TreyDHD and The Forced Segue

7.3.10 (W.Rogell)

Communication is the key to any group endeavor. Whether competing in athletics, working within a company, or playing in a band, one must understand what their teammates are doing to best perform their own task. This is a basic tenet learned at the ground level of any cooperative organization, and one that is essential to the success of any group task. It wouldn’t work if two receivers ran the same route, or if two infielders tried to catch the same pop-up, just as it wouldn’t work if a running back didn’t follow his blocking scheme or several people tried to run a meeting. Anyone who has ever worked within a team structure understands the value of communication.

For a band that communicates so proficiently within their improvisational playing, the question after the first leg of summer has to be “Why doesn’t Phish make fluid segues between their songs?” With a handful of exceptions, the band’s attempts at legitimate transitions have ranged from rocky to complete train wrecks. More often than not, Trey directly causes these indecisive changes by not communicating his intentions to his band mates before impatiently pushing through the music with a new song. There were more than a few times last month where the band was fully engaged in a jam, and Trey busted into the piece like a bully scratching the needle over the record, forcing his choice upon everyone.

6.26.10 (G.Lucas)

Some of these transitions came within the context of  jams that were still moving and others came when pieces were largely resolved. But timing is hardly the point here; I completely accept that jams are over when Trey says they are – for better or worse – all I’m saying is take one minute to morph from “Meatstick” to ” Saw It Again.” And for God’s sake, let the band know the plan! Too often, Trey took his own cohorts by surprise, let alone jolting the audience, with his sudden musical u-turns. The reason why this choppy trend is so ridiculous, is that in their hey-day, and throughout most of their career, Phish was a band that could get from any musical place to another with stunning fluidity and quickness! Everyone knows they can do it, the question is, “Why is Trey being so impulsive?”

6.24.10 (G.Lucas)

Let’s say we are at Great Wood’s amidst a deep “Light” jam, a centerpiece of the second set. Even though the band is immersed in a soupy, psychedelic groove, Trey decides it’s time to move on for whatever reason – fine. But instead of crassly coming in with the intro to “46 Days” over full-band improv, why not turn around and inform the band of his intent, allowing them to tactfully bridge songs? In the past, Trey has done this both verbally and non-verbally, sometimes using musical cues, but this summer he has simply sliced off jams, changing directions without any notice. Sometimes these changes seemed premature, as if the band was on the brink of something bigger, but even when improv had run its course, there was no need for such harsh changes. The band usually resisted Trey’s idea at first, as they did during Great Woods’ “Light,” continuing to jam, while creating an awkward onstage moment. But inevitably they relented to their leader in a series of JV transitions. My only question is, ” Why must this trend continue?”

6.25.10 (G.Lucas)

For a band that has forever made fluid segues between completely different musical planes, why, at the most mature point of their career are they ditching a major aspect of their onstage communication? Phish doesn’t have to make segues to craft successful shows, but if they are going to attempt them, they might as well make them work. To their credit, the band did execute some smooth transitions during tour, but there is no reason that these rough moments should be taking place at Phish shows in 2010. For someone who once poured over Phish setlists as if their craftsmanship was a matter of life and death, Trey’s concern for musical flow has certainly dissipated in favor of keeping shows rocking without any interpretable lulls.

The irony behind these abrupt changes is that it could take less than one minute for the band to cooperatively shift into a new song. Using only the skill of communication, Phish could have turned many herky-jerky, guitar-led mash-ups into seamless, flowing segments. Even though Trey’s sudden shifts didn’t always ruin the overall contours of sets, there were more than a few times that eyes were jolted open by out-of-context guitar intrusions. Though Phish is still on an upwards learning curve since their comeback last year, these speed bumps could easily be smoothed out. So as we quickly dial down the days to The Greek, let’s hope Trey realizes the jarring nature of these musical collisions, and consciously exercises patience and communication during Leg II.


For examples of these less than fluid moments from Leg I, check out the following sequences…

6.17 – “Sand > Horse,” 6.19 – “Halfway to the Moon > Caspian,” 6.22 – “Sally > Light > 46 Days,” 6.24 – “Crosseyed > Nothing,” 6.27 – “Meatstick > Saw It Again,” 7.3 – “Rock and Roll > Caspian,” 7.4 – “Disease > Piper.


Jam of the Day:

Rock and Roll > Free” 6.19 II

SPAC’s second set opening sequence is a perfect example of a jam played to fruition and a patient segue into the next song.




6.17.2010 Comcast Theatre, Hartford, CT < Torrent

6.17.2010 Comcast Theatre, Hartford, CT < Megaupload

Official Hartford Poster

The first night of Hartford contained a tour highlight in the blistering “Disease” jam that smoothly sailed into “Sand.” Then, Trey provided a prime example of today’s topic by relentlessly forcing “The Horse” into the groove without warning. Strong versions of “Ocelot,” “Stash,” and “Walk Away” stood out in a somewhat sloppy first set. This show had peak moments, but lost all momentum after “Forced > Silent.”

I: Punch You In the Eye, Ocelot, Dinner and a Movie, Stash, Esther, Walk Away, The Divided Sky, When the Circus Comes, Sugar Shack, Alaska, Golgi Apparatus

II: Party Time, Down with Disease > Sand > The Horse > Silent in the Morning, Guyute, Farmhouse, Mike’s Song > I Am Hydrogen > Weekapaug Groove

E: Shine a Light

Source: DPA 4023 > Sonosax SX-M2 > Sound Devices 722 (24/96)

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928 Responses to “TreyDHD and The Forced Segue”

  1. st8 of mind Says:

    Great piece Minor. A little patience in all of their grooves would be nice as well. Thanks.

  2. DLA Says:

    The Real Gin was the sh*t, I second that one. Also add 5-7-94 to the list of continuous sets, and the Dallas Jam>Tweezer Reprise to the seamless transitions.

  3. Mr.Palmer Says:

    Got got out of the car. I’m listening to a Cities on JamOn. Only thing i can tell about where and when this version is from is that it sounds like a very small venue. Add to that, that they sing “it’s only the noodles, only the noodles”…. Help he figure this out. I’m guessing Japan. T III? anyone?

  4. kenny powers Says:

    this might be the greatest name for one of Miner’s post. Love it. Direct reference to the F8 acoustic set rant he gave before…Wilson i think?

  5. Type III Jamming Personality Disorder Says:

    today’s thread has the makings of a monster list of “listening homework” to be done by all if everyone keeps bringing up all of these great examples of segues done well.

  6. kenny powers Says:

    Palmer that’s the LivePhish release of 6/14/00 Fukokua

  7. kenny powers Says:

    T3 – i’ve actually resorted to maintaining a Google Doc of links to recommended stuff and lists of recommended stuff….way too much. but in a good way!

  8. Type III Jamming Personality Disorder Says:

    that would be during the F8 Wilson, right? before the “blap boom” reentry, iirc.

  9. kenny powers Says:

    aha, you’re right T3!

  10. Mr.Palmer Says:

    Thanks KP. huh, i just listened to that recently as well. I must have only listened to set II. I think the cities is set I. Or, i’m just an idiot.

  11. Type III Jamming Personality Disorder Says:

    don’t sell yourself short, palmer.
    you’re a complete slouch. 😉

  12. BTB Says:

    “Trey sugued into Horse with the subtlety of a car bomb”

  13. Dogmattagram Says:

    How did I forget about the Fleezer segue fest!

  14. RFWoodstock Says:

    Great live recordings from top festivals, concerts and in-studio performances…24/7 Internet radio channel Radio Woodstock LIVE…Widespread, DBT, Phish, Grace Potter, The Dead and more…many cool long jams…available at Peace, love, music…Life is a Festival.

  15. Mr.Palmer Says:

    Am I the only person that couldn’t care less if a segue gets botched once in a while. Only one that sticks out to me was the Sand>Horse from Hartford. I know there were others, but…

  16. Exree Hipp Says:

    I do care about the segues… When they are botched they are particularly awkward, especially if the energy is still there. What is more bothersome is what Miner writes about today. When the rest of the band is doing something and Trey appears to end it without communicating to the rest of the band what the plan is. Brings down the groove and usually makes for some pretty blatant missteps on stage.

  17. abephroman Says:

    Blah blah blah, I know what’s better than Trey, blah blah blah.

    Long jam doesn’t equal good jam. If Trey feels like it’s becoming endless wankery then by all means please cut that shit short and give me a rocking tune.

  18. BTB Says:

    The Boys officially release the Camden CDT video….

    Not sure if this is old news, I also have yesterday’s baseball scores…

  19. abephroman Says:

    I mean, were you seriously bummed when you heard the opening chords to Saw It Again? You weren’t freaking out because the segue wasn’t super smooth? If you can’t enjoy that, then you sir, should find a new band.

  20. bodi Says:

    Ahhh, the Worcester Real Gin…. upon my first listen to that gem my jaw was truly on the floor… and at every subsequent show I saw I was hoping to see something similar … then at mPP2… bam… ghost>JJF>saw it again… that JJF segue was real magic/sleight of hand/x factor that makes you shake your head in wonder. yes there were some botched segues this too, but I’d argue just as many mighty fine one’s too.

  21. DaNcInG fOoL Says:

    haha BTB

  22. Seif Says:

    right this second I popped on 12/30/09 to start my morning with Boogie-lope…and I have my eyes closed getting into the super fat funk of Boogie on Reggae Woman and what do you know….Trey cut that short too. He makes up for it with the teases throughout Antelope but they were really just getting into a super funky groove that could have been massive and it sort of stops on a dime.

  23. Mr.Palmer Says:

    If Trey is cutting some of these jams short for anything other than Horse, are we still complaining? Lets say instead of Horse, Trey starts playing the intro to Psycho Killer for a minute during Sand. I bet no one complains.

  24. Lycanthropist Says:

    good morning BB

    I hope everyone is doing just fine.

    @Wilson Dogg

    Hope you enjoyed the CF last night, and hit me up on email so we can talk about playing out in Athens.

  25. DaNcInG fOoL Says:

    @palmer, this write up wasn’t about cutting jams short, it’s about botched transitions. i can imagine a bad sand>psycho killer being quite bad

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