The Rebirth Of Carini

10.31.10 (Graham Lucas)

Every tour brings twists and developments to Phish’s catalog, often infusing new tunes into the mix and sometimes revamping old ones. But over the golden road of Fall 2010, no song went through a more holistic transformation than “Carini,” as Phish breathed new life into the crowd favorite.

2.17.97 - Amsterdam

Debuted in Europe ’97 as part of their winter progression towards groove, “Carini” rarely transformed into anything with improvisational significance over the years with a few notable exceptions. The song’s premiere in Amsterdam blossomed from slowed darkness into a sped up melodically-anchored experiment that eventually led into “Taste,” but after its European debut and a funked-out surprise encore at Madison Square Garden on 12.30.97, the song stayed firmly within its cage until December 28,1998. To jump start the New Year’s Run, Phish knocked down the doors of the second set with a menacing excursion that morphed into the song’s most significant exploration to date. Scouring the dark corners of the universe, Phish tore the roof off the elusive piece, combining it with “Wolfman’s” in a defining slice of MSG history. But ever since this ferocious plunge, “Carini” stagnated over the years. Always good for a crunching hard rock interlude, the band never built anything of note with the crowd favorite, giving it a simplistic role in setlists.

This pattern continued through the late ’90s, the post-hiatus years, and the beginning of this era (with Telluride’s extra-terrestrial ending as the sole aberration.) But when Phish broke out “Carini” in Broomfield – and then again in Providence and Atlantic City – the song’s paradigm changed forever.

10.31.10 (Graham Lucas)

In a complete 180 degree turn, Phish chose not to use “Carini” as path into darkness, instead transforming the song into a piece of sublime improvisation. No longer growling through evil jams, Trey elevated them with gorgeous leads that cut through heavy and unique full-band interplay. This uplifting direction, debuted in Broomfield, was expounded upon in Providence’s top-shelf version, and then abstracted upon in Atlantic City. All of fall’s “Carinis” deviated far from the song’s structure, transforming a one-dimensional piece into a full-blown portal to the divine. Within three unique and experimental excursions, Phish completely changed face of the game. “Carini” has now become an exploratory vehicle of the highest degree, and this has to be considered the single, most significant song evolution of Fall Tour.

Check out all three “Carinis” from fall with some context and a description of each.


10.12.10 II Broomfield, Colorado

10.12.10 - Broomfield (S.Short)

This three-night run set the tone for fall as each night built upon the last. As Phish came to their final set in Colorado, they broke out “Carini” to open things up. Trey comically changed the lyrics to “Carini had bubonic plague!” referencing the reported cases among Broomfield’s prairie dog population. But there was no comedy once the lyrics ended. Initially riding the traditional “Carini” jam, as the band settled into a more mellow groove, Trey spontaneously unleashed a sublime solo over the heavy backdrop. Reaching for spiritual heights, Trey took a melodic sprint over the full-band groove that evolved out of “Carini’s” foundation. Fish and Mike hooked up behind Trey’s lead as Page built a wall of sound to color the conversation. Throughout this segment, Trey continued his cathartic playing, fitting right into the rhythmic pocket. The band eventually slowed into an ambient curtain of sound which descended over the arena as if preparing for an alien arrival. And Phish smoothly slid into “Bowie.”



10.22.10 II Providence, Rhode Island

10.22.10 - Providence (J.Rizzo)

With tour in full swing, Phish hit The Dunk on a Friday night coming off their two-set escapade in Utica, New York. After a solid opening frame, Phish opened the second with, in my opinion, the jam sequence of tour -“Rock and Roll > Carini.” Fall’s second version of the morphing song came out of, perhaps, the tour’s most innovative psychedelic trek in “Rock and Roll.” And as the band segued into “Carini,” they carried big-time energy and momentum, and were primed to explode. Once the lyrics ended, Fishman immediately launched into a hard-edged beat while Trey spit guitar fury. Very quickly, however, Mike and Page made a harmonic shift beneath the two devilish players, coaxing Trey to join in with transcendent guitar work. Beginning with beautiful leads, a switch to a soulful rhythm pattern brought the band into a four-piece experiment. Before long, Phish reached one of the most uplifting segments of music of the entire tour, as the whole band collectively crushed a jam that took on a soul-tugging life of its own. Perhaps my favorite segment of music from Fall, this piece reached a far more emotive plane than Broomfield’s introduction. Migrating to a sparser realm that had nothing at all to do with the song, the entire band continued their locked and original patterns while Trey flowed in a melodic river of dreams. Page brought some slick compliments to the mix which moved the band into a rhythmic texture that served as an infectious come down from the mountaintop. Meanwhile Trey continued to play to the heavens over this groovy canvas in a sequence of to-die-for Phish.



10.29.10  II Atlantic City, New Jersey

10.31.10 - Atlantic City (G.Lucas)

Phish pulled into AC for their three-night Fall finale as fans nationwide descended onto the Jersey Shore. After a mellow opening frame, Phish dropped bombs at the beginning of the second, combining two fall-standouts – “Sand” and “Carini” – into a single highlight reel. Phish took “Sand” on its most fluid and adventurous course of the tour as they entered a post-peak, mid-tempo, ensemble groove that had Little Featprints all over it. Thus when the band hit “Carini,” they, again, carried a colossal head of steam. Trey worked in the “Carini” line to the collective groove, signaling the change into another Fall Tour All-Star. Boardwalk Hall exploded with the opening chords of “Carini” and the band carried that energy through the composed section of the song, screaming the lyrics as they drifted into the jam. Trey’s guitar picked up where their voices left off, wailing over a nasty groove. Red began a lead with distinct attitude over the  bass-led patterns, while the band crushed “Carini.” But once the guitar solo ended, everyone settled into a equitable plane. As this segment began, Trey almost went berserk with crack-like rhythm licks, seeming for a moment that shit was about to fly off the meat rack. But he pulled back into an equally creative solo that infused the still-heavy piece with supporting melodies. But the band shifted back into a funky canvas as Mike dropped one unique idea after another. The band’s rhythmic talk soon drifted far from the song and into a four-piece ambient collaboration. The future-sounding segment melted into “Prince Caspian,” thus ending the final “Carini”of fall.



Jam of the Day:

Sand” 10.20.10 II

A scorching second-set rendition with a mini bonus jam on the way to “Theme.” A middle-man between South Carolina’s initial version and Atlantic City’s blowout.




10.20.10 Memorial Auditorium, Utica, New York

FLAC Torrent (etree), Mp3 Torrent, Megaupload < Links

Official Utica Poster

The virtual consensus “best show of tour.” Phish put together two twisting and turning old-school sets in a tiny venue, oozing energy of the past combined with music of the future. A standout Phish show for any era, the band was locked from moment one in this musical and experiential highlight of Fall.

I: My Soul, Stealing Time From the Faulty Plan, Vultures, Wolfman’s Brother > Cities, Guyute, David Bowie*^, Wilson*, McGrupp and the Watchful Hosemasters, Saw It Again* > Run Like an Antelope*

II: Drowned > Sand > Theme From the Bottom, Axilla, Birds of a Feather, Tela,  Split Open and Melt > Have Mercy > Piper** > Split Open and Melt, Slave to the Traffic Light

E: Good Times Bad Times

* w/ Guyute Teases, ^ w/ Wilson Teases, **w/ Birds Reprise

Source: Edirol UA-5>Edirol R-09 HR>Nakamichi 300 Mics W/CP4 Shotguns (Taper  – D.Boedicker)

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468 Responses to “The Rebirth Of Carini”

  1. Litteringandd Says:

    Miner or other BBer – give me your top 5 Tubes

  2. Kaveh Says:


    My favorite quote of the year: “that shit was about to fly off the meat rack”

  3. willowed Says:

    Nice Selctor…I knew someone had it. The Galactic Butterfly.

  4. Chuck D Says:

    go-to tubes from


  5. Litteringandd Says:

    T3- that is pricless

  6. willowed Says:

    That video is classic. I’ve never seen that before.

  7. Litteringandd Says:

    Thanks Chuck D

  8. c0wfunk Says:

    12/7/97 is the defining New Tube. The jam After tube -> slave is the real deal too.

  9. Mr. Completely Says:

    @t3 “is this in reference to Bad Hat or something else?”

    just bad hat. I do understand finding it interesting from a historical perspective but as jazz I found it to be pretty bad. no offense to no one or nothin’. just boring to me. YMMV, my $0.02 etc

  10. c0wfunk Says:

    everyone can fly you know that right?


  11. Type III Jamming Personality Disorder Says:

    I hear that, mRc. it isn’t exactly ground breaking.

  12. purplehumpbackwhale Says:

    tube list – missing hershey 99 or 00… cant remembr. 17 minute tube. and also 12.29.97! god i love that tube. just buttloads of funk

  13. Mr. Completely Says:

    The Telluride surroundings are so off-the-charts gorgeous -perhaps the unspoken expectation was that the music had to be as good as the venue, which is the most beautiful place I’ve ever seen the band, including the Gorge & Red Rocks

    I agree, having been to shows at both of those places as well, Telly is most amazing setting for shows I have ever experienced

    I also wonder if playing in the Greeks just beforehand unconsciously affected the band, as the Greek captures all the music & energy in a perfect cozy bowl. Telluride, with its vast openness, is the complete opposite…

    fascinating comparison. certainly it’s true sonically, that the design of the Greek focuses the sound and resonates with it

  14. Lycanthropist Says:

    em full and properly baned..

    any music choice selections?

  15. c0wfunk Says:

    just step into the portal bro

  16. Mr. Completely Says:

    did you hit the Ghana Soundz comps I upped @lycan?

    if ur in an afro mood they’re a good addition tothe mix

  17. Lycanthropist Says:

    no i haven’t C

    i will grab it

    but it will take me a while to download… stupid bandwidth issues.

    i need something for the meantime…


    should i put my faith in my shuffle?

  18. willowed Says:

    Throwon some Van Morrison Lycan. Live shit from the early 70’s.

    If you have any!

    Pour yourself a glass of wine too.

    If you don’t have that….go with ICP.

  19. Lycanthropist Says:

    you know I been blastin dat new ICP joint…
    givin my love to da lawd.


  20. willowed Says:

    I just laughed out loud Lycan. My coworkers are all looking at me funny.

  21. Mr. Completely Says:

    and @t3 I am all for rock musicians taking the time to play some jazz and I don’t think any less of Trey or Jamie or anyone for the result being less than stunning to my ear. It’s great practice for them, probably a killer learning experience, and I’m sure it was fun.

    but for instance I don’t listen to any of the early 70s Garcia/Saunders jazz stuff either, Funny Valentine or whatnot. But I love what happened to Jerry’s playing in other styles around and right after that time…the jazz influence brought sophistication to his playing that really blossomed the sound

    probably did have similar influence on Trey as well so I get the interest in the material

  22. Type III Jamming Personality Disorder Says:

    that’s a good way to explain it, mRc. I concur with that ethos.

    ok, off to take the wife away for a relaxing weekend in southern VT. stay gold, everyone. watch yourself around that portal.

  23. Lycanthropist Says:

    think i’m gonna go with the shuffle..

    looks like a pretty good playlist this go round.

  24. Lycanthropist Says:

    scratch that..

    some MMW

  25. Selector J Says:

    trying desperately to catch up after a late start today…
    mr. C posted this on p. 8:

    “I took that as a lesson – when listening to a great band, if it sounds like they’re stuck, maybe you are just listening to the wrong part.”

    This is a huge part of why some people don’t get into reggae, too. People get so hung up on the sparse melodies they fail to notice the sickness to be found in the pocket.
    There’s a great Scratch Perry quote from an old reggae documentary where he is asked about what makes reggae music different and he says the bass is the brain and the drum is the heart.

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