MR. MINER'S PHISH THOUGHTS

Five Songs That Got Shut Out

Poseted in Uncategorized
With the Comeback, Hampton, Songs, SongsComeback
On April 5, 2009
By Mr.Miner

After playing 84 songs over six never-ending sets at Hampton’s last month, Phish still managed to leave a few classic pieces untouched. With only three shows, there was no doubt that some songs would have to be left off the guest list, with their finger in the air. But when sets turned into mini-shows, and the evenings stretched to four hours, it seemed that no stone would be left unturned. As the band tore into most of their classic old-school repertoire, it seemed that we would hear all of the significant snippets from Phish history. Yet upon further review, we missed a couple. And given the vibe of the weekend, it is hard to believe that these, somehow, missed the cut.

1. “The Lizards”

The gateway to Gamehendge, “Lizards” is a hallmark of early Phish composition. One of the most-loved non-improvisational pieces in the band’s catalog, “Lizards” embodies the Phishy spirit and was, similarly, the gateway to the world of Phish for many a fan. Its absence within the three-show weekend wasn’t noticeable at the time, yet unfathomable in retrospect. Trey’s composed “If I Were a Dog” solo in the second half of “Lizards” is one of the most sacred moments of Phish music, and one we will be sure to hear this summer.

2. “Cavern”

One of the most popular set closers in the band’s history, “Cavern” could have also slid anywhere within those two-hour first sets. “Cavern” was one of the feel-good arrivals of a Phish show, and often the song that punctuated that special set. Its funky rhythms always gave you one last song to rage before the encore. Choosing many less prominent songs over this night-time mission, Phish left “Cavern” to close a set this summer- coming soon to an amphitheatre near you.

3. “The Mango Song”

In a weekend in which Phish showcased their compositional chops on their most unique pieces, “Mango” was curiously absent. Debuted in ’89, this happy genre-defying song was played consistently through the years if not often. Its relative rarity built it into a crowd favorite, and it would seem to have fit the bill for Hampton just right. Carrying a distinctly summertime vibe, perhaps they decided to save it for the warmer months, just like last Friday’s Phish Thoughts’ feature song, “Ya Mar.”

4. “Ya Mar”

A song that dates back to Phish’s days of college, this adopted cover was a staple of summer Phish. It wouldn’t be surprising to see it appear early in the first show at Jones Beach, welcoming the community back to the summer circuit. Its calypso rhythms and island vibe would fit nicely along the water at Wantaugh, NY for the first summer show since ’04.

5. “Llama”

In any three-day exploration of old-school Phish, one would expect to hear this short and fiery Gamehendge reference. Embodying the tightness and precision that band has vowed to reconnect with, “Llama” would have been musically congruent with the weekend’s goal. You would imagine that this one won’t stay in hiding for long, and when it does return, expect it to jump of the stage with a renewed gusto.

Sure, they could never have fit them all into three shows, but after brainstorming which songs were left off the list, these were the non-selections that stood out the most. All fixtures the Phish’s early catalog, each holds a distinct and special place in the band’s history. Applying only trivial significance into these omissions, it is interesting to think back at all those hours of Phish and realize that we never heard these five.

ADDENDUM: “Golgi” and “Fee”

After waking up this morning and reading through the comments, I realized somehow left out “Fee” and “Golgi”- two of the songs that should most definitely be on this list before “Mango” and “Yamar.” These omissions are directly related to the lack of sleep I got all weekend and the tired state in which I wrote this post. These classics of the Phish catalog were two of the more surprising omissions given their history and popularity amongst all levels of fans. (How could they not play “Golgi” after that ticket fiasco!?)

Other significant older pieces that were left outside of Hampton looking in were: “The Sloth,” “McGrupp,” “Lifeboy,” “Mound,” and “Julius.”

=====

DOWNLOAD OF THE DAY:

12.31.91 Worcester Memorial Auditorium, MA SBD < LINK

12.31.91 Worcester Memorial Auditorium, MA SBD < TORRENT LINK

Sticking with the old-school theme of the day, here is a SBD copy of the 1991 New Year’s Eve show. This would be the final New Year’s without some sort of additional spectacle. Just lots of crisp, old-school jamming. This one contains many a Phish classic.

I: Possum, Foam, Sparkle, Stash, Lizards, Guelah Papyrus, The Divided Sky, Esther > Llama, Golgi Apparatus

II: Brother, Bouncing Around the Room > Buried Alive > Auld Lang Syne, Runaway Jim, The Landlady, Reba, Cavern, My Sweet One, Run Like an Antelope

III: Wilson > The Squirming Coil, Tweezer > McGrupp and the Watchful Hosemasters > Mike’s Song > I Am Hydrogen > Weekapaug Groove**

E: Lawn Boy, Rocky Top, Tweezer Reprise

Five Songs That Got Shut Out Read More »

Weekend Nuggets: The Spectrum ’97

DOWNLOADS OF THE WEEKEND:

In all the madness of Fall ’97, this Philly weekend sometimes gets left in the dust. Surrounded by Hampton and a legendary Cleveland > Detroit > Dayton run, The Spectrum shows don’t always get the credit deserved. Both second sets were monsters, strewn with all sorts of improvisation. and ten tons of cow funk.

12.2.97 The Spectrum, Philadelphia, PA < LINK

12.2.97 The Spectrum, Philadelphia, PA < TORRENT LINK

I: Buried Alive > Down With Disease, Makisupa Policeman, Chalk Dust Torture, Ghost, The Divided Sky, Dirt > Taste, The Star Spangled Banner

II: Mike’s Song > Simple > Dog Faced Boy > Ya Mar > Weekapaug Groove, Bouncing Around the Room, Character Zero

E: Ginseng Sullivan, Sample in a Jar

***

12.3.97 The Spectrum, Philadelphia, PA < LINK

12.3.97 The Spectrum, Philadelphia, PA < TORRENT LINK

I: Punch You In The Eye, My Soul, Drowned, The Old Home Place, Gumbo > Also Sprach Zarathustra > You Enjoy Myself

II: David Bowie*> Possum > Funk Jam, Prince Caspian, Frankenstein, Harry Hood

E: Crossroads

*Unfinished

=====

DOWNLOADS OF THE WEEKEND: In all the madness of Fall ’97, this Philly weekend sometimes gets left in the dust. Surrounded by Hampton and a legendary Cleveland > Detroit > Dayton run, The Spectrum shows don’t always get the credit deserved. Both second sets were monsters, strewn with all sorts of improvisation. and ten tons …

Weekend Nuggets: The Spectrum ’97 Read More »

Ya Mar, Ya Mar, Ya Mar, Ya Mar, Ya Mar

“Ya Mar” is one of few covers that many fans have confused for a Phish original. Part of the reason for this confusion is that the band has played the song routinely since its debut in 1987, and it has become a staple of the Phish catalog. Its foray into calypso rhythms never ceases to lighten up a show, and bring smiles to the faces of many grooving fans. Though Phish has played the song for the duration of their career, the history of it was a bit nebulous.

As the story goes, Mike was on vacation in the Caribbean and heard a band called The Mustangs, playing “Ya Mar,” a song that was actually a cover of Bahamas recording artist Cyril Ferguson. The cover had been recorded by The Mustangs, put on their album, and credited to them on many a Caribbean compilation. Liking the song so much, when Mike returned to Vermont, he taught the band “Ya Mar” and the rest was history. It wasn’t until years later, when The Mockingbird Foundation was doing research for the first edition of the The Phish Companion, that it was discovered that Phish had been playing The Mustangs calypso interpretation of Ferguson’s original all along, without knowing who the real artist was.

Regardless of the song’s history, it evolved into a Phish song. With countless performances over two plus decades, its origin has become mere trivia. Adding a hint of island flavor to an otherwise divergent show can often be the exact thing needed to complete that perfect set. While “Ya Mar” has appeared in all spots on a set list, some particularly well-placed second set versions appeared on 7.25.97 in Dallas, with drummer Bob Gulotti sitting in, leading into a drums jam; 4.5.98 in Providence, RI, providing melodic relief from a grinding “Disease” jam; 11.26.97 in Hartford, with a seamless segue out of “Cities,” 12.2.97 in Philly, deep in a whole-set “Mike’s Groove” leading into “Weekapaug.”

Sometimes used as a largely composed piece, and other times used as a clear improvisational vehicle, “Ya Mar” carries diverse purposes. Like Phish’s own utility infielder- ready for action at all times- happy to fill in wherever needed. Drawing enthusiastic cheers from Trey’s call of “Play it Leo!”, and Page’s subsequent organ romp, the song carries a merry and lighthearted vibe, while sometimes leading into far more.

“Ya Mar” has moved with the trends of Phish’s music, and has seen various tempos and incarnations of its polyrhythmic textures. Below are five standout versions of the song- where Phish takes it quite a bit deeper. You can listen to each right on the site by rolling over the links and clicking play or right click and open in a new window.

***

12.13.97 Knickerbocker Arena, Albany NY

Kicking off the last show of Fall ’97, this “Ya Mar” is many a fan’s favorite version- and rightfully so. The opener summed up the funked out tour with a groove-based “Ya Mar” unlike any other. Like many shows of this tour, funk jams popped out of non-funky songs, and Phish killed this one with an opening dance session. After playing a tight and engaging version of the song, the band “took it from the top,” as Trey strummed the opening chords just as you thought the song would end. And this is when things blew up. The second time through there was nothing but sublime, funkified improv. This is truly IT. Check this one out- it gets my vote for “best ever.”

LISTEN TO 12.13.97 “Ya Mar” NOW! < LINK

***

12.02.97 The Spectrum, Philadelphia, PA

Deep in a second-set “Mike’s” sandwich, this version of “Ya Mar” emerged out of “Dog-Faced Boy,” bringing light to an otherwise dark set that was dominated by an outrageous “Mike’s” jam. This jam began in a sparsely percussive place, as Trey slithered into the mix with subtle melodies that soon blossomed into a constant flow of gorgeous lines. Page and Mike laid low for the beginning, integrating themselves into the jam slowly. With the band’s entry, the music became more layered and psychedelic, reaching a territory far away from its origin. Trey even managed to squeeze some “Crosseyed” licks into this standout version. As the adventure continued, the music wound its way into the beginning of a top-notch “Weekapaug.”

LISTEN TO 12.2.97 “Ya Mar > Weekapaug” NOW! < LINK

***

4.5.98 Providence Civic Center, RI

The Island Run “Ya Mar” was something to behold. The band worked an extended and twisting “Disease” down to virtual silence, when out of the silence came a complete change of vibe with the opening chords of “Ya Mar.” While seeming like a somewhat random placement, it fit with the celebratory theme of the run’s final set. Once the improv started, Trey absolutely slaughtered it, playing surreal lead lines as if they were coming off a record. A melodic geyser completely going off, Trey mesmerized the crowd, and his own band, with his work. Mike, Fish and Page quickly stepped out of prominence, and then into silence, allowing Trey’s quiet solo to take this version to the bank. The whole arena was silent, as his emotions poured from his guitar. The band came back from the darkness with musical bliss that is some of the most soulful of the weekend.

LISTEN TO 4.5.98 “Ya Mar” NOW! < LINK

***

12.8.99 Cumberland Country Civic Center, Portland, ME

This first set version stood out with its incredibly collaborative nature. With all members contributing short complementary phrases at the onset of the jam, the band took a minute to make sure they were locked. Following this introductory portion, this jam turned into heavier music that remained loosely anchored to the song’s rhythm. The band gelled into some very interesting percussive territory during this version, and it’s largely forgotten in the middle of the first set.

LISTEN TO 12.8.99 “Ya Mar” NOW! < LINK

***

8.2.03 IT, Limestone, ME

This second-song “Ya Mar” on the opening day of IT took off flying, setting the improvisational course for the weekend. Taking the crowd by surprise, Trey led the band through one of the best versions of the song ever played. The band hit a groove about a third of the way into the song from which they took off and never returned. Taking the normally upbeat tune into harrowing psychedelic darkness, Phish was at it being Phish again. The band tore through some distinctly non-afternoon music while the sun still shone brightly; it was a nice paradox. This version ran right away into “Jim.” IT was gonna’ be a good weekend!

LISTEN TO 8.2.03 “Ya Mar >Runaway Jim” NOW! < LINK

***

BONUS VERSION:

LISTEN TO 7.25.98 “Ya Mar” NOW! < LINK

This one deserves mention in any “best ever” discussion!

=====

THANK YOU FOR DONATIONS!

I want to send a heartfelt thanks to all the readers for your generous contributions on day one! Your help will go directly to pay for the colossal month of March with the No Spoilers and Hampton downloads. I really appreciate your support! Thanks again!

=====

HAPPY ISLAND RUN ANNIVERSARY! (4.2-4.5)

Today is the eleven year of one of the greatest Phish shows ever played. Period. A night that would go down in the annals of Phish history, 4.3.98 is right in the running for best show in history. Enjoy the energy that 4.3 brings, as well as the rest of the weekend. The other three ain’t too shabby either! Below are my Island Run posts from earlier this year.

NASSAU / PROVIDENCE

=====

DOWNLOAD OF THE DAY:

8.8.98 Merriweather Post Pavilion, Columbia, MD SBD < LINK

8.8.98 Merriweather Post Pavilion, Columbia, MD SBD < TORRENT LINK

Following up yesterday’s topic of Summer ’98, here we have a leaked SBD of the well-loved show from Merriweather. With bust-outs of “Sweet Jane” and “Sabotage,” Phish kept the covers coming, and with the “Sneaking Sally” and “2001,” they kept the funk coming. A scorching “Piper” is the centerpiece of the second set which closes with a beautiful “Harry Hood.”

I: The Wedge, NICU, Sneakin’ Sally Through the Alley, Guyute, Fikus, Farmhouse, Possum, Sweet Jane*

II: Cavern, Also Sprach Zarathustra, Tela > Piper, Sexual Healing, Harry Hood

E: Sabotage*

*First time played

Ya Mar, Ya Mar, Ya Mar, Ya Mar, Ya Mar Read More »

The Laid Back Funk of Summer ’98

As Phish progressed through their career, each tour seemed to add a new element to their music. Constantly evolving their sound, the band kept fans engaged not only with new songs and new jams, but new styles of playing. In ’93 they peaked all that had come before with the ferocious “speedjazz” era. In ’94 their jamming grew far more exploratory and adventurous, combined with the aggression of a wild hyena. ’95 brought extended abstract spacescapes in the summer and moved into blistering tight arena rock in the fall. 1996 was a year of transition, moving from their style of Fall ’95 towards whole-band groove, and in 1997 this transition was completed. With the rawest funk grooves coming in the summer, Fall ’97 brought a refined James Brown-esque disco-funk into the mix, living symbiotically with outlandish psychedelia. Phish never grew complacent with their music, and never stopped pushing themselves out of their comfort zone into different milieus.

As 1997 came to a close, the community was on cloud nine, having just finished one of the outstanding years in Phish history- yet what laid ahead? First came the Island Run, which was a sublime aberration all to its own. And after a brief stint in Europe, the band returned to the west coast to showcase their new summer style. If we traced the rhythmic playing of the band from raw to refined, this summer represented a nuanced shift to a slower and beefier relaxed style of jamming. Congruent with the feeling of summer, Phish engaged in plentiful sessions of patient funk grooves. While many people remember the summer of ’98 for all of the one-time covers busted out by Phish, the band’s primary focus of the season was creating thick textures that blossomed in the summer air.

Starting off in Portland, OR, they made no bones about what the central theme of the tour would be, opening with “Wolfman’s,” followed two songs later by the first stateside “Moma Dance.” This focus would emerge more obviously in the second set with the now-famous segment of “Tweezer > California Love > Tweezer > Free, Meat.” The funk was deep; the funk was relaxed; the funk was infectious- and this would be the overwhelming trend for the rest of Summer ’98.

In a summer that oozed fun, Phish seemed to have a ball creating sweltering dance sessions amidst their favorite songs. The enthusiasm was contagious, as every night brought addictive fun and more surprises. The Summer ’98 sound featured prominent, yet slowed-down, lead bass lines from Gordon, favoring a soft and round tone- our ears were bouncing on trampolines all night. The pace of the tour’s definitive improv was brought to a far slower tempo. Trey utilized tar-thick wah-grooves all summer long to rhythmically and delicately dance around Mike’s patterns. Also guiding the band with danceable leads, Trey was focused on rhythmic playing for the whole tour. Page shied from his piano in favor of more textured sounds that enhanced their funk canvas. The clavinet and the Fender Rhodes grew more prominent in his sound. Fishman held down an incredibly deep pocket with Gordon, and was a band leader within this beat focused era.

The laid back music of ’98s summer tour supported the concept of Phish as maestro mood matchers- always fitting their music to their locale. The improv discussed herein would have never taken place indoors during a fall tour- that wasn’t the place for this type of music. The amphitheatres and open-air venues that made up the summer circuit allowed the slower music to bellow across the crowd, especially in the roofless venues. When playing these stops- like Portland Meadows, The Gorge, and Sandstone- the sound dynamic coaxed the band to delve into even slower tempos. Each night, as the sun set, you could be sure that you’d be dancing to some seriously thick Phish for most of the night, and the tour took on a character of its own.

Throughout this summer, the band played incredibly well together, forming cohesive jams all over the place. Even if their improv wasn’t always straight-laced groove, there was always a certain rhythmic quality that marked their playing. In one of Phish’s most well-loved tours, you knew that every show would bring a different dance party centered around this style.

Some of the highlights from this tour that defined this playing were the aforementioned “Tweezer > Free” from Portland, the Shoreline “YEM,” the Austin “Tweezer,” the Deer Creek “Gumbo,” the Merriweather “Sneakin’ Sally, and the Lemonwheel “Gumbo.” And those are just some of the most significant episodes. When aurally perusing the entire tour, this pattern of laid back funk clearly emerges. And, naturally, as the summer was coming to a close, the band began to drift into more layered, ambient style, foreshadowing their musical evolution of the upcoming fall.

To chronicle Phish’s very own “Summer of Love,” I have selected one representative jam from every US show during this special era of Phish. Totaling over seven hours of music from Summer ’98, this collection should keep the grooves going until the break of dawn. Chronologically combined into one compilation, I present to you “Miner’s Picks: Laid Back Funk ’98.” There are a few song repeats, due to the band’s song rotation over the summer. (And I forgot to add the Deer Creek “Gumbo!” It will be linked below.) The tracks and download links are below. Relax, kick back, and enjoy!

***

LINKS ARE ACTIVE!

DOWNLOAD “MINER’S PICKS: LAID BACK FUNK ’98″ < LINK

DOWNLOAD “MINER’S PICKS: LAID BACK FUNK ’98″ < TORRENT LINK

***

1-4. “Tweezer > California Love > Tweezer > Free” 7.15, Portland, OR

5. “Reba” 7.16, The Gorge, WA

6. “Gumbo” 7.17, The Gorge, WA

7. “YEM” 7.19, Shoreline, CA

8. “Bathtub Gin” 7.20, Ventura, CA

9,10. “Ghost > She Caught The Katy” 7.21, Phoenix, AZ

11,12. “Wolfman’s > 2001″ 7.24, Houston, TX

13. “Tweezer” 7.25, Austin, TX

14. “YEM” 7.26, Dallas, TX

15. “The Moma Dance” 7.28, Bonner Springs, KS

16. “Tube” 7.29, Riverport, MO

17,18. “Curtain > Free” 7.31, Columbus, OH

19. “Mike’s Song” 8.1, Alpine Valley, WI

20. “Ghost” 8.2, Deer Creek, IN

21. “Halley’s Comet” 8.3, Deer Creek, IN (Forgot the “Gumbo!”)

22. “Wolfman’s” 8.6, Atlanta, GA

23. “Ghost” 8.7, Raleigh, NC

24. “Sneakin’ Sally” 8.8, Merriweather Post, MD

25. “YEM” 8.9, Va.Beach, VA

26,27. “Wolfman’s > Time Loves a Hero” 8.11, Star Lake, PA

28. “YEM” 8.12, Vernon Downs, NY

29,30. “Gumbo > Sanity” 8.15, The Lemonwheel

31. “2001″ 8.16, The Lemonwheel

(32.) “Gumbo” 8.3, Deer Creek, IN (Right Click, Save As, or listen)

=====

DONATIONS TO PHISH THOUGHTS:

Due to increased downloading (which I’m all about!) hosting the necessary bandwidth for Phish Thoughts has become more and more expensive by the month. For this reason, I am adding a yellow “Donate” button along the right side of the home page below the ” Recent Comments.” If you use the site a lot, and especially if you download a lot, please consider making a donation to the cause- however small or big- everything helps. Remember, hosting is a monthly expense. If I ever get to the level of covering costs, any profits will be donated to The Mockingbird Foundation. Trust me, I am not trying to take your money. This is a labor of love, but is becoming a costly one. Let me thank you in advance for any and all contributions!

On a related note, before the summer shows start, I am planning to phase out “regular” downloads in favor of torrents. It is just the cost effective decision, especially once the current shows are available. You will have some time to learn how to use torrents before then and I will be providing a help page for beginning torrent users. If the donations happen to be enough to sustain “regular” downloads, I will certainly continue to host them. But for the summer shows, due to demand, I will be using torrents. If this is a big problem for you (i.e. you just can’t do torrents), let me know – I’d like to hear feedback. Thanks for your help and consideration!

Some simple Bittorrent clients are uTorrent and Vuze. Check one out!

***

The Laid Back Funk of Summer ’98 Read More »

My “Go To” Jam

Everyone has a go-to jam. It fits any mood you could ever be in, and you’ve listened to it several hundred times in your life. It is the first piece of music you want to hear when you are glowing after a show, ready to conquer the world. It is the first piece of music you want to listen to after a hard day at work. It is the only piece of music you could never possibly get sick of, even if played on a loop in your head forever. It is that analog tape you played to death, that CD you never lost, and now it is forever stored on your computer, iPod, and several other devices. It is part of you; you feel like what you hear- it just all fits. For me, there is only one answer to this scenario- the “Tweezer” from Auburn Hills ’97.

For twenty-two minutes in 1997, Phish actualized a dream turned memory that would last forever. With the musical path of nasty funk leading into searing psychedelia, Phish created one of the lasting highlights of the late ’90s. Opening the second set in Detroit, the band toyed with the opening of the song before an extended drum roll, a la “Possum,” dropped into the opening. A version that contained many unique improvisational brushes throughout its composed section got downright nasty the moment the jam opened.

Leading with a tweaked keyboard line, Page was soon overtaken by the brontosaurus bass lines of Gordon. Methodically leading the band into the grooves, Mike took the lead, while Trey hopped atop his pattern with crack-like rhythm licks. This jam took place at a time, specifically a weekend, where Phish was flying through the stratosphere seemingly on auto pilot; tearing every night to shreds with focused abandon. When Phish gets into grooves like the one they were in, everything seems composed, like there is a master plan behind in all. Maybe Phish didn’t compose it, but the higher powers did, and they were just the messengers. Either way, what happened this night was certainly touched by the divine.

The funk was as thick as ever, dripping from the rafters of The Palace like vines of a prehistoric era. The band was so precise, they sounded like a machine. Cohesive and imaginative, Phish threw down a groove session that holds up to any of that famed fall. So polished and nuanced, their “funk” had become an entity all its own, as there was really no word to describe their massive musical textures. It was larger than life, and in Detroit that night, every note filled the arena with purpose and meaning. The band members played off of each other flawlessly, channeling the Spaulding burgers Michael once dropped against the Pistons in the very same building.

Churning and crunching along, the dinosaur grooves ate up the arena. The band was absolutely crushing it, speaking fluently to one another, while nailing stops along the way. As the raw funk concluded, Page laid down some insane clav lines that opened up a new section of grooves with enhanced layers and textures. After looping some effects, the way in which Trey joined in was stunning. With an interpretation of one of his classic melodies, adopted to the increasingly futuristic milieu, his notes resonated deeply as he gently entered the mix.

Before the band took it out to another galaxy, they sat into one more funk groove, climaxing in a classic ’97 guitar-scratching, stop and start section. But directly following this, Trey played a lead melody that galloped the music outwards into the cosmos. As the band joined this celestial path, Trey opened up the universe with one gorgeous lick- and if you know this jam even slightly, you know the one I mean. Within a few minutes we had time traveled from the Mesozoic era to outer space.

As this colossal segment peaked, the band emerged from the eerie swamps of the mind with another groove!? Whoa! Before we could even process what was happening, we found ourselves smack in the middle of “Tweezer > Izabella,” a term that would live on forever in Phish lore. The ensuing “Izabella” would produce the most full-on dance rhythms ever heard from the song, and the band would go on to create one of the greatest sets of the late ’90s.

I could listen to that “Tweezer” forever, and once started, it’s hard to stop before the end of the set because the band never did. But in those twenty-two minutes Phish took us on a journey of a lifetime. In a timeless moment that might as well have lasted twenty-two days, Phish bore their soul while touching ours in a spiritual exchange that defines the very ethos of what this is all about.

***

LISTEN NOW:

What is your “go to ” jam? Respond in Comments!

=====

DOWNLOAD OF THE DAY:

4.1.86 Hunt’s “Festival of Fools,” Burlington, VT < TORRENT LINK

Let’s rewind 23 years to April Fools day 1986. Phish was still playing covers around Burlington, and writing songs that would become classics. Highlighting this April Fool’s Day show was the second set opening prank of “Help > Slip > Bag,” as well as early versions of “Harry Hood” “You Enjoy Myself,” “Icculus,” and “McGrupp.” Enjoy this slice of comedic history as we enter April, or in other words, one month closer to June.

I: Quinn the Eskimo, Have Mercy > Harry Hood > Dave’s Energy Guide, The Pendulum, Jam*, Icculus, You Enjoy Myself

II: Help on the Way > Slipknot! > AC/DC Bag, McGrupp and the Watchful Hosemasters, Alumni Blues, Dear Mrs. Reagan, Not Fade Away^

*With Zenzile, a poet from South Africa who may have been a student at Goddard College. ^Featured members of The Joneses, with whom Phish alternated sets.

MR. MINER'S PHISH THOUGHTS

Five Songs That Got Shut Out

Weekend Nuggets: The Spectrum ’97

Ya Mar, Ya Mar, Ya Mar, Ya Mar, Ya Mar

The Laid Back Funk of Summer ’98

My “Go To” Jam

Get the Book!

Island Run Pins

Recent Posts

Back Where it All Began

Holy Blankenstein: Spirituality in Sci-Fi Soldier

A Spirit Family

Dancing in a Dream

The In Sound From Way Out

Please Her with a Tweezer

A Hershey’s Kiss

Screaming Through Space

Fun and Then Some

Rooted in the Now

Links

Phish News

Miner's Picks

Contact

Back to Front Page