In this young era of Phish 3.0, new songs have already developed into legitimate jam vehicles. Most specifically, “Backwards Down the Number Line” and “Light” began to find their improvisational potential over the summer and fall, respectively. “Kill Devil Falls” boasted a couple standout outings, and towards the end of the year, “Ocelot” began to evolve as well. But while these Joy-era songs have stepped into the rotation, some classic vehicles have downshifted into predictable territory, weighed down by curtailed jams lacking any excitement. Below are four songs that have fallen prey to this pattern, not living up to their famed reputation in 2009.
One of Phish’s classic songs, “Runaway Jim” grew from a once-contained show-opener into a legitimate launchpad, producing excursions of all types through the years. A song with too many special versions to begin listing, “Runaway Jim” never moved beyond its basic structure in 2009. A song that Phish magnified between 1995 and 2000 with multi-themed jams, “Jim” lost some steam in the post-hiatus era, and has returned to its roots this time around. It seems unlikely that Phish will leave the fan-favorite adventure-less forever, but so far that is exactly what it has been.
At one point last year, I wrote an entire piece on the disintegration of “Mike’s Song.” What used to be a seminal piece of demonic improv, has been reduced to a formulaic build with occasional guitar variations. “Mike’s Songs” of 2009 remained completely linear, with a notable absence of any rhythmic offerings from Trey. Energetic? Sure. Engaging? Not so much. Once upon a time, “Mike’s” sat on my top shelf of Phish adventures. Featuring a menacing opening jam, and an exploratory second half, few pieces reached the ominous levels of Gordon’s original contribution. But sometime along the way, the band castrated “Mike’s,” lopping off its second half, and eventually the funk and bombast of its first jam fizzled into the innocuous version that lives today. Not since 1991 has “Mike’s” been so generic, and even then, the band played it with more purpose. But here’s to “Mike’s” regaining its mojo in 2010. One can only hope.
When “Free” debuted in 1995, some ridiculously psychedelic versions sprouted up in its youth – (see 6.26.95 and 11.22.95, among others.) The song soon developed into piano-led improv as Trey moved to his mini-drum kit for the jam come Fall ’95. “Free” went through a short identity crisis in ’96, as Trey added his more prominent guitar parts recorded on Billy Breathes, but the piece soon became a beneficiary of Phish’s 1997 “cowfunk” revolution. Beginning in Europe that summer, Phish slowed down and stretched out “Frees,” forming a new path for song with Mike’s section of bass bombs leading into a collective section of groove. “Free” evolved with the band through the late-’90s, molding to the contours of their textured jamming. Phish’s explorations of “Free” peaked in ’99 with many standout incarnations, but come ’09, the song fell completely flat. Moving directly from the bass-led section into the composed, guitar-led peak, any “jam” has been all but eliminated. At this point, “Free” has become a landing point for improvisation, rather than a vehicle itself.
Not quite parallel to the previous examples, “Gumbo” only developed a jam with the band’s ’97 funk transformation. Always a composed first set song with a ragtime ending, “Gumbo” became a springboard for extensive liquid grooves. Beginning in earnest at Desert Sky ’97 and continuing at Star Lake later that summer, “Gumbo’s” jams began to move with Phish all the way through ’03. An always-anticipated song throughout this era, Phish brought “Gumbo” back to its original form last year. Whenever the song dropped in ’09, it always felt like a huge tease, knowing what used to go down. Winding to an end with Page’s piano instead of oozing into the ether, “Gumbos” have become another casualty of 3.0.
They say the only permanent thing is change, and Phish has always proved this maxim true. In a state of constant musical flux, the band has changed their stylistic focus many times throughout their career. Along with these shifts, certain songs have emerged while others faded, as a necessary side-effect of the evolutionary process. Though, surprisingly, these long-time staples that traditionally transcended eras mellowed considerably last year. One might imagine that these changes are, again, side-effects of an overall progression, but the question that will be answered in 2010 is where that progress will take us.
Jam of the Day:
“Runaway Jim” 7.31.97 II
A monster version from Shoreline ’97. This one goes out to AW, who simply can’t find the “Jim” he’s looking for.
DOWNLOAD OF THE DAY:
7.26.97 South Park Meadows, Austin, TX < Torrent
7.26.97 South Park Meadows, Austin, TX < Megaupload
A straight-up smoker from Summer ’97, with more than a few stellar jams.
I: Limb By Limb, Dogs Stole Things, Poor Heart, Stash, Billy Breathes, Cars Trucks Buses, Dirt, You Enjoy Myself > Izabella
II: Timber Ho! > David Bowie, Harry Hood > Blister in the Sun Jam > Harry Hood** > Free, Waste, Johnny B. Goode
E: Bouncing Around the Room, Cavern
*Bob Gullotti on a second drum set
Source: (FOB/DFC) Neumann KM140′s > MV100 > DAP1Tags: 2009, Songs