, attached to 1999-07-04

Review by tubescreamer

tubescreamer As noted, the segue from Ghost>Slave is an absolute must hear. Like none of its kind, these two songs merged together in lock-step. Don't be fooled, this is no segue from a normal kick-ass Ghost-- the nature of THIS Ghost, a wild and polyrhythmic psychedelic masterpiece-- utilizing effects rarely if ever used this way, is the onramp for the Slave To The Traffic Light that continues this tone and other-worldly sense of time. It winds its way up the mountaintop without ever letting go of it. It appears Trey gets so far out there that he loses track of time and calls Slave short by a couple bars. Trey goes on to play The Horse and Silent in his own world-- his guitar work is greatly different than normal for these songs where the expectation is complete accuracy. They could be taken as played wrong but he isn't off, he in his own world and what we get is a type II ending to Silent-- some incredibly in the moment guitar work.

What's the use is the perfect backwash to the super nova of the opening couplet.

As for Wilson, remember this is just under a week before the canonized Camden 7/10 show which featured some gnarly exploratory work-- this one goes much deeper, so deep that Trey gets lost in his own world again and forgets his lyrics-- THIS leads to one of the most riotous "CAN YOU STILL HAVE FUNN" sequences ever-- must hear. Put this part when you gotta get your day going.

Mike's song puts an almost happy breather to the madness and then plods into similar territory that ghost does, but doesn't stay long before the happy breather genre king-- Sleeping Monkey, appears.

Weekapaug is just a simple stroll, basking in the glow of what just happened.

Carini reminds everyone that the madness aint over yet.

Meatstick in 99 meant something else than it does now.

And a classy and choreographed firework show to Star Spangled Banner has the crowd in a ferocious bliss to close out the night.


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