Mr. Miner's Phish Thoughts

DOWNLOADS OF THE WEEKEND:

Here we have Phish’s memorable two-night stand from Shoreline at the beginning of Fall ’99; the second being Phil Lesh’s extended sit in with the band.  The “Sand” and the “Piper” that preceded his entrance were the musical highlights of the night.  Other highlights from 9.17 include the first set “Ghost,” and the one-two punch of  “Peaches,” “Moma.”  Look out for 9.16′s “Stash” and “Antelope”- both first set scorchers.  With four strong sets strewn with spectacular moments, Phish treated the Bay Area right.

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9.16.99 Shoreline, Mountain View, CA < LINK

9.16.99 Shoreline, Mountain View, CA < TORRENT LINK

I: Ya Mar, Chalk Dust Torture, Farmhouse, First Tube, Carini, Dirt, Vultures, Sparkle, On Your Way Down, Beauty of my Dreams, Stash, Train Song, Billy Breathes, Run Like an Antelope

II: Also Sprach Zarathustra > Mike’s Song > I Am Hydrogen > Weekapaug Groove, Mountains in the Mist, Limb by Limb, Prince Caspian, Julius

E: Misty Mountain Hop*

*With Warren Haynes on guitar.

Source: FOB Schoeps CMB1+MK4v > SX-M2 > SBM-1 > D8

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9.17.99 Shoreline, Mountain View, CA < LINK

9.17.99 Shoreline, Mountain View, CA < TORRENT LINK

I: Mozambique, Guyute, Ghost, Lawn Boy, Peaches en Regalia, The Moma Dance, Water in the Sky, When the Circus Comes, Get Back on the Train, David Bowie, The Squirming Coil

II: Runaway Jim, Sand, Piper, Roggae, You Enjoy Myself*# > Bass Duet*, Wolfman’s Brother*^ > Cold Rain and Snow*^

E: Viola Lee Blues*$

*With Phil Lesh on bass. #With Lesh on trampolines. ^With Lesh on vocals. $With Warren Haynes on guitar.

Source: Schoeps mics (no other info known as of 9/24/99) -> 44.1 KHz

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VIDEOS OF THE WEEKEND:

“Cold Rain and Snow” w/ Phil 9.17.99

“Wolfman’s Brother” w/ Phil, 9.17.99

Once the Phil and Friends shows established a relationship, both personally and musically between Phil and Trey, the Phish and Dead communities began to blend together. Led by the musical model that had wowed everyone for three nights, the two cultures- a generation apart- began to grow closer.  Everything seemed cool now; there was much less ill will between the bands’ followings; the scenes began to intermingle and lines became blurred.  The musicians themselves formed relationships, as members of Phish and The Dead went on to collaborate on future projects.

Later the same year, when Phish passed through Shoreline for two nights on their fall tour, they returned the invitation.  Inviting Phil to sit in for much of the second set of 9.17, the two scenes fused in a more Phish-centric way.  As Phil came out for “YEM,” Brad brought out a third trampoline!  In the ultimate gesture of Phisy approval, Phil bounced up and down with Trey and Mike  during the tramps part of the jam.  To the giddy delight of all involved, this guest sit-in carried more meaning than any before.  Morphing into a bass duet with Mike out of “YEM”, Phil stuck around for “Wolfman’s,” and a poignant cover of The Dead’s “Cold Rain and Snow.”  For the encore, they brought Phil back and Warren Haynes and played an extensive “Viola Lee Blues.”  At this point, Phish and The Dead had grown closer than ever.

In their penultimate show before their hiatus, also at Shoreline, Phish invited Bob Weir to the stage for a three-song encore of “El Paso,” “Chalk Dust,” and “West LA Fadeaway.”  Though not as musically impressive as Lesh’s stint with Phish, Weir’s sit-in carried as much symbolic weight as anything.

Once Phish broke up in 2004 and Trey toured with the much-maligned 70 Volt Parade for 2005, he began popping up with Phil in 2006.  Teaming up with Mike, drummer Joe Russo, and piano visionary Marco Benevento, Trey toured with the horribly-monikered GRAB as a co-bill with Phil and Friends during the summer of ’06.  This tour was a legitimate merging of the Phish and the Dead scenes as each band drew from their respective fan bases, most who stayed to watch both acts.  Although GRAB hit some grooves and played fun shows, the greatest parts of these evenings were when Trey came out with Phil and Friends and played Dead music.  Sometimes it was for a song or two, and sometimes, like Camden (6.30), Hartford (7.3), Jones Beach (7.7), and Scranton (7.11), it was for the entire second set.  These sets were the high points of the entire tour, and I’m pretty sure Phil would agree.  One of the highlights of this run of sit-ins was the sublime second set at Camden, where the entire band was tapped in.  (Just look at Phil’s face as Trey rips apart St. Stephen in the video below!)  Trey elevated the play of Phil’s band to another level each time he took the stage, and it were these sets that I continued to listen to when the summer ended.

Trey also sat in with Phil and Friends at Halloween’s Vegoose Festival in Las Vegas in ’06, not only for the festival set, but for an entire two-set late night gig as well.  Earlier in the year, before GRAB/Phil tour, Phil joined GRAB onstage at Bonnaroo for a rendition of “Casey Jones.”  Gradually, it seemed like playing with Phil was Trey’s new favorite stage.  He got to improvise freely over Dead classics, standing in for Jerry, while sprinkling in songs from his own catalog.  He was loving it, and the fans were too- Phil didn’t have too many friends with the guitar prowess of Trey.  But less than two months after Vegoose, on December 15th, Trey was arrested and sequestered to Whitehall, NY and its surroundings.

Taken out of the scene for a while, Trey’s next big appearance was actually with Phil and Friends at the nearby, hence legal, Glens Falls Civic Center on 10.20.07.  At his stop in Glens Falls, Phil was actually granted the symbolic power of being mayor of Glens Falls for the day.  And as his “power” was granted, Phil said, “As my first act as honorary mayor, it is my intention to pardon Trey Anastasio,” voicing his support for his friend.  Trey was welcomed by Phil back to the stage that night, sitting in with Phil and Friends for two sets of Dead music, while adding “Shine” and “Plasma.”  Phil had Trey’s back, as he was no stranger to addiction, and it was with his friendship and backing that Trey returned to the stage for the first show since his arrest.

Beyond Trey and Phil’s relationship, Mike also got in on the Phish / Dead collaborations.  In fall 2006, Mike played a series of shows with Mickey Hart and Billy Kreutzmann’s “Rhythm Devils,” with Steve Kimock on guitar, including a slot at Vegoose.  And yet another collaboration between the two bands was “Serial Pod,” a project between Mike, Trey, and Billy in 2005.  Nevertheless, all of these sit-ins and hybrid projects were sparked by those three epic nights at The Warfield.  Going where no one dared go before, Trey, Page, Phil, Kimock, and Molo fused past and current counter-culture; the circle was now complete.

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Trey’s solo in “St. Stephen”w/ Phil and Friends – 6.30.06, Camden, NJ (!!)

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DOWNLOAD OF THE DAY:

4.17.99 Phil & Friends @ The Warfield < LINK

4.17.99 Phil & Friends @ The Warfield < TORRENT LINK

I: Dark Star > It’s Up to You, Days Between > Dark Star (first verse) > My Favorite Things, Mississippi Half-Step, Birdsong

II: Terrapin Station > Down with Disease > Dark Star (second verse) > Friend of the Devil, Casey Jones, Morning Dew, Goin Down The Road Feelin Bad* > And We Bid You Goodnight

E: Box of Rain

* w/ Donna

4.15.99

Walking into The Warfield, there was a palpable energy in the building long before the first show got underway.  Standing in the ornate theatre in which The Dead performed fifteen sold out shows, and about to witness history, there was a unique unknown to the entire event.  Familiar faces from across the nation slowly filled the 2,300 person venue, prepared for the most highly anticipated journeys in recent memory.  There seemed to be a controlled feeling of wonder about what was soon to happen, and everyone shared the sense that these three nights would not be your average concerts- and everyone was most certainly correct.

As people settled into their seats, anticipation quietly grew amidst the ganja haze until Phil and his kids, along with Kimock, came out in front of The Warfield’s red curtain to symbolically open the run with Eric Clapton’s “Hello Old Friend.”  Welcoming Phil back from liver transplant surgery, and welcoming the adoring fans to these special nights, this added a personal touch at the onset of the shows.  But when the curtain rose, the band took no time at all to get going at full throttle.

Opening the show with one of The Dead’s earliest staples, the band tore apart a thirty-minute version of the classic, “Viola Lee Blues.”  The start of the song drew a huge roar from the crowd, but as the band improvised through several distinct jams, people began to be floored by what they were witnessing.  Never did anyone think they would step on stage and dive into the improvisational trenches with the coherency that they did.  As the band wrapped back around to the final drop back into the song, they had already brought the audience on a wild psychedelic adventure that no one could believe.  Quoting nugs.net, “The “Viola Lee” was so long and intense that many old time family members had to leave their side stage perch to go catch a breather outside The Warfield.”  And things were just getting started.

The rest of the set was highlighted by the appearance of  “Cosmic Charlie,” and the improbable combination of “Wolfman’s > Uncle John’s Band.”  When the first notes of “Wolfman’s” bellowed over the crowd, the Phish sector of fans were overjoyed- we had our answer- the band would be integrating Phish songs into the predominantly Dead-based sets!  As the band moved out of the composed section of “Wolfman’s” they entered some incredibly patient improvisation that led beautifully into a scorching 24 minute adventure of “Uncle John’s Band” that was a high point of the night.

It is quite hard to nail down “highlights” of these shows, as every single song could be considered one.  The level of musical communication and improvisation was stunning for a group of musicians who had practiced together for only a short time.  The aspect of the music that was so surreal was hearing Trey and Page’s familiar styles and licks integrated seamlessly into the milieu of Grateful Dead music.  Hearing Trey back Kimock and Phil with his signature rhythm licks, or hearing him solo within the context of this music was pure magic.  Unintimidated by standing on Garcia’s legendary stage, Trey let his mojo flow, emerging with some of his best-ever playing.  The interplay of Trey and Kimock was sublime- the two guitarists were so focused on each others’ offerings, they often stood on stage staring at each other while shredding intertwining lines.  The entire experience had the audience silent and in awe of the group’s musical theatrics.  I don’t remember ever being more focused at any live music experience in my life, as the shows were quicky surpassing anyone’s expectations.  And that was just the first of six sets.

“Sugaree” provided the first standout segment of the second set as Kimock and Trey exchanged intense solos.  Integrating Bob Dylan’s late ’60s anthem into the set, they gave a cross-generational nod to the culture The Dead and Phish had collectively carried into 1999.  Trey sang and played on a poignant version of “Row Jimmy,” treading on sacred Garcia territory and doing it justice before the band drove into an extended funky escapade down “Shakedown Street.”  The band flowed smoothly throughout the first part of this jam and then brought the music far deeper, beyond the song’s traditional textures.  Eventually, they coyly segued into “The Wheel” in classic late-second set Grateful Dead fashion.  Crafting these sets with intention, the band used one of the Dead’s staple show closers to end night one with a brilliantly played “Not Fade Away.”  To describe in depth the musical spirit that filled The Warfield on this night would be futile, as the the magic that hung in the room was tangible.  It was heavenly- and there were still two more nights to come.

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4.16.99

Everyone stepped into the theatre on the second night much more clued in to what would happen.  But the way in which the improv would progress over these nights, no one could predict.  This middle show was a virtual greatest hits performance of The Dead’s history, while the band also blended in the best version of “Prince Caspian” ever played, and a rhythmic-focused “Chalk Dust” to the delight of the Phish minority in the crowd.

As the curtain rose, the night started with the thrilling triumvirate of  “Help On the Way > Slipknot > Franklin’s Tower,” with an insanely intricate jam coming in “Slipknot.”  As the twisting imrov ended and the entrance into “Franklin’s” was lined up, the crowd readied themselves for the melodic arrival.  As Page took lead vocals beautifully on “Franklin’s Tower,” night two couldn’t have started out any better.

After stops in Pink Floyd’s “Wish You Were Here” and “Tennessee Jed,” one of the most powerful moments of the three nights took place.  These entire shows were in the memory of The Grateful Dead’s peerless musical tradition, owed in large part to Jerry himself.  To honor Garcia in his own home, the band entered a painfully soulful rendition of “Stella Blue”- one of Jerry’s most revered ballads.  Yet as the band played the song, Kimock’s guitar sang the lyrics, leaving the space for Jerry’s spirit to fill the air.  An ultimate tribute to the fallen hero, the band offered this spiritual gift with utmost care.   Following these incredibly emotional moments, the band busted into one of The Dead’s older fan favorites, “Alligator,” bringing some upbeat improv and signature Trey funk to the table.

Spirits soared with the fantasy setlist and the quality of music that was coming from the stage- no one ever expected it to be this good.  While it was unknown how the band would interact before the shows started, it was plain to see that they were locked into each other’s playing and enjoying the adventures every bit as much as we were.  The one unknown (for me) before the shows- drummer John Molo- was proving to be a master of his craft, complementing, framing, and adding to the music as masterfully as anyone could.  An astounding drummer, his work enhanced the band’s sound throughout the weekend.  Everyone at these shows were now immersed in the thick of the three night run.  With three memorable sets down, and three to go, the midpoint was like being wedged in the middle of a dream.

The second set of this night was one of the strongest of the run, boasting incredible jams in every song.  As Donna Jean joined for parts of this set, they opened with the catchy “Bertha” to get things started in joyful fashion; but what came next, nobody was expecting.  Out of all the Phish songs that Trey could have chosen to bring to Phil’s shows, he chose “Prince Caspian,” one of his favorites, yet a song that is hated on by more than a few Phish fans.  But when this band took a more patient and rhythmic approach to the song rather than the two-chord, heavy guitar themed Phish version, pure wonderment was the result.  Credit Kimock for lending his amazing playing to this version, working with the rest of the band to create the best “Caspian” ever performed.  Cerebral and transcendent, this mellow approach to the song seemed to fit the vibe perfectly, and any questioning of why Trey chose this song dissipated instantly with the onset of the emotive and gripping improvisation.

The next combination of songs were some of the most hallowed in Dead history, as the band delved into “St. Stephen > The Eleven” followed by Phil’s “Unbroken Chain.”  Each segment of improvisation grew more impressive than the last as the band began to gel more and more throughout the course of the three nights.  The tightness and serene quality to their jamming was unfathomable- until you remembered who the people standing on stage were.  Upping the ante with each masterpiece they dusted off, the improv took on a distinctly hybrid quality- integrating elements of both The Dead and Phish’s style of jamming, with a result that was remarkable.  To hear Trey shred apart “St. Stephen,” mixing his searing lines with Kimock’s more Jerry-based tone created an amalgam of sound that was overwhelming.  As they moved into “The Eleven,” a melodic rush of energy infused everyone in the room listening to the band’s cooperative playing behind Trey’s guitar narration.

“Unbroken Chain” took on a specific poignancy being Phil’s song, and having been such an elusive piece of Dead music for so long.  The band locked into some of the best playing of the night for Phil’s composition, as they created yet another stunning rendition of a Dead legend.  Again, Trey’s leads stood front and center for much of the jam, as he was completely comfortable surrendering to the flow and letting himelf go.  Following Phil’s song, they busted right into Trey’s song- “Chalk Dust Torture.”  Taking some of the rocking edge off the song, the band played a chugging version of the Phish classic whose textures landed right in the middle of both band’s music.  Following the normal composition, Kimock and Trey engaged in some intricate guitar work that brought the song far from its Phishy foundation.  The band capped the set with a spirited and heavily improvised “Scarlet > Fire,” a favorite of all fans, Phish and Dead alike.  An appropriately acoustic “Ripple” was the encore after a night of raucous psychedelic exploration.

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4.17.99

The musical peak of these three nights took place during this first set.  As the band opened “Dark Star,” The Dead’s most psychedelic epic, they announced that it was on tonight.  The band reached a fluidity during the opening half of this show that we dream about experiencing from any band.  The most stunning improv of the three nights came at the onset of this show in “Dark Star > It’s Up to You,” the latter being the only Kimock song included in the weekend.  The band played so naturally and organically through “Dark Star’s” open ended jam, creating a unique musical universe along the way.  It wasn’t quite Dead music, and it wasn’t Phish music, while Kimock and Molo also left their indelible signatures on this jam-and the weekend.

As the opening “Dark Star” jam continued, the cosmic interplay of the band leapt from the stage as one entity; no one dominating the music whatsoever.  The band remained connected and flowing like a river throughout this segment, building energy as the improv progressed.  Lost in the sonic bliss, The Warfield was silent as the band navigated some of the most beautiful music ever played in the building.

As the first jam of “Dark Star” peaked in a cascade of rhythm and melody, the band naturally landed back in the composed verse before taking the music right back out and into the shimmering intro to “It’s Up To You”- one of Kimock’s most poignant tunes.  Without knowing the song very well, this section was absolutely flooring seeing that it produced, in my opinion, the best jam of the three nights.  The blissful composition highlighted each member’s delicacy and gave way to an improvisational ride like no other.  Kimock took the lead guitar, as Trey began to chop rhythm licks behind him.  The way Phil played bass was like having another melodic lead on stage, and his interplay with Kimock during this section was sublime.  As Kimock continued his noodly lead atop the band, Trey’s added some tonal color to the jam before the band shifted gears into a darker musical palette.

At this point, Trey’s rhythm licks grew far more significant, and all of a sudden, we began to feel like we were at a Phishier show as he began to orchestrate the jam from behind the scenes.  Molo hopped on board with Trey’s grooves, and the next thing you knew, we were in a swampy Trey-led funk jam that Kimock continued painting with perfect leads.  This is pure and this is IT.  While the band swam in IT for most of the weekend, this is the jam that has been talked about most by many people as the highlight of the run.  As the band dissolved back into the composition, the crowd was in awe at what had gone down since the beginning of “Dark Star” a half an hour ago.

Coming to a stop, the band moved into the Dead’s ballad “Days Between.”  Out of the slower song, the band built a nasty Trey-led jam, creatively bringing the band back into the second verse of “Dark Star.”  Gliding through the serene musical plane, the band surprisingly segued into John Coltrane’s version of “My Favorite Things,” also covered by Kimock at the time in his band, KVHW.  This nod to Coltrane’s psychedelic mastery brought yet another historical figure into this universal musical soup.  Effortlessly moving like a jazz-fusion quintet, this was most definitely a treat for all, and another instance where Page and Kimock were collectively killing it.  After “Mississippi Half-Step,” they closed the best set of the run with a particularly stirring 22-minute version of “Birdsong” with Page on lead vocals.  This was getting too good to be true, and now there was only one set left to go.

The final set of the weekend was reserved for a run through some hallowed Dead classics- and one by Phish.  Opening the set with potentially the Dead’s greatest opus, “Terrapin Station” filled The Warfield as Trey and Phil switched off singing.  Simply magnificent, the band nailed the musical suite with both precision and emotion, basking in the mysteries dark and vast.  The ending jam of the song melded into a calm soundscape, highlighting the collective musicianship of everyone’s new favorite five-piece band.  But before long, they molded this mellow music into another climactic piece of improv, this time with Kimock taking it to the top.  It was as if the band continuously tried to create the best piece of music throughout the weekend, and they largely succeeded.

As this jam ended, a Trey loop was left in the background!?  Before we got a hold of what was going on, Phil was dropping Gordon’s bass intro to “Disease!”  Playing the melody in his own Leshy way, Phil lent a completely different feel to the song than Mike.  A slower paced version, Trey was all shits and giggles during this unique version of one of his favorite Phish songs.  “Terrapin > Disease!”  Were they joking?!  In one of the most fun surprises of the weekend, The Warfield turned into an impromptu Phish party for about ten minutes as Trey happily took front and center for his song.  Far from Phish, this interpretation of “Disease” fit congruently with the feel of the weekend.  As the music began getting quieter, the band melted back into the second verse of “Dark Star!”  Yes, that read “Disease > Dark Star.”  Combining traditions like we never imagined, the band fluidly morphed Phish and Dead songs on more than one occasion throughout the weekend.  Taking the the psychedelic epic out yet again, the band created another flowing jam, this time descending into “Friend of the Devil.”  The Garcia classic was followed by two more in “Casey Jones” and the sacred, “Morning Dew.”  The latter provided the final truly improvised piece of the weekend, and the band took us on a spiritual ride through the poignant Jerry-sung traditional ballad.  You could hear a pin drop in the theatre as the emotional jam resonated with everyone in the building.

As the band moved into a final segment of “Goin Down The Road > We Bid you Goodnight,” there was a bittersweet feeling of reverence encapsulating my mind for the most magical three nights of my life.  They say all good things must come to an end, but I didn’t want to leave.  This was different; this was a deeper magic from the dawn of time.  The encore of Phil’s own “Box of Rain” fit perfectly as the end of the an other-worldy three nights:

…It’s all a dream we dreamed
one afternoon long ago

Walk into splintered sunlight
Inch your way through dead dreams
to another land…

Walking out of The Warfield, my mind was spinning.  There was so much processing that needed to be done, and just wait till we got a hold of those tapes!  Three nights like none other in my musical career; I had been affected.  Walking out in wonder, I meandered onto “scenic” Market Street of San Francisco, and right into the rest of my life.

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“Dark Star -> It’s Up to You”

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“Prince Caspian > St. Stephen > The Eleven“

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DOWNLOAD OF THE DAY:

4.16.99 Phil and Friends @ The Warfield < LINK

4.16.99 Phil and Friends @ The Warfield < TORRENT LINK

I: Help On The Way > Slipknot! > Franklin’s Tower, Wish You Were Here, Tennessee Jed, Stella Blue*, Alligator

II: Bertha**, Prince Caspian > St Stephen > The Eleven > Unbroken Chain, Chalkdust Torture, Mountains of the Moon, Scarlet Begonias**> Fire On The Mountain**

E: Ripple (acoustic)**

*instrumental ** W/ Donna Jean Godchaux MacKay

Today marks the ten year anniversary of three of the most significant concerts in psychedelic rock history.  It was April 15th, 16th, and 17th, 1999 when Trey and Page stepped on stage at The Warfield with Phil Lesh, Steve Kimock, and John Molo for night one of the legendary Phil and Friends shows that united Phish and The Grateful Dead for the first time.  Trey and Page started out covering Dead songs in college, yet spent most of the subsequent two decades carving out Phish’s musical identity while keeping comparisons to The Dead at arms reach.  These shows represented a psychedelic homecoming for our two Phish heroes, both who revered the work of the San Francisco legends.

These three nights also represented the spark of Phil Lesh’s solo career in earnest, marking his first shows back from liver transplant surgery five months earlier.  Although there had already been Further Festivals, The Other Ones, and a couple interesting Phil and Friends shows, many in the Dead community point to this three night run as the beginning of Phil’s return to prominence.

But more than anything, these shows marked the union of The Grateful Dead and the Phish scenes, two groups that didn’t always see eye to eye.  Many in The Dead community grew bitter towards Phish and their scene, viewing them as watered-down imitators of their counter-culture gods.  Additional segmentation occurred after Jerry died, as many Dead fans decided to turn to Phish, while others just turned a cold shoulder.  It almost felt as if you had to have an allegiance to one band or the other- not both.

But then one night in 1998, everything changed.  When Phish declared both their reverence for, and independence from, The Dead by covering “Terrapin Station” on the third anniversary of Jerry’s death, the door for this union swung open.  Comfortable with their own place in music history, Phish no longer needed to shy away from the music and culture of their forebearers, And less than a year later we were at The Warfield.

As the rumor began to spread of these shows, it was hard to believe at first.  Trey and Page were going to play three nights of Dead music at The Warfield with Phil?!  A feeling of historical awe came with the notion, and the possibilities were endless.  When the rumors were finally confirmed, the mission for tickets to this once in a lifetime event was on!  Having scouted a Ticketmaster outlet and driven hours upon hours into the middle of nowhere in the central part of Northern California, our plan came to fruition as we were the as the second and third people in line at a grocery store in Yuba City.  (A scalper was first. ) Leaving the store with tickets in hand to all three nights, the long drive back to Santa Cruz was one of the happiest road trips of our lives.

As the time leading up to these shows grew shorter and shorter, the question of what they would be like became the center of most conversation.  With Steve Kimock, a Garcia prodigy who was known for his ability to channel the sound of his mentor, and Trey on stage together, one thing was for sure- it would be a showcase of virtuoso guitar work.  But would the band gel?  Would they jam coherently?  Would it be intense?  Sloppy?  These questions swirled in both bands’ communities.  Then there was the question I deemed absurd at the time- would they play Phish songs? “No chance!”, I thought- these were Phil’s gigs, we were just along for the ride.  Regardless of anyone’s musical expectations- no matter how high- these three nights blew them straight out of the water.

With a sense of the historic implications, the inspriation that they represented to so many people, and ridiculous musical skills, the band created three nights of absolute, unadulterated magic.  The band approached every hallowed piece from The Dead canon with similar reverence, drill-bit focus and desire to create something special- and each and every time, they did.  Virtually every song over these three nights represented a sacred part of The Grateful Dead’s cultural wake, and the band members collectively treated each piece with full-on dedication; what resulted was simply remarkable.  For three nights, Phil, Trey, Page, Kimock, and Molo captivated The Warfield audience beyond anyone’s wildest imagination, scripting a psychedelic fairy tale for the ages.

Stay tuned the rest of this week for the rest of a three-part series looking at these magnificent and powerful evenings!  Coming Up: The Shows and The Aftermath.

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“Wolfman’s -> Uncle John’s Band” 4.15 II

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DOWNLOAD OF THE DAY:

4.15.99 Phil & Friends @ The Warfield, SBD < LINK

4.15.99 Phil & Friends @ The Warfield, SBD < TORRENT LINK

Over the next three days I will be featuring 24-channel multitracked SBDs of these epic evenings at The Warfield. These are some of the most pristine recordings you’ll ever hear of three truly poignant and powerful evenings of music.  Today we feature the first one.  Before set one, Phil, his sons and Kimock on Strat sang “Hello Old Friend” (Eric Clapton) in front of the curtain to thunderous applause welcoming Phil back.  Check out tomorrow’s post for an overview of the show.  Fyi, “Viola Lee Blues,” and “Uncle John’s Band” are insane.

I: Viola Lee Blues, Big Railroad Blues, Jack-a-Roe, Cosmic Charlie, Wolfman’s Brother > Uncle John’s Band

II: Alabama Getaway, Sugaree, Like a Rolling Stone > I Know You Rider, Row Jimmy, Shakedown Street > The Wheel > Not Fade Away

E: Mr Tambourine Man

July 4th Phish- an idea as American as apple pie- yet throughout their entire career, Phish and The 4th of July only met twice.  While New Year’s Eve and Halloween were sacred placeholders in the Phish calender, the band traditionally skipped the summer holiday.  From their inception through 1998, they had never hosted a birthday party for America.  But finally, in 1999, the band changed this pattern and merged two of our favorite summertime celebrations.  Once announced in ’99, everyone circled the two-night stand at Lakewood as must see shows, marking the first occurrence of patriotic Phish.

Coincidentally, July 4th was the fourth show of the tour, and the band followed up a strong July 3rd outing with a classic second set to celebrate our freedom and our way of life.  Foll0wing an underwhelming first set, everyone knew the second half was going to blow up huge.  There is a certain excitement to a set break after the band has played a straight-forward opening frame.  On this night, you just knew that the second set would be one to remember.  Throw in the significance of the national holiday and you had a recipe for some Phishy fireworks.

The opening “Ghost > Slave” combination of the second set traveled the spectrum of Phish music, from the darkest dance grooves to the most cathartic peak.  An adventure all unto itself, this portion of the show was a high point of the entire summer.  Transforming the patient bulbous rhythms of “Ghost” into the sublime opening melodies of “Slave,” Phish passed through some of the most stunning musical moments to emanate from their stage and accomplished one of the greatest segues in band history.  As they slid into the beginning of “Slave,” the transition was so smooth you almost didn’t realize it was happening- then just like that- you found yourself swimming in the song.  This was one of those moments that was so surreal, you couldn’t really know what was happening.  Akin to the emotional dynamic of “Disease > Mike’s” from Raleigh ’97, thoughts ceased and feelings flowed.  Pure inner emotion rose  as Phish orchestrated the masterful transition while channeling the higher powers.  It was this psychedelic joyride that provided the poignant musical depths of the second set; from here on out, things would feel more like a party.

Using “Horse > Silent” as a composed interlude, Phish promptly moved into one of the summer’s staple soundscapes- “What’s the Use?”  Off the recently released “Siket Disc,” Phish used the eerie song to create an ominous, post-apocalyptic vibe.  Answering their own call, the band followed with a rare, mid-set “Wilson,” getting the crowd re-juiced for what was to come.  Getting downright dirty in the “metal” section, the energy at Lakewood took on an entirely new quality at this point.  About midway through the song, I thought that it was the perfect set up for the drop into a late-set “Mike’s”- and lo and behold, the band and I were on the same page.

Imploding the pavilion with its opening riffs, “Mike’s Song” had everyone primed for blast off.  And when we launched, it was good.  Progressing from sinister to straight up candy-grooves, the “Mike’s” jam provided the most slammin’ dance music of the night to cap the show.  Moving into “Sleeping Monkey” then “Weekapaug,” Phish had put on quite the celebratory bash.  Returning for the encore, they segued out of “Carini” into a “Meatstick Reprise,” returning from its debut the night before.  Wrapping up the weekend in fine style, Phish emerged for their second encore in stars and stripes to wish the country a happy birthday with “The Star Spangled Banner.”  Following a night full of musical fireworks, there were some real ones, taboot.

Phish followed up their lone July 4th performance with another the very next year.  This time, capping a two-night stand at Camden, Phish churned out one of the most improvisational sets of the summer as a tribute to Uncle Sam and the birthplace of America across the river in Philadelphia.  On the heels of ’99′s July 4th throwdown, one could sense this would be more than your normal show.

Phish’s second consecutive July 4th set differed from the heavy song-based jamming in ’99, and morphed into an improvisational journey through several Phishy realms.  Seemingly a joke, the band opened their holiday set with the 108th “Gotta Jibboo” of the summer.  Pushing this tune as if it were a top forty hit, the band was bringing it out every other night of tour.  One might have thought that July 4th would have been an exception, but it wasn’t.  However, the constant repetition of the song was soon forgotten when the jam kicked in.  Spring-boarding into a high paced and celebratory jam, the band stayed within the song structure for a while before departing into some faster, funk-based, rhythms resembling a summertime “Antelope.”  This section of the jam highlighted hard-hitting grooves before giving way to a darker and more abstract feel.  Gradually spinning this jam into the introductory rhythms of “I Saw It Again,” Phish had taken the most commonplace song of the tour and turned it into a 30 minute epic.

Juxtaposing the grooves of “Jibboo” withe the heavy rock and roll of “I Saw It Again,” the band continued their musical contrast as they wound their improv towards hints of “Magilla?!”  Yup- right out of 40 minutes of madness, Phish slid into Page’s jazz composition; some cool relief to the hairy adventure that had preceded.  As the bebop subsided, the band opened the ambient intro to another Summer 2000 anthem, “Twist.”  Wrapping up the standard “Twist” textures, the band continued to improvise into a dark and slow medium, potentially hinting at a colossal July 4th Free.  This ominous music progressed into seemingly composed improv, as the band offered evil and abstract music on this celebratory day.

Yet, when the darkness wound down into a dronish silence, the opening notes of “Slave” were barely made out behind the sonic residue.  Returning the set to a point of triumph, this “Slave” provided the melodic peak to the entire set.  Nodding at ’99′s epic version, Phish built the set-closer while raising the roof with their musical arrival.  Chock full of improvisation and supported by the biggest anthems of Summer 2000, this set never lagged for a second. Topped with a double encore of “Lawnboy” and “Good Times, Bad Times” (complete with an in-pavilion rhythmic fireworks intro!), this July 4th show was one that would go down in history.

With Phish’s flair for the dramatic, it is certainly odd that we haven’t seen more July 4th parties over the years.  Perhaps the band always reserved the date for their own backyard barbecues; we will never really know.  With no show scheduled this July 4th, 2009, one wonders if we will ever see another Phish show on America’s birthday.  Regardless, no one can take away our two outstanding evenings of patriotic revelry in Atlanta and Camden in the waning years of the 20th century.

=====

DOWNLOADS OF THE  DAY:

7.4.99 Lakewood, Atlanta, GA < TORRENT LINK

I: My Soul, Ya Mar, Farmhouse, The Oh Kee Pa Ceremony > AC/DC Bag, The Wedge, Vultures, I Didn’t Know, Fast Enough For You, David Bowie (1:23)

II: Ghost > Slave to the Traffic Light, The Horse > Silent in the Morning, What’s the Use, Wilson, Mike’s Song > Sleeping Monkey > Weekapaug Groove

E1: Carini,  Meatstick Reprise*

E2: The Star Spangled Banner#

*Chorus-only reprise; with crew and fans on stage doing “The Meatstick Dance”; after the song, others leave Trey and Mike on-stage to do the dance alone. #A cappella; band in stars-and-stripes (Fish: boxers; Trey and Page: pants and vests; Mike: tank-top underneath, revealed during the song); ended with eruption of fireworks.

Source: Schoeps cmc6/mk4v > Lunatec V2 > Tascam DA-P1 (@ 48 kHz)

***

7.4.00 E Center, Camden, NJ < TORRENT LINK

I: Star-Spangled Banner*, Farmhouse, Rift, It’s Ice**, Bouncing Round the Room, Stash, Lizards, The Man Who Stepped Into Yesterday > Avenu Malkenu > The Man Who Stepped Into Yesterday, Julius

II: Gotta Jibboo > I Saw It Again > Magilla > Twist,  Slave to the Traffic Light

E: Lawn Boy##, Good Times Bad Times

*A cappella. **With “Star-Spangled Banner” teases by Trey. ##Page wished everyone a Happy 4; then pyrotechnics went off on stage and in pavilion.

Source: Unknown

After watching and re-watching The Clifford Ball DVDs a few times, I’ve got to tip my hat to the band for their best piece of merch ever. (Well, right after the Assface poster at least!)  Filmed with an unparalleled intimacy, one can really get a feel for the shows in a way most of their other DVDs have lacked. Likely due to the poignant and unique subject matter, they certainly did this release up right!

With seven DVDs, a 52-page booklet about the festival, and a set of commemorative post cards taken in Plattsburgh that weekend- all packaged perfectly in a slide-in case, this is one of those possessions that feels good to hold.  And then you put it on.  All of a sudden you are shot back to 1996 as the festival opens with “Chalk Dust.”  You remember exactly where you were as the camera pans out over the endless sea of people, and you are enraptured once again.

I know for me, I never watch the band at the show.  Unconcerned with their largely motionless silhouettes, watching DVDs of shows is like reliving the experience from a completely different perspective.  And the quality of these particular shots are simply to-die-for.  Being able to watch the Clifford Ball “Hood,” “Slave,” Mike’s” and all the other monster highlights from a closeness never imagined is completely novel.  The goofy expressions on their faces, or how fast their fingers move- things I simply don’t see at a show- become a whole new part of the experience.  It’s like Phish-up close and personal in your living room- literally.

Shining through on these DVDS is the quality of musicianship that took place all weekend long back in August of 1996.  Having not listened to The Ball in quite some time, I was struck by how consistently on point the band throughout the festival, for six straight sets.  After watching the shows, I remembered just how many highlights there were beyond the weekend’s handful of go-to jams.

Beyond the music, however, The Clifford Ball was a reinvention of the concert experience, and this aspect of the weekend is not lost.  Covered in depth by Parke Peterbaugh in a well-written essay and through an entire DVD full of extras, you get to spend quite some time behind the scenes.  Perhaps the highlight of the package, the extra footage contains lengthy interviews with a far younger Phish, a documentary about The Clifford Ball experience, and great footage of both The Flatbed Jam and soundcheck.  Trey discusses how they saw the festival as an opportunity to play at all different times of day, and that the late-night set was one of his favorite.

If you haven’t already seen these DVDs, I highly recommend checking them out.  Hours upon hours of entertainment for any fan, these DVDs chronicle the beginning of Phish’s legendary festivals and the creative energy that went into making such a special weekend.  The beginning of a new era in Phish history, so much started right there on the grounds of The Clifford Ball.

(Photos- Press Rebublican.com)

***

“It’s Ice” 8.17.96 The Clifford Ball DVDs

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DOWNLOAD OF THE DAY:

6.25.95 Mann Music Center, Philadelphia, PA SBD < LINK

6.25.95 Mann Music Center, Philadelphia, PA  SBD < TORRENT LINK

This weekend in 1995 saw the Grateful Dead fizzling out just down I-95 at RFK, while Phish was shredding apart Philadelphia’s Fairmont Park like it was their psychedelic playground.  This show is the second of a two-night stand that was among the highlights of the summer.  Enjoy the SBD.

I: Ya Mar > AC/DC Bag, Taste, Theme From the Bottom, If I Could, Sparkle, The Divided Sky, I Didn’t Know, Split Open and Melt

II: Maze, Sample in a Jar, Scent of a Mule, Mike’s Song > Why Don’t We Do It in the Road > HYHU > Jam > Weekapaug Groove, Amazing Grace, Cavern

E: Bouncing Around the Room, Slave to the Traffic Light

Source: SBD > DAT > Cass/1 > Nakamichi CR7 > Lucid AD9624 > AES/EBU > Fostex D5 @48kHz

Before Phish embarked on their Fall Tour in 1998, they played a variety of gigs leading up to The Greek Theatre.  Phish first stopped at Farm Aid, in Chicago, a one set show that saw Neil young sit in for the second half of the set.  From there, the band played an intimate show at San Francisco’s legendary Fillmore Auditorium, featuring an extensively jammed first set and a more concise second.  Finally, Phish played two acoustic sets at Shoreline Amphitheatre as part of Neil Young’s Bridge School Benefit. The first night saw Neil join the band for “Harry Hood > Helpless,” and the second saw vocalist Sarah McClaughlin sit in for multiple tracks.

***

10.3.98 Farm Aid, Tinley Park, IL < LINK

10.3.98 Farm Aid, Tinley Park, IL < TORRENT LINK

Birds of Feather, Farmhouse, Moma Dance, Runaway Jim* > Arc** > Down By the River***, Moonlight in Vermont#, Will the Circle Be Unbroken##, Amazing Grace, Uncloudy Day

*Neil Young came out, plugged in, and started playing just prior to the final chorus. **Members of the Neil Young newsgroup are labeling this jam as “Arc” (“Arc” is the name of a sound collage culled from performances on Neil’s 1991 tour and released as a companion to the “Weld” live album). ***26 minutes. # w/ Willie Nelson and Paul Schaffer; Nelson on lead vocals. ##Joined by four Native Americans.

Source: Unknown

***

10.15.98 The Fillmore, San Francisco, CA < LINK

10.15.98 The Fillmore, San Francisco, CA < TORRENT LINK

I: Ghost, Water in the Sky, Wolfman’s Brother, Gumbo, David Bowie, Brian and Robert, Reba > Character Zero

II:My Soul, Chalkdust Torture, Roggae, The Moma Dance, Wading in the Velvet Sea, Prince Caspian, Frankie Says, Birds of a Feather, Lawn Boy, Harry Hood

E: Dirt, Limb by Limb

Source: AKG 414 (hyper)->Sonosax and AKG CK-61 caps->JK Labs DVC mixed into a Roland MX-5->SBM-1

***

10.17.98 Bridge School Benefit, Shoreline < LINK

10.17.98 Bridge School Benefit, Shoreline < TORRENT LINK

Carolina*, Sleep**, Never**#, Possum, I’m Blue I’m Lonesome***, Freebird##, Driver**, Wading in a Velvet Sea, Harry Hood^ > Helpless^^

All songs were played acoustic *A cappella, with backs to the audience, facing the children of the Bridge School who were seated on risers behind the stage. **First time played (original). #Title uncertain. ***Mike on banjo; Page on bass. ##A cappella; last played 06-19-94, 337 shows earlier. ^Unfinished; Neil Young joined Phish on stage (on guitar). ^^First time played; with Neil Young.

Source: Schoeps CCM4>Aerco>SBM>DAT>CD

***

10.18.98 Bridge School Benefit, Shoreline, Mt. View, CA < LINK

10.18.98 Bridge School Benefit, Shoreline, Mt. View, CA < TORRENT LINK

Hello My Baby*, Billy Breathes, Piper, Roggae, Loving Cup, Albuquerque, The Old Home Place**, Guyute, Brian and Robert, Sad Lisa#, Four Strong Winds##, I Shall be Released^

*A capella, backs to the audience, facing the children of the Bridge School who were seated on risers behind the stage. **Page on bass; Mike on banjo. #First time played (Cat Stevens) ; Trey and Sarah McLachlan on vocals. ##First time played (Ian Tyson song which appears on the Neil Young album “Comes a Time”); Sarah McLachlan and Neil Young on vocals. ^First time played (Bob Dylan); Page, Neil, and Trey each took a verse; Sarah McLachlan on guitar.

Source:  Schoeps CCM4 > Aerco > SBM

=====

VIDEO OF THE WEEKEND:

“Oh Kee Pah > Suzy” Hampton (Silverchair97)

Once in a while, Phish will play a jam where every note falls in the right place.  Fluid and flowing in the subconscious state, the band becomes a model of musical efficiency, using each note with intention; nothing is superfluous.  The music is channeled directly from the source, untouched by human error.  Each tone, texture or sound has a purpose, and there is no part of the jam that isn’t completely coherent.  When all four members peak together for twenty minutes, the results can be glorious. A jam can- no doubt- be outstanding without this level of perfection, yet every now and again a version of a song pops off in such a way, leaving you amazed that four humans just created it.  There are many examples of this phenomenon, and 12.29.98′s “YEM” is one of them.

Punctuating arguably the best set of the ’98 New Years Run, Phish morphed into a robotically-precise groove machine, transforming Madison Square Garden into an all-out, end of the year, dance party.  This “YEM,” from its first note to its last, never missed a beat; a model of collaboration.  With communication like none other, this version sounded like you were listening to a record.

The initial composed portion was played almost impeccably, at a pace where every note of every arpeggio could be heard with crystal clarity.  Moving into the blissed out soundscape- the calm before the storm- the band never faltered, providing divine harmonies, yet moving through the passage with direction and a subtle sense of urgency.  As Phish moved into the next compositional segment, followed by the song’s mid-point build, they were firing on full throttle, without getting ahead of themselves for a second.  The pace of their playing was discernibly patient, yet fierce at the same time.  As Mike played a series of melodic lines behind Trey’s massive sustained peak, The Garden was cleared for take off- and that is exactly what it did.

From the initial funk drop though the end of the song, the band’s playing was flawless.  Moving through the lyrical segment and Page’s solo during the trampoline section, the band was clearly locked in and ready to explode.  And then Trey and Mike jumped off.  Communicating with mind-bending efficiency, the ensuing jam sounded completely rehearsed.

Beginning a clinic in Phish grooves, Trey initiated a crack-style rhythm pattern that Mike immediately backed with “The Way I Feel’s” bass line.  As the band moved into the jam, every member’s phrases were offered as complements to each others’, clearly listening as hard as they were playing.  Collectively switching patterns at the drop of a hat, or more literally a single snare hit, the band progressed through a catalog of dance patterns.  The music jumped from the stage with such vitality as a living breathing entity.   Dynamic and bursting with a controlled energy, this version showcased the band not only at the climax of a standout show, but at the end one of the peak years of their career.

Artistically building out of the funk, the jam gained a head of steam, driving forward like a freight train, with every member crushing it while fitting together like a jigsaw puzzle.  Page’s lines leapt from his grand piano, Trey painted colorful strokes across Mike’s oddly melodic musings while Fish surfed a wave of precise beats and incredibly tight rhythms.

The peak and the post-peak sections maintained 100% engagement by all, and were good to the absolute last drop.  With each band member at the top of their game, this version of their seminal piece provided a snapshot of what 1998 Phish grooves were all about.  An archetype of efficiency, this “YEM” represents the type of jam that emerges when everything clicks and no notes are wasted.

***

LISTEN TO 12.29.98 “YEM” NOW! < LINK (Roll over, click play)

***

3.6.09: Photo: C. Taylor Crothers

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DOWNLOAD OF THE DAY:

4.10.93 Aragon Ballroom, Chicago, IL SBD < LINK

4.10.93 Aragon Ballroom, Chicago, IL SBD < TORRENT  LINK

Taking it back exactly 16  years, here we have a SBD memoir of Phish’s performance on this day in 1993.  In Chicago, the band threw down a hot show, with a big “Mike’s Groove” strewn with humor, darkness, and an interlude of “Great Gig In the Sky” holding down the second set.  In addition, local blues artist, and multiple-time Phish guest, Sugar Blue, joined the band for the final four songs of the second set.

I: Runaway Jim, Weigh, Sparkle, Split Open and Melt, The Squirming Coil, My Friend My Friend, Uncle Pen, Chalk Dust Torture, Lawn Boy, David Bowie

II: Lengthwise > Maze, Bouncing Around the Room, Rift, Glide, Big Ball Jam, Mike’s Song > Great Gig in the Sky > Weekapaug Groove, Funky Bitch*, Help Me*, Hoochie Coochie Man*, Cavern*

E: Amazing Grace, Good Times Bad Times

*With Sugar Blue on harmonica and vocals.

“So where are you off to for the next two weeks?”

“I’m heading to see some concerts.  You ever heard of Phish?”

“Fish?  Country Joe and the Fish?”

“No, just Phish- with a PH, not an F. Have you heard of the Grateful Dead?”

“You mean Jerry Garcia and those guys?  The hippies? ‘Touch of Grey?’”

“Yeah, them.  Well, Phish are sort of like them.  They tour extensively, never repeating a show, and they improvise on almost all their songs.  But their music is very different.”

—-

If you’ve ever tried to discuss Phish with an innocent bystander over the past couple decades, odds are your conversation went something like this.  Virtually impossible to describe to someone who has never heard of them, the Grateful Dead was often your first attempted reference point.  Generally people understood this comparison, and since their inception it was this constant comparison to the Grateful Dead that pigeonholed Phish as just another hippie band.

The comparison had validity on many levels, as both bands centered their shows around improvisation.  Phish inherited the Dead’s counter-culture that originated in the 1960s and carried it into the next millennium.  Phish were seen as the “new” Grateful Dead- thousands of fans would follow them around the country, hawking goods, creating impromptu parking lot parties, and living outside of mainstream society.  Psychedelic exploration and self-discovery were ingrained in both scenes, causing American culture to view both groups of fans as fringe elements of society.  “Those dirty hippies and their drugs!”- it was very easy to lump the Phish phenomenon in with the trail blazed by Garcia and the Dead.

Yet it was this comparison that Phish could never escape for most of the 1990s.  While their music vastly differed from The Dead, this was often ignored in favor of the cultural similarities.  The mainstream media failed to recognize the importance of Phish early on, and they were generally categorized as just another band with legions of dreadlocked, drop-out fans.  Thus, Phish spent most of their early career steering their band as far away from The Grateful Dead as possible.

While The Dead were highly allegorical, using Americana folk myth and heartfelt storytelling to recount symbolic life lessons of an age gone by, Phish created a fantasy land called Gamehendge, formed their concert experience around wackiness and fun, and wrote songs about silly topics with unparalleled musicianship.  The Grateful Dead’s music served as the spiritual soundtrack for a cultural movement, while Phish’s music adopted a more entertaining and light-hearted quality, centered on reinventing what was possible in the concert experience.  Rooted in jazz improv rather than the folk and bluegrass building blocks of Dead music, Phish’s shows possessed a different kind of energy; a faster, quirkier pace squarely centered on mind-fucking fun.  Without judging one band over the other, their show experiences were completely different, and this is what so many non-fans didn’t understand.

Ironically, Phish started as a cover band in college, playing many Grateful Dead songs.  Self-avowed Dead fans, Phish played the music of their mentors, mirroring their songs while beginning to forge their own style.  Yet, as the band began to grow, the Dead and Phish comparisons grew with them- something that Phish wanted to distance themselves from.  No one wants to be thought of as a knockoff, and Phish certainly wasn’t, yet they had work to do to establish their independent legacy, separate from their ’60s predecessors.  Thus in 1987, while still integrating the songs of other artists, they stopped covering the Grateful Dead.  If one thing would keep Phish tied to The Dead, it would be playing their songs, therefore, as newly scribed songs were added to the band’s catalog, the Dead covers slipped away.

Over the course of the next decade, Phish would continue to forge their own scene, yet the comparisons never stopped.  Especially before 1995, when The Dead’s career came to a sudden halt, many jaded Deadheads and the mainstream media saw Phish as Dead imitators.  But anyone who knew Phish at this time understood that any similarities between the bands centered on the fan culture and parking lot scene; once inside, the concert experiences were wholly different.  Sure, both bands had psychedelic light shows and improvised like fiends, but that’s where the similarities ended.

Phish’s music was so different than The Dead’s music that the constant comparisons seemed absurd.  But these overly-general connections continued, and consequently, the band kept Dead covers, and even songs whose sound resembled The Dead, at arms reach.  During the early ’90s, Phish battled to stay separate from these categorizations, and in the late ’90s, the band finally established their own legacy in the eyes of music fans and the music industry.  Once The Grateful Dead were gone, Phish willingly inherited their rightful crown as heads of modern hippie culture.

It was at this time that many Dead fans shunned Phish, refusing to “give in” to any other improvisational unit.  Others happily crossed over, realizing the power and uniqueness of Phish, while some fans remained in no-man’s land, refusing to commit one way or the other.  Yet by the time 1998 rolled around, Phish had carved out their own musical niche, and achieved recognition for their own virtuosic music.

During the summer of 1998, Phish went on a rampage of busting out one-time covers of their favorite songs.  Zeppelin’s “Ramble On,” Velvet Underground’s “Sweet Jane,” Jane’s Addiction’s “Been Caught Stealing,” Smashing Pumpkins’ “Rhinoceros,” and The Beastie Boys’ “Sabotage” were some of the entertaining pieces that Phish featured during July and August.  But late on the night of August 9th, things would change forever.

Phish had just finished a tremendous set in Virginia Beach, featuring a summer highlight in “AC/DC Bag,” and smoking versions of “Antelope” and “YEM.”  Although there had been a buzz earlier in the day about the third anniversary of Jerry’s passing and what might happen, nothing had materialized musically.  The same rumors floated around Alpine Valley the summer before on August 9th to no avail.  Thus all anyone expected was a conventional encore before heading north to Star Lake.  Yet what was coming was anything but routine.

As Phish retook the stage for the last song of the night, wide-eyed fans mulled about clapping and killing the moments before Phish restarted.  As the band readied themselves, the crowd quieted, and then, like a dream that could simply not be real, Trey began the opening chords of “Terrapin Station.”  My mind had a mental disconnect, as I knew the song by heart, but didn’t understand how it was coming from the stage.  The melody was so familiar- what was it- “OH MY GOD!”  That thought process took all of about half a second as I rushed into the lower pavilion from the walkway that separated the lawn.  Staring at the stage in disbelief, goose bumps covered every inch of my skin, just as they are right now as I recall this magical episode.  Phish was playing “Terrapin!”  Virtually unfathomable, my ears and eyes certainly weren’t lying as Phish broke out the biggest surprise of the summer.  My eyes fixated on the stage, watching every moment unfold in its grandeur, in possibly the most surreal moment of my Phish career.

After the show ended, I sat on the lawn outside the venue speechless.  My friend, Patrick, and I looked at each other, but couldn’t manage to speak a word.  The magnitude and symbolic nature of what had just happened was overwhelming.  After years and years of establishing their independence from The Dead’s legacy, they had finally done it.  Covering “Terrapin Station,” one of The Dead’s most revered epics, while a clear homage to Jerry, also represented Phish saying, “We made it!”  They were their own band- Phish was Phish in the eyes of all- no longer “that band that was like The Grateful Dead.”  Comfortable with their own place in music history, Phish now honored their heroes instead of trying to escape their cultural wake.

It was all different now.  Following years of speculation, Phish had finally covered The Grateful Dead in the ultimate announcement of self-confidence and reverence.  Having accomplished their mission that began in the mid-80s, Phish had morphed into, and was recognized as, their own phenomenon; unfettered by genre and driven by their own musical innovation.  Driving off into the summer night, the feeling of awe was undeniable.  Among all of the special nights that comprised Summer ’98, this one stood alone.

***

LISTEN TO 8.9.98 “Terrapin Station” NOW! < LINK                                   (Roll over link, click play)

***

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DOWNLOAD OF THE DAY:

5.16.95 Memorial Auditorium, Lowell, MA < LINK

5.16.95 Memorial Auditorium, Lowell, MA < TORRENT LINK

In this one set benefit show, Phish took the opportunity to unveil seven new originals, several of which would go on to become Phish classics.  The debuts included “Free,” “Theme From the Bottom,” “Spock’s Brain,” “Ha Ha Ha,” and “Strange Design.”  In addition, this show features the sole performance of “Glide part II” (aka “Flip”).  In between all the new material, Phish threw down one of the most sublime versions of “Reba” ever played.

Don’t You Wanna Go*, Ha Ha Ha* > Spock’s Brain*, Strange Design*, Reba, Theme From the Bottom*, HYHU > Lonesome Cowboy Bill* > HYHU, Free*, Glide II* > You Enjoy Myself, Sweet Adeline, Sample in a Jar

E: I’ll Come Running* > Gloria*#

Voters for Choice Benefit. *First time played #One verse only; for Gloria Steinem.

Beyond sets, songs, and jams, Phish shows are made up of a series of moments.  Some of these moments seem frozen in time, allowing us to soak in the energy before moving on.  One of the special aspects of a Phish show is that everyone holds different moments in their hearts.  The band’s musical snippets and licks speak to everyone differently, personalizing the communal experience of a show.

These Phishy moments are those split seconds where you think you might explode from being so happy, so excited, so pumped and “in the now;”  those times where your thoughts transform into physical sensations and shoot through your soul, reminding you of just how real your experience is.  Often, these are the moments directly preceding colossal improv, readying you for what is about to erupt.

While improvisational triumphs are the fabric of our Phish addiction, there are plenty of these composed moments within a show that speak to us in a similarly inspiring way.  Precursors to the most serious improvisation, they are signposts along the road that read, “Danger! Phish Bombs Ahead!”  While all of these soundbites are meaningless on their own, placed in the context of their respective songs, they are the gateways to the heavens.  Here are some of my favorites:

The Drop Into the “Mike’s” Jam

Few moments carry more bombastic anticipation than the back and forth guitar licks immediately preceding the drop into “Mike’s.”  Preparing for a dark and sinister adventure, when this ultimate bomb drops, my head verges on bursting every single time.  Clutching my heart with the grips of their music, Gordon pounds away his initial pattern, leading the evil march.  These initial seconds of a “Mike’s” jam comprise one of the most powerful Phish moments, as the band prepares to take us on a ride to the center of the earth.

The Antelope “Jump” Guitar Lick

As Phish busts into the onset of an “Antelope” jam, they always hit a composed groove, directing them into the thick of it all.  Yet before they make the final plunge, Trey’s signature lick to me has always represented a sprinting Antelope leaping high into the air amidst a hurried escape.  This lick, composed of few notes, is the last signal before the band descends into the depths of an “Antelope” jam.  This metaphorical lick represents the band’s launching point, while conjuring a vivid mental image.

“Thank You Mr. Hood”

This moment, in one of the band’s earliest and most defining songs, exists as a sacred point in the Phish canon.  Following a gorgeous composition and a heavy musical interlude, these lyrics, sung in harmony by the band, are the last words we hear before Phish enters one of their most uplifting pieces of improvisation.  Used as a melodic device, this lyric dissolves into the ethereal textures of the “Hood” jam.  Like magic carpet rides through divine musical atmospheres, “Hood” jams are the stuff of dreams and catharsis.  With sublime interlaced melodies that seem to derive from another plane, it is here that Phish channels the higher powers – and it all happens after thanking Mr. Hood.

The Climax of the First Half of “You Enjoy Myself”

An opus that combines the band’s eclectic composition with their loosest improvisation, “YEM” is the best of both worlds.  Often cited as the definitive piece of Phish music, “YEM” has been a staple for decades.  Connecting the divergent halves of the song is Phish’s most high-energy composed climax.  Following almost ten minutes of tight playing, Phish revs it up, not once but twice, before crashing into the colorful Jello funk with a resounding “Boy!”  Few moments in any show approach the point when Trey holds that note, staring at the sky, white beams blazing, as the band chugs beneath him.  Then comes the build- then BAM!- in a split-second the funk hits like you’ve splash landed in a pool of crystalline water.

The “Reba” Drop

Much like “YEM,” “Reba” features a ridiculously intricate opening section before loosening into a groove.  “Reba” contains some of the most complex playing in any Phish song and juxtaposed against its laid-back bass heavy jam, the composition seems even more tightly wound.  Following the fugue in the song, the band enters a pattern of collective hits that lead into the most blissful drop in all of Phishland.  As the gates to the flowing river of “Reba” are opened, you are guaranteed some of the most gorgeous music of the night.  Sailing away into a sea of euphoric grooves, paradise awaits.

The Opening Lick Of “Tweezer”

“Tweezers” routinely brings such adventure, adrenaline, and everything I am looking for in a Phish jam, that it takes nothing more than the opening guitar lick to bring me to the brink.  Especially when taken by surprise by this lick, like at Hampton’s comeback show, my heart virtually skips a beat as soon as the first note emanates from Trey’s guitar.  This level of adrenaline generally continues until the jam drops when all thought processes cease.  But that first lick of the song has been known to cause extreme reactions from me.

“An Asteroid Crashed…”

Similar to “Tweezer’s” dynamic, but not nearly on the same level, when Phish cannonballs into “Tube” with this lyric, all one can think about is the deep, layered funk that will surround them in a minute or two.  This moment was even more potent some years ago when “Tube” didn’t appear as much, and then took on new meaning as the song began to emerge as a jam vehicle.  Few moments are as universally exciting as the opening of “Tube.”

There are plenty of other moments that get all of us emotionally fired up for what is ahead, but when sifting through them all, these came out as my favorites.  Anticipation is one of the greatest emotions involved in the Phish experience.  The anticipation of waiting for shows to come, the anticipation that engulfs you all day before the show; the anticipation once you get inside the venue, waiting for the lights to go out- but none of these emotions approach the immediate anticipation of an impending Phish jam on the threshold of explosion.

What are your favorite pre-jam moments of Phish?  Share in Comments below!

Hampton – Photo: Unknown

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DOWNLOAD OF THE DAY:

10.22.96 MSG, NYC < LINK

10.22.96 MSG, NYC < TORRENT LINK

Here is the second show of a two-night stand in early in Fall ’96.  With great playing all the way through and a killer setlist, this is one of the few shows that really stood out during the pre-Halloween east coast run of 1996.  Featured are great performances of “YEM” and “Mike’s Groove” and “Disease.”

I: The Curtain > Runaway Jim, Bouncing Around the Room, It’s Ice, Talk, Split Open and Melt, Sparkle, Free, You Enjoy Myself

II: Also Sprach Zarathustra > Down With Disease, Taste, The Mango Song, Lawn Boy, Scent of a Mule, Mike’s Song > Swept Away > Steep > Weekapaug Groove*

E: All Along the Watchtower**

*With The Madison Scare Garden dancers towards the end. **With Buddy Miles on drums, Merl Saunders on keyboards, and Fish on Trey’s mini-drum kit.

Source: B&K 4021s > EAA PSP-2 > DA-P1 > D(1) – ORTF / OTS (10F10 row 5)