Remembering Raleigh

Phish wound their way down to Raleigh on December 16, 1999, and after their performance at Reynolds Coliseum on campus at North Carolina State University, only two shows separated the band and their millennial destiny. On this night 11 years ago, Phish threw down a show that would top Hampton’s next two, featuring a pair of December 99’s defining jams in the second set.


Sand” 12.16.99 II

12.2.99 - (Unkown)

Opening the set with “Sand,” the song of the tour, this version blossomed into, perhaps, the most impressive until Big Cypress. A colossal excursion filled with layers of sonic manipulation, this version brought together many of the ideas presented in “Sand” throughout the tour. The initial section — an eerie bass-led soundscape — featured more effects that Phish used during all of Fall 2010. Stirring this psychedelic cauldron, the band brought the jam to a lead-less rolling boil before Trey got onto his keyboard to offer a sense of guiding melody. Building off his work in Washington, DC’s “Free” from the night before, Trey laid down a more complex, hypnotic melody that infused the sinister jam with swagger. Toying with this layer for some time, he then got onto guitar and improvised around the identical melody he had just created on keyboard. Turning into a showcase of apocalyptic groove, Page offered piano retorts to Trey’s seething lines, while Fish and Mike annihilated the bottom half of the music. Morphing his notes into dissonant melodies and then abstract phrases, Trey joined his band mates in creating a wide-open wall of psychedleia. Easily the most listened-to “Sand” in my collection, this version provided a perfect snapshot of Phish as they headed for the their all-night trek into 2000.



Tweezer” 12.16.99 II

12.18.99 (Chris Heppner)

The second set of Raleigh started with “Sand,” and peaked with this millennial journey into the stratosphere. Setting the jam at a menacing pace, Phish used its initial section to, specifically, craft the drone backing for their musical conversation. Upon a mini-build, Mike burst onto the scene with a section of lead-bass acrobatics that got the jam moving in earnest. And then Earnest came in. Offering the perfect compliments to Gordeaux’s monster statements, the entire band locked a series of slamming ’99 grooves before taking the jam to a place of calm. Out of this brief respite, Fishman switched into a delicate rhythm nd Trey joined him with short, accented licks that pushed the music in an original direction. As Page and Mike hop joined this groove, one of the most magical sections of Fall ’99 Phish emerged. Taking a cathartic climb out of the dark and dissonant, the band gradually built into a soul-searching “Slave” jam that retained aspects of the grungy backdrop. A blissful sequence that peaked with passion and descended back down into abstract layers of sound, this “Tweezer” provided one of those out-of-body experiences that are only possible when Phish is tapped into to the universe’s greater powers.



Jam of the Day:

Reba” 12.16.95 II

Since I haven’t mentioned the first night of Lake Placid — 12.16.95 — here is the show’s most significant jam. The following night would blow this one out of the water.




10.7.1994 Stabler Arena, Bethlehem, PA

Mp3 Torrent, Megaupload < Links

Stabler Arena - Lehigh University

The first show of Fall ’94 goes out as a reader request for Henry Gale — or so he says.

I: My Friend, My Friend, Julius, Glide, Poor Heart, The Divided Sky, Guelah Papyrus, Stash, Guyute*, Golgi Apparatus

II: Maze, The Horse > Silent in the Morning, Reba, Wilson, Scent of a Mule, Tweezer, Lifeboy, My Sweet One, Tweezer Reprise

E: Foreplay/Long Time*, Cavern


Source: Unknown

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584 Responses to “Remembering Raleigh”

  1. kayatosh Says:

    hersehy 6.28.85 — it does look interesting. shit, now you dudes have me considering ’85 shows. sheesh. the power of persuasion.

  2. Mr. Completely Says:

    “no croak” in April ’78?!?!?

    wow, I beg to differ with great vehemence

  3. Spasm Waiter Says:

    The BB hit overdrive after the webcast announcement.

  4. Mr. Completely Says:

    listening to 4-8-78 Roses right now, Jerry’s voice creaks like an old wooden floor

  5. kayatosh Says:

    funny what time and space can do. i remember buying into the general negative vibe about trey keyboard forays back in the day. now I can’t get enough.

  6. kayatosh Says:

    4-8-78 — skip roses, go right for scar>fire and estimated>eyes

  7. phoammhead Says:

    hell yeah, spasm!

  8. EL Duderino Says:

    yeah, but a very rare hardwood floor Mr. C… 🙂

  9. phoammhead Says:

    ^@kaya – that’s so true about trey on keys

  10. kayatosh Says:

    85 croak >78 croak

    7 additional years of cigs and chilidogs.

  11. phoammhead Says:

    ummmm . . . me love sushi like me love phish – can’t get enough! 🙂

  12. EL Duderino Says:

    the negative vibe of Trey on the mini keyboard or the mini drum kit is well justified IMHO…

    Kinda dumb imo

  13. kayatosh Says:

    same for 99 in general. never really cared to seek out 99 shows back in the day. now they represent a big slice of the collection.

  14. Mr.Palmer Says:

    probably had more to do with opiates and blow re: croak.

  15. Mr. Completely Says:

    well sure obv Roses is not the highlight of 4-8-78

    the “old wooden floor” line is from Rolling Stone’s (generally positive) review of Reckoning, it always stuck with me

    well the April voice situation was better than even June of the same year for sure

    pretty sure it was the persian/freebase speedballs in the tinfoil pipe fwiw…but perhaps “chilidog” is a slang term for that? 😮

    Jerry liked hotdogs with mayo. nasty.

  16. Mr. Completely Says:

    yeah the keys thing for me…it really depends

    depends on my mood and attention span, and I think some of those jams are way better than others

  17. Mr.Palmer Says:

    I think the key to those years where Trey dropped the ax and played the kit or keyboards was exactly that, he dropped the ax. Allowed the others to lead and command the direction of the jam. Not saying i loved it all the time, but i think it was an intrical part of the development of their sound.

  18. Mr. Completely Says:

    that’s true Palmer

    maybe that was the only way he could force himself to stop leading…?

  19. phoammhead Says:

    when the music takes a turn for type ii, then i don’t mind an adventure/exploration into something different and new

  20. EL Duderino Says:

    good point Palmer…

    That was the talk of the day… I just never dug it on any level.
    I guess it’s the AH/Hater in me

  21. Mr.Palmer Says:

    Shit, there is an NFL game tonight. I forgot.

    Any good leads for a quality source for that ’85 Hershey Park? It’s been a long time since i heard that. As soon as Mr. C mentioned ’85, Hersey Park and the Music Never Stopped set II opener, i had a deja vu moment.

  22. lastwaltzer Says:

    I think Palmer is spot on, those two things were there for trey to step back, not only for him to not lead but to allow the others to gain the confidence and technique to lead.

    In sense he didn’t want to be carrying the band.

  23. EL Duderino Says:

    @ Palmer

  24. Mr. Completely Says:

    eh I dunno about that @dude

    I think it’s a legitimate taste/preference issue really

    I wouldn’t put it that way myself but I think “Trey should just play guitar” is not an unreasonable statement or haterism…

    I don’t like Fishman shenanigans, or Mydland originals, you know…

    you don’t have to like everything

  25. Mr.Palmer Says:

    Thanks Dude. Actually just pulled up Miller’s sbd from the archive for now.

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