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Out October 6 on CD, Lathe-Cut LP, Digital, & Streaming

Cover Art of J.M. Hart's "So Below" album.

Friends, I am excited to announce that I will be releasing a new album entitled “So Below” on October 6. Moreover, the album will be available for pre-order on Friday, September 1, on Bandcamp.

Largely recorded in my home studio, affectionately named Shrunken Road Studios, where I also produce the Brokedown Podcast, this third effort contains nine songs both spanning and expanding the scope of my sound heretofore.

From straight-ahead busker folk to fuzzed out breakup ballads to psychedelic spaces somewhere in between; the world opens up a bit wider on “So Below”. The title comes from the alchemical principle that is often paraphrased, “As above, so below.” But, “Below”, is where we live, love, and die. “Below” is where we fight wars, drink coffee, and gaze out at rising rivers. “Below” is what we can hold in our hands, so the songs are about that realm.

Once again a few friends help out here and there including drummer Ryan Jewell (Mosses, Ryley Walker, half of the recent albums in my collection), and returning collaborators Ben Taylor (Ben Taylor’s Finest Hour, JC Brooks & Uptown Sound) and Scott Ferber (The Jauntee). Mixing and Mastering duties were again performed by Rob Dobson. Otherwise, I play all of the guitars, bass, and random stringed instruments on the record.

“So Below” will be available on most streaming platforms as well as on Bandcamp. Also available, via Bandcamp, will be Compact Discs and a very limited edition, hand-numbered, lathe-cut LP.

“The Investigation of the Rainbow” - Johann Melchior Füssli (Creative Commons - No Rights Reserved)

Physical purchases will come with a special download of “Zones Below”, a digital-only album featuring songs from the album “So Below” remixed by some friends:

James Toth (James & The Giants, Wooden Wand, One Eleven Heavy), J. Moss (Modern Folk Trio Band), Ben Taylor (Ben Taylor’s Finest Hour, JC Brooks & Uptown Sound), Brian Mosley (Electric Catnip), Doug Kaplan (Mr. Doug Doug), & Francis Thornton II (Without Mirrors, Programmed Cell Death).

You can find “So Below” at: https://jmhart.bandcamp.com/album/so-below

—Further news:

In July, I got out and played a show, live, in person, opening for Jon Camp and Kevin Coleman. It was a small affair, conveniently local, and great fun. I’m hoping to play more shows in the near future. Watch this space for details!

J. M. Hart performing; playing acoustic guitar and singing.

Hampton Coliseum

In just ~~two~~ ONE week, Phish will break nearly five years of silence with a three night run in one of their favorite venues: Hampton Coliseum. Over the next two weeks, we’ll give you a little look back at what makes Hampton Coliseum so special to Phish, their fans, and more.

In 1995, Phish announced their fall tour and included an October date at Hampton Coliseum. I’m not sure if the Phish community at large saw this as more than just another show but I certainly did. I spread the word amongst my friends and ordered my tickets. This was a must-see, in my book. We (my girlfriend and I) stayed at the beach with my friend Rob and had a terrific time.

Here’s the setlist:

1995-11-25 Hampton Coliseum, Hampton, VA
1: Poor Heart, A Day in the Life > David Bowie, Billy Breathes > Taste That Surrounds,
Bouncing Around the Room > Rift, Wolfman's Brother, Runaway Jim
2: Timber (Jerry) > Kung, Mike's Song > Rotation Jam > Mike's Song,
My Long Journey Home, I'm Blue I'm Lonesome, Strange Design > Weekapaug Groove,
Harry Hood, Hello My Baby, Poor Heart
E: Poor Heart Reprise, Fire
Show Notes: The first set Poor Heart was the original version.
The second set Poor Heart was the slow, shuffle version.
The Poor Heart Reprise slower, but only a few lines of the song were played.

The thing with “Poor Heart” was pretty crazy. To this day, I have no explanation for that other than the band forgetting that they’d played it. Everything was immaculately played; the feel in the room was incredible; with fans just grooving and having the best time. The “Rotation Jam” was bizarre (and it might not have been “immaculately played” but that’s beside the point) and a real treat to witness. All in all, this was a great start to a long love affair between Phish and the Hampton Coliseum.

Phish '95

That weekend carries with it another hallmark; something that is, personally, more significant than the good Phish show. The next day I learned that I was going to be a father. It was for this that I missed Phish’s next two visits to Hampton.

The first, exactly eleven months after the 1995 show, came in October 1996. This show is good, but not epic. In fact, we’re going to gloss over it almost entirely save for one significant note. Trey made the following announcement from the stage during this show:

Sometimes people ask me what the uh, best rooms that we play are ah, in are. This is pretty much it, for me. Just so you know to answer the question. Good sound. Everyone gets to go where they want on the floor. You can’t beat it.

Not the most eloquent of statements but, it does suggest why they came back again in 1997 and played two of their most renowned shows.

Here’s the setlists:

1997-11-21 Hampton Coliseum, Hampton, VA
1: Emotional Rescue > Split Open and Melt, Beauty of My Dreams, Dogs Stole Things,
Punch You in the Eye > Lawn Boy, Chalk Dust Torture, Prince Caspian
2: Ghost > AC/DC Bag, Slave to the Traffic Light, Loving Cup
E: Guyute

1997-11-22 Hampton Coliseum, Hampton, VA
1: Mike's Song > I Am Hydrogen > Weekapaug Groove, Harry Hood, Train Song, Billy Breathes,
Frankenstein, Izabella
2: Halley's Comet > Tweezer > Black-Eyed Katy > Piper, Run Like An Antelope
E: Bouncing Around the Room, Tweezer Reprise

Where to begin? The Rolling Stones’ “Emotional Rescue”? Really? That song, from the album of the same name is the Stones’ disco “effort” but here, after an amusingly faithful attempt to cover the song (don’t let the falsetto vocals scare you off, folks,) Phish stretches it out with an additional ten minutes of cow-funk jamming before landing in “Split Open and Melt”. The “Ghost > AC/DC Bag” is a sublime journey with some phenomenal improvisation that simply must be heard to be believed. The “Slave To The Traffic Light” that follows is spot-on too.

Phish @ Hampton

The next night doesn’t mess around either. First set opens with a killer 30+minute “Mike’s Groove” followed by a “Harry Hood”. That’s a pretty great way to spend the bulk of an hour. The fact that set two opened with a 25-minute “Halley’s Comet” does not suck at all. And, when the “Halley’s…” segues into “Tweezer” which then segues into “Black Eyed Katie” also does not even remotely suck. This is awesome stuff, folks. Don’t just take my word for it, check out the reviews at Phish.net: 11/21 & 11/22.

Jump ahead yet another year and Phish (and I) returned to the Coliseum; for two more nights. Continue reading →