MR. MINER'S PHISH THOUGHTS

7.13.00 Nagoya – photo: Blane

By the time the late ’90s rolled around, Phish had become a massive entity and musical force of nature, whose live shows contained a large scale production.  No, there were no pyrotechnics, (except on 7.4.00), but the crisp sound and elaborate, other-worldly, lighting rig gave the shows a fantastical feel- something outside the realm of conventional reality.  Half the fun was being overwhelmed by the size of the music and the show, as Mike’s bass filled your chest, and Fishman provided your heartbeat.  The monstrosity of what happened on stage was mind-altering.  After seeing the band so many times in arena and amphitheatre settings, when Phish played small clubs, the experience took on a whole new feel.

No longer was Phish a mechanical monster opening its razor sharp jaws to the pavilion, but a ripping band on stage playing music.  It all seemed more intimate and real- the monstrosity was gone.  Instead of silhouettes in smoke and magical lights, you actually saw the faces of the band members and watched them communicate.  That massive production was scaled down into the size of your average concert, and for Phish, that changed the course of the evening.  Everyone in the room felt more connected in the same experience, unable to escape to the lawn or the corridors if the desire struck.  The focus on the visual candy that was Kuroda’s light show was absent, changing the majestic appearance, but often intensifying the music that showered the crowded floor from a much closer proximity.

6.9.00 On Air East – Tokyo

Not only was there an alternate aesthetic to the experience, the music actually sounded different.  With far less space for the music to travel, the band often played more notes in their phrases.  Conversely, when playing on huge open-air festival systems, the music often slowed down to a crawl to allow the music to bellow forth and cover the extensive fields.  This phenomenon was often most translated through Mike’s playing.  Instead of playing his spacious wide open bombs that resonated through your imagination, he tended to play more complex melodic lines, keeping your ears alert as his glue held the bands diverse musical patterns together.  Although some counterexamples to this trend can be found in the initiation of the Summer ’97 funk in Europe, over the course of their career, this held true. (See Ghost video below for a great example of the “club style” that I am describing!) Moving the improvisation along a different course, some jams played in clubs you would never have heard at MSG or Hampton- they wouldn’t have translated.

Along with all of these experiential differences, there was also a distinct difference in the vibe of the crowd.  Usually taking place in an international country, or a special club like The Fillmore or Roseland, for which people gave an arm and a leg for a ticket, there existed an enhanced sense of mutual respect.  With only a few hundred to a few thousand people present for the music, tickets to these shows didn’t fall into the hands of the folks who stood around, distracted others, and talked during shows.  A more focused musical audience, especially in Japan, was one of the supreme perks of club and international Phish.  People weren’t there for the lot, or to sell drugs- people were there for Phish and Phish only- the vibe was pure.  Friendliness was contagious at these shows, as every person felt the same privilege to be in attendance; egos tended to fall by the wayside- “We’re all in this together, and we love to take a bath,” took on a whole new intimate meaning.

Instead of dispersing all over the land of the brave and free, after these international club shows, most fans would reunite at bars and nightclubs to carry on the festivities together; a sort of traveling party.  Often, band members would slip in, further shattering the barriers between the fans and band.  Americans mingling with Japanese and European heads using the international language of Phish as common ground; ’twas a beautiful thing.  Without the concern of police harassment due to overwhelming numbers of hippies, you could navigate the cities in your post-show euphoria without a care.  The world was your oyster- checking out places you’ve never been by day, and capping each evening with a hearty dose of Phish.  Is that not the perfect vacation?

In the grand spectrum of Phish experiences, the small club show was an irreplaceable gem that not all fans got to take part in.  Therefore, for those of you who haven’t seen a club Phish show or even heard much club-sized Phish, I have put together Miner’s Picks: Club Phish.  With seven hours of small-sized Phish highlights from 1997-2000, this sampling should give you a taste of what Phish does when contained in a smaller tank.  Enjoy!!

1. The Moma Dance 7.1.98 Den Gra Hal, Christiana, Copenhagen

2,3. Jam > Cities 6.20.97 Archa Theatre, Prague, CZ

4,5,6. Chalkdust > Ghost > Oblivious Fool 6.13.97 SFX Center, Dublin, IR

7. Tweezer 7.9.98 Zeleste, Barcelona, SP

8. Bathtub Gin 7.8.98 Zeleste, Barcelona, SP

9,10,11,12. Disease > Carini > Tatse > Disease 2.17.97 Paradiso, Amsterdam

13. YEM 6.9.00 On Air East, Tokyo, Japan

14,15,16. Antelope > Contact, Sand 6.13.00 Club Quattro, Nagoya, Japan

17,18,19. Stash > Ghost > Saw It Again 6.19.97 Arena, Vienna Austria

20. Free 7.6.97 Spiaggia di Rivoltella, Desenzano, Italy

21. Down With Disease 6.15.00 Big Cat, Osaka, Japan

22. Ghost 7.3.97 Serenadenhof, Nuremburg, GR

23. Wolfman’s Brother 6.24.97 La Laiterie, Strousbourg, FR

24. Ghost 7.2.98 Christiana, Copenhagen

25. Runaway Jim 6.16.00 Zepp, Osaka, Japan

26,27. Tweezer > 2001 7.1.98 Christiana, Copenhagen

28. YEM 7.2.98 Christiana, Copenhagen

Ghost jam 7.6.98 Lucerna, Prague, CZ

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Free: 2.16.97 Warstesaal, Koln, Germany

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DOWNLOAD OF THE DAY: 11.11.98 Van Andel Arena, Grand Rapids, MI

Another show that flew somewhat under the radar in an amazing Fall tour of 1998, this show has a little bit of everything.  A ripping opener of Punch followed by a slow as molasses, Gumbo started the show with a bang.  But it’s all about the second set of this one.  Opening with a 25-minute ripping Halley’s Comet that explores some maniacal territory while also containing plenty of grooves, this set is one of the best of Fall ’98.  This Halley’s immediately stood out as a huge tour highlight, as the end gave way to some lighter fare in Simple > Walk Away.  With an impeccable Limb by Limb and a disgustingly groovy, lesser known, Ghost to end the set, Phish hit a winner on this evening.  Check it out.

I: Punch You in the Eye, Gumbo, If You Need a Fool, Sleep, Tela, Birds of a Feather, Theme from the Bottom, Julius

II: Halley’s Comet, Simple > Walk Away, Limb by Limb, When the Circus Comes, Ghost

E: Contact, Rocky Top, Funky Bitch

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In other Phish Thoughts news, notice the “Miner’s Pick’s” clickable download links all along the right column of the front page.  You no longer have to scroll or click through the site to find the entire Miner’s Picks Series. Cheers.

By the time the late ’90s rolled around, Phish had become a massive entity and musical force of nature, whose live shows contained a large scale production.  No, there were no pyrotechnics, (except on 7.4.00), but the crisp sound and elaborate, other-worldly, lighting rig gave the shows a fantastical feel- something outside the realm of …

Club Phish Read More »

Aside from amazing music, great times, and great friends, Phish provided us with something even greater- an alternate reality.  A realm where the most pressing issues were tickets, dance space, and finding your way from venue to venue on the maze of interstate highways, Phish tour provided a break from every day monotony, real-life problems, and cumbersome responsibilities.  Yet, the funny thing was, time spent on tour was as real, if not more real than many days spent at the office, at school, or at work. It was here that you were living.

“Waiting for the time when I can finally say
That this has all been wonderful but now I’m on my way.”

photo – Otar Taktakishvili

In an alternate take on this lyric, a friend once explained to me that this line represented leaving all that crap behind, and heading out to Phish tour.  Instead of bittersweet feelings, this song should evoke feelings of excitement and celebration, in line with its musical direction.  I always found that interpretation to be thought provoking and pretty spot-on for my own life.  On tour, whether for a weekend or a month, you were genuinely following your heart; your deep desire for human transcendence through music- a portal for your soul to reach the divine.  Wasn’t that more real that than what you did at work every day?  You never listened to tapes of meetings, recalling the feelings they evoked in you- that might be masochistic.  You get my point, you were following your passion.

“We gotta get on the road, destiny unbound.”

photo- Laurie Gough

There was nothing like a long road trip to Phish with some friends and some weed to leave your problems in your dust for a while.  Watching the fields of Iowa, or the desert of Utah, the farms of western Pennsylvania, or the coast of California fly by your car window- your consciousness slipped into your subconsciousness while the Bowie > Cities > Bowie provided the soundtrack for your journey.  Your thoughts drifted into a state of nothingness as your imagination took over.  The open road was inspiration, eternal possibility; perfect interludes between cosmic evenings of music and inward exploration.

“The passion that sparked me one terrible night
And shocked and persuaded my soul to ignite”

And each night, nothing mattered except every note coming from the stage.  Life-sized Phish grooves as imposing and alive as any thing in the “real world” dominated your evenings and mind.  Tomorrow didn’t matter as you danced like you had never thought you could; realizing this was it; this was you.  Discussing setlists you had just lived through, and basking in the post-show glow, this is what spoke to your soul.  Some people from back in that other life just didn’t understand, but now it didn’t matter.  All that mattered was finding your friends and your spot for the show, and raging it for all you were worth.  Embracing the privilege of being in front of the Phish, nothing else mattered when Trey dropped the the opening lick of Mike’s, or into when the band exploded into a Tube jam.  Those “time and space”-less moments were the fabric of our dreams.

“The winds will lift you into the sky above
Where you will see a trail of treasure, memories you love
A rainbow record of the thoughts, the moments you’ve enjoyed
Arcs behind the earth as spectral colors in the void”

Some of our most treasured memories still come from the adventures of Phish.  Whether in the venue, on the road, at a hotel or campground; these were our “trail(s) of treasure.”  High times, cruising the country, living the dream with an unparalleled soundtrack.  We have file cabinets worth of colorful memories at this point, and we are about to write some more.  But, when it is over, what will remain are the eternal feelings, memories, and music. So even when life gets crazy, we have the respite of our minds to return to these times, and derive the power to persevere, the power of the void.

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DOWNLOAD OF THE DAY: 8.6.97 Riverport Amp., Maryland Hgts, MO

Surrounded by The Gorge, Alpine, and Deer Creek, this Summer ’97 gem often flies under the radar.  With a killer first set sunset combo of Twist > 2001 > AC/DC Bag, followed by Yamar, YEM, the was place buzzing by half time.  Another 20 plus minute Ghost exploration highlighted the beginning of the second set, while one of the best Antelopes from the summer took it home, this show full of amazing improvisation from start to finish.  With a tight Stash tucked in this one as well, it’s the best show from Summer ’97 that you haven’t heard.

I: NICU, Stash, Beauty of My Dreams, Twist > 2001 > AC/DC Bag, Yamar, You Enjoy Myself

II: Runaway Jim > My Soul, Ghost, Prince Caspian, Cars Trucks Buses, Sample in a Jar, Run Like an Antelope> Makisupa Policeman* > Run Like an Antelope

E: Julius

*Instrumental, with Page on Theremin and Mike on mini-drum kit.

Aside from amazing music, great times, and great friends, Phish provided us with something even greater- an alternate reality.  A realm where the most pressing issues were tickets, dance space, and finding your way from venue to venue on the maze of interstate highways, Phish tour provided a break from every day monotony, real-life problems, …

Take Me To Another Place… Read More »

One of the most entertaining parts of the Phish experience was “the lot.”  Whether you were someone who arrived at the venue at 3pm and hung out all day, or you pulled in at 6:45 and walked right to the doors, you inevitably witnessed some absurd lot humor each and every night.  This humor could take the form of someone offering offering good vibes and hugs for a ticket or a hippie sporting a hemp necklace so thick, it would have made LL Cool J jealous.  It could take the form of fans’ clever signs asking for a “miracle,” or simply a “puddle” for the night.  Anyway you cut it, the parking lot at a Phish show was a hysterical place, and had a language all to its own.

One of the funniest parts about the lot, and “Shakedown Street,” was the incredibly diverse items you could buy outside a show.  The ability to purchase so many things brought convenience, humor, and spice to the scene- especially after the show as your saucer-eyed self meandered through the madness.  Let’s look back at some of the things most readily available at a show.

Food: A downright buffet of questionable cuisine, the lot provided many options for the diner daring to go there.  The most popular item being hawked had to be the veggie burrito. Having to be made at some point during the day (hopefully the same day) and inevitably sitting in a van until after the show, I never understood the people whose eyes lit up when they saw these on lot.  Then you had your french bread pizza, somehow cooked in ovens that heads traveled with around the country.  These were always the highlight of my purely olfactory experiences.  Moving on, some standard fare included quesadillas, pizza-dillas, and the classic “grilly,” or simply put, the heady grilled cheese.  From ganja gooballs to rasta pasta, you could compile a lot cookbook of recipes you would never use.  (On a side note- ganja gooball!?  Are you kidding me?  What that means is, “Do you wanna’ buy a kneaded orb of sticky, sugary, “organic” crap that was on sale in the local grocery store today mixed with ganja butter?”  Sounds like a perfect pre-show snack.)

Clothes: If you were late, and couldn’t stop at Walmart, odds are you could find what you needed at the show.  From “freshies” (new socks) to “hoodies” you could pimp yourself out with “heady” lot gear.  First and foremost, you had your classic culture of bootleg Phish lot t-shirts.  Whether it was the classic Antelope Crossing long sleeves or the Star Wars take on Mike’s Song, everyone, at some point bought a lot shirt.  It’s probably still in your drawer right now, cherished, tucked away for watching Sunday football.  Maybe its the upside down Hood milk logo or the Glide version of Tide detergent that you sport when you work around the house.  Perhaps you bought the classic LL Bean Llama or the Camel Walk cigarette pack tee; the Ghost on the GI Joe logo or Forbin’s Ford Truck shirt, and just can’t get rid of it due to nostalgia.  Too many to remember, the t-shirt market had a life of its own, yet there were other items for sale. Fans sold patchwork of all shapes and sizes sewn into shirts, pants or dresses; hemp and beads twisted into any form of necklace, anklet, or dread holder were hawked like wildfire.  This was the high hippie fashion of the ’90s, and lots of fans and “custies” bought into the trend.  Let’s also note that once these folks stepped off Phish lot, they appeared as if in some sort of costume to citizens of the rest of the world!  (On another side note, you gotta love the term “custies,” derived by the tour head selling items to get from show to show to describe their customers who drove up in mom and dad’s Ford Explorers, and broadened to mean uncool or mainstream.)

Drugs: The lot was an open air drug market in which you could score just about anything if you hung out on Shakedown long enough.  All you had to do was stand still and allow enough people to whisper in your ear.  Whether it was “gellies” or “25,” “pressies,” or “molly,” “sexy beasters” or “headies,” “pharmies” or “mushies”, the Phishies had you covered.  Party favors for the show and beyond, the lot was a psychedelicitessan that never closed its doors;  just avoid the middle aged men with moustaches and bright tye-dies.  They like to hang out in Virginia Beach.

photo- blackdragonglass.com

Smoking Devices: With the herb being such a large part of Phish culture, the market for ways to smoke it became huge on lot.  Ranging from a recreational activity to a holy sacrament, just about everyone had their own routine of puffing.  Part of this ritual was something to pack.  Having evolved from a utility to an art form, certain glass bowls, bubblers, and bongs began to be identifiable by who blew them.  A psychedelic form of art in its own right, this could be a place to score a “head piece” to display and use in your home, or a “traveler” to roll with and dispose of after tour.  With more glass available on Shakedown then on Haight Street, the glass market proved that it clearly matters to fans what they burn their weed in.

Alcohol: Fans liked to “schwill.” There was never a lack of adult beverages available for consumption on Phish lot before and after a show.  While Summer tour was the high season for beer sales, they took place throughout the year.  Hippies like “heady” beer- the darker the better- with a Samuel Smith’s Oatmeal Stout being the king of lot ales.  Known affectionately as “Oaties,” these were a staple of any Phish lot.  Going as far as selling shots of Jaegermeister and other bottled liquor for a few dollars each, fans created their own versions of a bar- the bartenders just usually weren’t as pretty as usual.

Ahhh. The days of lot.  A tradition carried over from Dead tour, the lot existed as container for the scene.  Buying, selling, bartering, and trading, fans, “kids,” and “custies” conducted a self-experiment as an independent free-market economy, living on asphalt from state to state.  With cash flow that could be analyzed by economics students, the lot was a natural phenomenon in basic principles of supply and demand.  More than just an extension of the show, the lot was an independent entity all together, attracting hangers-on often not interested in seeing the band. But when it was all said and done, the lot was a place for natural social interaction, transaction, and a unique stage for human comedy.

PHISH LOT VIDEO

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What are your favorite lot memories and stories?  Share in comments!

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DOWNLOAD OF THE DAY: 7.6.94 Theater St. Denis, Montreal, CAN

This short trip due north of their home in Burlington brought back a winner of a show.  Known for many fans’ favorite Reba of all time, and a ridiculous Tweezer, this show comes amidst a tour and a year that featured some of Phish’s most adventurous risk-taking and ballistic jamming.  With ten days remaining in a tour that started on April 4th in Burlington- three full months earlier- this show illustrates a band that was well polished and heading for home.

I: Llama, Fluffhead, Julius, Bouncing Around the Room, Reba, Axilla [Part II], My Minds Got A Mind of its Own, Carolina*, David Bowie

II: The Landlady, Poor Heart, Tweezer# > Lawn Boy, Chalk Dust Torture > Big Black Furry Creature From Mars > Sample in a Jar > Big Black Furry Creature From Mars, Harry Hood, Tweezer Reprise

E: The Old Home Place*, Nellie Cane*, Memories, Funky Bitch

#With a very “Also Sprach Zarathustra” jam, especially by Trey.  *Acoustic and without mics.

One of the most entertaining parts of the Phish experience was “the lot.”  Whether you were someone who arrived at the venue at 3pm and hung out all day, or you pulled in at 6:45 and walked right to the doors, you inevitably witnessed some absurd lot humor each and every night.  This humor could …

Lot Daze Read More »

Las Cruces, NM

Nine years ago today was one of those Phish shows you just had to love.  In the middle of the week in Las Cruces, New Mexico, with few tangential show goers other than a few hundred students from New Mexico State, this one would be for the people on tour.  A casual afternoon lot scene gave way to a spacious venue with a GA floor that provided a very laid back experience for those in attendance.  Able to move around freely, stubbing anyone you wanted down to the floor, this show was as casual as it gets, and represented the perks of west coast, out-of-the-way, shows.  Sure, they didn’t have the ominous feeling of MSG or Worcester, but you a got the sense that you were getting a more exclusive concert, one played just for you and those who made it a point to drive into the middle of New Mexico, Idaho, or Alabama.  Taking on a completely different, but just as Phishy of a feel, shows like Las Cruces, New Mexico provided a necessary balance to a tour that would inevitably pass through all the major markets and wind up in the crowded venues of the northeast.  Back to back with another show of a similar vibe, Las Cruces and Pima County Fairgrounds in Tuscon, AZ, gave Fall ’99 a southwestern siesta portion of the tour.

Easily walking inside without waiting in line, using an empty bathroom, and finding the ideal space on the half-empty floor with friends, a very mellow vibe encapsulated the room.  As showtime neared, more people flowed in, yet space in the venue was just never a problem.  Phish often came out and ripped in these off-the-beaten-path shows, rewarding fans who traveled to such locales, and Las Cruces was no different.  Hot off an exciting run down the west coast, Phish began to carve their way east, and as they pulled into Las Cruces, not very far from Roswell, fans felt tapped into extra-terrestrial aura surrounding Phish’s closest performance to the controversial and highly publicized UFO conspiracy of 1947.

Fall ’99

Apparently, the band was tapped into the same wave-lentghs, as they came onstage and used the first few minutes to build an ambient soundscape before dropping into a opening fourteen-minute 2001 dance session.  Combining high octane funk with ’99’s effects, and distorted, yet melodic, guitar leads, this version kick started the show, and gave a nod to all the conspiracy theorists out there.  Ripping right into Chalkdust, neither the band, nor crowd, had a lack of energy getting going on this night. Following a string of non-improvisational songs, the band sat into a twenty minute Bathtub Gin.  This jam began in laid back fashion, but as the band delicately moved the music to another plane, Trey and Mike began to lead the way with some tight interplay.  Trey took it flying into the emotional realm with those expressive melodies that remind you of your own inner thoughts and feelings.  This Gin generally remains tucked away in the first set of this under-the-radar show, but it’s a version that more people should know.  With a short interlude of Mozambique, Phish got right back to business, dropping the recently debuted Sand, late in the first set.  This jam provided fans- all with ample to room to move- yet another session of improvised dance grooves in what shaped up to be a very strong, and long, first half of the show.

The second set contained no nonsense as Phish built a set on diverse types of improvisation.  Beginning with the lighter candy grooving of Jibboo, the beginning of the second set continued the theme of open dance jams that had defined the first.  This got everyone warmed up for the meat of the show- a masterful and unlikely pairing of Ghost > Taste.  Totaling 30 minutes, this segment of the show began with some locked in jamming as the dark palate of Ghost provided the perfect canvas for Trey to color with consistently clean and snaking guitar melodies.  The band built the tension of the jam around his solo and Mike began to play in a way in which remained locked with Fishman, rhythmically, while simultaneously playing complimentary melodies to Trey.  Progressing into a more searing millennial ’99 segment, characterized by wailing walls of sound with Mike pounding away underneath, this Ghost contained multiple segments of standout jamming. Climaxing in a frenzied peak, this jam explored some aggressively psychedelic territory before quietly segueing into Taste.

Taste’s polyrhythmic textures and unique time signature provided a stark contrast to the heavy grooves that had just concluded, but as they entered the jam, in was clear that the band was on, and their precise shredding adapted quickly to the new musical milieu.  The complex jam contained gorgeous symbiotic phrasing by Trey, Page and Mike, as they navigated the divergent territory.  Coming to a mind-bursting peak, this usual set closer was magnified as it was inserted into the high-profile mid second set slot.  A perfect example of the four band members totaling more than the sum of their parts, this Taste gave Ghost a perfect running mate.  A long segment of top notch Phish, this Ghost > Taste provided the high point of the evening- even though things were far from over.

Stopping in Brian and Robert for a minute to catch their breath, the band subsequently sparked a fiery Mike’s Groove that splashed with a heavy funk section; Trey using his patented rhythm playing to get the room pulsing again.  With Page adding some dark colors and sinister sounds, Trey would soon leave behind his whispers in favor of wails, as Phish dug to deeper and darker places.  This ferocious Mike’s fit in perfectly with the groove-heavy show and the band reached some raunchy territory before using the Simple transition as an emergency escape route out of the quagmire.

Finishing on a lighter tone with Trainsong and Weekapaug, this show was one that noone left disappointed.  With a bust out encore of their classic ZZ Top cover, “La Grange,” this show had everything that all of those shows in the middle of nowhere usually had- bust outs, huge jams, and two sets chock full of great Phish.  As tour twisted into Texas, the placid desert days of Arizona and New Mexico had come and gone.  This one will live on in the memories of all who enjoyed it, and now you can too, with the download below.

I: 2001 > Chalk Dust Torture, Guelah Papyrus, Axilla, My Mind’s Got a Mind of its Own, Beauty of My Dreams, Bathtub Gin, Mozambique, Sand, Waste

II: Gotta Jiboo, Ghost -> Taste, Brian and Robert, Mike’s Song > Simple > Train Song, Weekapaug Groove

E: La Grange

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Here’s a selection from back in the day.  This old school classic features the rarities of Landlady > Destiny Unbound and Tube in their heyday, along with Phish classics galore.  Filled with old-school Phish craziness, this one is picture of a different band at a different time.  Enjoy!

1: Chalk Dust Torture, Sparkle, Cavern, The Curtain, Split Open and Melt, The Squirming Coil, My Sweet One, Guelah Papyrus, Gamehendge Rap > The Divided Sky, Lawn Boy, Golgi Apparatus

2: Llama, Bathtub Gin, Poor Heart, Mike’s Song > I Am Hydrogen > Weekapaug Groove, Eliza, Tube, The Landlady > Destiny Unbound, Harry Hood, HYHU > Love You > HYHU, Bouncing Around the Room, Possum

E: Highway to Hell, Suzy Greenberg

Trey announces that the new name of the band is “Mrs. Pizza Shit,” and it is yelled repeatedly throughout the show.

Nine years ago today was one of those Phish shows you just had to love.  In the middle of the week in Las Cruces, New Mexico, with few tangential show goers other than a few hundred students from New Mexico State, this one would be for the people on tour.  A casual afternoon lot scene …

Laid Back in Las Cruces Read More »

The culmination of three nights at the classic Fox Theatre in Atlanta, this show is among the best of 1995’s 54-show fall tour.  Taking a week off after Halloween, Phish reemerged in Atlanta for these three nights to kick off the second leg of the tour.  Wasting no time getting deep, the band dove right into a second song Mike’s that initiated the first set onslaught, leaving a set list that would read like a second set.  With a darkly layered Stash, precise Yamar, and ripping Chalkkdust, this set was chock full of imrovisation.  The second set upped the ante, opening with a 2001 > Bowie, in quintessential ’95 form.  A Fluffhead and a set closing Antelope rounded out one fans’ favorites nights of the fall.  A show focused on improvisation from start to finish, it is a must-have ’95 classic.

I: Cars Trucks Buses, Mike’s Song > A Day in the Life, Poor Heart, Weekapaug Groove, The Horse > Silent in the Morning, Ya Mar, Stash, Amazing Grace*, Fee, Chalk Dust Torture

II: Also Sprach Zarathustra > David Bowie, Suzy Greenberg, Uncle Pen, Fluffhead, Sleeping Monkey, Frankenstein, Suspicious Minds, Run Like an Antelope

E: Acoustic Army, Good Times Bad Times

*A capella

VIDEOS OF THE WEEKEND:  11.24.98 Moma Dance, New Haven, CT

This first set Moma, captured beautifully in this video, got the New England crowd moving quickly.  Showcasing the thickness of Fall ’98 Momas, this video is a little laid back funk for the weekend. (Excuse the couple minute video drop, the audio remains.)

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6.13.94 Reba Jam Kansas City

Spectacular footage of a spectacular jam, this video illustrates the locked in grooves that typify so many ’94 Rebas.  Like all wine’s have their vintage year, Reba’s was most defintely 1994.

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The culmination of three nights at the classic Fox Theatre in Atlanta, this show is among the best of 1995’s 54-show fall tour.  Taking a week off after Halloween, Phish reemerged in Atlanta for these three nights to kick off the second leg of the tour.  Wasting no time getting deep, the band dove right …

Weekend Nuggets Read More »

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