The Laid Back Funk of Summer ’98

Hampton (A.Kuroda)

Hampton (A.Kuroda)

As Phish progressed through their career, each tour seemed to add a new element to their music.  Constantly evolving their sound, the band kept fans engaged not only with new songs and new jams, but new styles of playing.  In ’93 they peaked all that had come before with the ferocious “speedjazz” era. In ’94 their jamming grew far more exploratory and adventurous, combined with the aggression of a wild hyena.  ’95 brought extended abstract spacescapes in the summer and moved into blistering tight arena rock in the fall.  1996 was a year of transition, moving from their style of Fall ’95 towards whole-band groove, and in 1997 this transition was completed.  With the rawest funk grooves coming in the summer, Fall ’97 brought a refined James Brown-esque disco-funk into the mix, living symbiotically with outlandish psychedelia.  Phish never grew complacent with their music, and never stopped pushing themselves out of their comfort zone into different milieus.

Hampton (M.Yates)

Hampton (M.Yates)

As 1997 came to a close, the community was on cloud nine, having just finished one of the outstanding years in Phish history- yet what laid ahead?  First came the Island Run, which was a sublime aberration all to its own.  And after a brief stint in Europe, the band returned to the west coast to showcase their new summer style.  If we traced the rhythmic playing of the band from raw to refined, this summer represented a nuanced shift to a slower and beefier relaxed style of jamming.  Congruent with the feeling of summer, Phish engaged in plentiful sessions of patient funk grooves.  While many people remember the summer of ’98 for all of the one-time covers busted out by Phish, the band’s primary focus of the season was creating thick textures that blossomed in the summer air.

Starting off in Portland, OR, they made no bones about what the central theme of the tour would be, opening with “Wolfman’s,” followed two songs later by the first stateside “Moma Dance.”  This focus would emerge more obviously in the second set with the now-famous segment of “Tweezer > California Love > Tweezer > Free, Meat.”  The funk was deep; the funk was relaxed; the funk was infectious- and this would be the overwhelming trend for the rest of Summer ’98.

Hampton (T.Caine)

Hampton (T.Caine)

In a summer that oozed fun, Phish seemed to have a ball creating sweltering dance sessions amidst their favorite songs.  The enthusiasm was contagious, as every night brought addictive fun and more surprises.  The Summer ’98 sound featured prominent, yet slowed-down, lead bass lines from Gordon, favoring a soft and round tone- our ears were bouncing on trampolines all night.  The pace of the tour’s definitive improv was brought to a far slower tempo.  Trey utilized tar-thick wah-grooves all summer long to rhythmically and delicately dance around Mike’s patterns.  Also guiding the band with danceable leads, Trey was focused on rhythmic playing for the whole tour.  Page shied from his piano in favor of more textured sounds that enhanced their funk canvas.  The clavinet and the Fender Rhodes grew more prominent in his sound.  Fishman held down an incredibly deep pocket with Gordon, and was a band leader within this beat focused era.

Hampton (S.Hanna)

Hampton (S.Hanna)

The laid back music of ’98s summer tour supported the concept of Phish as maestro mood matchers- always fitting their music to their locale.  The improv discussed herein would have never taken place indoors during a fall tour- that wasn’t the place for this type of music.  The amphitheatres and open-air venues that made up the summer circuit allowed the slower music to bellow across the crowd, especially in the roofless venues.  When playing these stops- like Portland Meadows, The Gorge, and Sandstone- the sound dynamic coaxed the band to delve into even slower tempos.  Each night, as the sun set, you could be sure that you’d be dancing to some seriously thick Phish for most of the night, and the tour took on a character of its own.

Throughout this summer, the band played incredibly well together, forming cohesive jams all over the place.  Even if their improv wasn’t always straight-laced groove, there was always a certain rhythmic quality that marked their playing.  In one of Phish’s most well-loved tours,  you knew that every show would bring a different dance party centered around this style.

Upper Page Side (S.Hanna)

Upper Page Side (S.Hanna)

Some of the highlights from this tour that defined this playing were the aforementioned “Tweezer > Free” from Portland, the Shoreline “YEM,” the Austin “Tweezer,” the Deer Creek “Gumbo,” the Merriweather “Sneakin’ Sally, and the Lemonwheel “Gumbo.” And those are just some of the most significant episodes.  When aurally perusing the entire tour, this pattern of laid back funk clearly emerges.  And, naturally, as the summer was coming to a close, the band began to drift into more layered, ambient style, foreshadowing their musical evolution of the upcoming fall.

To chronicle Phish’s very own “Summer of Love,” I have selected one representative jam from every US show during this special era of Phish. Totaling over seven hours of music from Summer ’98, this collection should keep the grooves going until the break of dawn.   Chronologically combined into one compilation, I present to you “Miner’s Picks: Laid Back Funk ’98.”  There are a few song repeats, due to the band’s song rotation over the summer. (And I forgot to add the Deer Creek “Gumbo!” It will be linked below.) The tracks and download links are below.  Relax, kick back, and enjoy!






1-4. “Tweezer > California Love > Tweezer > Free” 7.15, Portland, OR

5. “Reba” 7.16, The Gorge, WA

6. “Gumbo” 7.17, The Gorge, WA

7. “YEM” 7.19, Shoreline, CA

8. “Bathtub Gin” 7.20, Ventura, CA

9,10. “Ghost > She Caught The Katy” 7.21, Phoenix, AZ

11,12. “Wolfman’s > 2001” 7.24, Houston, TX

13. “Tweezer” 7.25, Austin, TX

14. “YEM” 7.26, Dallas, TX

15. “The Moma Dance” 7.28, Bonner Springs, KS

16. “Tube” 7.29, Riverport, MO

17,18. “Curtain > Free” 7.31, Columbus, OH

19. “Mike’s Song” 8.1, Alpine Valley, WI

20. “Ghost” 8.2, Deer Creek, IN

21. “Halley’s Comet” 8.3, Deer Creek, IN (Forgot the “Gumbo!”)

22. “Wolfman’s” 8.6, Atlanta, GA

23. “Ghost” 8.7, Raleigh, NC

24. “Sneakin’ Sally” 8.8, Merriweather Post, MD

25. “YEM” 8.9, Va.Beach, VA

26,27. “Wolfman’s > Time Loves a Hero” 8.11, Star Lake, PA

28. “YEM” 8.12, Vernon Downs, NY

29,30. “Gumbo > Sanity” 8.15, The Lemonwheel

31. “2001” 8.16, The Lemonwheel

(32.) “Gumbo” 8.3, Deer Creek, IN (Right Click, Save As, or listen)


Hampton (S.Hanna)

Tags: ,

193 Responses to “The Laid Back Funk of Summer ’98”

  1. El Duderino Says:

    We did get Orlando Pace Mr. Completely and yes it’s a very good day to be a Bears fan and The Saints suck!!!

  2. whole tour! Says:

    what part of your guitar gear isn’t working davey….i know guitar gear pretty well.

    most of the time it’s usually a loose wire that needs to be re-sodered.

  3. vegasgreg Says:

    summer 1998. Knocked down 19 of the 23 shows…solo. Friends made during that run…forever we are linked. You need to put up 08/12/98…Burnin Downs. Thanks & Peace

  4. Mugician Says:

    It’s Mugician ;D. Well. I’m my own tech. So I know my gear in and out, backwards and forwards. And it literally is mysteriously not working – I’ve been looking through it for a week now and no luck. It’s fucking bizzare and really pissing me the fuck off – nothing gets me more worked up than my gear not working.

  5. whole tour! Says:

    ^sorry…i got you and davey confused…doh!

    i’d think that in colorado you wouldn’t have the humidity issues we have here in florida w/ guitar equipment. stuff rusts pretty quickly here…pickups, strings, cords, electrical plugs…you name it..the humidity fucks it up.

    it might be your karma…lol…you might want to help a few old ladies across the street to build it back up,

  6. Read Icculus Says:

    …..@vegasgreg…no kidding….I also missed just four shows for that entire tour….the three in Texas and Star Lake….

  7. Mugician Says:

    Yeah. I think it’s getting worse. I’m having a tech crisis across the board here. My camera won’t work anymore (when I tried to take that picture of the ceramic fish I made in ’97), and my computer keeps freezing whenever I try to get onto this site.

    What a fucking curse ‘nology can be.

  8. hawkinbj Says:

    man when my guitar gear cuts out and I get really frustrated it ALWAYS ends up being something silly and incredibly obvious that I just overlook 😛

  9. Mugician Says:

    I hear ya Hawkinbj… I’m afraid I’m past that point though. I’m starting to get a little freaked out.

  10. Mugician Says:

    Fucking STRAIGHT UP:

  11. whole tour! Says:

    i see you found those HD hampton videos i was talking about the other night…they kick ass.

    over at hidden track they also have links to videos of 3/6 and 3/7 from a variety of different sources…the ghost video from 3/7 with the sbd audio is SICK!

  12. Mugician Says:

    Yeah. I’ve been watching those videos alright. I can’t believe how good Kuroda is. The lights on Tube My Friend, and Fluffhead are absolutely incredible. It’s overwhelming enough that the boys were ON FIRE this whole weekend (in my opinion), and to have these INSANE light effects absolutely HOSING the audience… my god. I LOVE those shots where you can just barely see the outlines of 14000 human beings GROOVING the fuck out, and then BAM some bright lights swoop over the room and it’s just explosion after explosion of…. shit. I gotta stop. I’m freaking out. I’d love to see ’em indoors…

  13. MP Says:


  14. Mr.Miner Says:

    ^^ was an aprils fools joke from PT…

  15. MP Says:

    i’ve always been a sucker. its a wonder i can even feed myself.

  16. whole tour! Says:

    @mug…those new lights are the best ever! i hope they have the extra lights mid court with the baloons in asheville and knoxville! i can’t wait!

  17. Cellar Door Says:

    One thing that is important to remember about the ’97 and ’98 funk era is that Trey was using his delay and loop effects so much more allowing for more room for Page and Mike to do their thing. Whenever Trey sits back and play with his Boomerang (loop pedal), it effectively creates another rhythm upon which Page’s and Mike’s funk syncopations can play. Granted, Trey can sit back and be more reserved without the loops/delays, however it seems he is more content to do so with the Boomerang. The opportunity for those thick and nasty funk jams seems to happen whenever Trey is not wanting to shred at every turn. These sparsely filled jams serve as a good counter-point for the more spazz-jazz songs in terms of providing a good balance to a set.

  18. Phillip Crow Says:

    Any way you could repost the download links? They don’t appear to work anymore. Much appreciated!

Leave a Reply