as you can guess from my flair, i am a hardcore vernon stan (i refuse to say dolly), and even though i talk (to my poor, poor friends) ab his personality, his humor, his looks, his singing (HIS LINE IN THE BIRTHDAY SONG THO) etc. a lot, i don't rlly mention how genuinely talented this guy is at what he does. not only is he (imo) one of the better dancers in svt, which is SAYING SOMETHING, he also has SO MUCH natural charisma, the most producer credits after woozi (i think? cmiiw), and some of the best lines in svt history. so i'd like to hop on here and appreciate my boy hansol vernon chwe the way he deserves.
first of all, vernon weaves between english and korean SO WELL without any of his lines sounding awkward or out of place, and somehow makes them seem like one language with how cohesive and natural it all is. and as a non-korean speaking carat, it's really nice to see lyrics that i can appreciate in their full glory, and let me tell you, there is SO MUCH TO APPRECIATE about this line. the imagery, the word choice, the flow, the metaphors, the contrast in daydreaming at night and how it implies both insomnia and unfulfilled desires, like ;;;;;;;;;; mozart WHO
Download You Covered Me Lyrics By Dr Vernon
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The lyrics that George Washington probably heard sung to the tune of "Yankee Doodle" are not the words now known around the world. The earliest known appearance of the common words relating to "pony, feather, and macaroni" is in James Orchard Halliwell's The Nursery Rhymes of England.1 No earlier reference to these lyrics has been found.
Washington probably did know the chorus about minding the music and the step. It comes from the Boston area in 1775 and was set to the tune we all know. The song must have struck home because by 1830, over one hundred more topical lyrics were printed, sung to the same tune and using the same basic chorus. In the twentieth century, this chorus was added to the "macaroni" verse from 1842, making up the song we know today.
After the battles at Lexington and Concord, the British controlled Boston from April 1775 until March 1776. In June 1775, George Washington arrived to take command of the patriot army that had assembled outside of the city to defend the rest of Massachusetts and lay siege to the British stronghold. The following song was probably written sometime after his arrival. It was created from story elements from three earlier New England-made lyrics. The uncomplimentary nature of verses 11-13 comes from the early months of Washington's command. The New England militia officers who were elected to their commands grumbled openly against the Virginian who was appointed by Congress. But by 1776, Washington was a hero in the eyes of most patriots and new songs lauded him as "God-like Washington."
Katy Vernon is a Minneapolis / St. Paul based singer songwriter. She grew up in London, England and has been writing and singing as long as she can remember. You can discover her music at katyvernon.com and on Spotify.
Saul Paul is a musician, author, and motivational speaker known for his positive and uplifting lyrics, which often focus on themes of perseverance, determination, and hope. His music has been featured in films, TV shows, and commercials.
As the oldest song that would become part of Bon Iver's wider repertoire, "hazelton" eventually matured into the indelible "Holocene," but Justin Vernon first recorded it between July 2005-May 2006 for what would be his third solo album. Originally released on a batch of 100 handmade, hand-numbered CD-Rs, hazeltons now makes up one of Epoch's five LPs. "This is the sound of sorting through an overabundance of new info, mostly for yourself. And, even in the rather fraught process, finding out just where it is you've been headed your whole life," writes Grayson Haver Currin, the box set's executive producer and biographer. Above a cascading melody and novel picking pattern, Vernon uses his newly excavated falsetto to offer elliptical lyrics about hurt and hurting and salvation and self-definition. "hazelton" feels like a lightning strike of inspiration, but at the time it was the most significant point of departure in the dissolution of DeYarmond Edison. It was an extracurricular insult when Vernon, Westerlund and the Cook brothers were all still evolving as a four-piece unit. Just more than a month after Vernon dropped off copies of hazeltons at the record store where Brad Cook worked in their adopted hometown of Raleigh, NC, DeYarmond Edison played its final show. Less than a year later, Bon Iver and Megafaun would each issue their respective debuts.
Vernon chose a new songwriting style for this music, writing wordless melodies and adding lyrics later on. The songs Vernon wrote were intended as stories as Bruce Springsteen inspired him. Being that Vernon was in the cabin during winter, that was an influence thematically. The album was released independently; although initially, Vernon thought of these as just demos, he was encouraged by musician friends to release it as is.
SET 1:La Grange > Makisupa Policeman > Funky Bitch, Possum, Roggae, Character Zero, Ramble On -> Slave to the Traffic LightSET 2:Mike's Song > Simple > Rift, Loving Cup > Sleeping Monkey > Weekapaug Groove, The Squirming CoilENCORE:Burning Down the House[1], "Slave"." class="setlist-jamchart">Ramble On, Slave to the Traffic Light, Mike's Song, Simple, Loving Cup, Simple is the best I've ever seen or heard. I won't even give you my feed just go and get this tape!!! A strong show from a strong tour. By now you should know not to skip the last show before a festival but if you don't this one and last year at Darien prove this point quite well. Turn it up and rock out.Score: 4 2016-12-29 1:25 am, attached to 1998-08-12ReviewbybeckenbauerThis show was such fun! Summer '98!!! I found a big puddle not far from in front of a speaker tower to get down in. The covers in this show were so awesome! The venue was really nice and open and the parking lot was a blast. I'm pretty sure I remember seeing Hypnotic Clambake playing in the lot. There was a guy near me and my gang who kept yelling at set break: "play us another!" "woo hoo!" "yeah!" "play us another!" repeatedly. He would throw cash up in the air and carry on about how this was all that life was. He was so happy. We kept gathering his money and giving it back to him only to have him throw it up in the air again. When the set started I'm sure his money was on the ground. No one was interested in his money. We were all about the music. He made his point well.Score: 3 2014-03-14 1:01 pm, attached to 1998-08-12ReviewbytubescreamerMy First show. I thought I had felt IT before on tape, but I felt IT for the first time in the live setting during Slave. The band, the lights, the audience, all in unison, this was something even bigger than music. After the show, me and my buddy were wandering around when we came across a crowd. It was Trey and Mike in a golf cart. Everyone was shaking their hands, and I didn't feel like pushing through the crowd to do the same-- I remember thinking that this was a normal thing, and that I would say hi to them next time. I never saw them on a golf cart again, or post show again. I have regrets about once being a naive teenager on acid on phish tour, but those regrets are outweighed by how thankful I am to have once been a naive teenager on acid on phish tour.Score: 3 2014-03-19 12:15 pm, attached to 1998-08-12ReviewbypikepredatorThis show has some serious highlights. La Grange bustout is a great way to start a show. Ramble On>Slave . . . is just as good as it looks. At the time I was really impressed by how the Ramble On jam was phish + Ramble On, a great fusion of sounds. And the Vernon Down the House>YEM and banter encore business was a lot of fun. This had everything a tour closing show should have.
Including - most importantly - kick-ass jamming to start set II. I don't know why this Mike's doesn't get more props but I absolutely love it.
It starts out in tight, focused '98 Mike's territory. After a few minutes it starts to get a bit sparse/trance. Nice subdued groove going on, good band balance, no voice is dominating, everybody contributing. They start to approach the closing chords but quickly back away. Around the 10:00 mark trey announces that they're going to jam for a while, delay loops are issued and things get late night/dark swamp eerie.
Fish starts to drive them forward a bit, trey follows his lead, once again they begin the approach to the closing chords. but no, they take a sharp left back into the 98 funk. Tight shit around 13:30, I love this kind of phish. they ratchet up the chaos level, screaming can be heard on the AUDs at phishtracks. NOW they're going for the closing chords . . . no wait fishman shifts the vector once again. trey gets NASTY now. I love how phish can shift directions together so easily. fish has a little ASZ groove but trey's playing has an industrial feel. is this NIN? Crazy noises! and Bob Weaver says NOW it's time for the closing chords. unique mike's. Love it.
Simple is simple . . . for a while. but the darkness of the mike's rears it's head after a few minutes of typically delicate simple jamming and they find a dark bluesy groove. the change happens fast, Mike starts a simple 2-thump bass "groove" (barely), trey plays a blues lick, and the whole feel inverts. One of those *moments* at a phish show where you enter uncharted waters, similar to the post-piper jam on 04/03/98. this jam doesn't really go anywhere, juts hands out in the bluesy realm before a little space and then an abrupt >Rift.
rest of the set is typical tour-closing joy!!Score: 2 2018-02-14 3:24 pm, attached to 1998-08-12ReviewbymarkahWhat a show! An astonishing opener followed by delectable rarities, amusing banter, and great covers thickly layered throughout the first set. Not noted in the setlist, they play a "song" in-between Character Zero and Ramble On, or Trey announces it as a "song written by Fishman..." Fishman doesn't get the joke. The closing suite of Ramble On->Slave is among the most well-executed pieces of ephishemera.
The Mike's sounds like an airliner careening with is wings aching and groaning under the weight, and the next 30 minutes of Simple->Rift continues the magical flight through this fantastic dreamscape. End the encore...well, that's the part you love, right? And for good reason! Shout out to everyone who totally called the Talking Heads' cover, too.
Special shout out to @shapsio for giving this one the official treatment. Listening to this show now, 20 years later, it's like getting a fresh set of ears. And they are directly plugged into Mike's rig. Man, these sound fantastic.
After the show I remember still laughing at the Makisupa keyword, the "who's your daddy vocal jam," loving the jam out of Ramble On and how it reminded me of Dayton (just in the way it went into Slave), and thinking "Jeez...we have got such a long drive to Maine."Score: 1 2018-02-13 6:42 pm, attached to 1998-08-12ReviewbyfhqwhgadsThis show has a classic, stacked setlist, with Roggae and Character Zero the most recent originals played. I wonder if maybe Phish was trying to reserve some firepower for the ensuing Lemonwheel festival. It's a very bantery show (Trey "rambles on") and features a lot of covers. Not noted by the setlist team I hear a Ramblin' (get it?) Man tease at 7:58 in Simple. Simple also features a very sludgy jam that suggests both Spooky and Whole Lotta Love. The energy here is kind of spaced-out, though the Mike's Song is certainly jammed extensively and the Weekapaug features some of the "clattering Rube-Goldberg funk" mentioned by @waxbanks in a review of an entirely different show. The Ramble On cover is fun, with a miniature jam in between it and Slave to the Traffic Light, and Burning Down the House is funny. I like this show, but it's not one I'll probably come back to a lot, even with yesterday's archival release. Kind of how the 8/11/98 Runaway Jim looks better to me on paper while still being a great jam, the Mike's is the marquee jam here but it seems somewhat in and out of focus, perhaps because the concentration here is on the gag and the banter. 8/11/98, however, didn't run its gag into the ground (Bittersweet Motel, halfway between Erie and Pittsburgh) and it also featured quite a lot more lively playing, in my opinion.Score: 1 Add a ReviewClose{ "@context": " ", "@type": "Event", "name": "Aug 12, 1998 Setlist - Phish.net", "performer": "", "startDate" : "1998-08-12T20:00", "url" : " -august-12-1998-vernon-downs-vernon-ny-usa.html", "location" : { "@type" : "Place", "sameAs" : " _Downs/", "name" : "Vernon Downs", "address" : "Vernon, NY" }}Setlist FilterBy year:--2024202320222021202020192018201720162015201420132012201120102009200820072006200520042003200220012000199919981997199619951994199319921991199019891988198719861985198419831982
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