. Sisters in Orbit 2. Frazzed (says Hello to Harry) 3. Holiday for Strings 4. Big Top Charlie Box 5. Sylvester 6. Lucy II 1. Faith Cola 2. Frank 'n Earnest (deSouza) (Kevin remarks how in tune he is, which in fact he was) 3. Emily Gunfighter 4. You're Never Satisfied> You're Running Wild (sung) 5. Little John (Taylor) 6. Years and Years of Espionage Under His Belt (Mark Lalama read a quick passage from Annie Proulx's Accordion Crimes before this song) What the group is doing right now because they have such a large songbook is they are cycling through their entire repertoire to familiarize Mark with the material. As a result the sets are varied and eclectic. For instance Little John is according to Kevin 'one of the toughest songs in our book', written by drummer Gary Taylor. Also Congregation of Two hasn't been played in ages to my knowledge. Playing a song of Ian's Frank 'n Earnest which was the heaviest or at least funkiest of the night (unsurprisingly) challenged the notion that Kevin writes %99 of the material (except fo the covers). What's most noteworthy are the contributions Mark Lalama is making to the band. I'm happy to admit, like any fan of a band with a consistent lineup over the long term and I'd call 13 years long term, that I am a huge fan of Rob Gusevs and really felt that his fluid B3 playing style was essential to the Sisters sound. I haven't interviewed Mark yet about his background but obviously Kevin isn't going to go with some slouch who can't follow the many directions they are certain to go in. Mark still plays the house Hammond, but sits his Wurlitzer on top and also plays Accordion and Melodica. This is where things get interesting, with his clear skill level and versatility on the accordion as well as the keys he will undoubtedly bring some new and interesting sonics to the fold. He has a couple of guitar pedals that he uses to deploy some sonics such as at the end of Years and Years when Kevin detuned his guitar and was rubbing it along his shirt like signal scrambling, Lalama brought up some similar 'jamming' noises (as in signal jamming). All said considering I was dead sober and it was a really sparse house this new phase the Sisters are going in is really compelling.

Noice! Chice!

My thoughts exactly. I also think it's pointless to book an act of their magnitude and then make them start later to accomodate other bands. As far as picking my battles, I respect what you're saying, but there's no incentive to. Truthfully the reason you don't read music journalism like my Sisters interview is it doesn't pay. Even if this were a paid piece which obviously it wasn't I spent way too much time on it. You'd have to be an overeducated and clearly passionate prick with no self respect to churn out stuff like that. You'd also be broke.

Hey phishtaper tell Jeff Tweedy I want off the backstage blacklist for me and that he's trying to break my heart. Be a dear wouldn't you.

I've got lots of love for Jay, so much that I spent way to many hours on this interview with Kevin Breit and Ian deSouza of Sisters Euclid. I hope you enjoy it I've been dying for the answers to these questions for ages and to hear Kevin describe Jerry's tone and style on the guitar is pretty frigging awesome. Sisters Euclid interview

Don't bust a rib though.

Seriously look at that top 10 (minus fugging Tegan and Sara obiously, shudder...) - it's probably just my specific taste in music but if I had 200K of programming dollars to spend I'd do it that way. I don't know about my estimate though, NorthernWish'd know better. At least 150K.