This multi-tiered “Hood” punctuated a majestic opening night in Long Beach.
*** “Light > Ghost” 7.1 II Alpine One of the smoothest and most original segments of music from Leg One. *** “Undermind” 8.31 I Dick’s The best first set closer ever? *** “Birds of a Feather” 6.15 II, AC At the end of the summer, this “Birds” from the first night of AC, can still …
Today I am trying a new format for a post that I hope will become a weekly feature on Phish Thoughts. Yesterday evening, via Twitter (@mrminer), I put a call out for any Phish-related questions. I would then select some to answer for today’s post…and voila! I think it’s a cool way to keep a pulse on what the community is thinking about and a great way to interact on a more personal level in more than 140 characters. I will try to answer all the other questions via Twitter. I hope you enjoy, and I welcome any constructive feedback.
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@phantastic99 Do you feel the long layoffs after summer will hurt phish next summer?
I think Phish proved in Worcester this year that no amount of time off can truly “hurt” them if they practice and prepare for tour, so I suppose the answer to your question is no. But, with such extended time off (if things repeat themselves), I do feel there is a certain amount of “resetting” that naturally happens. It’s no longer like the late ‘90s where the band’s improvisational style directly builds upon itself from one tour to another. It’s more of a catch all—or catch anything—scene these days. For example, during Leg One the band was pushing plinko jams and in Leg Two they were virtually non-existent; everything was coming up blissful. I think that the band is capable of playing in so many different styles at this point, that it is far more about how they are feeling on any given night than what has happened, musically, in preceding shows or tours. Another example, Page was majestically integrating the Theremin into the best jams of Leg Two of 2011, only to bust it out once this year as a joke during Star Lake’s “Scent.” So to wrap back around to your question, I don’t think time off can hurt the band, but it would be fascinating to see where a fall tour that built off such an amazing summer would go to right now. But that’s not where Phish is at these days. With kids in school and families in full force, the band has adjusted their schedule accordingly.
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@deadareus Audience vs. sbd… What’s your personal preference and why?
Great question, and the eternal audiophile debate. I think that the crispiest, most ideal audience tape will always sound better than a soundboard. But there are so many variables in that audience tape coming out perfectly, that 9 times out of 10 I prefer the current soundboards. It’s a different experience though. Listening to an audience tape is listening to how the room sounded that night; it is an authentic, aural reproduction of the show. It will capture aspects of Phish’s sound that the soundboards can’t. But at the same time, soundboards allow one to hear the detail of the music with far more clarity—hence their advantage—though they can sometimes sound flat. I think LivePhish has their mix fairly dialed in at this point, and that’s what’s on my iPod at all times. With the immediacy of the soundboards these days, everything has changed in the listening game. Without a DAT to pop in immediately like back in the day, I know I’m not gonna’ wait for tapers to post torrents to re-listen to the show. We’re spoiled, but it is what it is.
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@WDurginDoes the music suffer when they webcast? #phishtroll
Haven’t you heard? After Leg Two, the theory has shifted: the music suffers when they don’t webcast!
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@likeanantelopeDecember 95 or May 1977. Which was a better month of music? #phishandthedead #toughquestions
December 1995 by a country mile, but I’m kinda biased. With December ’95, we are talking about one of the peak months of music ever produced by Phish. There are hearty takeaways from each and every show in this month which, in many respects, was a stylistic culmination of the band’s entire career. My favorite era of Dead music is the early ‘70s—specifically the one drummer era of ’72 and ’73—when the jams were far more wide open and psychedelic. Everyone always touts ’77 Dead, but I always found those tapes to be far less intriguing than their earlier ones.
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@alicht What are your top 5 shows of 2012 thus far?
1) 8/31 Dick’s, 2) 8/19 Bill Graham, 3) 9/1 Dick’s, 4) 8/15 Long Beach, 5) Tie: 8/28 St. Louis and 6/7 Worcester; Runners Up: 6/15 AC, 9/2 Dick’s
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@AceMcCready68 With the band stretching songs past 20 minutes do you think the 4 song second set will happen in the next year?
No. I don’t think they have the stamina or the drugs to jam four songs in a row for fifteen plus minutes. We can only hope. About the stamina that is.
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@seif69I would like to see you talk about the (non)religious themes in songs like Bug, Lifeboy, Sand, etc. #phish
Clearly, Trey and Tom have exposed an agnostic, if not atheist, bent in these tunes. (“I will choose my own religion…” “You don’t get a refund if you overpray”) With anti-establishment themes like these, the band is subliminally luring their fans away from organized society into a cult of rock and roll idolatry where loyalists spend $75 dollars for ticket, $20 for parking and $50 dollars for a poster every night. When these lemmings are doped up on psychedelics, their fragile minds are suspectible to delicate, lyrical manipulation, as in the instances that you have referenced. (Also see: “Time for the Meatstick, Bury the Meatstick, Time for the Meatstick” and “Please her with a tweezer.”) Most Phish fans are so caught up in hypnotic dance that these messages integrate with their brainwaves on a frequency that is undetectable to the human psyche. These altered brainwaves seduce their followers away from their families and into lives of on-tour debauchery. “It doesn’t matter.” Get it?
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@benerickson922How would the introduction of new original material impact future shows/tours?
Shit. I was hoping it would have impacted shows already. But so far, so good. Ya’ gotta believe if the guys plan on playing for a while, and all signs seem to point that way, that they will cut a new record. That’s what bands do, right? It’s been the longest gap of Phish’s career without producing a new album, and would hope that changes soon. How would it impact shows? It would provide spice and variety while keeping things on the up and up! It’s time to add another signature jam or three to this era to go with “Light” and “Golden Age.” Expect most fans to bitch about any new material for the first tour, and then begin to come around slowly as usual.
The most far-reaching jam of BGCA outside of night three.
Today I am trying a new format for a post that I hope will become a weekly feature on Phish Thoughts. Yesterday evening, via Twitter (@mrminer), I put a call out for any Phish-related questions. I would then select some to answer for today’s post…and voila! I think it’s a cool way to keep a …
During Leg Two, Phish stuck to a very tight second set rotation. When looking to compile a second leg All-Star team, a few songs—“Light,” “Chalk Dust,” and “Tweezer”—jumped right out. But the 4th and 5th spots on the first team (using the NBA model) weren’t shoo-in selections. After a bit of thought, however, here are my picks.
“Chalk Dust Torture” — Already discussed in an article last week, “Chalk Dust” leapt onto this squad with three outstanding versions in its last three outings of summer, including an all-timer in Colorado. Bursting out of nowhere following two relatively standard versions, “Chalk Dust” broke form in Atlanta in a big way, going unfinished into “What’s the Use?.” The next two versions, in St. Louis and Colorado, went in totally different directions, culminating with Dick’s masterpiece.
“Tweezer” — Also seen in an article of its own, “Tweezer” not only made the all-star team, but also took home the comeback player of the tour. Going 4-for-4 on the tour, “Tweezer” rolled out only great jams this tour, a welcome change from recent runs. From the darkness of Bill Graham’s to the bliss of Kansas City and Charlotte, “Tweezer” covered a lot of territory over Leg Two, and it is great to see the old dog gain this honor in 2012.
“Light” — If Phish had only played the Dick’s “Light” this tour, the modern jam vehicle would have a legitimate place on this squad. But in addition to this version of instant legend, “Light” also produced the moment of the summer, and arguably, the tour’s second best jam in Bill Graham finale. The other two times out, in Atlanta and Oklahoma City, “Light” had its least potent outings of the entire summer, but with Dick’s and BGCA’s versions, “Light” has captured another first-team All-Star selection, and is in the conversation for MVP.
“Rock and Roll”— “Rock and Roll” got the Leg Two party started in the LBC with one of the jams of the tour—a 25 minute, multi-thematic leviathan that showed Bieber his maker. Phish followed up the tour-opening standout with one of their most coherent and transcendent jams of Leg Two in Oak Mountains second-set opener. “Rock and Roll” only came out one more time in Leg Two—an innocuous mid-second-set rendition in Oklahoma City. But in such short tour, two top shelf excursions equals an All-Star berth.
“Golden Age” — The fifth spot on this team could go to any one of three different songs. “Golden Age,” however, gets the nod on the strength of two great jams, in Atlanta and in Colorado. Atlanta’s version is one of the dark horses of Leg Two, and Dick’s versions has gone incredibly underrated due to the monstrosity of the “Light” that followed.
Honorable Mention:
“Sand” — Despite Denver’s all-timer, Phish infused far less creativity in the three other versions of tour, falling back on Trey solos each time. Losing quite a bit of bite from Leg One, “Sand” still had what it takes to claim an easy second team berth.
“Ghost” — Long Beach saw, arguably, the “Ghost” of the year, and Dick’s version closed tour with a scorcher. But there was a lot of time in between.
“Piper” — Phish never truly let loose on a “Piper” during Leg Two, with its most pronounced version taking place in the tour closer. Another strong, but underdeveloped version came in Kansas City.
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AUBURN HILLS ’97 GIVEAWAY!
12-6-97 The Palace
Thanks to Phish’s home offices, I have five download codes for Phish’s brand new release of a legendary show—December 6, 1997, at the Palace of Auburn Hills, Michigan. This is a top fiver for me, and one of the best shows of 1997. This show has been begging for Fred Kevorkian’s remaster treatment for quite some time, and I’d like to thank archivist, Kevin Shapiro, for finally gracing us with this treasured nugget of Phish history!
To win one of these five download codes (mp3 only, sorry), Tweet me (@mrminer) a one-Tweet description of the second-set opening sequence, “Tweezer > Izabella.” Please use the hashtag #palacegold. I will RT the six winners at 12 noon PST and Direct Message you your winning codes!
The astronomic start to Leg Two in Southern California.
During Leg Two, Phish stuck to a very tight second set rotation. When looking to compile a second leg All-Star team, a few songs—“Light,” “Chalk Dust,” and “Tweezer”—jumped right out. But the 4th and 5th spots on the first team (using the NBA model) weren’t shoo-in selections. After a bit of thought, however, here are my …
Phish played so many oustanding jams during leg two, that several top-shelf excursions have flown under the radar. Below are four jams that one shouldn’t forget when making his Leg Two playlist.
Buried in the least impressive second set of Leg Two was this ambient “Simple” jam that came a bit late to salvage things, but has plenty of post-tour playback value. The band trickled out of Trey’s solo and into a near-beatless realm anchored by ethereal harmonies. Painting a crying solo over the band’s drone canvas, Trey added an emotional thread to the abstract conversation. Speckled with loops and effects, this piece evoked the feel of Bay Area psychedelia and is probably the most undersold jam of the tour.
As Leg Two turned towards Colorado, this “Rock and Roll” had my vote for jam of tour. Once springing the piece from high octane rock textures, the guys moved into a clavved-out section of darkening percussive grooves. Trey carved out a sinister solo atop this momentum-filled segment, but when the band seeped out of this faster section and Fishman hit a medium-tempo groove, the quartet converged in a dreamscape of bliss. The second half of this jam is one of the most heavenly passages of Phish music this year.
For whatever reason, Lakewood doesn’t stick out in my mind when thinking back over Leg Two, but the show had two outstanding second set jams—“Chalk Dust > What’s the Use?,” (featured yesterday) and this “Golden Age.” The band dialed it back a bit on their new-era cover this past leg, but certainly not on this night, as they dove head first into an expedition in robofunk. Trey turned to his signature, Fall ’97 guitar scratches as Mike took over with envelope-filtered bass leads. This groove template actually popped up a few more times over the rest of tour, specifically in Dick’s “Chalk Dust.” Gordeaux forged forth on his bass led jihad, while the rest of the band danced gingerly around his atomic leads. Rarely did Phish give themselves to this type of focused rhythmic excursion over a blissed out leg two. After demolishing the dance floor, the band oozed into a storage-laced comedown that likened a soundtrack to the underworld. With so much to listen to, this one can easily get lost in the shuffle. It shouldn’t.
Phish played, arguably, the greatest “Limb by Limb” in history, rivaled only by 12.3.99, and nobody seems to be talking about it. Following a seamless stretch of music lasting almost forty minutes, when the guys started “Limb,” it felt like a cool down selection. But it turned out to be the highlight of the show. The band burst into wide open territory, when Trey hit an evil lick in the middle of the normally temperate jam, things got buckwild. Completely exiting the song structure and into one of the most compelling 2012 passages of music that didn’t take place at Dick’s, the band dove into deep waters. (Something many fans wish they would do more often with “Limb.”) Peaking the jam with a dramatic six-string expose, Trey took this one to the top with a rocket on his back. The St. Louis “Limb” is on the level of anything from summer tour. Simply awesome Phish.
Phish played so many oustanding jams during leg two, that several top-shelf excursions have flown under the radar. Below are four jams that one shouldn’t forget when making his Leg Two playlist. *** “Simple” 8.18 II, SF Buried in the least impressive second set of Leg Two was this ambient “Simple” jam that came a …
Although “Chalk Dust Torture” had been a Phish staple from the early 90’s onward, never leaving regular rotation, it had rarely been used as vehicle for exploratory jamming. While a handful of versions popped off through the years—most notably Camden’s ’99 masterpiece—“Chalk Dust’s” remained a high-energy rock song throughout the band’s career. Over leg two, however, that pattern changed dramatically. Hosting three outstanding jams in its last three appearances of summer, “Chalk Dust’s” quickly became a Leg Two All-Star. Only once, however, did Phish extend “Chalk Dust” from its normal jam within the song, twice preferring to improvise out of its ending. But any way you cut it, “Chalk Dust” gave birth to a trio of stellar excursions during Leg Two that deserve inspection.
Following a standard shredder at Bill Graham and a particularly heavy-hitting, show-opener in Kansas City, when Phish tore into a late second set “Chalk Dust” in Atlanta—literally, the 400th of their career—it felt like they had hopped the train to Fizzletown. Not long into the jam, however, Trey elevated the chugging rhythms with cathartic melodies, coaxing simultaneously stunning piano leads from Page. Fish and Mike were right there without missing a beat, and Phish set the controls for the outer realms of the galaxy. Transforming the normally benign single into thrilling, multi-dimensional journey, the guys finally landed their musical spaceship on a far away planet, and as they climbed down to the surface to explore the new land, Trey hit the opening lick of “What’s the Use?” A totally under-appreciated nugget of gold, this “Chalk Dust” jam foreshadowed what was to come for the rest of tour.
9.2.12 (Michael Stein)
The next time Trey called for the Picture of Nectar classic was in the unassuming slot of second set opener in St. Louis. It seemed like things would stay in bounds this time, but as the band wrapped up the song, they awkwardly bounced off the final downbeat and into uncharted waters. The guys came together quickly in a section of high-speed groove before Fish steered the ship towards calmer currents. Within seconds of this change, Phish immersed the arena in an ethereal and emotional open jam. Like hitting a switch, the guys jumped into IT out of nowhere. Trey spoke the words of the universe through his guitar in this understated and underrated passage. After a short, but engaging, full-band jam, Trey seamlessly wove the opening of “Frankie Says” into the mix. The band would fuse three more songs onto this opening couplet before stopping for a breath, and the most memorable chunk of that entire stretch was “Chalk Dust.”
8.25.12 (Ryan MacNeill)
When Phish got to “C” in the “F.U.C.K. Y.O.U.R. F.A.C.E” show, they had just finished playing second set versions of “Farmhouse” and “Alaska.” With only “E” to go, and few possibilities therein, “C” had to go huge. Thus, when the band started “Chalk Dust,” it seemed like yet another surprise call, but when considering its Leg Two action, it immediately felt like the natural choice. Even before this jam ended, Dick’s “Chalk Dust” had broken all barriers, capturing the heart of everyone in the stadium and beyond, and contended with Camden for the all-time number one version. You can pick your favorite, but this one is mine. Blasting out of the end of the song, much like St. Louis (and with far more precision) the band took little time to switch from from down-your-throat rock and roll into a hard groove collaboration that brought echoes of Atlanta’s “Golden Age.” Trey sliced and diced the music with rhythm chops while Mike threw down commanding leads that directed the beginning of this unforgettable jam. In no time, the guys were fully locked and moving as a single unit through hyperspace. Riding this four-man momentum, Phish shot through any conventions and into totally original music on the back of Trey’s most impressive melodic themes of the summer. This was the stuff of instant legend; musical glory of the highest degree. And to finish things off, they moved into a looped out, intergalactic, bass-led denouement that settled into a quiet outro and a massive ovation.
1990
Coming to life in the final week of the season, “Chalk Dust” added a colossal surprise to summer tour’s long list of riches. The use of their anthem about youth angst as a exclamation point on their best tour in ages, held a certain irony for the guys as they cranked out some of the best music of their career while pushing fifty. On top of their game and as enthusiastic as ever, if one thing can be said about the guys in Phish, they are—most definitely—living while they’re young.
Although “Chalk Dust Torture” had been a Phish staple from the early 90’s onward, never leaving regular rotation, it had rarely been used as vehicle for exploratory jamming. While a handful of versions popped off through the years—most notably Camden’s ’99 masterpiece—“Chalk Dust’s” remained a high-energy rock song throughout the band’s career. Over leg two, …
