Don’t look now, but it’s almost May! Summer tour sits but six weeks away. Until then, we’ll continue celebrating Fridays with Ten Tunes. This week’s playlist features diverse selections between ’93 and 2000. Enjoy the jams and the weekend!
I hadn’t spun this “Tweezer” in a while – wow! A top-notch jam that opened the second set of New Year’s Eve features some straight up funk stylings fused with the balls-out energy and precision of ’93 – a devastating combination.
This ending of the first set features some point-on improv and great transitions from the band in their last show before Halloween. (We’ll count this selection as two songs.)
On Japan 2000’s opening night, Phish dropped this swank, laid back encore in Tokyo.
Don’t look now, but it’s almost May! Summer tour sits but six weeks away. Until then, we’ll continue celebrating Fridays with Ten Tunes. This week’s playlist features diverse selections between ’93 and 2000. Enjoy the jams and the weekend! *** “Tweezer” 12.31.93 II I hadn’t spun this “Tweezer” in a while – wow! A top-notch …
On the coattails of yesterday’s top ten jams of 2009, today I’ve compiled a different type of list. Not all highlights at Phish shows come from cosmic jams, and sometimes, the most poignant moments emerge from places one least expects. As Phish returned to the stage for the first time in five years, particular songs took on enhanced meaning, delivering a message all themselves. Below are six Phishy moments that dotted ’09 with significance.
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6. “Corrina, Corrina” 12.30 I,Miami
This dark-horse selection came within the crazed setlist of December 30th’s opening frame, and when the band dropped into the old-school cover, a blissful calm washed over the arena. Back in Florida, Phish broke out this song ten years to the day they revived it at Big Cypress. In a weekend filled with musical nods to Phish’s millennial festival, the band’s calm cohesion provided a heart-tugging reminder of The Everglades, while soothing the crowd with a gorgeous rendition.
5. “Shine A Light” 10.31. II, Indio
10.31.09 (G.Lucas)
The gospel-infused peak of Exile On Main Street provided one of the most cathartic moments of ’09. Coming at the end of their masterful interpretation of The Rolling Stones’ classic, this Halloween rendition with backing singers and horns, brought a musical church to the polo fields of Indio. Putting an emotional cap on the soul-drenched double-album, “Shine A Light” provided a memory nobody will soon forget. In a wise move, Phish adopted this cover into their catalog, a perfect anthem for this golden era of their career.
4. “First Tube” – 12.4 I, MSG
“First Tube” 12.4.09 (G.Lucas)
Energy; the word is thrown around loosely in the Phish scene. But at Madison Square Garden, one moment embodied the relentless, unbridled spirit of the entire Phish community – “First Tube.” The crowd fed of Trey’s obvious energy, making him only more excited. Collectively exploding in roars of enthusiasm, the crowd fed symbiotically of off Trey’s overflowing aura, creating a legitimate human event. Every last person in that round room swam amidst an electric sea of energy of the likes I’ve never seen before. Collective consciousness had never felt so real as The Garden sat on the brink of implosion. Listening back, this might not sound particularly special, but if you were there, the mere memory brings goosebumps. If talking sheer power, this moment takes the cake.
3. “Icculus” 8.14 II, Hartford
Hartford (T.Salido)
Following a shredding combo of “Ghost > Psycho Killer,” Phish drifted into a hefty dose of onstage antics as they segued into “Catapult.” Trey’s goofy nature emerged within a classic narration, and subtly, the band began vamping over the changes of “Icculus.” Continuing with his most amusing on-stage monologue of 2009, Trey plastered Gamehendge-laced smiles on the faces of everyone in the amphitheatre. Proving that the spirit that once drove the band in their early years lived again this time around, this sequence deep in Hartford’s second set became the most significant non-musical passage of the year.
2. “The Curtain (With)” 8.1 I,Red Rocks
Red Rocks ’09 (G.Lucas)
When Phish ended their 2.0 career with a horribly botched “Curtain (With)” encore at Coventry, the hallowed composition came to represent all that was wrong with the band’s finale. Crashing and burning rather than going out gracefully, Phish couldn’t even pull off the song, having to start from the top again. Many thought “Curtain” would open their comeback show in a five-year “do-over,” but whenever it emerged, the moment was going to be special. Coming as a shock, in the daytime set of Red Rock’s third show, the band tore into the beginning of the song. Drawing a huge crowd reaction, we were suddenly thrust into an incredibly emotional and Phishy context. As the compositional half merged with “(With),” Trey poured his heart into one of his most pristine solos of the year. On a perfect summer afternoon at Red Rocks, Phish hit the reset button for this era, and it felt perfect.
1. “Fluffhead” – 3.6. I,Hampton
Hampton ’09 (Unknown)
Unmatchable and untouchable, Hampton’s “Fluffhead” opener will live eternally in the Hall of Fame of Phish History. Evoking the very magic that had been absent from 2.0 with the seminal (and difficult) composition they had avoided like the plague the last time around, “Fluffhead” sent a powerful message from moment one of this era. Somewhere between awake and dreaming, we found ourselves at home again. Nobody will ever forget the feeling they had when Phish walked back into our lives with, perhaps, the most iconic chord progression in their repertoire. Pure magic of the most spiritual nature, the universe shifted back into alignment, and once again, life was just a bundle of joy.
This is one of the shows that Phish co-billed with Medeski, Martin, and Wood along their southern run in Fall ’95. MMW came out in each and jammed with the band. This one goes out to Lycan – finally!
I: Sample in a Jar, Stash, Uncle Pen, AC/DC Bag, Maze, Glide, Sparkle, Free, Strange Design, Amazing Grace*
II: Mound, Prince Caspian, The Fog That Surrounds, Suzy Greenberg > Keyboard Army > Jam**
E: My Long Journey Home^, I’m Blue, I’m Lonesome^
* Sung first by the band, and then by audience member “Nathan,” a gospel singer
** w/ MMW, ^acoustic
Source: Unknown
On the coattails of yesterday’s top ten jams of 2009, today I’ve compiled a different type of list. Not all highlights at Phish shows come from cosmic jams, and sometimes, the most poignant moments emerge from places one least expects. As Phish returned to the stage for the first time in five years, particular songs …
It’s tough to continue to thinking of topics as this point in the year, so I figured I’d have some fun today. I’ve been re-listening to a lot of the best of last year, and I thought I’d put together my own, personal, top ten list of 2009. These are just my picks, so if you think they are crazy, don’t fret; they are just one man’s opinion. I generally don’t compile lists like this, but as I said, this is a pretty quiet time of year, and I’m sure it will spark plenty of discussion. Anyhow, enough with the disclaimers, here’s Miner’s Favorite Ten Jams of ’09.
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10. “Wolfman’s > Piper > Joy” – 10.30 II – Indio
With all the focus duly placed on the Exile set, this segment of music doesn’t get talked about too much – but it should. Each half of the combination features completely unique and masterful improvisation. “Wolfman’s” moves from swanky, liquid grooves into minutes of eerie Halloween ambient space. Using “Wolfman’s” to dive into the occult, Phish briefly magnified the dark side on an overall cheery Halloween weekend. Emerging from the menacing soundscape came “Piper,” evoking memories of the monstrous combination in Vegas ’98. This time, however, “Piper” brought three distinct sections of improv, the last morphing into a “Just Wanna See His Face” jam; a secret preview of the Halloween set. Phish added layers of vocal harmony over the gorgeous music, giving the piece their stamp of approval as unique and special ground. The landing point of “Joy” worked perfectly.
9. “Ghost” 12.31 II – Miami
This standout jam from New Year’s Eve illustrated how far the band had come in one year. Playing off each other with fluidity, Mike and Trey alternately led this piece, punctuating the most engaging set of the three. The band wasted no time, bombarding the crowd with their dense musical style of late-’09. The resolution into an “Auld Lang Syne” tease clinches this “Ghost’s” status as an all-time New Year’s Eve highlight.
8. “Light” 12.2 II – MSG
MSG – 12.2.09 (W. Rogell)
Out of the many explorations of “Light” during fall tour, none approached the version Phish played at their return to Madison Square Garden. Coming at a time where the band played the song nearly every other show, this version fully realized the experimental potential of the song for the first time. Taking this incarnation into upbeat and genuinely new territory, MSG’s “Light” gave everyone a glimpse of the depth of jams that will surely continue stem from the song this summer. From the moment it ended, this version stood out from the rest.
7. “Get Back on the Train” 12.30 II– Miami
This ethereal exploration came as the centerpiece of December 30th’s second set. Passing through multiple sections of unique improv, this jam, literally, blossomed out of nowhere. Immediately vaulting to into the “best ever” position for the generally jam-less song, “Get Back On the Train” provided one of the most unlikely virtuoso highlights of the entire Miami run.
6. “Tweezer” 7.31II – Red Rocks
“Tweezer” 7.31 (G.Lucas)
The Red Rocks “Tweezer” brought the house down with its combination of gooey textures and jazzy grooves. The first brilliant “Tweezer” of the year, its placement in one of the 2009’s strongest sets made its unveiling all the more dramatic. Perhaps the first true Phish-crack of 3.0, this “Tweezer” created an unforgettable experience.
5. “Sneakin’ Sally” 8.7 I – The Gorge
As the sun set at Phish’s first night back at The Gorge, the band took the opportunity to dive into the musical abyss. Taking the classic cover through a set of chunky grooves en route to a mid-song vocal jam and out into the heavens above, the powers of Phish and The Gorge converged for the first time in this era. While many favor the second set “Bathtub Gin,” this jam brings more original playing to the table.
4. “46 Days” 8.15 II – Merriweather
Merriweather ’09
This jam flies way under the due to its placement amidst one of Phish’s least exciting shows of the year. However, this version of “46 Days” sits atop the top shelf of 2009 offerings. Spending only four minutes attached to the song, Phish exited quickly into thick, murky grooves. Gaining textured momentum, this piece moved through an ambient transition into one of the most gorgeous sections of music played during 2009. Hitting a stride seldom seen last year, Phish reached a triumphant plane that gained a life all its own. Re-listen – this one is a down-low masterpiece.
3. “Rock and Roll” 8.8 II – The Gorge
While most of the attention falls on the first night of The Gorge, the most spectacular jam came on the second. Utilizing their go-to 2009 vehicle, Phish crafted one of the most cohesive and exploratory jams of the year. A multi-themed epic, this extended piece ebbed and flowed with organic improv, featuring some of Trey’s best work of the year. During this piece, the band clicked as a whole in a way they did few times throughout their comeback year. This will stand up to anything.
11.28.09 Albany (Peek)
I’ve never hidden my love for this spectacular fifty minutes of music. Coming at a time when Phish desperately needed to break form into something greater, during this sequence they accomplished all that and more. Transforming “Seven Below” into a cathartic dance party, the band fused groove and melody into a phenomenal segment of improv. And once Phish hit their stride in the set-opener, when they hit “Ghost,” they sat deeply in the pocket without missing a beat, creating totally original music. Turing this version into a multi-planed adventure, the band locked in from moment one of the most tightly woven tales of the year. This sequence represented a significant breakthrough during fall tour, and a reminder that Phish was, in fact, still Phish.
1. “Tweezer” 12.29 II – Miami
12.29.09 (W.Rogell)
I’m a sucker for huge “Tweezers,” and none came bigger than this in 2009. Dropping on the magical date of December 29, the band let loose on this version, crafting my most indelible moment of the year. Beginning with massive, bass-led dance grooves they threw down the most ferocious section of dance grooves of ’09. So juiced on the musical goings-on, Trey, then Phish, added a layer of vocal improv, complementing the jam’s infectious rhythms. Mike led the band through this section with filthy and dynamic rhythms. Bringing the band into the second stage of the jam, Mike soloed with his envelope filter as the band blended into more exploratory music. Trey played staccato melodies through this space-groove, toying with some signature licks. Phish morphed from this section into the most beautiful moments in all of ’09. Entering sublime, soul-searching psychedelia, the band fully tapped into the source, channeling the mysteries of the universe. A blessing to be a part of, words can only go so far in expressing these sacred moments. While the rest of this list can be discussed all day, in my opinion, the only definite comes in the top spot with “The Miami Tweezer.”
This underrated three-set beast offered treats in ever shape and size. The outrageous “Piper” in the third set, and the second set “Jim > Free” are can’t miss highlights. And there’s plenty in between.
I: Punch You In the Eye, Farmhouse, Water in the Sky, Bathtub Gin, Back on the Train*, If You Need a Fool*, I’m Blue, I’m Lonesome*,Beauty of My Dreams*, The Moma Dance, Reba, Chalk Dust Torture
II: Runaway Jim > Free, Meatstick, Guyute, Axilla, Llama
III: My Soul, Piper > Prince Caspian, Wilson > Catapult > Smoke on the Water Jam> Icculus, Quinn the Eskimo, Fluffhead
It’s tough to continue to thinking of topics as this point in the year, so I figured I’d have some fun today. I’ve been re-listening to a lot of the best of last year, and I thought I’d put together my own, personal, top ten list of 2009. These are just my picks, so if …
Here is another in my series of Japan 2000 retro-reviews. This story recounts Phish’s daytime show in Tokyo, their third gig in three days. I wrote this later written that evening. Enjoy!
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6/11/00 – Phish: Hibiya Outdoor Theatre, Tokyo, Japan
Hibiya Outdoor Theatre – 6.11.00
Sometimes we experience magic. Sometimes we hold witness to events that far surpass the power in any one of us, and elevate our appreciation of life and all its amazement to the next level. Today was one of these days.
The day began quite rainy as fans flocked to the Hibiya Outdoor Theatre, a miniature amphitheatre within proximity to Tokyo’s Royal Palace in Hibiya Park. Merely twelve hours after the Zepp show ended, many Japanese and American fans, alike, filed into the venue around 1pm. An hour later, the Japanese jam-band, Big Frog, would take the stage. As I entered the grounds everyone seemed to embody positive and mellow states of minds, despite the gloomy weather. As Big Frog played, Japanese and American fans mingled about the park, talking and meeting each other, many for the first time. Everyone shared an excitement for Phish’s upcoming set in this beautiful location, and the collective energy filled the air with an atmosphere of total comfort, friendliness, and camaraderie. Big Frog ended their well-received set at 3pm, as the rain seemed to be letting up.
Phish took the stage about 3:45 pm to the enthusiastic cheers of the crowd of 2,200 predominantly Japanese fans. As soon as they came out, you could see the look in the band’s eyes – they shared the same excitement with the fans, thankful to be playing such a special locale. A huge grin broke out over Trey’s face as he ripped into “First Tube.” The crowd erupted as Phish charged through the opener, while Trey bounced with joy. Phish kept the fast-paced rhythms rolling with “Punch You In the Eye,” and this fierce opening had the crowd going berzerk. The energy exchanged shared between the fans, Japanese and American alike, became palpable, as ear to ear smiles dotted the crowd. After the fiery couplet of the show, the band slowed it down with “Horn.”
More notably, a quick “Ginseng Sullivan,” Trey played the opening riff of “Stash” for the first time since 12.12.99, during Hartford’s first set. Sorely missed from the bands all-night 8 hour millennium concert in Big Cypress, FL and and the Radio City weekend in May, the crowd grew visibly excited to reacquaint with the classic vehicle. The “Stash” jam began as Trey came out of the composed section weaving dark melodies around the bands groove. The piece remained a Trey-led improvisation, culminating with a screeching solo that captivated the audience. “Dirt” served as a cool down from the intense “Stash,” and out of the ending, Phish built the intro to “Possum.” This “Possum” remained anchored to blue-grass-rock rather than the more psychedelic “Possums” of yesteryear, nonetheless, the crowd erupted with each change and chorus.
Hibiya – 6.11.00
I cannot stress enough my amazement at how many Japanese fans knew every change, note, melody, and stop to all of Phish’s songs. These folks are not passive observers, but extremely active listeners and dancers. The excitement of the event continued to build as they dropped only the second “It’s Ice” since Cleveland ’98 (also played at Roseland ‘00). Nailing the intricacies of the song, the “Ice” grooves felt so refreshing after such a continued absence in the setlist. The first half ended with the band’s first performance of “Farmhouse” since the album was released on May 16th. Trey drew out the end of the song with an extended solo before thanking the crowd and taking a bow.
The set break immediately brought the realization that ever since Phish had taken the stage, the rain had stopped entirely! Albeit grey as San Francisco in January, it was dry and cool, making for a nice change of pace from the hot and stuffy Tokyo clubs of the previous two nights. The set break vibes flowed purely positive, as all Americans were at a loss to describe the unbelievable feelings and sheer international ‘Phishiness’ that filled the air. Japanese fans and Americans relaxed together, waiting for the second set with huge anticipation. Humanity was at its best today, as cultural bridges were built through the power of music. The feelings and emotion floating around the colorful atmosphere far outweighed the gloominess of the weather, and all involved seemed completely in tune with what was happening.
Club Quattro – 6.13.00
After a fairly long break, the band retook the stage, still fully immersed in daylight, and jumped into “Birds of a Feather.” This “Birds” showcased some smoking whole-band patterns and particularly hot improvisation by Trey. The version remained within the realms of a “Birds” jam, but fully developed, unlike the shorter “album” versions of Fall ’98. The dark feel of Birds gave way to the opening build of a bombastic “Free.” The band moved through the composed section methodically, launching into the jam with thick, bass-driven grooves that had the crowd completely freaking out. After Trey offered some settling rhythm licks for the first part of the jam, he started playing melodies in a dissonant and sinister tone, building the creeping jam in small increments with sublime lines. This jam featured two separate soloing sections for Trey before slowly building back to the “floating in a blimp a lot….” ending. This is an upper-echelons versions of “Free,” evoking memories of Sandstone ’99.
A powerful “Bug” followed “Beauty of my Dreams,” in the climactic vein of Roseland’s second set closer. The band hit the top of the jam perfectly, and slid into the intro of “David Bowie.” This “Bowie,” was quite similar in style to the last one played at Radio City, with fluid, groove-based improv from start to finish. Featuring silky smooth bass lines, and some outstanding rhythm offerings by Trey, this “Bowie” built to a ridiculous apex and drew an emotional reaction from the audience. This “Bowie” is a keeper for sure, especially for those who favor dancier “Bowies” to the more intricate or abstract ones. Los Lobos’ “When the Circus Come to Town” came next, placed perfectly as a reflective moment on the slew of dark improvisation that typified the set so far.
Hibiya 6.11.2000 (J.Greene)
Phish scripted an idyllic ending with the emotional release of “Harry Hood” As they moved through the composed section, I looked out over the crowd of Japanese folks who seemed to me the happiest people in the world at that point, many moving with each progression of the song. As the jam settled into the most sacred space, the crowd seemed to raise their arms in unison, opening themselves up to the surreal magic that flowed so greatly from the band and fans alike. As the jam began to build, the crowd looked above as the clouds began to break and the first rays of yellow sunlight broke through the late afternoon sky. This scene seemed to be orchestrated by the band and nature alike, and everyone felt the mystical of the rays of light coming from both the sky and the stage. This second consecutive glowstick-less “Hood” built for what seemed like an eternity, as all involved basked in the beauty at hand. A stupendous “Hood” reached amazing levels of melody and harmony, while the anthem provided the absolute perfect ending to this set, and all involved were united in this moment. Pure magic I tell you, pure Phish magic.
The adoring crowd gave the band a large ovation following this long and ultimately triumphant jam. The band stayed off stage briefly and returned for an extended rendition of “Character Zero,” featuring some Hendrix-like wails form Trey. This version ripped hard and midway through, a large rainbow appeared above the stage to the left. Band and crowd alike felt the special intensity of the moment as nobody wanted to leave. The rainbow seemed like an affirmation of the day’s beauty and transcendence by the forces above, and all seemed perfectly in place. Upon finishing the show, Trey exclaimed, “Arrigato!” several times, and took a traditional bow to the adoring sea of Japanese fans.
It’s quite hard to translate all the transcendent energy that existed yesterday through a keyboard, paper, or pen. It’s the stuff dreams are made of, an eye-opening experience for the ages. Sometimes differences in culture and language can be obliterated by the beautiful and unifying language of music. The shared experience of the couple thousand people in attendance today will never be forgotten by a single person, a true venture into the human spirit and a reminder that we are all connected souls traveling through this world. Sometimes, in the hustle and bustle of modern day society, people lose sight of universal realities. Today reminded everyone of these shared truths that are so often forgotten, and reminded everyone that the life is an amazing and privileged journey that we are all riding together.
A classic show from San Franisco’s iconic theatre; this one features the debut of “Simple”
I: Wilson, Runaway Jim, Foam, Bouncing Around the Room, David Bowie, If I Could, Punch You In the Eye, Harry Hood, Golgi Apparatus
II Suzy Greenberg, Peaches en Regalia, My Friend, My Friend, Reba, The Lizards, Julius, Nellie Kane*, My Mind’s Got a Mind of its Own*, Mike’s Song > Simple** > O Mio Babbino Caro^, Possum
Here is another in my series of Japan 2000 retro-reviews. This story recounts Phish’s daytime show in Tokyo, their third gig in three days. I wrote this later written that evening. Enjoy! ===== 6/11/00 – Phish: Hibiya Outdoor Theatre, Tokyo, Japan Sometimes we experience magic. Sometimes we hold witness to events that far surpass the …
Remembering Jazzfest: Today is the 14-year anniversary of Phish’s lone performance at the fairgrounds of New Orleans’ Jazz Fest on April 26, 1996. Though not deeply improvisational, this memorable day carried a marked significance for the band. Here is the beginning of a short memoir I wrote last year.
The New Orleans Jazz and Heritage Festival is one of the greatest traditions of this land. Uniting the best and brightest from all walks of improvisational music, combined with southern flavor and creole cuisine, Jazzfest becomes a multi-sensory indulgence. This past weekend, the ‘09 edition got underway, and yesterday, April 26th was the 13 year anniversary of Phish’s unique Jazzfest appearance in 1996. Performing at the festival grounds under the blazing southern heat, and right before The Meters, the band played one long set that created a unique dynamic between Phish and their classic surroundings….Read on
The Dave Matthews Band opened, and then joined Phish during “YEM.”
I: Runaway Jim, It’s Ice, Julius, Bouncing Around the Room, Rift, Axilla (Part II), Stash, Suzy Greenberg
II: Poor Heart, Run Like an Antelope, Magilla, Paul and Silas, Sample in a Jar, Big Ball Jam, Harry Hood, Fee, You Enjoy Myself* > Somewhere Over the Rainbow Jam
E: Highway to Hell
* w/ Dave Matthews, LeRoi Moore, Boyd Tinsley, Carter Beauford, and Steffan Lessard.
Source: (FOB) AKG 460/ck61s > Custom Pre=Amp
===== Remembering Jazzfest: Today is the 14-year anniversary of Phish’s lone performance at the fairgrounds of New Orleans’ Jazz Fest on April 26, 1996. Though not deeply improvisational, this memorable day carried a marked significance for the band. Here is the beginning of a short memoir I wrote last year. The New Orleans Jazz and …
