The Victor Disc
Poking around the Internet yesterday, I stumbled upon some new Phish music! Posted in multiple Phish forums was the complete version of The Victor Disc, a series of instrumental outtakes from a 2002 jam session. I had posted the first three tracks on Phish Thoughts recently, but now we have uncovered all ten tracks to the mysterious quasi-album! The story behind the recording is as follows.
On December 19th, 2002, while Phish was in New York to appear on The Late Show With David Letterman, Trey and Page popped into a downtown recording studio sometime after midnight. Deciding to play, they called Fishman and Gordon, asking them to join. Phish then taped an extensive spontaneous jam session, and decided on the title, The Victor Disc, named after the session’s engineer.The overwhelming feel of the album is organic improvisation. Looser than most Phish music, The Victor Disc is a portrait of a band reacclimating to each other by simply playing together. With no particular goal in mind, the band got into the studio and let it flow. If The Siket Disc was focused on psychedelic soundscapes, The Victor Disc is focused on looser jazz-based improvisation with a distinctly Phishy twist. When digging into the extensive album, one will find that the first few tracks that had leaked onto the Internet are hardly the highlights. Totaling two hours and twenty minutes of pure Phish improv, there are some golden moments hidden within. Since we have already heard the first three tracks, let’s look at some of the other, far longer, offerings. (You can download the entire album below via torrent.)
“Victor Jam Session” 11:20
This segment of improv passes through many Phishy textures, starting in a noodly territory and meandering through various loose musical feels. Eventually, this track picks up some momentum, and the band locks into some rolling patterns. Mike steps up to take the lead, and the band locks onto his bass line creating minutes of extremely cohesive Phish music.
“Sky Train Wand” 17:24
Beginning solely with a sparse drum beat, Trey slowly layers some rhythm licks into play, inviting Mike and Page to subtly step into the quiet medium. Sounding like a hybrid of reggae and jazz, Phish is off creating another unique slice of improv. Illustrating the patience that became a huge part of 2.0, this jam uses space as much as it uses notes. What is great about these extended “glimpses” into Phish’s private world is that we get to see a raw picture of the band offering new and original musical ideas with no preconceptions whatsoever. While this point is reached in shows, there is always a context to the music; yet behind closed doors, we get to see a bit deeper into the band’s experimentation and imagination. The second half of this “jam” sees Trey and Page combine to play beautiful leads over the open backdrop before the band congeals back together.
“Blue Over Yellow” 15:30
Trey carries a thematic lead melody over a unique pocket formed by Mike and Fish during this outtake. Sounding like he is playing around with the “Banana Pudding” melody, Trey draws in Page’s piano accompaniment and the band engages in a methodical, cooperative groove. Page adds quite a bit of tonal color to this segment of music, as the band locks into a series of slowed down hits- all very much on the same page. Fish leads them out of this section as the band remains locked and incredibly loose. In the second half of this track, they gain more of an edge, lending some harder, more dissonant sound to the mix. The entire band is moving like a single-celled organism on this track (and on most of the disc, for that matter.) This is a laid back, yet engaging, piece of music.
“Guantanamo Strut” 17:22
Divergent from any of the previous tracks on this album, “Guantanamo Strut” starts right in with a harder rock feel. Trey uses a much louder tone at the beginning of this piece than on any other (except the last track.) Maintaining a jazzy beat behind the more straight ahead accompaniment, Fish maintains a rhythmic focus to the track, while Page lends piano chords that returns a jazzier feel to the improv. One of the two most groove-based tracks, this jam possesses real musical diversity, and doesn’t stagnate in any one place. Segueing back into a jazzier feel, the band locks into some interesting patterns that sound like they could be derived from a jazz version of “Stash.” Building out a legitimate groove, the band explores in a free-form way, sounding like they are playing in a late-night smoky jazz club.
About two-thirds of the way through, the music becomes much more Phishy as Trey begins to access his more signature sound, creating sustained melodic leads, causing the music to sound like an ambient Phish jam you might hear at a show.
“35 Minute Jam” 35:33
By far the longest “track” on the album, “35 Minute Jam” moves through several different improvisational realms. Stylistically fitting with the album’s loose playing, the start of the track possess a “louder” feel than much of the delicate Victor Disc. For the beginning of the jam, the 
band maintains a blues-rock feel before switching gears into a far more mellow milieu. As if they changed songs on a dime, this track’s second section become very quiet and beautiful, moving into an sparse “ambient” place.
The jam winds down into near silence for some minutes before Trey begins to add some happy rhythm chords to the barely existing canvas, inviting Mike and Page back into the mix. Taking their time, and with precision, the band continues to morph in and out of some minimalist patterns. Soon, the band jams back down to virtual silence again, this time with Mike leading them back out. Progressing into an interesting musical narrative, Trey plays more conventional patterns; albeit at a slowed tempo. Gradually slipping into a drone pattern, the band unites in some improvised starts and stops, illustrating their cohesiveness and focus.
“Heartache” 0:34
This is tiny interlude that features a melancholic piano-led pattern that is gone before it really starts. The only lyrics on the album appear for a few seconds on this track- a sample of a woman wistfully saying something indiscernible about about heartache.
“The Last Victor Jam” 24:23
This track starts in with the most aggressive musical palette on the album, jumping in seemingly mid-jam when the band has already built some musical momentum. While remaining firmly rooted in piano-led jazz, this track has more drive to it than all the others. Moving a bit faster, Fish holds the framework of this musical stew as Page really stands out. As it builds, this “jam” finds a distinct direction and follows its course, creating the sound most similar to live Phish that exists on The Victor Disc. As the jam moves on, the band returns to the jazz aura of the session, while still holding onto their more direct path. A definite album highlight, “The Last Victor Jam” puts a nice cap on this series of instrumental Phish.
At last, the mystery of The Victor Disc has been revealed. In a collection of extended instrumental outtakes, Phish painted a portrait of where they were in December 2002, on the verge of stepping back onstage at Madison Square Garden for their second go-round. Now, on the verge of part three, we can look back, listen, and reflect on a time gone by. More extensive, yet less polished, than the “scrapbook-psychedelia” of The Siket Disc, The Victor Disc allows us to peek in on Phish with a completely different mindset than they had while creating its ’99 counterpart.
DOWNLOAD THE VICTOR DISC NOW < TORRENT LINK
1. Lazy and Red (5:57)
2. Den of Iniquity (9:55)
3. Bubble Wrap (4:34)
4. Sky Train Wand (17:24)
5. Blue Over Yellow (15:30)
6. Guantanamo Strut (17:22)
7. Victor Jam Session (11:19)
8. Heartache (0:34)
9. 35 minute jam (35:33)
10. Last Victor Jam (24:23)
(Track titles are questionable)
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MAYBE SO, MAYBE NOT- THE DOCUMENTARY
Fan and filmmaker, Noah Wilderman, is in the midst of a documentary project that examines the evolution of the Phish community- “Maybe So, Maybe Not.” In Noah’s own words:
The Phish experience is an important cultural phenomenon, embodying the journey of my generation in many ways. I’d like to tell that story. Quite simply, now is the time to tell this particular story because this generation is coming into its own, personally and politically. Our journey through life has been to a soundtrack that seemed to match the beats of many lives step by step. By analyzing both the timeline of Phish side by side with the tides of the generation, we can see how closely they are linked and signify the relevance of Phish in the lineage of a century of influential music communities with a historical perspective.
Everything is currently in place to do copious filming around Hampton to capture the face of the community. While some established shoots are already set up, Noah is also looking to talk to people in a variety of settings, doing Phish related activities, random reunions, lot activities, local impact, etc. Some of the things he hopes to capture are:If you’d like to support film making efforts, they have started a grassroots fundraiser with the goal of getting each participant to donate $5. If you’d like to be in the film, get in contact with the producers. With only a few weeks left, every person following along and every $5 is huge.
DOWNLOAD OF THE DAY:
10.25.95 St. Paul Civic Center, MN < LINK
St. Paul Civic Center, MN
A quality nugget from Fall ’95, this second set flows beautifully. An uptempo “Reba” kicks things off before the band gets downright dirty with “Mike’s.” Check out some great Trey work all over this jam, and then the band moves into an instrumental jam around Dark Side of the Moon‘s “Breathe.” If you’ve never heard this one, you should.
I: Ya Mar, Sample in a Jar, The Divided Sky, The Wedge, Scent of a Mule, Free, Strange Design, My Long Journey Home, I’m Blue I’m Lonesome, Chalk Dust Torture
II: Reba, Life on Mars?, Cars Trucks Buses, Mike’s Song > Breathe*> Sparkle > Weekapaug Groove, Suzy Greenberg > Crossroads
E: Fire
*Pink Floyd cover (first time played); instrumental
Cason did you know Matt Kelley in Charleston?
Wow that first picture of the lights is just amazing!!
I’m very excited about this documentary.
@ WaxBanks -
I like it. After all, to put it in perspective, 2009 is to 2002, what 1997 was to 1990. Clearly there’s a lot of time there for a sea change in terms of sounds and musical interests (albeit developed mostly on their own this time as opposed to on the road).
3.0 could be unlike anything we’re familiar with. I doubt it’ll all make sense at the beginning and I suspect there will be some unevenness, but hopefully they’ll get back to IT in one way, shape or form.
“Beware of Poland Spring water”
Dude, you have had me laughing about that ever since you said it a week or two ago…..so freakin true!
Sorry if this has been mentioned in previous days posts (I didn’t have time to read them all), but did anyone else notice that all the LivePhish CDs are now on iTunes? This has been a real blessing for me as I always wanted to listen to 11/17/97, but either had trouble finding it used or didn’t want to shell out over $20. Now I am rocking it legally for $14.99!
What’s the deal w/ the poland spring water?
@ kevin- these “tracks” have nothing to do with “now”.
They are a collection of improvisation from 2002. I wouldn’t worry about Phish moving *forward*- that’s what they do, and they wouldn’t be coming back if they didn’t plan to.
These aren’t “songs.” Just a portrait of the band…then.
@cottle
If the band is drinking water, then “allegedly” they have been doing some sort of psychedelic drugs. Thats what I remember from some previous posts. That means they are about to get downright nasty. I prefer beer on psychedelics.
For any one interested, in conjunction with the Paul Paul Languedoc news, I found this brief history about the guitars he built for trey. http://www.phish.net/faq/guitar.html…notice the ross compressor in the rig back then.
I was looking for Clifford ball info on the site, and possibly what the best song played. Since Im looking fwd to the DVD, I wanted to get peoples opinions on it. Fire away…..if you want
http://www.phish.net/faq/guitar.html
A friend messaged me earlier about how relaxed these tracks sound.. I love me some aimless phish, I have to admit. Just hearing what these guys come up with when just letting go of it all entertains me so much! Its a little unfair to criticize unreleased jam sessions, regardless.
Comment on the Poland springs bashing
Keep it up. That company is putting my work out of business. despite the fact that their water comes from random swamps in Maine while I bottle Pure Monadnock Mountain spring water that truly tastes better.
Ruining maine, while sendng all the profits back to France. weak.
^@ cOwfunk
I agree with you and your friend, despite there being no obvious path for the jams to take, they’re good nonetheless. Definitely shows a different side of the boys. For me, these are getting me through some tedious work at work- I’m relaxed and bouncin to some funky sounds. Most of the time when listening to Phish at work, I just want to get up and dance (people here would not approve, so this is working for me)!
where the hell has camman been, maybe he is grounded………..
Side note:
A big “Happy Birthday” wish to Fishman.
I am listening to the Victor disc as I write this. I have been listening to all kinds of music since the late 60′s and I can tell you that this disc is something to hold in high esteem. Although it is not “pure’ Phish as most of you know them, it is classic musicianship at it’s finest.
I am not a music snob, but I am a Phish “NooB” as described elsewhere and here on this site. I will see them live in June this year for the first time. I am 52 years old, but I think I know great musicians when I hear them.
These guys went into a NY studio on a whim, played on intruments and systems that they were not used to, and put out this kind of music. (I am betting that Fish’s drum kit was not in this studio at the time of this recording at 2-3 am.) IMHO, It is as good as alot of improv jazz music that has been recorded with much more forethought and planning.
It has been my thought that jazz musicians were generally better at playing “improv” that most other types of musicians, until I began to listen UmPhreys, moe, etc, about 6 years ago. I got
Slip, Stitch and Pass from a friend 3-4 years ago and the rest, shall we say, is history. I found what I have been looking for since the days of CSNY – 4 Way Street – Disc 2 back in the 70′s. The same energy, the pure magic. That was the tip of the Phish iceburg for me. I now consider myself a “Phishhead” having never seen them “in concert” as we old timers like to say. I know I don’t fit the “normal” definition of Phishhead, but in the classification of music “heads” what do you call someone who only listens to one band almost exclusively at some point in their lives. (I guess I have been a Zephead, CSNYhead, RobinTrowerhead, LittleFeat head, moehead or moeron, Umphreyshead, StevieRayhead, Beatleshead,Stoneshead, Deadhead, ChickCoreahead, Myleshead, on and on, etc)
No matter what these guys put out on Phish 3.0, I understand that they are are great musicians, constantly evolving, growing, changing with the times of their lives and ours. I don’t expect to hear a duplicate of 95-98 when I go to to see them for my first time in June 09. I have the recorded music by them, from then and it torched. I will open my ears and appreciate whatever they play, as I have done by all musicians who stand up on a stage and give their time and effort to make me feel “GOOD”. No matter what comes out of the speakers from this tour, I will like it in one form or another, probably depending on what mood I am in.
So I know that the Victor Disc will fit into my listening repetriore “somewhere down the line”.
Lol I’m gettin thru some tedious work too.. Guess its good for that;)
Speaking of the “looseness”, I downloaded the Matrix of 6-16-200 Zepp last night from this site (and THANK YOU Mr. Miner for that, it’s one of my all time favorites!)
There are a couple of little soundcheck jams where you can just hear these guys not as Phish, but more like some musicians just playing around. Towards the end of the soundcheck though, there is this groove going and Trey just starts singing about how the groove is so deep for a soundcheck and he can’t stop it. And to think this came out of just noodling around….awesome
^^ Well put, Big E.
For the record -the poland spring is not an indicator of Lucys or Delics-it is the indicator of a much more evil vice-the banks of the deep end- my friend.
Mr. Miner!! Muchas MUCHAS Gracias for this unexpected nugget of awesomness! I love the super loose feel of these recordings. Truly free form Phish is some of my favourite Phish ever. Folks have mentioned the Towers Jam, Siket Disc and Headphones Jam as being similar to this Victor Disc but I’m surprised no one has mentioned the Ambient Jam Set 4 from Lemonwheel. I always felt that was one of the high points of that weekend and ’98 in general.
Here’s a “Cover Image” to go with your MP3s:
http://img150.imageshack.us/img150/159/victordiscwt2.jpg
This is based on a wholly unimaginative cover (the RCA Victor dog) that was posted to PT yesterday. Rather than having the dog listen to an old gramophone, I thought it would be more appropriate to have his cocked ear pointed to the source of these tracks.
If someone can do a better version of this idea, please do!
Listened to disc 1 last night, now going through disc 2. Certainly lives up to much of the hype, I hope they go in some more experimental directions like this again.
The middle of Sky Train Wand is sick, and Mike tears it up.
Anyone else hear other Phish pieces in here…….like starting around 6:00 into 35 min. jam it sounds A LOT like Prince Caspian? Or the start of Guantanamo Strut sounds like a jacked up, rocked out Black Eyed Katy/Moma Dance. Could just be me.
Frankie Says>Frankenstein>Meat>Brian and Robert>Meat.
set 1 3-6 09
Backwards Down the Number Line will be the “Song of the Summer”