TTFM: An International Encore

Posted in Uncategorized with the tags , , on February 13th, 2012 by Mr.Miner

Tokyo 2000 Flier

Until we have something to talk about, let’s keep the thematic playlists rolling. A lot of people enjoyed Friday’s international flavor, so let’s take another dip into Phish jams from foreign lands to open up this week. Today’s selections contain some real heavy hitters to ease the transition back into the week. Enjoy the tunes, and by all means, “Read the book!

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Stash” 7.2.97 II, Amsterdam, NL

Though its tough for me to separate this jam from its set—a frame of non-stop, top-notch Phish—this “Stash” flirts with Phish’s finest pieces ever.

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Ghost” 6.15.00 II, Osaka, JP

Phish followed Radio City’s all-time rendition with this “Ghost” from Osaka—another mammoth version. Enojy Kenny Powers’ remaster.

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Tweezer” 6.9.00 II, Tokyo, JP

The Tokyo “Tweezer”—a once in a lifetime experience.

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Piper -> Makisupa” 7.6.98 II, Prague, CZ

One of the first fully blown-out “Pipers,” the improvisational centerpiece of the show. A stunning jam that had the audience in awe all the way to Barcelona.

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Halley’s Comet > Roggae” 7.10.98 II, Barcelona, ES

After an aborted opening set due to sound issues, Phish came out and threw down this lasting, funked-out highlight from the last night of Europe ’98

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Down With Disease” 6.15.00 II, Osaka, JP

Another creative monstrosity from Japan 2000.

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Harry Hood > Izabella” 7.9.98 II, Barcelona, ES

Phish reprise the “Drowned” progression within this “Hood” then blow out its peak, bringing this Barcelona version into Hendrix’s “Izabella.” Note the whole crowd World  Cup-based “Ole!” chant after the set closer.

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TTFF: International Phish

Posted in Uncategorized with the tags , , on February 10th, 2012 by Mr.Miner

Den Gra Hal, Christiana, Copenhagen, DK—6.30.98 (Unknown)

There’s nothing quite like seeing Phish in a different country. Whether Europe or the Far East, these international club Phish are unmatchable experiences and many have been highlights of my show-going life. Instead of the monstrosity of an arena or amphitheatre, clubs and theatres provide an intimacy unparalleled in the post-Dead Phish world. Today’s playlist is comprised of jams plucked from these smaller performances abroad.

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Tweezer” 7.9.98 Barcelona, ES

In terms of “Tweezer” and Europe ’98, the focus of conversations usually centers on the Scandanavian symphony from Den Gra Hal—”Tweezer > 2001.” But a week later, at the end of the first set in a sweltering club in Barcelona, Phish dropped this under-the-radar, gooey monster that will blow up any dance party at which it is dropped.

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Fee” 7.5.98 I, Prague, CZ

Amidst an Absinthe-soaked slop-fest on the first night at the Lucerna Theatre at Prague, Phish managed to stay on the same page for a standout, and virtually unknown, version of “Fee.”

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Stash -> Ghost -> Saw It Again” 6.19.97 II, Vienna, AU

Phish did more than just funk out during their journey to Europe during the Summer of ’97. But there’s plenty of raw groove in here as well.

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Antelope -> Catapult > Life On Mars?” 3.2.97 I, Copenhagen, DK

This unconventional song trio came in the middle of the first set in the final show of Winter ’97 in Europe.

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Runaway Jim” 7.16.00 II, Osaka, JP

The Osaka “Jim”—no introduction needed. Japan 2000 overflowed with creative jams, and this one opened the tour’s final set.

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The Moma Dance” 7.1.98 II, Christiania, Copenhagen, DK

The second “Moma” ever played, from Den Gra Hal in Christiana. The band botches the lyrics and sails into an extensive funk journey.

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Mike’s Song” 3.1.97 II, Hamburg, GR

A well-known and sinister version from Hamburg, that was etched into history on Slip, Stitch and Pass.

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Down with Disease” 6.10.00 I, Tokyo, JP

This extended jam opened up the second show of three in Tokyo. Imagine Phish opened a show with a jam like this these days?

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Cavern” 6.14.97 II, Dublin, IR

This jam closed out the first show of Summer ’97 with raw, unpasteurized cow funk.

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YEM” 6.9.00 E, Tokyo, JP

After dropping a monumental “Tweezer” in the second set of Japan 2000’s opening show, Phish dropped this lounge-like, laid-back “YEM” for an encore.

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2/9/2012 Trey & The Atlanta Symphony Orchestra, Atlanta Symphony Hall

I: First Tube, Water in the Sky*, Divided Sky*, Brian and Robert*,Goodbye Head, Guyute**, Let Me Lie, Stash*

II: Time Turns Elastic, If I Could*, You Enjoy Myself

E: Golden Slumbers, The Inlaw Josie Wales*

* Trey on acoustic, ** Trey on acoustic then electric

Setlist via Phish.net

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IN OTHER NEWS:

Robert Champion of The Sloping Companion presents his latest installment of The Philler. Check it out below!

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“Go-Suto” (Japanese: Ghost)

Posted in Uncategorized with the tags , , on May 24th, 2010 by Mr.Miner

Osaka 2000

As soon as Phish debuted “Ghost” in their first show of Summer ’97, the song became a staple jam vehicle for Phish. Moving with the band’s musical direction of the late-90s, “Ghost” featured groove, rock, and ambient jams depending on the era, almost always providing a highlight for any show in which it appeared. And then in Phish’s second show of 2000, at Radio City Music Hall in New York City, the band rewrote the record books for their late-90’s song. Exploring the hyper-complexities of groove and moving far beyond them into completely transcendent music, Phish threw down, perhaps, the greatest version ever played.

After such a blowout, one would figure the band continued magnifying the song for the rest of the summer, let alone the rest of the year. But they didn’t. While the Phish played solid “Ghosts” in Hartford (7.1), Chicago (9.22), and Denver (9.27), the band only took out the song six times after Radio City. And only one truly stood out – 6.15.00. Phish let loose on the final standout “Ghost” of the pre-hiatus years on the penultimate night of Japan tour in Osaka, Japan. Towards the end of the first set, the band unveiled the only Japanese version of the song, and as it turned out, the last truly great version of 2000.

6.11.00 - Tokyo (E.Sakai)

In Big Cat, a small club, elevated six floors amidst a shopping plaza, the audience squeezed into the small, square room. The predominantly Japanese audience packed it in, as the concept of personal space differed from that in the states – a lot. Before long, a combination of fans began filling the room with blown-up balloons, like a life-sized lottery bin. But when the music started, silence fell, and everyone’s focus turned squarely to the stage.

After a routine four-song, set-opening sequence, Trey quietly initiated a series of siren loops, opening the only “Ghost” of the Pacific. Following the composed section, the band oozed into the piece with a methodical, bass-led groove. Taking ample time to settle into a thick rhythmic canvas, the band pondered the early course of the jam before diving in. Mike took the melodic lead, while Trey and Page added effects, beginning the excursion in a sparse dance pattern. Trey coyly began to pick a melody within the groove, very much blending with whole, yet bringing a whole new element to the table.  Amidst a increasingly murkier plane, Fishman hit a disco-like groove that Mike immediately latched onto, bringing memories of the infectious dance odyssey weeks ago at Radio City. Page and Trey began to gently toy with the beat, and all of a sudden, the band rolled into subconscious territory.

6.15.00 Big Cat Ticket

6.15.00 - Big Cat Ticket

Offering independent melodic ideas along these uptempo rhythms, Trey stepped into prominence, before long, playing an open chord progression that would guide the band through an upbeat, out-of-character second half of the jam. The rest of his band mates picked up on his idea, gradually building a triumphant build over these changes, Meanwhile, after setting the musical plate, Trey transformed into the a cathartic waterfall of notes and melody, peaking the piece in a rolling, cyclical fashion. Uniting all the energy in the room, Phish took sailing on the majestic seas of bliss, drawing out the apex of the jam in an all-out celebration of the human spirit. After the peak, the band seamlessly slid back into “Ghost,” bringing this version to a close.

The Osaka “Ghost”  became an immediate highlight of Japan 2000, and without anyone knowing at the time, represented the last pre-hiatus triumph for the song. This moving piece of music goes under-circulated due to its international origins, and has thus been under-appreciated over the years. Everyone knows the Radio City “Ghost,” and rightfully so. This one came next.

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Jam of the Day:

Ghost” 6.15.00 I Rmstr

This standout version of the song has recently been remastered by Phish Thoughts reader, “Kenny Powers,” and is available to download by clicking the orange title above.

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DOWNLOAD OF THE DAY:

5.23.00 Roseland, NYC, NY SBD < Torrent

5.23.00 Roseland, NYC, NY SBD < Megaupload

Roseland Ballroom - NYC

During and after the first Radio City show, fans lined the sidewalks of Manhattan to get tickets for Phish’s just-announced show at Roseland the night after. The intimate gig was filmed for VH-1’s “Hard Rock Live,” and though the show was relatively jam-less, the event provided a special night in the spring of 2000.

I: AC/DC Bag, Wilson, First Tube, Ya Mar, Mike’s Song > Simple > It’s Ice, When the Circus Comes, Back on the Train, Gotta Jibboo, Taste, Sleeping Monkey

II: Punch You In the Eye, Twist, Waste, Piper, You Enjoy Myself, Run Like an Antelope, Train Song, Bug

E: Boogie On Reggae Woman, Cavern

Source: SBD

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Retro-Review: Hibiya Outdoor Theatre – Tokyo

Posted in Uncategorized with the tags , , on April 27th, 2010 by Mr.Miner

Here is another in my series of Japan 2000 retro-reviews. This story recounts Phish’s daytime show in Tokyo, their third gig in three days. I wrote this later written that evening. Enjoy!

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6/11/00 – Phish: Hibiya Outdoor Theatre, Tokyo, Japan

Hibiya Outdoor Theatre - 6.11.00

Hibiya Outdoor Theatre - 6.11.00

Sometimes we experience magic. Sometimes we hold witness to events that far surpass the power in any one of us, and elevate our appreciation of life and all its amazement to the next level. Today was one of these days.

The day began quite rainy as fans flocked to the Hibiya Outdoor Theatre, a miniature amphitheatre within proximity to Tokyo’s Royal Palace in Hibiya Park. Merely twelve hours after the Zepp show ended, many Japanese and American fans, alike, filed into the venue around 1pm. An hour later, the Japanese jam-band, Big Frog, would take the stage. As I entered the grounds everyone seemed to embody positive and mellow states of minds, despite the gloomy weather. As Big Frog played, Japanese and American fans mingled about the park, talking and meeting each other, many for the first time. Everyone shared an excitement for Phish’s upcoming set in this beautiful location, and the collective energy filled the air with an atmosphere of total comfort, friendliness, and camaraderie. Big Frog ended their well-received set at 3pm, as the rain seemed to be letting up.

Phish took the stage about 3:45 pm to the enthusiastic cheers of the crowd of 2,200 predominantly Japanese fans. As soon as they came out, you could see the look in the band’s eyes – they shared the same excitement with the fans, thankful to be playing such a special locale. A huge grin broke out over Trey’s face as he ripped into “First Tube.” The crowd erupted as Phish charged through the opener, while Trey bounced with joy. Phish kept the fast-paced rhythms rolling with “Punch You In the Eye,” and this fierce opening had the crowd going berzerk. The energy exchanged shared between the fans, Japanese and American alike, became palpable, as ear to ear smiles dotted the crowd. After the fiery couplet of the show, the band slowed it down with “Horn.”

More notably, a quick “Ginseng Sullivan,” Trey played the opening riff of “Stash” for the first time since 12.12.99, during Hartford’s first set. Sorely missed from the bands all-night 8 hour millennium concert in Big Cypress, FL and and the Radio City weekend in May, the crowd grew visibly excited to reacquaint with the classic vehicle. The “Stash” jam began as Trey came out of the composed section weaving dark melodies around the bands groove. The piece remained a Trey-led improvisation, culminating with a screeching solo that captivated the audience. “Dirt” served as a cool down from the intense “Stash,” and out of the ending, Phish built the intro to “Possum.” This “Possum” remained anchored to blue-grass-rock rather than the more psychedelic “Possums” of yesteryear, nonetheless, the crowd erupted with each change and chorus.

Hibiya - 6.11.00

I cannot stress enough my amazement at how many Japanese fans knew every change, note, melody, and stop to all of Phish’s songs. These folks are not passive observers, but extremely active listeners and dancers. The excitement of the event continued to build as they dropped only the second “It’s Ice” since Cleveland ’98 (also played at Roseland ‘00). Nailing the intricacies of the song, the “Ice” grooves felt so refreshing after such a continued absence in the setlist. The first half ended with the band’s first performance of “Farmhouse” since the album was released on May 16th. Trey drew out the end of the song with an extended solo before thanking the crowd and taking a bow.

The set break immediately brought the realization that ever since Phish had taken the stage, the rain had stopped entirely! Albeit grey as San Francisco in January, it was dry and cool, making for a nice change of pace from the hot and stuffy Tokyo clubs of the previous two nights. The set break vibes flowed purely positive, as all Americans were at a loss to describe the unbelievable feelings and sheer international ‘Phishiness’ that filled the air. Japanese fans and Americans relaxed together, waiting for the second set with huge anticipation. Humanity was at its best today, as cultural bridges were built through the power of music. The feelings and emotion floating around the colorful atmosphere far outweighed the gloominess of the weather, and all involved seemed completely in tune with what was happening.

Club Quattro - 6.13.00

After a fairly long break, the band retook the stage, still fully immersed in daylight, and jumped into “Birds of a Feather.” This “Birds” showcased some smoking whole-band patterns and particularly hot improvisation by Trey. The version remained within the realms of a “Birds” jam, but fully developed, unlike the shorter “album” versions of Fall ’98. The dark feel of Birds gave way to the opening build of a bombastic “Free.” The band moved through the composed section methodically, launching into the jam with thick, bass-driven grooves that had the crowd completely freaking out. After Trey offered some settling rhythm licks for the first part of the jam, he started playing melodies in a dissonant and sinister tone, building the creeping jam in small increments with sublime lines. This jam featured two separate soloing sections for Trey before slowly building back to the “floating in a blimp a lot….” ending. This is an upper-echelons versions of “Free,” evoking memories of Sandstone ’99.

A powerful “Bug” followed “Beauty of my Dreams,” in the climactic vein of Roseland’s second set closer. The band hit the top of the jam perfectly, and slid into the intro of “David Bowie.” This “Bowie,” was quite similar in style to the last one played at Radio City, with fluid, groove-based improv from start to finish. Featuring silky smooth bass lines, and some outstanding rhythm offerings by Trey, this “Bowie” built to a ridiculous apex and drew an emotional reaction from the audience. This “Bowie” is a keeper for sure, especially for those who favor dancier “Bowies” to the more intricate or abstract ones. Los Lobos’ “When the Circus Come to Town” came next, placed perfectly as a reflective moment on the slew of dark improvisation that typified the set so far.

Hibiya 6.11.2000 (J.Greene)

Phish scripted an idyllic ending with the emotional release of “Harry Hood” As they moved through the composed section, I looked out over the crowd of Japanese folks who seemed to me the happiest people in the world at that point, many moving with each progression of the song. As the jam settled into the most sacred space, the crowd seemed to raise their arms in unison, opening themselves up to the surreal magic that flowed so greatly from the band and fans alike. As the jam began to build, the crowd looked above as the clouds began to break and the first rays of yellow sunlight broke through the late afternoon sky. This scene seemed to be orchestrated by the band and nature alike, and everyone felt the mystical of the rays of light coming from both the sky and the stage. This second consecutive glowstick-less “Hood” built for what seemed like an eternity, as all involved basked in the beauty at hand. A stupendous “Hood” reached amazing levels of melody and harmony, while the anthem provided the absolute perfect ending to this set, and all involved were united in this moment. Pure magic I tell you, pure Phish magic.

The adoring crowd gave the band a large ovation following this long and ultimately triumphant jam. The band stayed off stage briefly and returned for an extended rendition of “Character Zero,” featuring some Hendrix-like wails form Trey. This version ripped hard and midway through, a large rainbow appeared above the stage to the left. Band and crowd alike felt the special intensity of the moment as nobody wanted to leave. The rainbow seemed like an affirmation of the day’s beauty and transcendence by the forces above, and all seemed perfectly in place. Upon finishing the show, Trey exclaimed, “Arrigato!” several times, and took a traditional bow to the adoring sea of Japanese fans.

It’s quite hard to translate all the transcendent energy that existed yesterday through a keyboard, paper, or pen. It’s the stuff dreams are made of, an eye-opening experience for the ages. Sometimes differences in culture and language can be obliterated by the beautiful and unifying language of music. The shared experience of the couple thousand people in attendance today will never be forgotten by a single person, a true venture into the human spirit and a reminder that we are all connected souls traveling through this world. Sometimes, in the hustle and bustle of modern day society, people lose sight of universal realities.  Today reminded everyone of these shared truths that are so often forgotten, and reminded everyone that the life is an  amazing and privileged journey that we are all riding together.

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Jam of the Day:

Seven Below > Ghost” 11.28.09 II

This breakthrough highlight of ’09 just doesn’t get old.

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DOWNLOAD OF THE DAY:

5.27.94 The Warfield, San Francisco, CA < Torrent

5.27.94 The Warfield, San Francisco, CA < Megaupload

The Warfield - San Francisco

A classic show from San Franisco’s iconic theatre; this one features the debut of “Simple”

I: Wilson, Runaway Jim, Foam, Bouncing Around the Room, David Bowie, If I Could, Punch You In the Eye, Harry Hood, Golgi Apparatus

II Suzy Greenberg, Peaches en Regalia, My Friend, My Friend, Reba, The Lizards, Julius, Nellie Kane*, My Mind’s Got a Mind of its Own*, Mike’s Song > Simple** > O Mio Babbino Caro^, Possum

E: Fire

* w/ Morgan Fitcher on fiddle, acoustic, ** debut

^ w/ opera singer Andrea Baker (unmiced)

Source: (FOB) Schoeps CMC5/Mk4 > Sonosax SX-M2 > Apogee AD-500E > Sony D-10 @48 KHz

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Fukuoka 2000: A Retro-Review

Posted in Uncategorized with the tags , on April 20th, 2010 by Mr.Miner

Live Phish 04: 6.14.00, Fukuoka, JP

As some of you may or may not know, I worked with JamBase back when the site sprouted wings around 2000. When Phish toured Japan that year, I served as the their pacific correspondent, writing reviews at the crack of dawn after partying in Japanese clubs all-night. When my friends went to sleep, I routinely headed to the hotel business center to write up a piece to send off to Andy and Ted, keeping stateside fans in the loop. Due to the unedited nature of these reviews, they often rambled, providing more of a play-by-play account of the goings-on in Japan from the front line.

Recently, I’ve revisited these pieces to clean them up for future use, and I thought some of them would make interesting retro-accounts of Phish’s last gasp in 2000. Little did we know at the time, that the band would soon slide downhill. Our last experiences before Japan had been December ’99 > Big Cypress > Radio City; a pretty amazing run of music. In our minds, Phish was flying high on their first legitimate tour of Japan, and we were along for the far eastern adventure. I wrote the following account the night of the now-legendary Fukuoka show – 6.14.00 – after kicking it around the corner from Drum Logos in a club, ironically, called “The Tripp Factory,” which hosted an impromptu post-show affair for Japanese and American fans alike. I’ve edited a bit for tightness, but the review remains largely the same.

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While Phish puts on engaging shows each and every night, sometimes a second set comes around that is united in concept from beginning to end; a set that stands above a mere collection of songs and jams. This type of set is defined by its thematic coherence; a certain direction from the opening to the closing note. These are the musical adventures that define the essence of Phish; the reasons we jive and strive to get to each and every show. Last night at Drum Logos in Fukuoka, Phish threw down what is sure to be one of the best, if not THE best set of the summer – including all shows yet to be played! Relentless grooves fused with spacey psychedelia, as Phish turned the small club into a futuristic dance hall for seventy-five minutes. Let’s get down to business here, you need to know exactly what you missed.

First off, the venue was slightly larger than Club Quattro the night before, boasting a capacity of about 650 people. Upon arriving, fans could barely give their extras away, as 80 tickets were still unsold! The club had a multi-tiered dance floor, with three different levels, and a small balcony hung above, where the tapers and lighting board set up. The overwhelming feel of the room was blackness; the floors, walls, and balcony were all solid black, a potential foreshadowing of the music that would ensue.

In a great first set, opening with “Carini,” “Curtain > Cities” (!?), the improvisational highlights emerged in “Gumbo > Llama” and “Split Open and Melt.” The second set was primed and ready to explode, yet no one in the room had any idea of what would go down when Phish took the stage. The second half opened with the most extended version of “Get Back On the Train” to date, as the band stretched out the ending rhythms far longer than usual. Staying well within the structure of the song, the band warmed everyone’s legs with some bluegrass-funk that served as a table setter for the main course.

As “Get Back On the Train” wound down, they sparked the ever-changing intro of “Twist.” A spiced-up beginning, featuring a harder dive into the song, readied the crowd for the sublime improvisation about to unfold. As the jam began, Trey led the band through some “Twist-based” patterns, before fading a bit into the musical background while Mike stepped up to lead. The music progressed into an ambient space, much in the style of the cerebral “Twist” from Big Cypress, but without Trey playing a beautiful melody over top. Instead, Trey colored the music with textures, tonal colors, and waves of sound rather than straight ahead playing. This gave the piece a much more eerie and psychedelic feel, and as the band progressed, the jam continued to get more and more abstract, yet always remaining loosely connected to a groove – albeit some incredibly “out there” grooving. At this point, many people in the crowd were thinking that this would be the second coming of “Twist > 2001,” and as Page brought in his own futuristic sounds, the launch seemed inevitable.

But well into the jam, at its most formless point, the band slowly emerged out of the murky space with the return into the end of “Twist!” As they concluded the song, however, the band picked up right where they left off, amidst a similar spacey groove. This started very quietly, and Mike hinted at a more driving bass line to come. As he picked up the volume of his line, many fans recognized this as a very slowed down intro to “Ghost.” Yet, tonight, “Ghost” wasn’t to be, and the brief  hint at the song’s melody lasted for only a minute or so.

Drum Logos in the Distance (J.Greene)

At this point, Mike began to lay down some classic Gordeaux lines, as he took responsibility for both the rhythm and melody of the jam, while Trey continued his role providing textures and tonal color. Meticulously, Trey blended his musical thoughts into the mix as the band’s momentum continued to gradually build. As Gordon began throwing down more vicious bass lines, he was virtually soloing while leading the band. Fishman slowly progressed out of his ambient beats, holding down a tight pocket with Mike, and the entire feel of the jam became dark and sinister. From this point forward, this nameless piece of music exists as one of the nastiest Phish groove sessions that has recently gone down in public view – straight-up futuristic funk, all on a tiny island in the Pacific! This evil groove took on a life of its own, as it morphed from an ambient space walk into a psychedelic bass-driven excursion that moved your brain as much as your body. As the band basked in their exploratory session, Mike hinted at “Walk Away,” nudging the band to build the beginning of the old-school, James Gang cover. The crowd soon picked up on this transition and exploded in cheer, congratulating Phish on the epic music that had just ensued.

“Walk Away’s” pace, while a bit slower than normal, fit the set perfectly. Emerging seamlessly from the previous groove, Phish treated the Japanese-dominated crowd with a very slick transition. This was the first song that had been played in a long time, and the crowd responded energetically as Page belted out the lyrics.

Fukuoka Heads (P.McGuire)

As “Walk Away” ended, the band slipped back into a quieter bass pattern, returning to the space-aged feel of the set. This groove, again led by Mike, soon settled into a shimmering ambiance, and as Page and Trey began to add textured sound effects to the musical landscape, the crowd was now ensured of the “2001” that had been foreshadowed earlier in the set. As Fishman’s snare hit engaged the infectious rhythm, the crowd exploded – as much in motion as in sound – and Drum Logos now was spinning to Japan’s second ever “2001.” Mike continued to take the improvisational lead, as Trey chopped into play with some shorter rhythm licks. The first theme came relatively quickly, but the second section became far more drawn out and chock full of signature Trey licks and bulbous bass lines. For the first time in history, Phish decided to close a set, and a show, with “2001,” a significant exclamation point on one of the greatest sets in years. With nothing more to say after such a powerful, full-on, and non-stop performance, the band ended the set with, perhaps, the highest peak in their repertoire. And then they took a bow.

With a mellower encore of “Sleep” and “Squirming Coil,” the band provided some relaxation and reflection, allowing the set to stand on its own in the annals of Phish history. This was truly one for the ages; you’ll need to hear it to believe.

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Jam of the Day:

Stash” 9.9.99 I

Everyone knows of the big second set that opened Fall ’99, but this nugget of psychedelia jam came amidst a typically discombobulated opening set of tour.

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DOWNLOAD OF THE DAY:

7.12.99 Great Woods, Mansfield, MA < Torrent

7.12.99 Great Woods, Mansfield, MA < Megaupload

Great Woods '09 (G.Lucas)

The first night of Great Woods ’99. After the five-year bust-out of “Foreplay/Longtime,” check out the first set combo of “What’s the Use?,”  “Split” under a blood-red sunset.

I: Foreplay/Long Time > Down with Disease, Back on the Train, What’s the Use?, Split Open and Melt, Water in the Sky, Character Zero

II: Twist, The Moma Dance, Makisupa Policeman > David Bowie, The Lizards, Guyute

E: Rock and Roll

Source: Unknown

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Weekend Nuggets: International Phish

Posted in Uncategorized with the tags , on April 9th, 2010 by Mr.Miner

DOWNLOADS OF THE WEEKEND:

Osaka 2000

Listening to Prague ’98 this week inspired me to dig into the international archives. I’ve dug up two stellar show, continents apart. The Osaka show from 200 features a creatively demented “Down With Disease” that may be the greatest jam that nobody talks about from Phish’s prolific run in the Pacific. The first set “Ghost” brings another dark-horse highlight from a show that took place three stories up in a massive shopping complex, (the second show of Japan to take place within in an elevated shopping plaza!)

The second selection comes from the transformative tour of Summer ’97, and the band’s gooey, raw funk is on full display throughout. The second set brings the heat from start to finish, bookended by thick explorations of “Wolfman’s” and “Ghost.” Have a great weekend!

6.15.2000 Big Cat, Osaka, Japan (Matrix) < Torrent

6.15.2000 Big Cat, Osaka, Japan (Matrix) < Megaupload

I: NICU, Chalk Dust Torture, AC/DC Bag, Uncle Pen, Ghost, Frankie Says, The Divided Sky, Farmhouse

II: Down with Disease > The Lizards, Bike > Hold Your Head Up, You Enjoy Myself

E: Gotta Jibboo

Source: source: DSBD+AUD Matrix Mix AKG C1000’s

****

6.24.1997 La Laiterie, Strasbourg, France < Torrent

6.24.1997 La Laiterie, Strasbourg, France < Megaupload

I: Split Open and Melt, Beauty of My Dreams, Dogs Stole Things, Vultures, Guelah Papyrus*, Runaway Jim^, Talk, Free, Prince Caspian, Rocky Top

II: Wolfman’s Brother, Reba, NICU, Twist, Piper, Wading in the Velvet Sea, Ghost

E: Loving Cup

*aborted, ^Gypsy Queen jam

Source: Schoeps CMC6/mk4v > SX-M2 > D8

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Jam of the Weekend:

Bathtub > funk > Gin” 7.10.97 I

A relic from Marseilles, France in early Summer ’97; back when tapers tracked “funk” jams, and Phish grooved unmercifully.

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VIDEO OF THE WEEKEND:

“Farmhouse” 6.11.00 Hibiya Outdoor Theatre, Tokyo, Japan

(Check out my review from back in the day.)

*****

“Tweezer” 2.26.97 Cologne, Germany

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Czech Your Head

Posted in Uncategorized with the tags , on April 8th, 2010 by Mr.Miner

Prague '98

After their first night in Prague, Phish came out with a purpose. Opening Europe ’98 with a phenomenal three-night run at The Grey Hall in Copenhagen, the band stopped at the Midtfyns Festival in Denmark before shifting the scene to Eastern Europe. Descending upon the culturally revitalized city of Prague provided a completely divergent different vibe after spending a stint in Scandinavia, particularly with a great exchange rate and the popular, psychoactive alcohol, Absinthe. Carrying a certain lucidity to its bacchanalian buzz, Absinthe knocked more than a few American fans on their heads with its particularly high proof and disorienting feel. Rumors surfaced after the fact, that Absinthe had been the very same spirit that knocked the band off their game in a forgettable opening night on July 5th. Within the intimate and elaborate Lucerna Theatre, Phish stumbled through a show that seemed horribly out of place, especially considering their last seven outings comprised the Island Run and Christiania.

Lucerna Theatre (No seats For Phish)

Lucerna Theatre (No Seats for Phish)

So as the band emerged for their second and final night in Prague, they had something to prove. Throwing down from note one, the show sprinted out of the gates with “Buried Alive > AC/ BAG,” and never broke stride , flowing right into a show highlight,”Ghost > Cities.” The band gathered a colossal head of steam as Trey annihilated the third song  of the show, a feat made famous by a You Tube clip over the years (found below.) Playing with an intensity and an urgency that simply lacked the previous night, Phish locked in right away, crafting a stellar opening frame. After a  full-speed transition into “Cities,” Phish dropped from the upbeat tempo into half-time following the opening verse, creating the gooey textures that had come to define the song. This opening sequence clearly illustrated the band’s intent, seeking to seriously throw down to make up for a cloudy effort the night before. And they most certainly succeeded. The first set continued with captivating versions of “Limb” and “Maze” before “Golgi” brought the show to setbreak.

Europe '98 Poster

Europe '98 Poster

Phish played a blistering second frame, highlighted by an extended, twenty-minute “Piper” long before they were the norm. This high-speed, multi-faceted chase showcased the band’s single-mindedness on this night, collectively breaking new ground within this torrid version. Eventually moving into murkier realms, this jaunt didn’t remain cranked up the entire time, but offered an eerie-turned-lounge-funk final segment.Winding into “Makisupa,” the energy in the room dripped from the theatre’s gilded decor, as everyone felt the feeling of what had just transpired. A smoking “Bowie” capped the nights explorations before “Loving Cup” closed the set.

Walking from Lucerna to F/X  – a multi-room night club that hosted the post-show party for band and fans alike – we spoke of the night and day experiences of the past two nights. The show that has just gone down carried a certain energy and intensity throughout, crafting a different type of standout show than we’d seen up north. This night had been full-throttle Phish, and everyone knew it. As we partied through the night until a morning train departed for a cross-continental trek to Barcelona, the band had righted their ship after a brief, “culturally-induced” fumble. And as we headed for sunshine, despite the overnight journey, spirits soared as European vacation rolled on.

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Jama of the Day: 7.6.98 Prague, CZ

AC/DC Bag > Ghost > Cities” I

This segment stoked an early fire in Prague’s standout show. “Ghost” featured a ridiculous shred-session from Big Red; check out the video below.

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Piper > Makisupa” II

In my opinion, the most impressive jam of the show.

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DOWNLOAD OF THE DAY:

7.6.98 Lucerna, Prague, CZ < Torrent

7.6.98 Lucerna, Prague, CZ < Megaup

Probably the most impressive show of Europe ’98 that didn’t take place in The Grey Hall.

I: Buried Alive > AC/DC Bag, Ghost > Cities, Limb By Limb, Train Song, Roggae, Maze, Golgi Apparatus

II: Julius, Meat, Piper > Makisupa Policeman, David Bowie, Loving Cup

E: Possum

Source: Schoeps MK4 (FOB; mics in a hat) > VMS IO2b > DA P1

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“Ghost” Jam 7.6.98 I

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Monday, Monday…

Posted in Uncategorized with the tags , on January 25th, 2010 by Mr.Miner

The Gorge 8.7 (G.Lucas)

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Jams of the Day: Tokyo – 6.10.00 I

Disease

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Piper

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Two hefty chunks of improv from the first set of Zepp Tokyo.

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DOWNLOAD OF THE DAY:

6.10.00 Zepp, Tokyo, JP < Torrent

6.10.00 Zepp, Tokyo, JP < Megaupload

Zepp - Tokyo, JP

An improvisationally heavy show takes us out of the gate this week. “Disease,” “Piper,” “Sand,” and “Bathtub” all highlight this under-the-radar Japan offering.

I: Down with Disease, Sample in a Jar, Piper, Lawn Boy, Guyute

II: Heavy Things, Sand, Sparkle, My Soul, Bathtub Gin > Twist, Albuquerque, Wading in the Velvet Sea, Loving Cup

E: The Inlaw Josie Wales, Limb By Limb\

Source: Unknown

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Jams of Japan

Posted in Uncategorized with the tags , , on September 24th, 2009 by Mr.Miner

phish-kabuki-99Phish’s Japan tour of 2000 came right on the heels of Big Cypress and Radio City; an incredibly exciting time in Phish history. Still carrying the musical and emotional momentum that crested in the Everglades, Phish took off to the Pacific for their first tour of the Land of the Rising Sun. Greeted by a prepared legion of Japanese heads- with lot shirts, mushrooms, and hash to share- the band and their American fans were happily surprised by the graciousness and enthusiasm of the Japanese Phish culture. Much of the musical focus of this tour has centered on the other-worldly Fukuoka show that transformed into one the strongest LivePhish releases to date. However, the band was on fire all week long, producing more mind-numbing music than most people realize. Although Phish wouldn’t be around by the end of the year, these Japan shows showcased one of their last pre-hiatus bursts of creativity, producing perhaps the most interesting week of Phish2k. Below are three jams that you may or may not be familiar with- all of which absolutely smoke.

***

Tweezer” 6.9.00, Tokyo II

dscn0888

On Air East - 6.9.00

On Air East, a tiny club hidden up side street in Shibuya, a shopping district of Tokyo hosted Phish’s first show of tour. Making our way through the intricate subway system to the tiny, bright yellow building, every step was surreal; tracking down a show in the middle of Tokyo! And as the second set started in this simple cement room, a dream came true. Wasting no time, Phish unveiled the long-awaited “Tokyo Tweezer”- it even sounded legendary in name. Phish knew as well as we did, that they had a moral imperative to greet the wildly psychedelic city with a blowout “Tweezer”- and this 30 minute introduction was one for the books.

The improv began with a distinctly laid-back feel, as the band got on the same page via some methodical grooves. Subtly building the relaxed rhythms into aggressive textures, led by walls of face-melting guitar dissonance, the band began to fire. A truly perspective-altering segment of music, the overflowing energy and people bounced off the walls and each other in this crowded demonic dungeon. As Trey let up, the band settled themselves, allowing everyone to momentarily gather their shit before delving far deeper.

stub-0609A frightening walk down a mysterious alley morphed into an ambient exploration of a Japanese tea garden, as Phish seemingly incorporated the foreign culture into their improvisational concept. Patiently exploring this delicate realm, the band took their time to lift themselves from the meditative space. But when they did, the band arrived at an incredibly triumphant groove that took us sailing into the Tokyo night, where the future seemed as bright as the thousands of neon lights that flooded our vision.

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***

Down With Disease” 6.15.00, Big Cat

Phish pulled into Osaka for the final two nights of their short, but sweet, run splitting time between two different venues. The first night, the band played a club that was in a multi-level shopping plaza- everyone had to take an elevator up to the floor of Big Cat. The band had tore it up all week long, and when they opened the second set with “Disease,” the madness began all over again. Taking the composed jam into snarling territory, Phish had the pedal to the metal, driving the music with abandon.

phish-osaka-00Peaking the initial segment, the band dropped into a galloping groove led by Mike’s thumping bass lines. Trey layered some rhythm licks atop the pulsing canvas, and the band morphed into a “Crosseyed”-esque jam. Greatly diverging from the opening segment of music, Phish sat into this groove session with a purpose, adding, subtracting, and altering layers along the way.

But the most intriguing section of this “Disease” came last, as the rhythmic patterns transformed into eerie, unclassifiable music, sounding like the soundtrack to a Phishy haunted house. Some of the most original improv of the run, this section likened a musical narration of a ghost story, again led by Mike’s thick patterns. The rest of this piece is defined by spacey psychedelic exploration; some genuinely “other” type of stuff . Click play and take a ride.

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***

Runaway Jim” 6.1.6.00, Zepp Osaka

Zepp Osaka

Zepp Osaka

The final show of Japan was again centered around the second set opener – this time, “Runaway Jim.” Wasting little time in taking the song away from its character, Page, Mike, and Trey combined in a sublime harmony over Fish’s shuffling beat, instantly bringing majesty to the music. Phish has a way of infusing a bittersweet quality into their final jams of tour, and while this was only the beginning of the set, that emotional feel set in with the band’s complementary tones.

Hinting at the song’s theme as they carved their way beyond it, Phish’s virtuoso communication seemed routine by this point. Trey began to play a completely original melody, leading the band to more dainty pastures. Moving like a four-headed being, the locked-together music seemed to be generated from a single mind.

stub-0616As the band rode this segment of music to its natural conclusion, they soon found themselves in some of the most intriguing music of the week. Peeling away sonic layers, Phish created a sparse palette for creation – an opportunity Fish seized to create a totally different beat.  As the others drifted with him, the band got into a segment of completely original music. With creativity paramount and Trey on keys, this “Jim” evolved into some nouveau Phishtronica, yet another illustration of the outer realms that Phish explored throughout the Far East.  This piece is right up there with their most unique outputs.

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Winged music note=====

Jam of the Day:

Piper” 6.10 Zepp Tokyo I

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Sticking with the theme of Japan 2000, here is another scorcher.

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DOWNLOAD OF THE DAY:

11.2.96 Coral Sky Amphitheatre, West Palm Beach, FL < Torrent

11.2.96 Coral Sky Amphitheatre, West Palm Beach, FL < Megaupload

11.2.1996 West Palm Beach (J.Awrat)

11.2.1996 West Palm Beach (J.Awrat)

The show that kick-started the second half of Fall ’96, Coral Sky also holds up as one of the best of the entire tour. Plucking “Crosseyed” from their Halloween set for the first time, the band took the cover for an extended ride before everyone had “waited long enough” and the band transitioned into a centerpiece “Antelope.” One of the classic segments of ’96 Phish, “Crosseyed > Antelope” saw the band adapt the percussive style of Remain In Light into their own music. Beginning to embark on a new musical path, Karl Perazzo stayed on for a few to help the boys along. “Yamar” and “Hood” are also standout versions. Included in this fileset is an additional pre-FM SBD of the second set.

I: Ya Mar, Julius, Fee, Cavern, Taste, Stash, Lizards, Free, Johnny B. Goode

II: Crosseyed and Painless > Run Like an Antelope, Waste, Harry Hood, A Day in the Life, Sweet Adeline

E: Funky Bitch*

Karl Perazzo played the entire show. *With Butch Trucks on drums and Fish on Trey’s mini-kit.

Aud Source: Unk / Pre-SM SBD of set II

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Weekend Nuggets: Two Nights In Europe

Posted in Uncategorized with the tags , , on September 19th, 2009 by Mr.Miner

DOWNLOADS OF THE WEEKEND:

Europe '97 Summer Tour T-Shirt

Europe '97 Summer Tour T-Shirt

This weekend, I am featuring two shows from the game-changing tour of Europe Summer ’97.  Fully realizing their transformation to groove, Phish explored slow, funky realms throughout the beginning of summer. Warming up to the point of sizzling over the course of a 19 show European tour, Phish then turned their attention stateside for one of the most beloved summer runs.  Starting in Virgina Beach and ending in Limestone, Summer ’97 was a special era of Phish.  But the excellence we witnessed throughout the U.S. had its foundation in Phish’s European vacations in winter and summer.  These two nights represent explorations of the new style, with funk galore and a whole lot more.  These Europe ’97 shows are very underexposed, in general, containing many a night glossed over.  These are two of those nights.

***

6.19.97 Arena, Vienna, Austria < Torrent

6.19.97 Arena, Vienna, Austria < Megaupload

1997-06-19gnI: Limb By Limb, Dogs Stole Things, Theme From the Bottom* > Punch You in the Eye, Water in the Sky, Maze, Waste, Vultures, Runaway Jim

II: Stash > Ghost > I Saw It Again, Wading in the Velvet Sea, Piper, Jesus Just Left Chicago, Prince Caspian

E: Beauty of My Dreams, Character Zero, Hello My Baby#

*With “The Landlady” tease (including dance by Trey and Mike).  #No mic

Source: Schoeps CMC 64

***

7.3.97 Serenadenhof, Nuremburg, Germany < Torrent

7.3.97 Serenadenhof, Nuremburg, Germany < Megaupload

I: Piper, My Soul, The Divided Sky, Beauty of My Dreams, Taste, Train Song, Theme From the Bottom, Rocky Top

II: Ghost*, Cars Trucks Buses, Billy Breathes, Sparkle, Harry Hood, Cavern

E: Character Zero

*Included themes from the 07-02-97 Set II Jam, and more “Back of the Worm” vocals.

Source: AKG C1000 > DA-P1

Winged music note=====

Jam of the Weekend:

Stash > Ghost > I Saw It Again” 6.19.97 II

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A essential chunk of Europe ’97 from Vienna; a segment of one of the downloads above.

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VIDEO OF THE WEEKEND:

“The Tower Jam” Montage, IT 8.2.03 – From Festival 8 The8tre (SICK!!)

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