MR. MINER'S PHISH THOUGHTS

As we approach our final stages of preparation for Phish 3.0, many readers have put out the practical request to review some of the new music we could hear from Trey’s new catalog come Hampton and beyond.  On his Classic TAB tour last October, he played many new songs that he and Tom Marshall had recently finished; and something tells me Trey and Tom didn’t sit down to write a bunch of tunes for Tony, Russ, and Ray to play!  If things are as they appear, Trey wrote most of this new material with Phish in mind.

Having played some of his new songs once, and others only a few times over his eight shows, it seemed that Trey was holding out on the most significant songs, waiting for his “other” band to chart their destinies.

Obviously, any TAB versions of these songs represent mere templates of what they could be.  What Phish will do with these pieces if, and when, they play them is a whole different story.  Here are ten selections we may hear come 3.0.

Backwards Down the Number Line

Debuted acoustically at Rothbury last summer, and played over the second half of Trey’s tour, this is the new song that all fans are familiar with.  The song’s poignant theme of old friends reuniting captures the tone of the moment in the Phish world.  With an uptempo rock-based jam and a lyrical reprise at the end, this song seems like the new-school “Down With Disease.”  Odds are favorable that we will hear this at Hampton, potentially opening one of the three second sets.

Light

“Light” is the song that *sounds* like Phish the most.  With sublime harmonies and melodies within a transcendent milieu for improvisation, this song seems specifically written for our favorite foursome.  With an ambient intro, reflective lyrics, and a soaring jam, this one brings shivers just imagining what Phish could do with it.  Trey only played this song once over his tour, most likely signaling its place in the Phish universe.  When they bust this one out, you will know- it will be one of the highlights of the show.  “Tweezer > Light,” anyone?

Greyhound Rising

A multi-faceted compositional beast, “Greyhound Rising” is another song that seems custom made for Phish.  Beginning with a gorgeous ballad-esque feel, the song progresses through wistful lyrical passages before moving into the distinctly different, and more grooving, second section.   The song then slides into a blues-based jam before eventually building back to the original lyrical melodies.  “Greyhound Rising” has a little of everything Phishy, and it is another that sounds like a perfect fit for the band.

Valentine

This song was only brought out twice along Trey’s tour due to the improvisational limitations of TAB.  When this song first dropped in Brooklyn last summer, it was an immediate favorite with its soulful feel and unique lyrical path.  An inspiring piece of music, this one seemed to be stashed away for Phish after TAB’s third show; a guitar solo could only take it so far.  Add Mike, Page, and Fish to this tune, and you’ve got a Phish staple for years to come.  This song catches you immediately and draws you right into its flow.  This will fit in perfectly if Phish so chooses.

A Case of Ice and Snow

Trey included an acoustic version of this song on his solo album, Bar 17, but when he played it throughout his solo tour, the song took on a wholly different shape.  Reflecting on hard times gone by, the mellow and gorgeous song could give way to surreal soundscapes, something that was merely hinted at via TAB.  Again, this sounds very much like a Phish song, and it could be a tremendous addition deep in the second set- like how The Dead used “Morning Dew.”

Ruby Waves

Trey only busted this song out once over his eight shows.  Representing the poppier side of his writing, this song could certainly fit in with Phish 3.0.  Boasting a smooth palatable groove and an uplifting chorus, this could turn out to be a latter-day Phish “single” with legitimate improvisational potential when played live.  This is a song that Phish could vibrantly enhance.

Burlap Sack & Pumps

Consistently introduced with the group of songs that Trey wrote with Tony and Russ, and that made the transition to Phish, it seemed that Trey was implying that this song would do the same.  A centerpiece of Trey’s October tour, this was rearranged for a four-piece, with Trey taking adopting the horn’s lead melodies from TAB’s big-band incarnation.  With two distinct jams, this “Burlap Sack & Pumps” could provide multiple launch pads for Phish.  Many feel that due to the song’s long TAB history, this one won’t be brought into Phish.  Yet, after hearing the psychedelic planes that this song traversed throughout Trey’s tour, I wouldn’t be making any wagers!

Let Me Lie

This could be the next beautiful Phish ballad, though due to its incredibly autobiographical nature, I’m not sure it will make the jump.  Played extensively over TAB tour, this recovery-themed song seemed very appropriate for his solo comeback performances.  Though the song would definitely translate beautifully to Phish, whether they choose to include it is another story.

Spin

An older song off of Shine, this was also played a on GRAB tour a few years ago, so Mike already knows it.  Played twice over the recent TAB tour, “Spin” possesses an dark and open-ended ambient jam at the end that Phish could absolutely slaughter.  A reflection on Trey’s less-happy days, this one could also be too personal to bring to his “other” band.  If Phish does decide to play this- forget about it- the results will be huge.

Alaska

A straightforward, and somewhat comedic, blues song, Phish could adopt this for a diversity of feels.   This could work, bringing some dirty blues-based jamming into the mix.  As most fans seem to know the lyrics already, this one could be an underwhelming arena sing-along that morphs into improv.  Only time will tell.

< LINK


Time Turns Elastic

The second movement of Trey’s orchestral piece that he debuted with Orchestra Nashville in September surfaced as a solo acoustic demo on the Internet.  When listening to the acoustic piece, one can hear how this entire movement could translate into a latter day Phish epic.  With lyrics rich in imagery and diverse musical approaches, this “song” could develop into a masterpiece.

LISTEN TO TIME TURNS ELASTIC (ACOUSTIC) ^ LINK (Roll over and press play)

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ANDY GADIEL ON THE RADIO / WEB STREAM TONIGHT! – 8-10 pm

Godfather of Phish Internet space, and good friend, Andy Gadiel, will be guest DJing a special “Phish Reunion Set” set tonight on KPFA’s “Dead to the World” radio show with David Gans on 94.1 FM in the Bay Area from 8-10pm.  Manning the DJ booth for two hours, you can be sure he will throw down a juicy playlist!  Regardless of where you live, be sure to tune in for what is sure to be a good time! Tune in to the broadcast at KPFA 94.1 FM in the Bay Area, kpfa.org or nugs.net online everywhere.

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DOWNLOAD OF THE DAY:

12.16.95 Olympic Center, Lake Placid, NY < LINK

Olympic Center, Lake Placid, NY

This is the first of the final two nights of Fall ’95.  This would be show number 53 of 54, and Phish was clicking.  Two weeks away from their legendary New Years Run, these two nights in Lake Placid are revered in Phish history.  (The second show was posted a couple days ago.)

I: Buried Alive, AC/DC Bag, Fog That Surrounds, Ya Mar, The Sloth, The Divided Sky, Dog Faced Boy, Julius, Suzy Greenberg

II: Sample in a Jar, Reba, Scent of a Mule, Cavern, Mike’s Song > Simple > Weekapaug Groove, The Squirming Coil

E: Fire

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As we approach our final stages of preparation for Phish 3.0, many readers have put out the practical request to review some of the new music we could hear from Trey’s new catalog come Hampton and beyond.  On his Classic TAB tour last October, he played many new songs that he and Tom Marshall had …

TAB > PHISH ? Read More »

It was on this weekend six years ago that Phish re-established themselves in the post-hiatus era.  As much of the Phish community flocked to Las Vegas for two nights at the beginning of the band’s winter comeback tour, many fans held lingering questions in their mind.  The Hampton shows left a bland flavor in mouths of most fans, and aside from those who saw the “Walls > Carini” at the LA Forum on Valentine’s Day, many wondered when, and if, Phish would regain their explosiveness.  Any unclarity was wiped away over the course of two demonstrative shows in which Phish musically exclaimed their return.

There was nothing like another spectacular weekend in Vegas for Phish to regain the confidence of their fan base. (Ironically, it would be a weekend in the same room about a year later that signaled the band’s imminent demise.)  Returning to the Thomas and Mack Center, the site of so many special nights, the band played with a creative dynamic and that sense of urgency that was so blatantly lacking in their four-night reverse New Years Run.  Weaving together lively sets all weekend long, Phish highlighted songs past and present, culminating with the much-loved second set of the 2.16.03 show; no set of the weekend better exemplified the meshing of the old and the new.  The opening segment of “Disease > Seven Below > Disease” popped with intensity while the band’s playing remained incredibly intricate.  With remarkable improv and seamless segues, this was one of the first big highlights of 2003, a year that would resurrect Phish and bring us all back to those mystery-laden adventures of yesteryear.

Yet, what also emerged from this Vegas weekend was a new direction in the band’s sound and playing.  Not as squarely focused on groove as in the late-90’s, the band still anchored their playing in dance rhythms- though with far more texture and effect- creating a “space-like” quality to the music.  This new direction would be typified by such legendary Winter ’03 jams as the Cincy Gin (2.22), the Chicago and Nassau Tweezers (2.20 & 2.28), and the Worcester Ghost (2.26).  This style of dissonant-space-groove became magnified as the tour and year moved on, taking Phish’s jams to new and different places than ever before.

The colossal “Piper” that came later in 2.16’s second set also foreshadowed a post-hiatus trend; that of huge “Piper” jams.  On this night, the song would fly off the handle for 22 minutes, something that became the norm throughout the year as it produced continuous highlights.  Including musical references to the set’s “Seven Below” and a full “Disease Reprise,” this “Piper” soared in a new direction for the song- a launch pad for adrenalized, full-on improvisational adventures.  Like this Vegas version, every time “Piper” appeared in ’03, jaw-dropping  jams materialized.  A full-speed canvas that the band collectively shredded to bits, “Piper” became one of the best developments of ’03, fully realizing a transformation that began as the band wound down in 2000.

While the most impressive playing came within the weekend’s final set, the others shone as well.  2.15’s “Waves > Bug,” highlighted the Round Room composition for the first time since the comeback show, and the “Ghost” that followed absolutely smoked. (Potentially in response to a banner that hung from the second level proclaiming it had been 871 days since the previous version.)  The first set boasted hot versions of “Reba” and “Antelope,” while 2.16’s first set opened with a ferocious “Bowie > Catapult > Bowie,” and brought some amorphous new-school improv with the second “Round Room” ever.

This Vegas weekend back in ’03 was cause for universal celebration in the Phish scene, as they were finally back.  Both inspirational and playful again, the Phishy vibe had returned in a city where it had thrived for years.  These nights were the first building block for Phish 2.0, in a year that saw their playing evolve, exploring a plethora of new ideas.  This was the first step (well, second and third) down a path that would culminate in Miami’s magnificent New Years’s Run.

All photos from Vegas ’03

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GUESS THE HAMPTON OPENER, WIN PHISH TIX!

Over at Jamtopia.com, they are running a Hampton opener contest!  If you guess correctly, and we all know we have the right answer, you have a chance to win summer tickets. The top prize is one ticket to The Fox if you are the only person to guess the answer correctly!  Give it a shot; why not?  Details are on the site.

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FYI : HAMPTON AFTER-PARTIES

For those of you who won’t nearly be done with your night when the encore ends, there are Phish after-parties scheduled in the surrounding Hampton area each night.  If you are arriving on the 5th, the night before the shows begin, The Disco Biscuits will be passing through Norfolk on their winter tour.  After Friday’s Phish show, Bassnectar and Orchard Lounge will take The Norva Theatre’s stage starting at midnight.  Following both Saturday and Sunday’s shows, Steve Kimock and Friends will be playing late-night gigs at The Norva as well.  In addition, after Sunday’s show, UK psychedelic dub maestro, OTT, will be headlining a down-tempo electronica party at The Omni in Newport News.  Click on artists below to buy tickets now!

3.5 The Disco Biscuits @ The Norva, Norfolk, VA (Pre-Phish)

3.6 Bassnectar, EOTO, Orchard Lounge @ The Norva

3.7 Steve Kimock and Friends w/ Melvin Seals @ The Norva

3.8 Steve Kimock and Friends w/ Melvin Seals @ The Norva

3.8 Ott, Bluetech, Telepath @ The Omni, Newport News VA

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DOWNLOAD OF THE DAY:

10.26.96 Charlotte Coliseum, Charlotte, NC < LINK

A show that has always been overshadowed by the Halloween hubbub in Atlanta just a few days later, this stop in Charlotte had plenty to offer. With a second set filled with feel-good Phish anthems, the band took the most improvisational liberty with “YEM,” “Simple” and “Antelope.”  This night had an upbeat feel from the beginning, and was a solid effort amidst a relatively generic east coast run to begin Fall ’96.

I: Julius, Cars Trucks Buses, Wolfman’s Brother, Reba, Train Song, Character Zero, It’s Ice, Theme From the Bottom, Sample in a Jar

II: Down With Disease, You Enjoy Myself, Sparkle, Simple, McGrupp and the Watchful Hosemasters, Waste, Run Like An Antelope

E: Fire

It was on this weekend six years ago that Phish re-established themselves in the post-hiatus era.  As much of the Phish community flocked to Las Vegas for two nights at the beginning of the band’s winter comeback tour, many fans held lingering questions in their mind.  The Hampton shows left a bland flavor in mouths …

The Return of Phish 2.0 Read More »

DOWNLOADS OF THE WEEKEND:

Paradisio 7.2.97

In the middle of their revolutionary Summer ’97 Europe run, Phish stopped for two nights in Amsterdam.  Following up their amazing show on 2.17.97, Phish brought the heat in the former church turned venue, The Paradiso.  Legend has it that during their weekend in the worlds psychedelic capitol, Trey had some “adventures” resulting in this stage banter:

Now be careful when you walk out of here tonight…because you don’t want to be swallowed up by one of those worms in the canal. You know those toilets on the side of the road here — don’t go in there — because you’ll get sucked down into the canal and be stuck all night riding along those giant worms….you might think I’m kidding around, but it happened to me last night and it was scary.

One can only imagine the antics that went into that story!  Nonetheless, “the back of the worm” became the theme of the weekend, as the phrase was repeated and catcalled by Trey and Fish throughout several jams during both shows.

“Wormtown jam” 7.2.97

The music over these two shows stellar was very illustrative of the changes the band was undertaking during their Europe run.  The first night started with an extended “Ghost” story, setting the laid back and funked-out tone for the stand.  Both second sets were perfectly flowing sets of improvisational Phish.

7.2 began quickly with a massive first set “Mike’s Sandwich,” while set two featured a 30-minute masterpiece in “Stash,” and a “Llama” that found its way into a jam that brought everyone onto the “back of the worm.”  This legendary set was capped with a double encore- taboot, taboot.  These shows were classic pieces of the Summer of 1997.

7.1.97 Paradisio, Amsterdam, NL < LINK

I: Ghost, Horn, Ya Mar, Limb By Limb, Ain’t Love Funny, I Saw It Again, Dirt, Reba, Dogs Stole Things

II: Jam* > Timber Ho!,  Bathtub Gin > Cities, Loving Cup, Slave to the Traffic Light

E: When the Circus Comes

*Fish alone on piano, then builds into a jam distinct from “Timber Ho!”

7.2.97 Paradisio, Amsterdam, NL < LINK

I: Mike’s Song > Simple > Maze, Strange Design, Ginseng Sullivan, Vultures, Water in the Sky, Weekapaug Groove

II: Jam > Stash > Llama > Worm Town Jam* > Wading in the Velvet Sea

E1: Free^

E2: David Bowie

*A jam on “Swing Town”  (Steve Miller tune) with dark vocals about “Back of the Worm.”  ^Band left stage after Free.

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VIDEOS OF THE WEEKEND: CLIFFORD BALL DVD PREVIEWS

“Punch You In the Eye”
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“Fluffhead”

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DOWNLOADS OF THE WEEKEND: In the middle of their revolutionary Summer ’97 Europe run, Phish stopped for two nights in Amsterdam.  Following up their amazing show on 2.17.97, Phish brought the heat in the former church turned venue, The Paradiso.  Legend has it that during their weekend in the worlds psychedelic capitol, Trey had some …

Weekend Nuggets: The Back of the Worm Read More »

With 21 days to go until Hampton’s three-day reunion bash, few fans can stop speculating about what song the band will open up the third chapter of their career with.  Speculation has been running rampant daily on Phish Thoughts’ comment threads and Internet message boards all over, so I figured that we would dedicate this Friday to the question fans have been tossing around for almost five months now- “What will they open with?!”

Always a fun topic to discuss, even for a regular show, the reasoning used to support current theories are far more detailed and thought out for this comeback show.  Everyone has different opinions on what Phish will start with because everyone has different opinions on what message they will be trying to send.  What will they welcome us home with?  In the most highly anticipated show of the band’s career, the opener will be used to not only set the tone for the run, but for all of Phish 3.0.  Let’s explore some of the possibilities and reasonings for some potential tour openers. (Revised and updated from October.)

1. You Enjoy Myself: The magnificent opus that has long defined the band is one obvious choice for the opener; getting back to where it all began right off the bat.  “YEM” has always been Phish’s quintessential song, merging precise composition, loose improvisation, and silly lyrics.  Earlier this summer, Trey said he would give his left nut to play “YEM” five times in a row every day until he dies, however, odds are they will only play it once.  A “YEM” opener would signify the enthusiasm of the band to return to glory, and would get Hampton bumping in no time.  Usually reserved for the end of a set, “You Enjoy Myself” would be a perfect reentry into Phish’s kingdom.

2. Down With Disease: We all know how much the band loves to break out this song in big situations, and there has never been a Phish situation bigger than the one at hand.  “Disease” has to be a strong candidate for the first song out of the gates.  Lyrically symbolic of leaving their troubled times behind them, Phish will “be on their way” to becoming a dominant musical force and the inspiration for so many fans again.  The lyric, “Trying to stop these demons that keep dancing in my head,” delivers the message of redemption and a focus on the future and not the past.  The future is what 3.0 is about after all- letting bygones be bygones and moving forward.  In addition, “Disease” contains plenty of time for the crowd to let out minutes of deafening roars before launching into the jam.  This seems like strong candidate.

Hampton (C.Clark)

3. Chalk Dust Torture: One of the most frequently played songs in the band’s career, and a clear favorite of Trey’s, this song could be used to open the run and whip the crowd into an immediate frenzy.  A common set opener, this is another likely candidate.  Lyrically fitting, the reprise of, “Can’t I live while I’m young?” still has profound meaning for Phish and their aging fan base, and it would be a poignant message to deliver right away.  If the band wants to start back with some straight rock and roll, you can be sure that “Chalk Dust” will be leading off.

4. Tube: If Phish wants to use Pulp Fiction’s technique of giving us an adrenaline shot directly to the heart, they will choose “Tube.”  Can you imagine if the lights went out, they stepped on stage, and an asteroid crashed?!  The place might just pop- the energy would be straight up, unfathomable.  This would be the opener in a crazy dream you might have, but it could happen- this is Hampton after all.

5. Punch You In the Eye / Wilson: Either “Punch” or “Wilson” would serve as a rowdy Gamhendge supercharge right from the get go.  Both of these songs would bring forth amazing energy and get the crowd re-situated in Phishland very quickly.  With nothing too improvised, these songs would, nonetheless, get Hampton sweating and bouncing in no time at all, complete with audience participation.

6. Mike’s: If Phish were to come out to the opening licks of  “Mike’s”- forget about it.  We would witness the immediate implosion of the venue and surrounding Hampton area.  This would be the ultimate statement that “We are back, and we mean business.”  Hampton “Mike’s Songs” were a staple of Phish’s previous life, and this would be the perfect time to drop the sixth one ever.  Imagine if three minutes into Phish 3.0 we plunged into a militant “Mike’s” jam!?  Whew!  Just the thought of it makes my heart pound faster.  A “Mike’s” would catapult us back into the thick of things with little time to mentally or physically warm up for the madness.  This would be a dream come true- a Hampton”Mike’s” straight away.  This would be incredibly powerful.

7. Get Back On the Train: If this song were selected, it would obviously be a lyrical choice that would reflect the band’s personal battles they have overcome to reach the stage together once again.  Although the lyrics fit the situation, this would be an incredibly underwhelming choice for Hampton’s opener.  An average song at best, this one wouldn’t have the same musical effect as other choices.  But who knows, Phish could open with this and drop right into YEM, something not so far fetched.  Although there would be legitimate meaning here, I think the opener will be a bit bigger.

8. Undermind: This song, the title track of Phish’s last album, was never played in 2004.  Busted out by Trey’s solo band a couple of times years ago, this song would be a perfect musical and lyrical fit to open up the rest of time.

Relocated, not retired
Reprimanded and rewired

Mystified and mishapen
Misinformed, but not mistaken

Reinvented, redefined
Rearranged, but not refined

These spot on lyrics, infectious melodies, and chunky grooves could be the ideal opener.  Familiar, yet never played, it would represent Phish bridging their past with a new sure-to-be crowd favorite.  This could be the perfect way to start- with a new jam we have never heard.

Coventry

9. The Curtain (With): This would seem like the natural choice to lead off with since they closed Coventry with a horribly botched version of their hallowed classic.  Beginning in the wrong key, the band had to stop and take it from the top for their their last song ever.  It was sad.  But now there is a chance to right the wrong of Coventry, and they could very well choose to symmetrically open up their next chapter by nailing the gorgeous composition which leads into an uplifting jam.  It would give a nod to the fact that Coventry was not the way it was supposed to end, and that Phish is back to do things the right way again.  Used as a launching pad into a larger jam vehicle, they could use a “Curtain (With) > YEM” combo to open the show in incredibly Phishy fashion.  “Curtain” could also be paired with a lot of other songs to initiate the party.  “Curtain > Tweezer,” anyone?

10. A New Song: It is very possible, since Phish will evolve into a different monster, that they will come out with something we’ve never heard before. With all the new material Trey and Tom have been writing, it would be a very Phishy move to ignore the obvious classic choices and welcome people to the future with a song that nobody has heard.  It would send the message, “We are back, and don’t expect us to be the same.”

Matured with a greater perspective, the band could come out and drop something that reflects their renewal- a proposition that seems very inviting.  Phish will be different, that is for sure; so we might as well start off on a new foot.  While I think “Backwards Down the Number Line” will open up a second set during the three night run, it could be what they come out of the gates with.

The first notes that emanate from the stage at Hampton will spark joy and jubilation in the minds of thousands, and it could take so many different routes.  These are merely some of the possibilities I have conjured up, and I am sure there are more legitimate guesses out there.  They could always open up with “Runaway Jim,” like most every other show in history- who knows?  What do you think?  One of these?  Something different?  Respond in comments and let’s hear what you think!
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DOWNLOAD OF THE DAY:
12.17.95 Olympic Center, Lake Placid, NY < LINK

Olympic Center, Lake Placid, NY

This is the final show of the marathon 54-gig run of Fall ’95. Well-oiled and firing on all cylinders, Phish would conclude their epic journey with two standout shows in the intimate upstate New York venue.  I’d run through highlights, but the setlist speaks for itself.

I: My Friend My Friend, Poor Heart, A Day in the Life, Run Like an Antelope, The Mango Song, Tube, Stash, Lizards, Chalk Dust Torture

II: Bouncing Around the Room, Maze, Free, Also Sprach Zarathustra > Harry Hood, Sparkle, Tweezer > Tweezer Reprise

E: Hello My Baby, Runaway Jim

With 21 days to go until Hampton’s three-day reunion bash, few fans can stop speculating about what song the band will open up the third chapter of their career with.  Speculation has been running rampant daily on Phish Thoughts’ comment threads and Internet message boards all over, so I figured that we would dedicate this …

The Hampton Opener? Read More »

Debuted at the Warfield Theatre on May 27, 1994, “Simple” has played several roles through Phish’s career.  A central use of Gordon’s composition has been as a high-energy interlude between “Mike’s” and “Weekapaug,” supplanting “Hydrogen’s” role for much of the late ’90s.  Giving any “Mike’s Groove” a vastly different contour, “Simple” became a somewhat galvanizing song among fans.  Some loved it’s catchy hook and bombastic energy, while others thought it was an intruder on sacred ground.

Although the band integrated standalone “Simples” into their setlists, it wasn’t until 1996 that it emerged as a vehicle for improvisation.  Taking its feel-good melodies for the musical equivalent of mellow sails across the bay, Phish began to gradually explore the song’s potential.  During Fall ’96, this potential was realized with several standout versions; specifically Halloween’s third set standout, Champaign’s powerful version of 11.8, Memphis’ emotive rendition of 11.18, and the popular twenty minute excursion from the tour’s last stop in Vegas.

1997 brought some outstanding versions of “Simple,” as the song straddled the fence between its independence and its connection with “Mike’s.”  The Great Went‘s super-sized version was one of the most poignant ever played, while 12.9’s half-hour exploration brought the song to depths uncharted.  1998 brought “Simple” closer to its roots, as it was again the primary link in “Mike’s Grooves.”  Yet 1998 is where our story begins.

A week after Phish had unveiled a stunning ambient journey through “Simple,” immortalized on Hampton Comes Alive, the band found themselves in Worcester, on the cusp of their last set of their ’98 fall tour.  As they picked up their instruments for the final frame, they decided to open with “Roses Are Free!?”  As the opener of the last set of tour, the sky was the limit!  My mind zoomed directly into the stratosphere, dreaming of Nassau’s hallowed trek.  As the song moved out of its composed section and into the distorted grooves that followed, all hopes were peaked for about a minute of music filled with aggressive textures.

Then, like a slap across the face, Trey came over the top of the potentially explosive launchpad and laid down the “Simple” lick completely out of context.  Catching the rest of the band totally off guard, the “transition” was a trainwreck.  “Ouch!”  I thought to myself.  Cutting of a “Roses” that had a full head of steam for “Simple!?”- that just didn’t seem right.  But it was what it was, and I rejoined the concert after a momentary reflection on the musical incongruity.  As the song passed through its verses and the band entered the jam, the music dynamically glided through the guitar-led improv.

Just when “Simples” usually trickle out into a quiet melodic ending, Phish chose the road less traveled.  Instead of moving into silence, Trey began playing searing strings of notes that signaled to the band that they wouldn’t end there.  Quickly getting the message, the others hopped back on board, creating an improvised realm that took very little time to grow into something wholly different.  Taking a moment to collect their bearings, Phish plunged into a dark and evil jam.  From the onset, the intensity was electric as the band molded a ball of dissonant sonic madness.

As the effects and distortion provided the glue of the jam, Trey and Fishman broke out into a cooperative groove that Mike and Page meshed their way into.  For a period, this “Simple” existed as a driving rhythmic canvas dripping with excessive psychedelia, but it transformed quickly into outright lunacy.  The band entrenched themselves in one of the craziest jams of the entire tour with absolute aggression.  Mike’s basslines thumped a unique pattern buried deep under layers of experimental dissonance.  Trey and Page created a terrifying wall of sound as Fishman threw down a barely-human beat behind it all.  This was a voyage to the center of the earth, descending through the pathways of Hades.  This was the power of Phish rearing its head in a brand new way; this time as the soundtrack for an insane asylum.

Peeling away some of the layers in play, Phish took the madness down momentarily before returning to a peak that ended this twenty-minute adventure.  As the band let their effects echo out over the crowd, most people were completely floored by the sheer intensity of it all.  Phish had entered a whole new territory and it took a mental adjustment to process the music.  Yet, just as our minds were organizing the lunacy, Phish skillfully slid into the opening of “Makisupa.”  Ever the tacticians, the band used one of their more relaxing songs to bring people “back” from the netherworld of “Simple.”

The rest of the set would progress to great heights, closing the tour with the triumphant farewell of “Bathtub > YEM.”  However, none of jams would approach the daring experimentation and outright psychedelia of the not-so-“Simple” episode that took place at the beginning of the set.

LISTEN TO SIMPLE NOW! (Roll over links and press play)

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“NO SPOILERS” HAMPTON DOWNLOADS UPDATE

(A. de Groot)

The feedback received to the idea of “No Spoilers” downloads was a resounding, “Hell, Yes!”  That being said, we are going to give it a whirl!  There were many questions that came up, as well as some good suggestions- I will address a few now, but there will be a FAQ put up soon regarding the process.

The downloads will be hosted on a separate page.  This is where the FAQ will also be posted, and I will publish that URL as soon as it’s up.  Regular downloads (tracked and labeled) of the Hampton shows will be  posted around the same time on Phish Thoughts’ home page, which will be the norm.  The goal is to have two mp3 files for download: “Set 1” and “Set 2+E.”  Every effort will be made to have one show posted before the next show starts, yet there is only so much within our control. (This time would be greatly decreased if there was a taper willing to join in on this project!)

While this all takes a lot of restraint on your part, it seems that people are willing to exchange patience for excitement, and we are gonna give it a go!  More to come…

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DOWNLOAD OF THE DAY:

7.24.93 Great Woods, Mansfield, MA < LINK

Great Woods, MA

Here is Phish’s stellar performance at Great Woods in the revered Summer of ’93.  A ripping second set opened with the fire of “2001 > Split, Fluffhead,” while also featuring a strong “Mike’s Groove” with an outstanding “Weekapaug.” Phish were a week away from entering August ’93, one of their peak months ever, and here you can begin to see why.

I: Llama, Horn, Nellie Cane, The Divided Sky, Guelah Papyrus, Rift, Stash, The Mango Song, Bouncing Around the Room, The Squirming Coil

II: Also Sprach Zarathustra > Split Open and Melt, Fluffhead, Maze, Glide, Sparkle, Mike’s Song > Y-Rushalayim Schel Zahav > Weekapaug Groove, Purple Rain > HYHU, Daniel, Good Times Bad Times

E: Golgi Apparatus, Freebird

Debuted at the Warfield Theatre on May 27, 1994, “Simple” has played several roles through Phish’s career.  A central use of Gordon’s composition has been as a high-energy interlude between “Mike’s” and “Weekapaug,” supplanting “Hydrogen’s” role for much of the late ’90s.  Giving any “Mike’s Groove” a vastly different contour, “Simple” became a somewhat galvanizing …

Not So Simple Read More »

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