Ten years ago today, we made our way into Oswego County Airport in Volney, NY for Phish’s only mid-tour festival of their career. As the band was churning out an excellent summer of shows, this weekend stop looked very promising. Over two sweltering days in upstate New York, Phish played set after set of quality music in easily the most overlooked festival to date. Yet as the idyllic weekend was all but over, with only one set left to go, nobody knew that the best was yet to come.
As Phish opened the third set with “My Soul, ” we seemed to be heading for one of the band’s quintessential anti-climaxes. But as “Piper” started, everyone turned an open ear to the massive stacks, curious what might become of the airport-sized version. And with a paved airstrip to dance on for the only festival ever, we were ready for anything. As the intro started, the band seemed very deliberate in their playing, taking things incredibly slow as they built the song’s opening. This mellow introduction developed into focused piece of improv with real intentionality behind the band’s playing, forming some engaging contours before the song kicked in.
Fall ’99 (J. Blakesburg)
The lyrics finally came at the five minute mark after the band laid down a substantial musical framework. Moving through the composition, the actual “song” felt like a mere passage- a puzzle piece in a much larger musical adventure. Within a couple of minutes, the band was out of the song and neck deep in some of the most redonkulous, full-on psychedelia you’ll hear from Phish. In your face- roaring out of the speaker towers- the band challenged our psyches with some of the heaviest, all-out improv of the summer. Beneath the layers of textures and dissonance, Mike was absolutely killing it with unique bass lines that kept the jam rhythmically dynamic while the band annihilated the festival-sized piece.
3.16.09 (J.Kravitz)
Sprinting and screaming, Trey was off to the races with break-neck leads and searing sheets of sound, as the band’s “millennial” sound continued to emerge. Playing as if possessed by Lucifer himself, Trey continued with some of his darkest, and most overwhelming, playing of the year. With a brief rhythmic breakdown, the band took a lone breath before diving right back into their maddening psychedelia. As intense as any Phish jam you’ll ever hear, this “Piper” continued growing through many sections of bombastically shredding improv.
6.21.09 (D.Vann)
Fishman altered the feel of things deep into the jam as he initiated a series of up-tempo breakbeats, pulling the band into a unique pattern of grooves. This “breakbeat-funk” flowed easily between band members, as their musical reaction time had become negligible. Completely connected, fifteen minutes in, the band was like an amoeba, stretching as one and never losing their whole. Trey then began to solo over this sparser groove, like he was narrating an animated tale with his quick and expressive phrasing. As his story finished, the band converged briefly into some collective mid-tempo, patterns, but Fishman decided he would keep things ratcheted up, and the band hopped back onboard, opening the vault one more time for another section of full-on improv.
As the band dripped into “Caspian” after the half-hour odyssey, it was one of those moments when you opened your eyes to find your jaw on the ground and everything around you slightly different than before. You couldn’t help but get completely lost in the maniacal music that was dropped on your dome; there was no space for thoughts. You had to take a minute to reconcile what just happened with your reality, but when everything finally lined up- you realized that you’d just lived a dream.
A snarling version from the outstanding run of December ’99, this “Split” ventures into some severe psychedelia. This is one of those versions you need to listen to a couple times to fully appreciate.
This download comes from multiple reader requests after its “Tweezer > 2001″ odyssey was posted last week. The second show of Phish’s Europe ’98 tour showcased one of the summer’s defining jam segments in the aforementioned second set highlight, but also featured the second-ever “Moma” in which they botched the lyrics and dove into a fifteen minute funk jam- probably my favorite version. Don’t sleep on the first set combo of “Disease > Dog-Faced > Piper” or the “Hood “encore either! Enjoy the summer weekend with this one pumping through your speakers.
I: NICU, Sample in a Jar, My Mind’s Got a Mind of It’s Own, The Moma Dance, Down with Disease > Dog-Faced Boy > Piper, Waste, Chalk Dust Torture
II: Tweezer > Also Sprach Zarathustra > Loving Cup, My Soul, Sweet Adeline
E: Harry Hood
Source: unknown
Ten years ago today, we made our way into Oswego County Airport in Volney, NY for Phish’s only mid-tour festival of their career. As the band was churning out an excellent summer of shows, this weekend stop looked very promising. Over two sweltering days in upstate New York, Phish played set after set of quality …
One of the most endearing moments of June’s tour was Bruce Springsteen’s guest spot at Bonnaroo. Rumors swirled about Phish and The Boss taking the stage together, and with Trey’s known admiration of Bruce, a collaboration seemed likely. Throughout our Phish lives, we have heard stories of Trey, growing up in New Jersey, looking up to the state’s most famous son as the epitome a rock star. Now, as headliners of the same festival, the stage was set.
6.14 (J.Kravitz)
A legend of Americana’s singer-songwriter tradition, Springsteen’s music spoke to a generation of youth, longing for freedom and adventure in the 1970s, a decade focused on reestablishing cultural stability in America. His songs carried the voice of “everyman,” making his music emotionally universal. Trey, as well as many of us, grew up listening to Bruce’s raspy folktales over his poignant hooks and melodies. From “Greetings From Asbury Park” and “The Wild, The Innocent & the E Street Shuffle” to “Born to Run,” and “Born In the USA,” the Boss brought many of us through our youth, dreaming about “get[ing] out while we [we]re young.” And when we finally did get out, look what we found. Maybe this wasn’t the scenario for everyone, but there is no doubt that Bruce Springsteen is an American rock and roll icon.
“Mustang Sally” (D.Gunnells)
After Phish had just completed a intense run through “Tweezer > Horse > Silent, Antelope,” it seemed that Bonnaroo’s first set was over, but as Trey stepped to the mic he began to tell us a story. Reminiscing on the first concert he ever attended, Bruce Springsteen in Princeton, NJ, he explained how blown away he was by the intensity and energy in the room that night. In a past interview, Trey said he had never witnessed someone command the attention of an entire room like Jerry Garcia or Bruce Springsteen. Now, sharing the stage with the legend, he welcomed his “boyhood hero” to the stage. His shit-eating grin told the rest of his story for him. (Side note: Trey previously told us, on 12.15.95, that his first concert was Jethro Tull at The Spectrum. Hmm.)
Trey’s Introduction ———————
“Mustang Sally” (D.Gunnells)
Just as we have heroes, so does Trey- and watching his dream come true was awesome. The band started with “Mustang Sally,” a straight forward rocker in order to get acclimated to each other’s chops and to loosen up without any technical playing. Having a grand time on stage, Trey and Bruce traded licks over a steady groove. But when the standard ended, Bruce looked over at Trey and Phish, saying- “Alright, we’re gonna try this one,” as they started “Bobby Jean”- a dark-horse track from “Born in the USA.” Interestingly enough, this song was considered a musical breakthrough for Springsteen upon its recording, with a more accented rhythm and danceable groove- a perfect selection. As the band moved through the anecdotal song, it was very sublime to hear Trey’s guitar back Bruce’s composition in some stylistic Jersey-fusion.
But the highest moment of their three-song performance was unquestionably “Glory Days.” Taking a song that everyone in the massive crowd connected to in one way or another, Phish and Bruce tore through the ’80s hit more than proficiently. And one of the best moments of the weekend came when Bruce turned the reigns over to Trey during the solo. Taking liberty, Trey threw down a monster solo with many of his signature licks; like a kid in a candy store, he shredded the classic. There was also something overtly powerful as the two aging guitarists wailed together on the nostalgic “Glory Days;” certainly a moment. Climaxing the song, the band and Bruce moved into the final verse and on into setbreak.
Much of the crowd buzzed during the break about the superstar-sit in, and many were overheard saying, “Best Glory Days EVER!” As Phish prepared to come out for Bonnaroo’s final set, Trey had already lived a dream. Sober, happy, and playing on the nation’s biggest summer stage with one of his heroes, his look said it all. As they say, a picture is worth a thousand words, and in this case, maybe more.
This is one of the most well-loved two-setters on Europe’s Summer ’96 tour. Sprinkled between their opening sets for Santana, Phish played a series of headlining gigs, and none more on point than this night in Germany. With a great setlist and tight playing, Nuremberg was a keeper.
I: Golgi Apparatus, Guelah Papyrus, Rift, Tweezer, If I Could, My Mind’s Got a Mind of It’s Own, Split Open and Melt, The Horse > Silent in the Morning, Taste, Train Song*, Fee > Timber (Jerry), Johnny B. Goode
II: Llama, Theme From the Bottom, Reba, Life on Mars, Free, Run Like an Antelope, Simple, Prince Caspian, Suzy Greenberg
E: Harry Hood
*First time played.
Source: unknown
One of the most endearing moments of June’s tour was Bruce Springsteen’s guest spot at Bonnaroo. Rumors swirled about Phish and The Boss taking the stage together, and with Trey’s known admiration of Bruce, a collaboration seemed likely. Throughout our Phish lives, we have heard stories of Trey, growing up in New Jersey, looking up …
At this point, we’ve had plenty of time to listen, re-listen and process the shows that went down in June. While I believe that June represented step one in a much larger process of musical redevelopment, Phish left us with quite a few highlights from their first tour in five years. We’ve looked at some of the more powerful moments that took place during June, and now we will turn our ears to the best and brightest from Summer Tour- Leg One. Below you’ll find each track with a blurb about why it is included. The tracks progress chronologically so you can listen to the musical development over the tour. Without further ado, I present to you eight hours of June 2009 highlights in:
This first real piece of improv of the summer got the tour underway in earnest. Phish always chooses a jam to welcome everyone back home again, and this year, “Tweezer” was it. The band segued out of the darkness into “Light,” introducing one of their most exciting new songs.
6.2.09 (W.Rogell)
3. “Timber Ho!” 6.2 Jones Beach I
This bust out got nasty quick, as Phish dove right into a tasty psychedelic jam which peaked and wrapped up in tight fashion.
4. “Reba” 6.2 I
The most divine and blissful version of tour.
5. “Harry Hood” 6.2 II
This ethereal and experimental version of the song left everyone in the crowd with the feeling that something extremely powerful had just happened. Taking the jam where it has never gone before, Phish showcased their spirit of innovation early in the tour.
6. “Ghost” 6.4 Jones Beach II
This rendition, tucked away in the first set, gets glossed over due to Ashville’s highlight version. This one may be just as good- a true diamond in the rough.
7,8. “2001 > Slave” 6.5 Jones Beach II
This cathartic climax to the three-show run put an exclamation point on the band’s most poignant 3.0 performance to that point. The unexpected, late-set drop into “2001″ brought the funk in a rainstorm, while the “Slave” was a climactic version to behold.
9,10. “Seven Below,” “Fluffhead” 6.6 Great Woods I
This set-opening combo just about blew the roof off of Great Woods’ pavilion. With the Phishy energy of New England dominating the show, the band responded with this one-two punch that fed right into the crowd’s enthusiasm. Both songs deserve attention- “Seven Below” for its searing improv and “Fluffhead” for its adrenalized, near-perfect, precision.
6.4 Jones Beach (W.Rogell)
11. “Fee” 6.7 Camden, NJ I
When Phish took the ending of “Fee” out into a type-II adventure as the second song of the show, you knew this night would be special. This is another tour highlight that has generally been overlooked due to its set placement, but go back and listen- you’ll be floored.
12. “Sand” 6.7 II
The longest jam from June also is in the running for the most exciting. Taking their vehicle of groove to a whole new level, the band added melodic themes throughout, taking the piece to unforeseen heights. The slower funk was left behind for a more driving beat, creating an uptempo highlight that certainly belongs in the upper echelon of June’s improv. An instant classic, this “Sand” began a second set that was one of the strongest of the tour.
13. “Tweezer” 6.7 II
6.6 Great Woods (G.Lucas)
Right when we least expected it, Phish dropped into this standout “Tweezer.” Closing a second set for only the second time in history, this version saw the band coherently rip apart one of the jams of June. The signature of this piece is when Trey loops his “commando” lick and builds the jam atop of it- some truly top-notch Phish.
SOUTH
14. “Ghost > Fast Enough For You” Asheville 6.9 II
This “Ghost” has been talked about quite a bit, and was certainly a June highlight, as well as the high point of this show. Taking a path less traveled, this version entered a less straight-ahead groove, and climbed to a rolling peak rarely seen from “Ghost.” Another top-notch version here, and “Fast Enough” couldn’t have come in more perfectly.
6.9 Asheville (Lanser)
15. “Maze” 6.9 II
This second set “Maze” ratcheted up the intensity in the intimate Asheville Civic Center, creating a raucous show highlight. Trey dug into some twisted territory, crafting a “Maze” that edged beyond its standard incarnations.
16. “Undermind” 6.10 Knoxville I
Mike slaughtered his part in the second-only rendition of “Undermind.” This catchy tune is bound to get into some more extensive jams in the future, but this version provides some ear candy in the meantime.
17. “David Bowie” 6.10 II
While this mid-second set “Bowie” remained within the song’s structure, it was certainly the tightest version we’ve heard in a long time. Kicking off the rest of a set that featured many old-school jam vehicles, this “Bowie” was the version of June without a doubt.
18. “Stash” 6.12 Bonnaroo Late Night
“Stash” was the first jam that the band took outwards at Manchester’s massive festival. After a string of contained songs, Phish loosened into some eerie music, serving up some southern psychedelia to the masses. With improvisation that began to reach the dark side, Phish began to uncover their mystical ways with one of their classic vehicles.
6.10 Knoxville, TN (Lanser)
19,20. “Kill Devil Falls > Free” 6.12 Late Night
The tour’s first truly exploratory jam came out of Phish’s most straight ahead new song. Launching into some high-paced improv, the band growled out of the composition and into one of the lasting “type II” memories from the month. Splashing into “Free” to resolve the madness, the landing point boomed from Bonnaroo’s speaker towers, completing the over-sized excursion.
21-24. “Tweezer > Horse > Slient, Antelope” Bonnaroo 6.14 I
Perhaps the Phishiest nugget played at Bonnaroo, this combo of old school favorites stood out right away. The “Tweezer” featured extremely cohesive group playing and some of the nastiest phrasing by Trey, creating one of the most enjoyable moments of the weekend. After the “Horse > Silent interlude, the band picked right back up with a blistering “Antelope” that punctuated the segment.
25-27. “Rock And Roll > Light > 46 Days” 6.14 II
6.12 Bonnaroo (D.Vann)
This unlikely combination of songs were spliced together beautifully to open Bonnaroo’s final set. Getting into some deep ambient space before transitioning into “Light,” “Rock And Roll” was already a highlight in the making. Taking “Light” far beyond its Fenway debut, Phish used the new song to explore various musical milieus before landing in some funk grooves that decelerated and stumbled into to “46 Days.” A slowed-down, shredding festi version made this odd song choice far more palatable, and served to end this improvisational sequence quite well.
MIDWEST
28. “Halley’s Comet” 6.16 The Fox II
This extended rock-based version of “Halley’s Comet” kicked off The Fox’s second set in promising fashion. Though the band remained completely anchored to structure for the majority of the song, Trey went off on an improvisational series of licks that certainly entertained. The band did slip into an ambient section towards the end of this version, seemingly moving into deeper territory only to be given the kibosh by a seemingly premature “Runaway Jim.”
29. “Tube” Star Lake 6.18 I
6.16.09 (D.Vann)
The most exciting and extensive “Tube” from June saw Page annihilate his clavinet while the band engaged in accompanying dance rhythms. This up-tempo version added some spice to a rather bland first set, and while the spotlight was no doubt on Page the entire time, everyone else chimed in with similarly infectious patterns. This is the best “Tube” we’ve seen spring from Phish 3.0, with many more to follow.
30. “Harry Hood” 6.18 II
In a tour that featured standout “Hoods” throughout, this Star Lake version held a particular poignancy and was the last rendition of June. Mike, Trey and Page played meticulous, interlaced lines throughout the jam, crafting an inspiring build that definitely stood out among the powerful versions of the month.
31. “YEM” 6.18 II
6.20 Alpine Valey (D.Vann)
Phish nailed their signature song as the closing piece of Star Lake’s second set. While the tour hosted multiple versions of the Phish classic, none were tighter and better executed than this one. A certain exclamation point on the night, Phish sent everyone away smiling after this final throwdown.
32. “Split Open and Melt” Deer Creek 6.19 I
A supremely twisted and psychedelic tale, Phish unveiled this monster in the middle of Deer Creek’s first set. Taking a dissonant path outwards, this complex “Spilt” reminded us of versions past, taking the audience on a sonic ride though a dark, alternate space. “Spilts” are always polarizing due to their overt madness, but you can take this version to the bank.
33-35. “Oceans > Drowned > Twist” 6.19 II
Following an hour-long rain delay, Phish came out and threw down the gauntlet at Deer Creek.
6.18 Star Lake (M.Stein)
36,37. “Tweezer > 2001″ 6.19 II
An unexpected shot of rhythmic adrenaline in the middle of the most exciting set of tour. It doesn’t get much better than “Tweezer > 2001.”
–
38-40. “Crosseyed > Disease > Bug” 6.21 Alpine Valley II
This opening triumvirate of the June’s last show was one of the most impressive improvisational segments of the tour. Taking both “Crosseyed” and “Disease” into incredibly purposeful and interesting ambient realms, the results were sublime. While the “Crosseyed” smokes, I find the most impressive improv to stem from this “Disease.” “Bug” was the soft-pillow landing pad for this excursion.
6.16 The Fox (B.Kisida)
41. “Piper” 6.21 II
Some of the more open-ended and exploratory improv of the tour, Phish seemed to hit an improvisational sweet spot during this “Piper.” Navigating this jam as one, the band quickly responded to and built off of each others’ offerings. This was the last great improvisational piece before we meet again at Red Rocks- which is now only about two weeks away!
I totally forgot to put this on the compilation. The gorgeous jam out of “If I Could” was one of the the more delicate and poignant moments of summer.Download this and add it on to the mix!
Fifteen years ago today, Phish played the first solar powered show with power collection, storage, and distribution provided by Greenpeace! The show was chock full of ’94 goodness setlist with a very unique second set.
I: Rift, Sample in a Jar, Divided Sky, Gumbo, Foam, Fee, Split Open and Melt, Golgi Apparatus
II: Letter to Jimmy Page > David Bowie, Bouncing Around the Room, Reba > It’s Ice > Y-Rushalayim Schel Zahav, Dog Faced Boy, Julius, Setting Sail*, Runaway Jim
E: Sleeping Monkey, Rocky Top
*Fish announces this as a new sing-along written by Tom Marshall; First and only time played
Source: Unknown
At this point, we’ve had plenty of time to listen, re-listen and process the shows that went down in June. While I believe that June represented step one in a much larger process of musical redevelopment, Phish left us with quite a few highlights from their first tour in five years. We’ve looked at some …
One simple flash animation and the entire community was whipped into a frenzy. Leave it to Phish to fuck with us until the end, and if my supposition is right, that is exactly what they are doing. Yesterday, on Phish.com, the Save the Date map saw California lifted off the map by hot air balloons- supposedly meaning the Halloween festival will not be in Indio, CA- the location that everyone and their mother assumed it would be. Due to all of the hype and anticipation, Indio hotels have been booked for weeks and some fans have even gone as far as purchasing plane tickets to southern California! (Questionable decision making in my book.) But with the airlift of California off Phish’s animated map, everything was thrown into question, and the Phish community turned into an all-out freak scene.
The Mystery
It took no time at all for rumors to begin circulating about the festival’s “real ” location, Datelan Army Airfield outside of Yuma, AZ. These rumors spread like wildfire on message boards and Facebook, and before long, people had RVs on lock-down in Phoenix and Tucson for the festival in the middle of the desert. It made sense- an old military airfield out in the middle of nowhere- much like their former festival sites, and it still fit in with the heavily rumored fall dates that start in the southwest and move up the west coast. Leave it to Phish fans- the most obsessive sub-genre of people on this planet- to get to the bottom of this.
Halloween??
All of a sudden, plans were changed. Whether it was Arizona, New Mexico Georgia, or Vegas- all ideas tossed around the web- it wasn’t gonna’ be Indio. Or was it? To be honest, my initial thought was that Phish was pulling a prank on us. But that thought didn’t stop me from booking 30 footers out of Phoenix and Tuscon just in case! But there had been too much talk about Indio; locals had confirmed the plans, there were all the semantic correlations with the suffering date crop of the region, people in the organization freely talked about it at Alpine Valley- and all of a sudden it fell through? It just didn’t feel right.
My first thought was that because the animated California never got destroyed, pillaged, or blackened- like the other eliminated states- it would somehow survive. Possible clue number two- the design on the balloons had arrows pointing up and down- “What goes up, must come down!”- of course. At the end of all this, when all the other states are gone, California would float back down and be presented as the official site. That’s what I thought, but who really knew? I could definitely picture the band members and Flash animators laughing their asses off as they watched the community spin into a tizzy over the newly-created mystery.
California Hovering Out of Plain Sight
And then later in the day, it was discovered that California wasn’t gone at all, it was in Canada! If you held down the command button and pressed “+,” the animation zoomed out showing California-very much intact- hovering over the lower 48. It was brought up that it might just be a fault of the Flash animation, but come on! If they wanted to take California off the map, they would have- bottom line. Theories, obsession, mystery, hype, adrenaline….this is all part of the Phish game too, and five years later, it was funny to be in the midst of another full-on freak scene! Some things never change.
6.14.09 (J.Kravitz)
Once people saw California hovering over the country, the consensus seemed to shift back to a festival in Indio, but the mystery is still out there to be solved. Regardless of where Halloween ends up- and I’m 99% sure it will be in Indio- it’s great to see Phish’s prankster spirit alive and well in 2009. Taking their fans on a mental scavenger hunt to find the next site, and boosting their heart rates for a while, the organization shook things up on Monday, making the normally mundane start of the week far more exciting.
It’s so great to have Phish back- not only for the music- but for the sheer excitement they bring to everyday life. Nothing else could have caused such a hectic, yet positive, stir in all of our lives yesterday, and that just speaks to the power of it all. Reason number 1001 why the world is a better place with a happy and healthy Phish around. But keep those reservations- wherever you may have them- because who knows what the next twist will bring!
See you in southern California! Probably.
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Phish Thoughts Jam of the Day!
With the new Flash audio player, I thought that I’d add a new feature to the site! Every day I will feature one standout jam to listen to, separate from the day’s post. Sometimes I’ll write a paragraph, sometimes a sentence, but there will always be some quality Phish to listen to every day! You will always be able to download the selection by clicking the orange song header. Enjoy!
Rumors spread faster than a California wildfire that the Halloween scene was shifting to Arizona- and it still might! Here is one show that Phish did play in Arizona back in the Fall of ’95. A sparsely populated affair that served as my wife’s first, Phish brought out a great second set featuring the rare “Mike’s > McGrupp > Weekapaug”, a hot second set “Gin,” and a bust-out in “Crossroads.” I love the ’95 Phish, and this one gets glanced over most of the time.
I: Stash, The Old Home Place, Cavern, The Divided Sky, If I Could, Fog That Surrounds, Acoustic Army, Julius, Sample in a Jar
II: Possum, Bathtub Gin, Mound, Mike’s Song > McGrupp and the Watchful Hosemasters > Weekapaug Groove > Llama, Suzy Greenberg > Crossroads, Hello Ma Baby, A Day in the Life
One simple flash animation and the entire community was whipped into a frenzy. Leave it to Phish to fuck with us until the end, and if my supposition is right, that is exactly what they are doing. Yesterday, on Phish.com, the Save the Date map saw California lifted off the map by hot air balloons- …
If you were to ask me what my favorite Phish songs are over the course of time, “Mike’s” would definitely be in my top three. The sinister, evil side of Phish is what I’m all about, and over the years, there has been no more routine vehicle for dark improv than “Mike’s Song.” Including two jams- the first, quasi-structured jam (formerly with trampolines), and the more exploratory “post-power chord” jam (often usurped by “Simple”)– between the years of 1994 an 1998, “Mike’s” was one place where aggressive, full-on improv lived in Phish shows. And it was a beautiful thing. But due to the increased use of “Simple” as a “Mike’s Groove” interlude- cutting off the song precisely where the second jam started- the frequency of second jams, where the shit used to down, began to dissipate and eventually disappear. Let’s track the development of “Mike’s” through the years, with audio examples, and see how it went from an improvisational epic to a short, relatively predictable piece of Phish music.
(Remember, if you like any of the audio clips, just click the orange title to download it!
***
Fall 1995
Traditionally, the raging, guitar-led jam after the drop, backed with tidal organ swells, served as an adrenaline shot directly to the heart, creating menacing bombast and darkness, while the second jam was where the band improvised more collectively. With two sections of improv that went to places of the deep, “Mike’s” was a guaranteed highlight for years. Through 1994, especially 1995, and 1996, some insanely psychedelic jams stemmed from “Mike’s,” and it was the second jam that defined the song and shot you into the abyss. This era defined the “Mike’s” ethos, and many of the all-time outstanding versions still remain in this era. Listen to the audio examples below this paragraph to understand what I am talking about.
In 1997, the song took a funkward turn like most every piece in the band’s repertoire, and saw its structure begin to change. This year usually saw the band indulge in an all-out funk jam before stepping into the heavy guitar-led textures of the song’s “first” jam. More often than not, the band just blew out the first segment into a wildly creative dance odyssey, creating some of the year’s highlights, but rarely playing through to the second half of the song.
1998 was “Mike’s” last truly great year, and throughout this year we saw Phish develop the trend of using the second jam to spring into blissful realms, as opposed to furthering the song’s darkness. Many times, including at both The Gorge and MSG on New Years Eve- two of the highest profile shows of the year- Phish featured this type of improv out of the typically dark jam, and both times the results were other-worldly. MSG’s version on 12.31 would be the last incarnation of the song’s second jam, a fitting melodic farewell to what was once the jaws of the “Mike’s.”
When 1999 rolled around, the overall robustness of “Mike’s” began to decline. Throughout the year, “Mike’s” included more structured first jams and a noticeable absence of second jams- most often moving into “Simple.” There were still some standout versions- no doubt- but the second jam had been axed in favor of bringing the guitar-led jam to a head using variations of the song’s original closing lick. The ’99 series of “Mike’s Songs” was highlighted by the last version of the 20th century at Big Cypress- an earth-shaking version that noone will ever forget. The swamps saw the band take the song’s “first” jam to places unheard of in one of the weekends undeniable highlights.
After the band began to standardize the song in 2000, the post-hiatus years saw “Mike’s” cropped into the eight-minute, virtually composed, jam that we know it as today. I was hoping that with the return of Phish this year, we’d see the return of “Mike’s.” But thus far in 2009, the four versions have been nothing but eight-minute guitar pieces with unadventurous jams- kind of the opposite of the song’s roots. It would be great to see one of Phish’s greatest jams get its balls back at some point this year, but with a focus on new songs, that just may not be in the cards. Interestingly enough, when planning their 80-plus song list for Hampton, Mike began to lobby against his college composition, saying that he could no longer connect to it and the song had lost meaning to him. He eventually gave in because it was a crowd favorite, but perhaps his band should have listened.
With summer’s second leg approaching, and many planning excursions to George, WA, let’s look at one of the most popular Gorge shows ever. Hot off their European tour, this was Phish’s third show in the states. The second set is the stuff of dreams, and keeping with the theme of the day, has a massive “Mike’s Song,” not to mention one of the defining “2001’s” ever played.
I: Makisupa Policeman, Ya Mar, Gumbo, The Divided Sky, Waste, My Mind’s Got a Mind of its Own, My Soul
II: Also Sprach Zarathustra > Mike’s Song > Weekapaug Groove, Character Zero
E: Punch You In The Eye, Rocky Top
Source: unknown
If you were to ask me what my favorite Phish songs are over the course of time, “Mike’s” would definitely be in my top three. The sinister, evil side of Phish is what I’m all about, and over the years, there has been no more routine vehicle for dark improv than “Mike’s Song.” Including two …
