Mr. Miner's Phish Thoughts

Recently on Phantasy Tour there has been extensive discussion about Trey’s change in guitar tone from pre to post-hiatus.  The topic of debate has been an effects pedal called the “Ross Compressor,” a pedal that didn’t make the jump to ’03.  Compression of any guitar tone allows for a smoother, warmer, more colorful and even sound.  The Ross Compressor was used by Trey 100% of the time during Phish’s hey-dey, but not in the years of ’03 and ’04.  But Trey used the Ross differently than most guitarists use the pedal.  Instead of compressing his sound first and then sending the signal through the other effect pedals, Trey would set up his compressor at the end of his effects line, compressing his “total” sound.

So how does all this technical-talk translate to in what we hear?  The best way of differentiating Trey’s compressed and non-compressed are comparing pre and post hiatus jams.  His pre-hiatus compression gave him the signature warm and smooth tone that we all came to “know” as Trey.  His uncompressed tone sounds far dirtier and grungier with more of an edge to it.  Check out some of his recent TAB shows for illustrations of non-compressed playing.

PT’er “doopuy” was nice enough to record two guitar samples of his own– one using the Ross Compressor and one without it.  By listening to these two samples, you should be able to clearly understand the difference being discussed in Trey’s tone.  Check it out:

Example 1: Mango Song w/ Ross Compressor < Link

Example 2: Mango Song w/o Ross Compressor < Link

Interestingly enough, there has been a “movement” on Phantasy Tour by “People For a Compressed Trey,” seeking to influence Big Red’s to return to his former tone.  Notoriously absent are strong opinions to the contrary.  Personally, I don’t think the two sounds are mutually exclusive.  By using both sounds, it would only make Trey’s playing more flexible in reaching different feels.  I would hate to see his disgustingly dirty and distorted tone of latter years be axed all together, because there are jams where there is nothing better.  His uncompressed evil, gritty tone has become part of his sound, and regardless of any fans’ movement, I doubt we will see a complete 180 degree turn come March.

Tom Marshall has been posting on Phantasy Tour and relayed these opinions to Trey.  Here is his follow-up post about their conversation:

Ok, I spent the last two days and last night in new York writing three cool songs with Red. In direct response to msharky’s request, I asked Trey what the deal is with this compressor stuff? I explained the PT threads requesting that he bring back the compressor. i asked, first of all, is it true — did you change your rig and eliminate the compressor?

Yes, is the short answer.

He was very surprised that I was asking him this, because I’m not really a “tech” guy…you know? I’m very appreciative of his amazing Languedocs, (he had a Languedoc bass with him too) and I like checking out his amps and pedals and toys, but I usually don’t dwell on it, not being a guitarist myself. I also don’t listen too much to old shows, and so the “tone change” was lost on me. I like writing new songs, and I don’t focus too much on the past.

I asked him to explain the Ross compressor, and why it’s gone.

(One caveat: I didn’t write this “interview” down or record it, but I suppose I should have, and I guess I or someone should try to do so and post it at some point, so forgive me if I get some stuff slightly wrong or miss something. Again, this isn’t the end of the issue as you’ll see later, so we can figure everything out eventually.)

First i must explain that he found it funny that I brought it up, because he had been thinking the EXACT SAME THING: Phish is coming back, maybe the Ross should also come back. He’s thinking of the Mesa and possibly the cabinets too — but he does like that little fender.

Basically, he used the compressor differently than people normally do — often people will place it early in the effects chain to smooth the sound going into the other effects. Trey did it backwards, and had the Ross last — AFTER his two tube screamers. The Ross was always on. Always. His signature Squirming Coil “playable sustain” was the result of full volume pedal and both screamers on and pumping that signal into the Ross.

Me: and so you got rid of it?

Trey: I started playing without it after Phish and found that I could get an “edgier” sound that I can’t get with it.

Me: so it’s gone? or just off?

Trey: gone

Me: forever?

Trey: no, I’ve been thinking of bringing it back for a while now…if i can find it!

Anyway — I think that’s the gist of our conversation. Be glad that perhaps you made a difference — he’s at least happy that people are asking about it.

There you have it, from the horse’s mouth.  Apparently Trey has been thinking about his old compressed tone as well!  As a result of this discussion with Tom regarding Trey’s sound, and the knowledge that Trey doesn’t know the whereabouts of his Ross Compressor, PT has pooled money and has bought a new, engraved, compressor pedal for him.  Tom has agreed to deliver the present to the Jedi, himself.  It remains to be seen how much Trey will return to the use his Ross, if at all, but it’s good to know that as Phish plans their comeback, fans’ opinions are getting heard not only by each other, but by Trey as well.  What other band’s community can boast that?

What do you think about Trey’s compressed vs. uncompressed tone? Respond in Comments below!

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DOWNLOAD OF THE DAY:

12.29.96 The Spectrum, Philadelphia, PA < LINK

As the end of the year approaches, let’s dip in to some New Year’s Run material.  There have been several requests for this standout Spectrum show from ’96– certainly the best show of the run.  With a classic second set Phish-fest, everyone was amped on their way up to Boston to close out the year.  Really, the whole second set is a continuous highlight with stellar versions of “David Bowie” and “Bathtub Gin.”  Once the YEM turned into a rotation jam and they dropped “Harpua,” this one was nominated for Phish’s Hall of Fame.

I: Poor Heart, Caravan, Cavern, Taste, Guelah Papyrus, Train Song, Rift, Free, The Squirming Coil, La Grange

II: David Bowie, A Day in the Life, Bathtub Gin, Lizards, You Enjoy Myself* > Sixteen Candles** > Vocal Jam, Harpua*** > Champagne Supernova# > Harpua

E: Rocky Top

*With rotation jam. (First: Trey on drums, Fish on piano, Page on bass, and Mike on guitar. Then Fish switched to bass, Mike to piano, Page to guitar, and Trey continued on drums.) **Mike solo on piano. ***Story about everybody in town. Jimmy, Poster Nutbag, Harpua, etc., go to hell, where they all see the “Uber-Demon” (Tom Marshall). # Oasis cover, sung by Tom Marshall, the “Uber-Demon”.

They innocently oozed into it right out of Moma.  Phish had the crowd in the palm of their hand, and decided they’d play with them a bit.  Beginning from a place of near silence it commenced.  A few meandering bass notes with some guitar noise, and before you knew it, the band began to shape their ball of musical play-doh.  Very subtle at first, adding only sound and effects, Phish created a space-scape with a delicate texture shimmering like a the first star in the summer sky.

Trey added some walls of tonal color and dissonance, with Page following suit.  The entire band instantly was up to their ears in a primordial sonic soup.  As the size of the sound continued to grow, and its shape expanded, most everyone in the spaceship was sure the band was creating a monumental build to 2001.  It was a given; where else would they possibly bring this type of gnarly martian music?  The entire building would explode with Fish’s snare hit.  This was it.

This inner anticipation created the childlike dynamic of needing to stay in bed just ten more minutes before you could get up on Christmas morning.  The excitement living inside your soul was so deep it was almost sickening.  You couldn’t wait to run down those stairs, into the family room to see a twenty-minute 2001 sitting under the tree.  The five-minute passage that Phish created seemed like an eternity as we lied under our covers,  knowing what lied just ahead of this menacing passage.  The dark to the light, the eerie to the divine; this is what Phish was all about.  With each sonic swell, you felt the bass bulge inside you, and heard the intergalactic keyboard tweaks setting the gears for take off.

As the band checked their systems, using their instruments in unique and complementary ways, they formed a flowing cosmic noise.  It felt as though the entire room was levitating, and would soon zoom off into the ether, leaving vapor trails like Doc Brown’s Delorian.

As Fish rolled around on the toms, snare, and cymbals, take off was imminent.  Safety belts were strapped as the band entered a silent countdown.  3…2…1…”Bug?!”

Just as everyone and their mothers thought Phish was taking us to the outer rings with Fall ’99′s last 2001, the band dropped right into “Bug.”  On the recording you can hear Trey make the call about four seconds beforehand.  What many people would complain about after the show, was actually an incredibly Phishy anti-climax.  While the band became known for blowing your brains out, but they were also famous for pulling the anti-climactic move when you least expected it.  Yet, while everyone was wondering why they weren’t dancing to funk, Trey and the band were busy annihilating the “Bug” jam, creating a soaring piece of improv in its own right.

Phish were known to throw the change-up when the crowd is sitting dead red on a fastball, and to be honest, that is what made them so fresh and unpredictable.  Often dropping  “Harpua” out of the blue, the band would also use their ballads and composed songs at times when you expected a deep journey.  This is where expectations came into play.  Don’t carry them- they are unneeded emotional baggage.  Phish will naturally unfold in front of you, and the beauty of it all is being a part of that organic experience.  Forcing your own thoughts and ideas into what should be played only tarnishes a pristine experience.  Yet, during this jam in Hampton, nine years ago today, Phish convinced everyone in the building that we were heading for the Andromeda Galaxy.  The anticipatory nature of the jam is so definitive that the band used it as the backing music for their comeback announcement video, late that fall night.

Phish’s trickery was always half the fun.  We were, in fact heading for unbridled psychedelia, it was just coming  a few minutes later in the form of a demented twenty-minute “Split Open and Melt.”  They say that good things come to those that wait, and the following night, to open the last set of tour, Phish tore apart that 2001 we all so longingly desired.  And it was good.

LISTEN TO 12.17.99 MOMA > jam! > BUG NOW!

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DOWNLOAD OF THE DAY:

5.1.92 The Rave, Central Park, Milwaukee, WI < LINK

Another show from a reader’s request, this one is plucked from the all-star spring of 1992.  This high-quality AUD is allegedly from the rig Shapiro and friends’ ran during this tour.  A high energy beginning with Suzy and My Friend got the adrenaline coursing early, as Trey shredded the My Friend solo ferociously.  The first set reads as a typical 1992 first set, but is highlighted by an atypically smooth, piano-led “It’s Ice” jam.  Set two features a “Sanity, Buried Alive” opener and a hot Mike’s Groove.  A side note, this was the last appearance of Fishman’s “Bag-Vac” in “I Didn’t Know.”  Thought you’d like to know.

I: Suzy Greenberg, My Friend My Friend, Poor Heart, The Landlady, NICU, The Sloth, The Divided Sky, Guelah Papyrus, It’s Ice, Horn, I Didn’t Know, Possum

II: Sanity, Buried Alive, Wilson, All Things Reconsidered, My Sweet One, Mike’s Song > I Am Hydrogen > Weekapaug Groove, Mound, Lizards, Llama, Terrapin, Golgi Apparatus

E1: Lawn Boy, Good Times Bad Times

E2: Rocky Top

As we enter the home stretch of the Christmas season, we also find ourselves on the anniversary of an amazing show in Raleigh on 12.16.99.  I thought I’d combine the two themes. (Read to the rhythm of “Twas the Night Before Christmas”)

—–

Twas the night before Hampton, and Raleigh appeared,
Exploding in groove, and mind-bending cheer.
Wilson began and the ‘Dust followed up,
A raging beginning to start, sure enough.

The floor was wide open, the stands they were packed,
The wooks were all spun and the yuppies were jacked.
The tapers were taping, their mics were held high
As hallucinations danced in the sky.

Soon there was Lawn Boy, and then there was Limb,
Get Back, Roggae and a second-set Jim.
To close the first half were two beasts of the earth,
A Camel and Possum, both scribed by Holdsworth.

Set break had come and theatrics would follow,
Far greater than Hampton’s 18th or tomorrow.
This followed a trend, a pattern complete,
That the night before was quite often the heat!

There maybe less pressure, there maybe no nerves,
But on the eve of the big ones, Phish always threw curves.
Yet take history’s proof, don’t listen to me,
Take Vernon and Darien before Limestone, now see?

Like Boise pre-Shoreline, a path Phish did forge,
Just like Vancouver came ‘fore The Gorge.
The shows before New Year’s were always much thicker
With free-flowing jams, and clearly less liquor.

The hype for the big shows routinely allowed
For the band to surprise the night before’s crowd.
Calls would be made, and messages played,
“Don’t bother, stay home! You missed IT, I say!”

This night in Raleigh would be just the same,
With a second set reaching the top of their game.
The best “Sand” of the year, not counting the swamp
Commenced a dark set in which Phish would soon romp.

Thirty-minutes of groove from the stage emanated
While all of us dancing were feeling elated.
A brief stop in Mango and a wade in the sea,
Before Tweezer took over, and set us all free.

One to cherish and keep; that millennial sound,
With deep walls of texture, distorted and round.
Weaving through darkness, the jam crept along
When the band, out of nowhere, hit a triumphant song.

The music moved smoothly, to the top of a Slave,
Peaking the jam with improv so brave.
Nothing at Hampton would be quite like this,
Though it would contain its own share of bliss.

For two nights of fantastic Mothership spells,
All coming to Hampton would arrive with bells.
Happy to be there, as well they should be,
They all wished they’d made it down to Ra-leigh.

One of the best throughout all ninety-nine,
Hampton wouldn’t even enter that line.
With a sense of the moment, and a penchant for drama
While donning their magical music pajamas;

Phish touched the divine on the night before hype,
‘Ere the people dressed up came down the next night.
So next time you plan a trip to see Phish,
Leave an extra day early, and you won’t have to wish.

***

12-16-99 Reynolds Coliseum, Raleigh, NC

I: Wilson > Chalkdust Torture, Lawn Boy, Limb by Limb, Horn, Get Back On The Train, Roggae, Heavy Things, Camel Walk, Possum
II: Sand, The Mango Song, Wading in the Velvet Sea > Jam > Tweezer > Runaway Jim
E: Bittersweet Motel > Tweezer Reprise

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DOWNLOAD OF THE DAY:

6.15.95 Lakewood Amphitheatre, Atlanta, GA < LINK

A standout show from the psychedelic summer of ’95, this one comes off of the request wire.  A quality show from start to finish, a dark “Stash” and “Antelope” highlighted the first set.  The second set was a classic Summer ’95 odyssey.  Going excessively deep with a near half-hour Bowie, the darkness is resolved first with Theme, and finally with a magnificent Slave.  A beautifully patient jam, this one is the version I go to when I want to hear Slave at sunrise.

I: My Friend My Friend, Sparkle, AC/DC Bag, The Old Home Place, Taste, The Wedge, Stash, I Didn’t Know*, Fluffhead, Run Like An Antelope

II: My Sweet One, Ha Ha Ha > David Bowie, Strange Design, Theme From the Bottom, Scent of a Mule, Acoustic Army, Slave to the Traffic Light

E: Bouncing Around the Room, Frankenstein

*With Fish on trombone, Mike on electric drill and Trey on megaphone.

A song that is as old as the band itself, “Halley’s Comet” is also a cover!  Go figure.   One of the band’s college roommates, living with them across the street from the Hood milk factory, wound up with a buddy’s cassette.  On it was then-Goddard student, Richard Wright’s  “Halley’s Comet.”  Wright (a.k.a Nancy), wrote both the music and lyrics to the song, originally conceived as two separate tracks.  Responding to the overwhelming media hype about 1985′s appearance of Halley’s Comet, Wright scribed “Halley’s Comet,” the repetitive part of the song, mirroring the overload of society.  “Goin’ Down,” the verses, was conceived as a jovial response to the early-’80s revival of Motown.  He spliced the two together, and the song was born.

Around Halloween in 1985, Phish went to Goddard to play a show that wound up getting canceled because the guys got way too high on LSD.  But on this night, Trey introduced himself to Nancy, and soon asked if Phish could cover his song.  Flattered, he immediately obliged and the rest is history. (Facts taken from this interview with Wright from The Phish Companion)

A seemingly nonsensical song, “Halley’s Comet”‘s lyrics may have more meaning than one might think.  Combining an astronomical phenomenon with the very pedestrian idea of going downtown, the likening of the natural, human and existential realms  emerge.  The silly lyrical passes could be metaphor for the sheer absurdity of the world, the mind-bending nonsense that is commonplace.  The line, “What is the central theme to this everlasting spoof?” seems to ring true as the song’s theme of man’s ultimate inability to comprehend and/or come to terms with his existence.  Maybe I’m inferring to much.  Maybe not.

Halley’s has an odd musical history.  Played frequently between the early years of ’86 and ’89, the song was then shelved until the spring of  ’93 (3.14).  Played sporadically throughout the next few years (’94 would see the most appearances) it was generally used as a funk-rock launchpad into something bigger.  A short ripping guitar solo transitioned into a jam vehicle, a la “Halley’s > Bowie” (6.24.95) or “Halley’s > Mike’s” (12.1.95).

Yet, on 12.14.95, at Binghamton, Phish let then loose on the song, creating a monster jam out of Halley’s into “NICU” amidst a standout second set.  Many credit this version for opening the floodgates for the song’s jamming potential,  but the best versions didn’t emerge until 1997 and beyond, when anything was fair game for profound exploration.

A full benefactor of post ’97 era of groove, Halley’s soon transformed into a jam vehicle.  Many Halley’s became funked-out dance sessions, while others remained palates for uptempo rock.  As Phish evolved, these genres fused into one jam, and then ambient movements were sprinkled in.  While remaining a relative rarity, its appearances increasingly meant musical adventure in these years.  Well-loved by all, the drop into Halley’s was always cause for immediate childish excitement, and wonder about where we were headed.

The following are five of the greatest “Halley’s Comet”s of all time in no particular order. (Not necessarily the five greatest…etc) Roll over links and press play!

11.22.97 Hampton, VA

Opening the legendary second set, this Halley’s was far and away the best jam in the show.  Exploring full-band funk textures while soaring into psychedelic territory, this jam laid the groundwork for the fireworks that would follow.  Morphing into a spiritual guitar confessional, this jam reached places we dream about.  This is Phish at its finest.

LISTEN TO11.22.97 HAMPTON HALLEY’S NOW!

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11.11.98 Van Andel Arena, Grand Rapids, MI

This Halley’s is a straight beast.  Opening the second set of a stellar show with twenty-five minutes of deep improvisation, this version passes through many diverse musical segments.  A great example of Fall ’98 Phish, this passage begins at a high pace, ripping through several minutes of guitar-led shredding before settling into a full-band jam.  The gates are then opened for the show’s best improv, as Trey begins offering sick rhythm licks as the whole band gains a greater say in the musical direction.  At this point, the power of Phish takes over, directing the jam through driving dance floors, ambient alleys, and aggressive asylums before crashing into “Simple.”  This one is a keeper.

LISTEN to 11.11.98 VAN ANDEL HALLEY’S >SIMPLE NOW!

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8.3.98 Deer Creek, Noblesville, IN

Following the surprise “Rhinoceros” cover to open the show, Phish wasted no time getting to business on the second night of their Deer Creek stand in 1998.  This Halley’s served to open the show with a massively creative jam, sparking a phenomenal night in the cornfields.  Beginning with some light day-time grooving, Trey then assumes the drivers seat with a solo that steers the band into more percussive-based playing.  Crawling though a stunning ambient segment, illustrating a growing ’98 trend, this Halley’s got excessively deep while the sun was still out.  A hearty welcome to the show, the band progresses into more amorphous psychedelic realms before ending this show opening epic with a funny transition into “I Didn’t Know.”  Delving into soulful places early on, the band absolutely slaughtered this beautiful summertime version, highlighted by some sublime playing by Trey as the band confronts their maker.

LISTEN TO 8.3.98 DEER CREEK HALLEY’S > I DIDN’T KNOW NOW!

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8.16.97 Great Went Limestone, ME

In the summer that saw a global movement of raw unpasteurized cow funk, Phish’s travels culminated in Limestone for the first time.  Opening the third set of the first-ever Limestone show, this Halley’s defines the music of summer ’97.  Beginning a spiraling jam with a perfect tempo, Trey is ripping with his classic tone and phrasing of that summer, as the band sits in a quickly evolving backing groove.  As Trey steps back, joining the whole rather than leading it, magic happens.  One of the quintessential jams of the Great Went, this late-night odyssey moved from the central part of town directly to “Cities,” with a thick-as-tar transition into the Talking Heads cover.  Some of the most exciting music of the summer, this sequence is a personal favorite.

LISTEN TO 8.16.1997 HALLEY’S > CITIES > LLAMA NOW!

***

7.10.98 Zeleste, Barcelona

This diamond in the rough illustrates club-style Phish at its finest.  Growing a garden of grooves as soon as this jam sprouted, Phish engaged in some compelling dance music.  Mike gets straight silly all over this jam as Trey provides yo-yo grooves to keep your booty moving.  As he fades into his solo, the music takes on a new, more driving feel.  Slowly crafting an artistic narrative over the band groove, Trey gradually builds his line into the melody of  “First Tube” before anyone, except those at Higher Ground’s 8 Foot Fluorescent Tubes show, had heard it.  Painting an infectious masterpiece of patient band improv, this Halley’s jam is something to behold.

LISTEN TO 7.10.98 BARCELONA HALLEY’S NOW!
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DOWNLOAD OF THE DAY:

12.15.95 The Spectrum, Philadelphia, PA < LINK

Thirteen years ago today, Phish first stepped foot into the Spectrum.  Playing a scorching show at the mid-point of their epic month, the band set the tone for the many return visits to this classic building.  Before they stepped away in 2004, The Spectrum had become as Phishy a venue as any.  In their debut, the band got straight to it with a “Chalk Dust, Hood” opening combo.  The whole first set contained Phish classics while the second set was straight fire from beginning to end.  Starting with the Reprise completing Binghamton’s “Tweezer” from the night before, the band was off creating a set full of phenomenal jams.

I: Chalk Dust Torture, Harry Hood, Wilson > Maze > Ha Ha Ha, Suspicous Minds, Cars Trucks Buses, Bouncing Around the Room, Free,  Possum

II: Tweezer Reprise,  Runaway Jim, It’s Ice > Bathtub Gin* >  Also Sprach Zarathustra > David Bowie, Sweet Adeline

E: Good Times Bad Times

*With instrument switching (Fish – keyboards, Trey – drums, Mike – guitar, and Page – bass).

DOWNLOADS OF THE WEEKEND:
12.9.95 Knickerbocker Arena, Albany, NY < LINK

A classic show in the month of December ’95, is best known for its top notch version of YEM.  A half-hour of sublime jamming, some say this is the definitive version of the song.  While most attention is cast on this YEM, there is plenty of other highlights to go around.  A solid effort through and through.  If you don’t have this already, grab it now!

I: Maze, Theme From the Bottom, NICU, The Sloth, Rift, Bouncing Around the Room, Free, Billy Breathes, Dog Faced Boy, Chalk Dust Torture

II: Timber Ho!, Wilson*, Gumbo, You Enjoy Myself**, Lawn Boy, Slave to the Traffic Light, Crossroads, Sweet Adeline

E: Loving Cup

*With “Beavis and Butthead” “this sucks” electronic noises. **With a silent jam.

—–

10.10.99 “Knickerbocker Arena,” Albany, NY < LINK

This tour ending show on the first leg of Fall ’99 never gets too much attention, yet I never understand why.  The band came on stage and opened the second set with an extended ambient jam that segued right into a massive opening YEM.  This show features heavy improv, not only in YEM, but in an ridiculous “Stash” and a “Bathtub Gin” used to bid the crowd farewell for a couple months.

I: Farmhouse, Gotta Jiboo, Heavy Things, First Tube, Dirt, Vultures, Stash

II: Jam > You Enjoy Myself* > Prince Caspian* > Train Song, Bathtub Gin, Character Zero#

E: Contact, Misty Mountain Hop

**Unfinished. #Trey thanked family, crew, and fans.
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VIDEOS OF THE WEEKEND: “THE ALBANY YEM”

“YEM” jam:  12.9.95 Albany, Pt. 1

“YEM” jam Pt. 2

“YEM” jam Pt.3

As we stood outside The Grey Hall in Christiana, it was June 29th, and Phish was busy playing a marathon sound check for the fans who had congregated behind the back doors.  On the night before the first show of tour, plenty of fans had ventured out to Freetown Christiana for smokeables and found a whole lot more.  Able to clearly hear the band’s practice, “Roggae,” “Brian & Robert,” and “The Moma Dance,” all new songs, leaked out the intentionally opened barn doors.  With each previously unheard selection, excitement built for the forthcoming two weeks, while friendships blossomed.  Along with these new songs, Phish played the newly reworked “Limb By Limb” and the twice-played “Birds of a Feather,” among others.  Coming off of the Island Run, at the coolest venue ever, spirits were sky high for what the band had in store.

The band took periodic breaks from their extended warm-up session, occasionally slipping outside to chat with all of us that had found our way to the venue.  As Trey popped in and out, he was greeted with shit-eating grins and many questions from his loyal fans that made it to Scandinavia.  At some point during the conversation, the topic turned to the re-worked “Black-Eyed Katy” they had been rehearsing, complete with new vocals.  Trey explained that the band had listened to some of their shows after Fall’ 97, and began to create songs out of some of the jams they liked.  Clearly, “The Moma Dance” was a prime example of taking an instrumental and molding it onto a full-on song.  But what about others?  After Trey explained this process, I nervously interjected, “Was ‘Birds of a Feather’ a song that developed out jams from Albany?”  Without delving into specifics, Trey affirmed that “Birds” was indeed another song that had developed out of the band’s live improvisation at the end of ’97– and in that moment, it all became clear.

Back on the penultimate day of Fall ’97, Phish set up shop at “The Knickerbocker” Arena for the last two shows of their epic tour.  One more two-night stand, and then this month of unmatchable memories would be over.  Per usual, the first night turned out to be the more exploratory, psychedelic, and “out-there” performance, while the last show was reserved for the “greatest hits” and crowd-pleasing, heavy-hitting dance grooves.  The 12.12 show in Albany, eleven years ago today, was a swan dive into the unknown- producing a show of heavy experimentation and a second set with few songs.  Tonight the band would delve into improvisation with no landing point in mind, attacking the universal mystery without the expectation of finding any answers.  Yet, through this exploration, not only was an aggressively adventurous set sculpted, but a new song was born as well.

After opening set two with a scorching “I Saw It Again,” the band dropped into one of the year’s new songs that had yet to be fully explored, “Piper.”  A song that would come into its own over the next couple of years, thus far, it had been a perfect interlude of spinning melody, artistically placed in sets for its cathartic effect.  Tonight, however, things would be different. For the first time in its young life, “Piper” would be blown out of its conventional form, and its course set for the outer regions.  More akin to later versions of ’99 and ’00, the band used this “Piper” to get into some high-octane improv that had everyone trying to keep up.  Moving quickly and aggressively, the entire band left the song’s orbit and brought it into the stratosphere.  With Trey wailing masterfully, Gordon slamming lines down like his life depended on it, Fish keeping an insanely driving, yet changing beat, and Page added the missing pieces to the dissonant and harmonic puzzle, the band was 100% full-on raging.

About halfway through the twenty- minute ride, the band peeled away a lot of their distorted affects, and slowed the pace down ever so slightly, allowing more room for the music to breathe.  Soon, all members latched onto this more patient groove, utilizing the musical space to introduce new ideas.  Already immersed in an uptempo monsoon, Trey began to play some purposeful rhythm chords, altering the vibe of the jam, merging the outer-space psychedelia with a more percussive-rooted palate.  Throughout this part, Trey continued with said rhythm licks, and at the time, I, and many others, thought, “Llama?”  It certainly sounded like Trey was teasing the opening licks to the song amidst a texture that would fit perfectly.  Yet, each time one thought the band might actually make the move, the jam would all of a sudden launch back into maniacal madness, leaving any hint of “Llama” far behind.  The band was absolutely tearing the roof off “The Knick” with their audacious, break-neck playing.  Yet, within all of this insanity, the band was locked together, navigating as one, through the darkened galaxies of the night.  The communication present at the end of their month long stretch was untouchable, and the band soared through uncharted territory with ease, determination and focus.

As the wild “Piper” jam slowed down into “Swept Away > Steep > Prince Caspian,”  it seemed like the terrorizing part of the adventure had concluded.  However, the band was so infatuated with the music they had just finished playing, they wanted to go right back to the same place.  Following a colossal “Prince Caspian,” right as the jam usually ended with the post-solo metal chords, Phish decided that they weren’t finished- not even close.  Re-launching back into the jam that they had sat in during “Piper,” the band was off and sprinting again, right when everyone least expected it.  Following Trey’s lead, the band cannon-balled directly back into seething territory- and there were those “Llama” licks again!?

As you go back now and listen to these jams, you will hear them quite differently than you did back in 1997.  Amidst the “Piper,” and  the “Caspian” what you are hearing is the genesis of “Birds of a Feather.”  Those “Llama” teases turned out to be “Birds” licks, and the entire pace, beat, direction, and sound of this music represented the first incarnation of the “Birds of a Feather” jam– even though the song had yet to be written.  The monstrous improv that defined the second set of this dark show turned out to be the foundation for the band’s new song that would be found all over 1998; even on the radio as the band’s single from Story of the Ghost. The intro rhythm licks, the avalanche of drum beats, the searing psychedelia that would come to define the Birds jam- it was all there, strewn innocently about this massively improvisational set.

After the Island Run, when I first made the discovery of where I thought “Birds” came from, it was mere conjecture- but it sure sounded like the song!  I wondered if I was accurate in my thinking, and there was no better place to get confirmation of my theory then from Ernest himself.  On a surreal evening in Copenhagen, on the brink of two weeks that would change my life forever, my friend and I biked back through the canal-filled city to our hostel.  What a story we had to tell our other buddies, and we now knew when “Birds” was born-  12.12.97 in Albany, NY.

Happy 11th “Birdsday!”

DOWNLOAD 12.12.97 Albany, NY NOW! < LINK

I: Funky Bitch > Also Sprach Zarathustra > Camel Walk, Taste, Bouncing Around the Room, Tweezer > Train Song, Character Zero

II: I Saw It Again* > Piper*# > Swept Away > Steep, Prince Caspian* > Izabella, Tweezer Reprise

E: Guyute, Run Like An Antelope**

*With long jam not usually a part of the song  #With “Llama” teases; “Llama” teasing continued throughout the set **With “Buried Alive” teases

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DOWNLOAD OF THE DAY:

12.12.1995 Providence Civic Center, Providence, RI < LINK

Sticking with the theme of 12.12 anniversaries, here we have the under-the-radar Providence installment of December ’95.  Without a doubt, the largest highlight of the band’s second visit to the venue was the half-hour “Down With Disease” that anchored the six-song second set.  A true Phish odyssey, the band had begun to use Disease as a jam vehicle throughout the year, and this may be the crowning version (see also 6.26 SPAC). A first set Antelope and second set “Free” add some more improvisational spice to the late ’95 outing. Enjoy!

I: Ya Mar, Sample in a Jar, The Divided Sky, Lifeboy, Punch You in the Eye, The Horse > Silent in the Morning, Run Like an Antelope, I’m Blue I’m Lonesome, The Squirming Coil

II: Free, Sparkle, Down With Disease > Lizards > Simple, Runaway Jim

E: Fire

Today we find ourselves on the anniversary of a couple very Phishy shows.  In addition to the Cumberland County ’95 show (up for download yesterday), this date brought us two monsters in 1997 and in 1999.  These two shows, Rochester and Philly, were both instant fan favorites of their respective tours, and both are vibrant illustrations of where the band stood at that time. Happy 12.11! (Both shows are available for download below their setlist.)

ROCHESTER ’97

First, let’s circle back to a cold and dreary winter day in 1997.  Phish was on the brink of finishing their undeniably exciting and now legendary Fall tour.  On the heels of an epic weekend in the Midwest and a stop at State College, Phish pulled into the classic War Memorial Auditorium, a room that hosted the Dead on many occasions.  The show proved to fall right in to the pattern of colossal Fall ’97 outings, with one of the best second sets of the month

The show opened bursting at the seems with energy with the three song combo of  “Punch, Disease > Maze.”  Punch, one of the great openers in the band’s catalog, was a mere table-setter on this night for a phenomenal “Down With Disease”–  an excursion that firmly tore apart the thematic jam for ten minutes before getting into slowed down rhythms that quickly brought the music to a much deeper place.  It seemed quite apparent from moment one, that the band was tapped in on this evening.  As the jam developed, Trey began  soloing with a menacing musical scowl, while the entire band dropped into a sublime and patient groove around his lines.  This is stuff that you have to hear, and most everyone already has.  This Disease is a huge tour highlight mere minutes into the show.  The switch was flicked on, and would stay that way for the duration of the evening.

The jam’s delicate dance patterns brought the music to a slow and winding close, without a return to Disease, as the band seamlessly dripped into the intro to “Maze.” Bringing maniacal psychedelic madness into the mix, Phish took the energy already in the room, and channeled it directly into their improv, creating a forty minute set-opening segment of music that jumped off the stage and directly down your throat.  Allowing little time for warm up, the band reserved their mellower moments for the end of the set, decelerating with “Dirt, “Limb by Limb” and “Loving Cup,” before closing with a randomly placed “Rocky Top.”

The improvisation continued in mind-bending fashion in the non-stop second set.  The band quickly upped the ante with a twenty-minute “Drowned” opener that was among the heaviest psychedelia dropped during the tour.  Beginning in completely shredding fashion, the band slammed their foot back on the gas pedal quickly after taking the stage for set two.  About halfway through this jam, the band gradually started to move away from the song’s progression into some straight Phish improv.  Moving from uptempo ferocity into distinctly slower and murkier textures, the jam all of a sudden became a lot more interesting.  For the duration of the song, the band would explore musical places of the dark and other.  With the patience and precision of a surgeon, they slowly created the perfect juxtaposition to the initial half of the jam.  With some crack Trey licks played over a thick groove, this jam soon morphed into a much more ambient affair, with loops and effects galore, as Trey continued to slowly sprawl his thoughts.

Famously, this standout portion of improv beautifully weaved its way into Ween’s “Roses Are Free,” a performance made famous by Bittersweet Motel.  While few were familiar with the song on this evening, all would come to know it as sacred Phish territory in Nassau, merely four months from this debut.  The ending riff of the song proved a perfect launching point for the rare “Big Black Furry Creatures From Mars.”  The lights went dark with white strobes, and the band dove into the quirky Phish-metal composition.  Trey took it upon himself to run laps around the stage amidst the maddening music, lending a deranged and Phishy tone to the already standout show.  A version that lasted eight minutes, full of dissonant build and distorted climax, this was not your average BBFCFM!  As if the band had gone temporarily insane, the asylum’s jam morphed into a excessively slow and heavy groove, not unlike the ending of Axilla for a period of minutes.  Creating a dark and eerie musical palate, Phish reveled in forcing the crowd to the brink.  After a two-minute ending of beat-less distortion, the band dropped a meticulously placed Ghost.

Giving the crowd exactly what we needed, this highlight rendition of Ghost is among the upper echelon in a standout year.  Providing the show with a much needed release pf flowing Phish grooves, the band took the liberty to precisely rip the only true Fall ’97 funk jam of the night- something that made Rochester so unique.  A perfect “Disease Reprise” emerged out of this multi-dimensional psychedelic odyssey, artistically closing the musical ideas sparked at the beginning of the show.

I: Punch You in the Eye > Down With Disease > Maze, Dirt, Limb By Limb, Loving Cup, Rocky Top

II: Drowned  > Roses Are Free* > Big Black Furry Creature From Mars > Ghost > Down With Disease (Reprise) > Johnny B. Goode

E: Waste

*Ween cover, first time played

DOWNLOAD 12.11.97 Rochester SBD NOW! < LINK

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PHILLY ’99

As Phish came back to The Spectrum for the second consecutive night, in December of ’99, they had a little redeeming to do.  After a botched transition from “Have Mercy” back into “David Bowie” the night before, the band bailed on the idea and awkwardly moved into a Fishman interlude of “Cracklin’ Rosie,” all but killing the momentum of the set.  The band stumbled to the finish line with a quick and low-energy “Twist” and “Waste.”  Yet what a difference a night can make!

1999′s version of 12.11 was arguably the band’s strongest outing of their climactic December 1999 tour.  Opening with “Harry Hood” for the first time in almost ten years (1.20.90), the twenty-minute version let us know immediately that we were in we were in for a treat!  Obviously expecting something more chill to follow the huge Hood jam, Phish brought Mike’s.  Gotta’ love it!  Giving the Groove the full treatment, the band segued from the evil bombastic soup into Simple then Hydrogen before closing the segment with hugely climactic Weekapaug.  After a reflective moment in “When the Circus Come to Town,” the band leapt into Gordon’s rare, “Scent of a Mule”- all in the first set!  The Spectrum buzzed loudly during setbreak, with the feeling that set two would be other-worldly.  And it was.

In one of the tightest sets of 1999, Phish would destroy their classic Philly haunt with a frame of celebratory segues, creating a set of pure Phish dance madness.  If you liked to move at Phish shows, the Sally > Ghost > 2001 > Disease was as good as anything you had ever heard.  Packed to the hilt with dense Phish grooves and a huge ambient jam before a stellar 2001, this segment was as hot as anything that reared its head in ’99.  The Ghost and the 2001, individually, are up there in the top versions ever.  The infectious 2001 spun the Spectrum with the ease of the Globetrotters spinning Spaldings to “Sweet Georgia Brown.”  The entire segment totaled 55 minutes of pure Phish crack, and it was one of those sets that when over, you knew that you had been a witness to something special; that was what it was all about.

An incredibly well-played show that was comprised of virtually all improvisation, this one will always be remembered by all in attendance.  You can hear the crowd roaring all night on the recordings, responding to a completely full-on Phish experience.  This was a night of beauty in a the City of Brotherly Love, and arguably the greatest Phish show ever dropped in the building. (12.15.95 would be the only contender.)

I: Harry Hood, Mike’s Song > Simple > I Am Hydrogen > Weekapaug Groove, When the Circus Comes, Scent of a Mule, Cavern

II: Boogie On Reggae Woman > Sneakin’ Sally Through the Alley > Ghost > Also Sprach Zarathustra > Down with Disease

E: Possum

DOWNLOAD 12.11.99 Philly NOW! < LINK

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DOWNLOAD OF THE DAY:

8.9.98 Virgina Beach Amphithatre, VA < LINK

There is nothing like a little slice of summer in the middle of December, and where better to grab it from than 1998?  This show has been requested a number of times, and is certainly worthy of all praise it receives.  The second set alone boasts Summer ’98′s best “AC/DC Bag,” a sick “Antelope,” and a mid-set “You Enjoy Myself.”  With two ninety-minute sets, you got your money’s worth out of this night in Virgina.  And to top it all off, “Terrapin Station” to honor the third anniversary of Jerry’s passing, and so much more.

I: Punch You in the Eye, Bathtub Gin, Lizards, The Moma Dance, Birds of a Feather, Esther, Roggae, Bouncing Around the Room, David Bowie

II: AC/DC Bag > Sparkle, Run Like an Antelope, Brian and Robert, Waste, Somewhere Over The Rainbow, You Enjoy Myself, Frankenstein, Chalkdust Torture, Hello My Baby

E: Terrapin Station

The unique combination of stunning musicianship and silly humor that vaulted Phish to their iconic place in music history was fully embodied, all along, by their dress-clad drummer, Jon Fishman.  This dichotomy that popularized Phish can be readily illustrated by the multiple roles played by “Henrietta.”  While spending most of any given show providing the adhesive for Phish’s extra-terrestrial jamming, Fishman was just as well known for his onstage antics, tongue-in-cheek covers songs, and Electrolux vacuum solos.  A central factor in defining Phishiness, “The Greasy Troll” was both the foundation for cosmic travel and a stand-up comedian all at the same time.

Too often overshadowed by his zany stage presence, Fishman is a drummer to be reckoned with.  Allowing his silly persona to permeate the Phish community, Fishman could just as easily lay it down for an established jazz trio, or just about any other musical ensemble.  His versatility behind the kit was a central reason Phish explored so many musical feels, while his sub-conscious communication with Gordon consistently created one of the tightest rhythmic pockets in the business.  Trey’s Jedi guitar chops and Page’s virtuoso playing could only go so far without their cornerstone.  Yet, what was special about Fishman, was his ability to improvise and communicate with multiple band members at once.  While always glued to Gordon, Fish consistently echoed Trey, toying with, and mimicking his guitar patterns.  This dynamic created enhanced textures in which the beats not only provided the backbone for the melody, but complemented it as well.  Resulting in an extremely active musical motion, we have come to love this musical interplay, and take it for granted as Phish improv.  Fusing elements of  jazz, rock, breakbeats, funk and beyond- Fishman carved out a personal niche for himself in the drumming world.

It was not always how infectious his beats were- and they most always were- but the delicacy in which he played them.  His subtle layers of shimmering cymbals at the onset of a Slave jam; his gentle textures in the ambient intro to YEM; his precise poly-rhythms of  “Limb By Limb” or his accented grooves amidst so many “Reba”s illustrate a sophisticated, yet precise side to his playing.  While his driving groovier beats in Mike’s, Split Open, or “Tube” jams show another side of his immense talent.  Fish’s drumming is part and parcel with the dance-based experience we call Phish, and his playing is integral to our esoteric journeys.

In addition to his drumming prowess, Fishman also scribed some Phishy classics.  He is responsible for “My Sweet One,” “Kung,” “Lengthwise,” “Ha Ha Ha,” “Faht,” and “Bye Bye Foot,” while writing the lyrics to “Gumbo” and “Rock A William.” (He also co-wrote “Harpua,” “Tube,” and “Dog-Faced Boy.”) Yet, what Fishman will always be known for is not his songwriting, but his absurd on-stage antics.

While holding the music together with determined efficiency, his humor spiced up shows throughout Phish’s career.  His appearance, alone,  illustrated Phish’s more wacky side.  The guy rocked a dress commando- not just once, but for twenty years!  Minus some time in ’97, with his black Italian suit, this has been one of the constants in Phish’s career- their drummer wore a dress.  The drummer’s wardrobe was one of the first things that suggested to you that this was not your normal rock band.  The dress brought intrigue to that goggled monster ripping the smoothest beats you’d ever heard.

What made Fish so amusing, was his ability to be serious and absolutely joking at the same time.  Throughout the band’s career, during intense jams, Fish was known for letting out howls, cat-calls, phrases, and other mutterings that signified that the band was raging.  Whether it be the midst of a ’94 Antelope or thick in the 12.30.97 “Black-Eyed Katy,” when Fish was feeling it, he let you know.

The veritable class clown of the band, Phish always made room for the late second-set Fishman Song.  Generally used as comic relief from heavy improv, these cover songs were also a gimmick that new fans walked away from the show talking about.  “Remember when the drummer with a dress came out and sang ‘Purple Rain’ like a beluga whale?”  Always introduced with the ’70′s anthems of Argent’s “Hold Your Head Up” or Foreigner’s  “Cold As Ice,” Fishman songs were his own little comedy act.  Singing a wide spectrum of classics over the years, from Marvin Gaye’s “Sexual Healing” and Elvis’ “Suspicious Minds” to Syd Barret’s “Bike” and Neil Diamond’s “Crackin’ Rosie,” Fish took these compositions quasi-seriously in providing the audience with some genuine laughs.  After a bunch of shows, these interludes certainly lost their novelty (for me), but as always, Phish wasn’t just playing to one person.  Often accompanied by several laps sprinted around the stage in celebration of his song, you couldn’t help but laugh at him while high on anything.

In Fish’s most acclaimed stunts, he would take individual solos on an Electrolux vacuum cleaner.  Admittedly a large proponent of psychedelics in his adolescence, I can only imagine an 18-year-old Fishman, tripping balls in his dorm room, perfecting the art of sucking and blowing into a vacuum cleaner for hours on end.  However over-the top they were, he always received huge ovations for his novelty contributions to the show. And every now and again, he actually got a nice little vacuum groove going.

A jester who approaches music with a self-avowed “religious attitude” and a drummer who jokes around as part of his job, Jon Fishman defines the ethos of his band.  Playing music with a humble determination and reverence, while never taking himself too seriously, Fish seeks uplift the spirits of his audience.  While sharing a playful nature with the rest of his band members, Fish is no doubt the clown-prince of the entire community.

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“Love You > HYHU”  4.29.1990, Woodbury, CT                           (ABSURD Footage!)

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NICKNAMES: Some of the more absurd nicknames Trey has dubbed Fishman over the years are:  Norton Charlton Heston (10.25 & 11.2.96), Luke Skywalker (12/29/94), Bob Weaver (Summer ’98), Tubbs the Beast Boy (11.19.92), Sneezeblood Eyeball (6.13.95),  The Yo Yo Ma of Vacuum Cleaners (4.17.92), Moses Yastrzemski (2.7.89), Hankrietta; The Hardest Man in Show Business (11.13.91), Sammy Hagar the Horrible Horn Section (11.13.98).  The name of his alter ego for the night was always a slice of humor in its own right. (Thx to The Phish Companion)

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INTERVIEW: Here is a great interview with Fishman from July 11, 1996.  In it, he discusses his love for Bob Marley, his teen-aged habit of taking two tabs of acid at 5 am so he would wake up at 7:30 ready for school, and Phish’s approach to music.  (Some nuggets of info were taken from the interview for my post.)

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DOWNLOAD OF THE DAY:

12.11.95 Cumberland County Civic Center, Portland ME < LINK

Keeping it real with December ’95, we have Phish’s second visit to the intimate Civic Center in Portland.  Busting out “Dog Log” for the first time since ’93, Trey led the crowd in diverse renditions, claiming they were recording them for a forthcoming “Dog Log” album.  Balancing their humor with ferocious jams, this show features standout versions of “Stash,” “Reba,” “The Curtain > David Bowie,” and “Harry Hood.”  Warren Haynes joins the band for “Funky Bitch” and “While My Guitar Gently Weeps” to close this chilly night in Maine.

I: My Friend My Friend, Ha Ha Ha, Stash, Prince Caspian, Reba, Dog Log#, Llama, Dog Log*, Tube^, McGrupp and the Watchful Hosemasters, Julius, Cavern

II: The Curtain > David Bowie, The Mango Song > Fog That Surrounds, Scent of a Mule, Harry Hood, Suspicious Minds > HYHU, Funky Bitch**

E: While My Guitar Gently Weeps**

#Trey explains that they are supposedly making an album of a bunch of “Dog Log”s and they need the audience to help make different versions.  *Lounge-lizard style, along with high pitched screaming on command. ^In thanks to audience for helping with the “Dog Log” album.  **With Warren Haynes on guitar

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I received an overwhelming number of requests for shows yesterday, have started a list, and will get to all of them.  (Today is the first!)

One favor, when requesting particular shows, please email me at mrminer@phishthoughts.com, rather than post requests to Comments.  I will be able to keep track of your requests much more easily, and we can keep the comments for discussion. Thanks!

-Miner

Huh?  Yup.  It happened. Eleven years ago today at the Bryce Jordan Center at Penn State, right along the high key tour of Fall ’97 .  While this majestic musical segment is buried within the first set of a oft-underrated show, it featured one of only several masterful “Stash”s in Fall ’97.  Overlooked due to the prominent focus on funk in Fall ’97, “Stash” absolutely blew up every single time it was played on tour.  Starting with Vegas’ twenty-minute epic, moving to the hyper-intense first set version from Winston-Salem, to Worcester’s mind-altering adventure, Cleveland’s massive second set opener, to this “Stash Groove” in Happy Valley; Stash’s five song campaign was truly epic.  Yet, today we shall focus on this first set oddity.

Having opened the show with a fluffy Mike’s, featuring copious light dance funk to get the party started, the band took an abrupt left turn into Chalk Dust as the jam wound down.  Since they didn’t move into a traditional interlude, it seemed as though the band would create a set-long Mike’s Groove sandwich, as they often did.  Hence, when the band dropped “Stash” after their blues-rock excursions into Chalk Dust and “My Soul,” no one thought anything of it (other than the routine 100 cc’s of adrenaline our brain was shot with by that opening lick.)

This version jumped into the fray immediately, as Mike led the troops into battle with strapping bass lines, complementing Trey’s solo which had begun firing before the jam dropped in earnest.  Taking zero time to get into the thick of things; as the vocal refrain ended, we were smack in the middle of deep Phish improv.  Page began with some tasteful jazzy accents, but the course of this version would see him pounding his piano like a madman.  As the jam entered the depths, the entire band began passing musical ideas around as easily as a spliff, while the jam built as if composed and practiced.  Oozing with ferociousness and furor, this version stands in maddening support of the “Stash”  ’97 candidacy.

Yet, as the band twisted the music to a climax, they entered into the “Maybe so, maybe not” refrain only briefly, continuing the intense textures moving.  Within a flash, they band slid naturally into a spiritually-melodic segment fora short bit.  Literally coming out of nowhere, one couldn’t predict where we were headed.  As Phish settled to an ambient place, Fishman began the delicate drumbeat of Hydrogen as the rest of the band gradually fell into place one-by-one in what was a gorgeous transition.

A certain mind-fuck, the band brought Hydrogen out of something other than Mike’s for only the fourth time in their career. (The three previous times were out of Kung at the Roxy 2.20.93, out of Yerushalayim Shel Zahav at Holmdel, NJ on 7.2.94, and out of Simple at Raleigh 7.22.97.)  As they do, Phish had one again executed something we never saw coming to perfection.  As the melodies of Hydrogen rolled around the arena, you had to think Weekapaug was coming next to not only complete the Mike’s Groove, but also the first-ever “Stash Groove!”

And so it was.  Though the band stumbled momentarily, into the opening notes, once they got this Weekapaug grooving, it transformed into a centerpiece of the set.  A blistering thematic jam gave way to a rhythmic section that sounded like a hidden track off of Remain In Light.  Taking jams into percussive explorations became a hobby for the band during this tour, and this Weekapaug is a prime example of how far they took them.  What started in a grounded and grooving place took off into some militant and scorching improv that featured Trey at the helm, wailing out orders to the people.  Fishman kept the vessel rhythmically anchored in Weekapaug while the others steered the jam into more turbulent waters.  Finally landing ashore, back in the Weekapaug chorus, Phish had just completed yet another adventure into the universe; this one amidst a string of songs in the first set.  The unexpected had struck again.  Bring your head gear to Hampton and beyond, for all those left hooks that you can’t see coming, something tells me the unexpected will strike again.

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DOWNLOAD OF THE DAY:

5.28.94 Laguna Seca Raceway, Monterey, CA SBD

This classic spring ’94 show was the first of two at the Laguna Seca Daze Festival.  A relatively standard first set was upstaged by the second that brought two classic versions of “Tweezer” and “Reba,” the quintessential ’94 songs.  The entertaining show ended with a YEM that featured a visit from Les Claypool  for a bass duel with Gordeaux.  This soundboard captures the show vividly!

I: Rift, Sample in a Jar, Foam, Bouncing Around the Room, Stash, The Horse > Silent in the Morning, The Sloth, Maze, Cavern

II: Axilla [Part II], It’s Ice, Tweezer > Lifeboy, Reba, Fee > Llama, You Enjoy Myself*, Dueling Bass Jam*

E: Poor Heart

*With Les Claypool of Primus, on bass
NOTE: If there is ever a show you are searching for or jonesin’, drop me a line.  Thanks to Ginseng Jeff, I pretty much have em all.  Look forward to hearing from you!

In 2001, during Phish’s first hiatus, the organization devised a long-overdue revenue stream by releasing entire remastered shows in 3-4 disc packages.  They would call the series “LIVE PHISH,” and it would highlight stellar shows from the band’s career.  While most of the shows chosen are certainly quality choices, I have often wondered why other gems were left out.  While it is difficult to argue against any of the choices (except 7.8.00 Alpine?), a strong case can be made for some other shows to be remastered and sold.  Here are a few.  (You can download each by clicking the link.)

12.6.97 The Palace, Auburn Hills, MI < LINK

To this day, I have no idea why this show has not been remastered and released.  Someone needs to call Phish headquarters and inform them that they missed the boat with this one.  Arguably the best start to finish show of Phish’s beloved Fall ’97 tour, this show is straight fire.  With some of the most adventurous and creative improv of the fall, this show vaulted into my top five Phish experiences ever before I had caught my breath after the show.  Both sets came correct on this night, with set two being one of the outright highlights of post-1996 Phish.

The first set seemed like it started in reverse, opening with the patented set closers, Golgi and Antelope.  As the Antelope dropped, the band entered into their Fall ’97 dance grooves, and the show was off and running.  A well improvised “Bathtub Gin” made way for a creative segue into “Foam,” a relative rarity at this point.  The end of the set brought a smoking “Maze” along with some non-jammed Phish classics.

The second set was another story all together.  Opening with one of the best Tweezers ever played, the band sat in some dinosaur funk before Trey opened up the universe with one lick of his guitar.  (If you know this jam, you know that lick.)  The band progresses into some of the greatest playing you’ll ever hear, locked-in and launched for the spiritual realm.  After this psychedelic space travel wound down, the band transitioned into the furious groove-based jamming of “Izabella.”  Without stopping once, the band played the entire set weaving one song into the next.  When they were done, everyone in the building  knew that was IT.  This is a definitive piece of Phish history, and no soundboard has ever leaked.   I’m still waiting for this one to pop up in Pollack-covered silver case.

I: Golgi Apparatus, Run Like an Antelope, Train Song, Bathtub Gin > Foam, Sample in a Jar, Fee, Maze, Cavern

II: Tweezer > Izabella > Twist  > Piper  > Sleeping Monkey  > Tweezer Reprise

E: Rocky Top (single song downloads, Paul’s rmstr)

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6.30.98 Den Gra Hal, Christiana, Copenhagen < LINK

In a three-hour welcome to Europe’s Summer ’98 tour, this show kicked off the two week party in proper fashion.  Taking place in a small barn in Scandinavia under a purple night sky, Phish tore apart this venue for three nights straight.  This first show, however, had no slow points from the opening “Limb By Limb” to the closing “Mike’s Groove.”

This special show marked the debut of “Moma Dance,” “Roggae,” “Brain & Robert” and the reworked Ghost, and was infused with magnificent improv around every corner.  Opening with Limb, Ghost, the band wasted no time in jumping into some full-on improvisation.  (Coming off the Island Run, one can understand the band’s desire!)  Soon to follow was the first set combo of “Tube,” “Stash > Cities.”  Okay,  the band meant clearly business here!  Carrying on for considerably longer than usual, this initial frame also included a “Guyute,” “Funky Bitch,” and a closing Bowie.  The explosion of the first set had the crowd buzzing as they drifted outside into the cool Copenhagen summer night.

The second set continued in the pattern of the first- lots of big jams!  They came out with the debut of “Moma Dance,” reworked after the surreal 12.30.97 encore, complete with instructions on how to do the Moma “dance.”  After tearing through the third ever Birds, the band sat into a impressive segment of music that read,”Wolfman’s > Frankie Sez > Antelope.”  Combining divergent styles of  precise music, this portion flowed quite well, with standout versions as bookends.  After continuing with “Yamar,” “Ha Ha Ha,”  the band ripped into a club-grooving rendition of “Mike’s Song.”  A well-paced version that allowed all band members to shine in the musical space, this Mike’s provided a fierce highlight at the end of a superb evening. (Obviously the 7.1.98 “Tweezer >2001″ would be the filler on this release!)

I: Limb by Limb, Ghost*, Water in the Sky*, Bouncing Around the Room, Tube, Stash  > Cities, Roggae**, Guyute, Beauty of my Dreams, Funky Bitch, Train Song, David Bowie

II: The Moma Dance**, Birds of a Feather, Wolfman’s Brother  > Frankie Says >  Run Like an Antelope, Lawn Boy, Ya Mar, Ha Ha Ha, Mike’s Song > Swept Away > Steep, Weekapaug Groove

E: Brian and Robert**

*rearranged  **debut

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12.7.95 Convention Center, Niagara Falls, NY < LINK

From the storied month of December ’95, the only Live Phish release, excluding New Year’s, is Binghamton.  While the “Halley’s > NICU” jam highlights the show, with the support of the somewhat forced “Timber > Tweezer > Timber,” there are a slew of shows from this month that leave this one in the dust.  One such show, often overlooked due to its proximity to Albany’s 12.9 edition, is 12.7.95 at the Niagara Falls Convention Center.

With top ten versions of “Split Open and Melt,” “Reba,” and “Mike’s Song,” this show is chock full of maniacally tight late ’95 jamming.  One of the best-ever Split Opens began the second half, and set the course of dizzying improv that would follow.  Needing a breather directly after the opener, a stop in “Strange Design” led into a developing version of “Taste (That Surrounds).”  The connected playing in the Split flowed right into this jam, providing one of the most inspiring 1995 renditions.  Tapped in and not letting up, the band took an upturn to bliss with a stirring and quickly-paced “Reba.”  Absolutely firing from note one, this jam plainly illustrates why December ’95 is such a revered month in Phish history.  And then a thirty-minute “Mike’s > Weekapaug” topped things off in perfect fashion.  The urgent and demonic textures of the twenty-minute Mike’s lifted the venue to an psychedelic peak.  Favoring the more improvisational second jam that was scrapped in later years, the band creatively sculpted a masterful Mike’s that outshines many of the more popular versions from this month.   Skipping any interlude and jamming directly into Weekapaug, the band delivered the audience a superbly executed surprise segue to end the night.

All of this and I haven’t even mentioned the first set.  The two pairings of “The Curtain > AC / DC Bag,” and “Demand > Rift” provided some alternative spice to the opening frame before they delved into a mid-set Slave and the then-rare “Guyute.”  Bursting with energy and chops throughout the night, this one is a deserving candidate for the treatment of Fred Kevorkian (the engineer who remasters these releases.)

I: The Old Home Place, The Curtain > AC/DC Bag, Demand, Rift, Slave to the Traffic Light, Guyute, Bouncing Around the Room, Possum, Hello My Baby

II: Split Open and Melt, Strange Design, Fog That Surrounds, Reba, Julius, Sleeping Monkey, Sparkle, Mike’s Song > Weekapaug Groove, Amazing Grace

E: Uncle Pen

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12.9.94 Mesa Amphitheatre, Mesa AZ < LINK

This is a show that needs to be released for three reasons, “Antelope,” “Tweezer,” and “YEM.”  The second to last show in a marathon Fall ’94 saw the band hitting on all cylinders on their 45th show.  While the entire night was strewn with typical late-’94 shredding, these three aforementioned versions stick out like an elephant in a strawberry patch.  Easily one of the most intense and definitive Antelope’s ever played, this fifteen minutes of fury closed the opening set on as high of a note as possible.

In a fall of redonkulous “Tweezer”s, only a week after the famous Salem Armory version that peaked with a “Norweigan Wood” jam, Phish set out to one up themselves.  Early in the this “Tweezer” jam, Trey initiated a barely coherent chant that when listened to closely repeats, “Let’s say good bye to Salem!”  He made no bones about recognizing the monstrosity of Salem’s version as well as the band’s desire to go even deeper this time around.  The result is a near half-hour epic exploration into the depths of Phish’s imagination, peaking with a “Slave jam.”  This version is Phishiness in its purest form, progressing through many divergent stages of improv to reach salvation.

I: Llama, Foam, Guyute, Sparkle > I Didn’t Know, It’s Ice > If I Could > Run Like an Antelope

II: Wilson > Poor Heart > Tweezer* > McGrupp and the Watchful Hosemasters, Julius > Big Ball Jam, Cracklin’ Rosie, You Enjoy Myself > Suzy Greenberg

E: I’m Blue I’m Lonesome**, Foreplay**-> Long Time**, Tweezer Reprise

*With “Slave to the Traffic Light” jam. **Acoustic    (not the greatest source, but worth it!)\
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Honorable Mention

10.22.95 Assembly Hall, Champaign, IL

An outstanding Fall ’95 show that featured an incredibly fluid second set.  A true psychedelic journey.  Extended jam sessions came in “Possum > Catapult,” “Tweezer” > Makisupa, and a late set Slave.

I: AC/DC Bag, My Mind’s Got a Mind of its Own, The Sloth, Runaway Jim, Weigh, NICU, Fast Enough for You, It’s Ice, Poor Heart, Sample in a Jar, I’m Blue I’m Lonesome, Stash

II: Golgi Apparatus, Possum > Catapult, The Curtain > Tweezer > Makisupa Policeman > Big Black Furry Creature From Mars, Life on Mars?, Uncle Pen, Slave to the Traffic Light > Cavern

E: Sweet Adeline, The Squirming Coil

11.15.96 Kiel Center, St. Louis, MO.

This was a classic along the path of Fall ’96.  The second set was “brought to you by the letter ‘M’ and the number 420,” Trey joked before the Weekapaug.  Set two would become known as “The M Set,” as every song featured a prominent M in the title, creating a Phishy twist on a quality night.  A surprise appearance by John Popper as “the dirty old man” in the debut of  “Mean Mr. Mustard,” and on harmonica for Weekapaug added some zest to the end of the night.  A great Melt and Mike’s highlight the set, as well as the cool opening combo of “Makisupa  > Maze.”

I: Wilson, The Divided Sky, Bouncing Around the Room, Character Zero, Punch You in the Eye, Prince Caspian, Ginseng Sullivan, Train Song, Chalk Dust Torture, Taste, Cavern

II: Makisupa Policeman > Maze, McGrupp and the Watchful Hosemasters, Split Open and Melt, TMWSIY > Avenu Malkenu > TMWSIY, My Mind’s Got a Mind of it’s Own, Mike’s Song, Sleeping Monkey, Mean Mr. Mustard*, Weekapaug Groove#

E: Funky Bitch#

*First time played;Trey announced that the show was brought to you by the letter “M” and the number “420″.  #With John Popper on harmonica

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What shows do YOU think should be released on LIVE PHISH? Respond in Comments below!