April 15, 2000

Recher Theatre · Towson, MD

11 songs4 segues3 sets

Set 17-11★* > Little Betty Boop* > Floes, Soul Is Shaking, The Unspoken Rhyme*, Helicopters*

Set 2Floes* > The Very Moon* > Crickets*, Little Shimmy in a Conga Line

Footnotes

7-11 - Like the debut, it is essentially a 7-11 jam until it's not, but the early 7-11 jams are such a distinctive sound that we can't really fault this. The theme is considerably better developed here, and the transition into a Boop jam is handled much more adeptly.

Little Betty Boop - The funk jam is hit or miss, but contains a pretty cool trance progression in the middle that lifts it out of type one territory briefly. The jam out of Boop goes type two immediately. Sammy's wild and tribal rhythm serves as the backdrop for Magner's different waves of synths and some melancholy noodling from Barber. The jam builds this tense atmosphere into a chaotic theme, before building to a Floes ending by way of a vaguely I-Man sounding fakeout.

The Unspoken Rhyme - Debut. Excellent "happy" jungle that would be characteristic of the song's style for its entire tenure.

The Very Moon - Standard Very Moon funk until the 14 minute mark, when the jam breaks down and restarts as a very minimalist trance jam. The transition of Sammy to bass and Mauricio to percussion is handled with extreme care. Eminent atmosphere as the jam transitions to a Crickets intro.

Crickets - Debut. Mauricio on the 505 hinders the speed and energy, so don't expect a massive Crickets peak. Both jams, but especially the "funk" jam, are expertly crafted atmospheric pieces.

Setlist data from the Biscuits Internet Project (discobiscuits.net).