From: REIS T BARON <03064626S@servax.fiu.edu>
Subject: 2-25-93 Miami Beach Review
Reply-To: 03064626S@servax.fiu.edu
Date: Thu, 11 Mar 1993 16:19:52 GMT

Howdy All!
     Now that the interview typing is overwith, I can get back to the show
that
happened on that evening.  I'll repeat the setlist so it'll be easier to 
follow the review.
Cameo Theatre-Miami Beach, FL-2/25/93
Set I-Buried Alive/Poor Heart/Cavern/Maze/Col Forbin's Ascent->Surfing 
Narrative->Famous Mockingbird/Rift/Stash/Bouncin/I Didn't Know/David Bowie

Set II-Suzie Greenberg/It's Ice/Sparkle/Wilson/YEM/Uncle Penn/Ball
Jam/FEFY/
HYH/If I Only Had a Brain/Golgi Apparatus/Big *Fat* Furry Creatures
E:  Amazing Grace, Good Times, Bad Times

The first set was tight as hell, and the musician environment from the 
University that was present obviously was inspiring to the solos of all
the 
players.  Page was in a rag-time sort of mood, sticking in notes and solos
that were much more comprehensive than the two previous Phlorida gigs.
Trey
had a nice Jazzy touch to his solo in Poor Heart, which was a nice rarity.
Maze seemed less formatted and more free-form than usual, with an extra
solo
taken by Trey.  The narrative between Forbin and Mockingbird started with
Trey
saying we all had our feet suddenly glued to the floor as the place tippe
over
and we were hanging upside down without even knowing about it.  We then
emerge
on the surface of the beach, and a huge tidal wave, the biggest ever,
takes us
riding higher than the level of the city and over all of society until we 
reach Gamehenge, and the usual commentary followed.  The Mockingbird
guitar
work was more right on than NYE, which was my last one seen, which had a
few 
glitches that are very noticeable from the FM tapes.  Since this is my
favorite
guitar interlude by Trey, I was happy to hear him execute it near
perfectly,
except for the same problem I had with it on NYE.  The guitar levels are
way
down during that, and it's hard to hear individual notes sometimes when
such 
comprehensive pieces are being played.  The same problem seems to arise
during
the Zappa-esque part in the beginning of Divided Sky (w/the Marry Had a
Little
Lamb musical quotes), which wasn't played at this show, but has happened
before.
Anyway, the Stash was a little more stock-sounding than Orlando, but a
nice 
solid version.  The trombone solo by Tubbs in I Didn't Know was played
facing
his parents who were watching from a side balcony.  The Bowie smoked as
usual,
and capped off the set with a bang.
   Set II blew the roof off the place, as Paul obviously adjusted the
levels to
side more towards the bass, and a funky Suzie couldn't have been a better 
choice.  The solo seemed a bit longer than usual, because Page and Mike
were
having a ball with the solo exchanges.  It's Ice, being my favorite off
the 
album, was a nice treat,and 
                     whoops, well played at that.  The Wilson had the
random
note language, and my singing with them had little effect, since I was the 
only one in my section that did it.  It was still cool, though.  The YEM
was
by far the funkiest and Jazziest I have heard.  By no means did the one in
New
Orleans top this one.  Mike kept the distortion off of his bass, and just 
slapped away, keeping every bass players ears on their toes.  The vocal
jam
kept a constant train-like rhythm going for a while, and then they broke
into
an almost church like series of harmonized hums, each sounding like the
last 
organ chords before a church mass begins.  It was very cool.  The Uncle
Penn
solos smoked, and I was glad they played it, so My buddies could hear
about
as much Morse-ish licks as they could, solidifying my description of
Trey's 
live bluegrass jams.  The ball jam took everyone by surprise, as it was
the
first in Phlorida.  Undoubtedly one of the highlights of the set was FEFY!
The
solo was probably the most inspiring of the night by Trey, with the
exception
of the one during YEM that I didn't mention, that had the whole UM music
school
freaking!  Miriam (Mimi) Fishman came out for the duo with her son.  Her
solo
was a bit less powerful than the ones I've heard from Sommerville and
Santa 
Cruz, but it was nevertheless a cool thing to see.  Golgi was even more
melodic
than the one in Orlando, with even more notes stuck in by Trey during the 
bridge.  Now comes the moment of confusion for some of you.  Both times I
have
seen this song before, they have sung Big "Fat" Furry Creatures.  All the
tapes
I have with this tune specifically have it with Fat, not Black.  Those of
you
that have shows with "Black," I would like to get a copy from you.  I'm no
linguistics major or anything, but the easier alliteration when singing so
fast
would seem to be "Fat Furry," not "Big Black."  Say them to yourselves
really
fast and decide which would be easier...I think the former.  The encore
began
with an Amazing Grace which, unfortunately, needed the microphone.  I hate
to
admit it, but my city tends to have many people who need to be noticed
during
moments of silence, including the a$$hole who had the gall to shout "Fuck
You"
when some silence was happening, and his friends' laughter ruined it as
well.
This was nevertheless overlooked when they tore through the most
incredible 
version of GTBT was played.  Page was ripping, and he was practically
screaming
the refrain to the top of his lungs.  All of our hair was flying back.
Trey's
solos just didn't stop, and Fish kept doing the Bonham-like double bass
kicks
with perfection.  All in all, it was a spectacular show, and only an
uneven mix
prevents it from going to the top of my list.  The Cameo is a barn when it 
comes to sound, so I wouldn't blame Paul for that one.
     Anyway, enough babbling...next reviews are New Orleans, which I
should be
able to get to tomorrow.  Take Care Everyone for now,
                                    (*:REIS:*)

Please, we have no regrets!!