Subject: *You Can Feel Good About Earth Day Hood*
Date: Sat, 8 Feb 1997 18:07:17 -0500 (EST)
From: zachary.[...]@yale.edu (Zachary [...]) I'm jumping a year and a half from the last Harry I have, let's see how much the song has evolved... 4/22/90 - Cutler Quad Colorado College - Colorado Springs, CO It's Earth Day at Colorado College, and Trey reminds you to pick up your trash everyday, not just today. Mike breaks a string (a rarity) during Fluffhead and Fish applauds his "transposition." They play How High the Moon while he re-strings his bass. Some people have recommended this Harry to me, and as we shall see, with some good reason. Fishman kicks this one off with a long "Yeeeeeeeeeah!" 0:00 - This is STRANGE opening. Definitely NOT standard. Let me see if I can describe it. Fishman starts it off as usual, but after that, the _beat_ he plays is different. In fact, at around 0:18, everyone drops out and it's just him for a bit. Another part of the difference is that Trey doesn't play anything until 0:22 and his chords usually give structure to the intro. But also, Mike is playing a clearly atypical bass line here. It's not one I've ever heard opening Harry and although it sounds cool, it doesn't fit well here. I would call these first thirty seconds the extreme of an overall "experimental" Harry opening. Page plays some syncopated lines on the boards, and then the opening begins to sound more standard at about 0:35. However, Mike starts playing his first bassline again at about 0:53. 1:05 - Nice organ work from Page. He's back to the synth at around 1:20, still sounding good. Another thing about this intro is that there are lots of starts and stops. People dropping out, coming back in. Very sparse. 2:20 - Mike's changing tempo on the bass again. He's just dead-set against playing a typical opening here! 2:30 - Trey holding some distortion, Mike slooowly climbing the bass underneath him. Trey's getting a very textural sound here. Surprising to hear this in '90. 2:45 - Mike funking around on the bass. His tone has changed and is very seventies Shaft-esque right here. 3:13 - Harry verse. 3:40 - Composed section. Pretty standard, slight variations from Trey at around 4:00. Their confidence in this part has grown to the point that they can fuck around with it a bit and still sound good. 6:05 - Heavy metal Mr. Minor. 6:55 - Jam section begins. Mellow bass work from Mike to begin this one. Page is hinting at the You Can Feel Good theme from the start and at 7:18 Trey jumps in and does it even more obviously. 7:45 - Trey starts telling a story on the 'doc. It's about a little claymation milkman named Harry. Trey takes his time, first detailing his childhood, then his years as an apprentice milkman, all the while coming up with some beautiful melodies. Page is doing his part with a countermelody around 8:10. Maybe Page is talking about Harry's archrival, George the milkman. Although it's a mellow little tale to start out with, Mike starts to add some embellishments around 8:00. Shortly afterward, Fishman speeds up the tempo on the hi-hat. 8:30 - Page follows suit and raises his energy level to join Trey. 8:50 - Trey starts playing underneath the notes, lifting them up. 9:00 - A little tension build from Trey, followed by release and some sustain from Trey. 9:28 - Distinct Dave's Energy Guide teasing here from Trey! Wow, I'm surprised I recognized it. Listening to the DEG by itself on 4/1/86 helped a lot. DEG teasing from Trey and Page goes for about 15 seconds. 9:45 - Trey is beginning to soar here. 9:55 - Almost back to DEG, but Trey comes out of it gorgeously, triumphantly. 10:20 - Loooong sustain from Trey. 10:38 - Trey adds some heaviness to his guitar tone, but soon is wailing again. 11:15 - Trey starts taking some runs up the 'doc that sound like they might run into the ending. 11:33 - A little Milk from the Carton tease, but not fully played. 11:43 - Trey is playing _fast_ here. Bowie-esque fifths. 12:00 - Final pass into... 12:10 - You can feel Good... I feel Good! Total time = 12:32 Grade: C+. This is a slightly above average Harry. I know a lot of people like this one, but I thought the ending to the jam section just wasn't as powerful as 10/31/88, and certainly not as powerful as some later Harrys. This version is worth getting simply for the experimental intro, which didn't really do it for me, but was interesting to hear nonetheless. I like the _beginning_ of this jam section, but the climax isn't high enough and there are no real gear shifts. If you disagree with me, please voice your opinion on rmp and cc me a copy. This the first publicly lauded Harry I've reviewed, so I'm interested to read other people's thoughts and criticism. Happy Chinese New Year! Zach 
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From: Charlie Dirksen 

4/22/90 Colorado College, Colorado Springs, CO

Ooooo is this a clean digital board! Sounds like it was remixed (if
this is mixed for the venue, it doesn't sound like it!).  This is a
great Harry opening segment.. contains a spacey sustain section led by
Trey, with some ultra-funky bass effects from Mike.  Oooooo this is
niiice! ;) ;) ;) THANK YOU MR LANGUEDOC!! ;) Very crispy.  Jam segment
begins at about 7:18.  Trey starts out the jam quietly noodlin around
the Harry theme, at first.  Very gently.. mm.. this is so precious.
**JOY**.  Listen to this again, those of you out there raving about
recent versions. Mmmmm.. this is soooo pretty.  I'm sure the quality
has a lot to do with it, but still.. Lots of gentle picking from Trey,
with glorious chords and quaint notes in accompaniment from Page.
Mike is fairly reserved for the most part, as is Fish, as usual, but
they are still beautifully providing a foundation for this gorgeous
Hood.  Fish does some fun stuff with the ride, too, at just after 10
mins.  Trey kinda goes off-key at one point, which ain't too pretty,
but he quickly changes direction with some majestic jams!  DAMN IS
THIS HOT!  Wow!  A really fine build and a great close.. ends at 13:19.