MR. MINER'S PHISH THOUGHTS

A Tour in (Moving) Pictures

Perhaps you’ve had the pleasure to meet one of the community’s most stealth warriors, @LazyLightning55. Video taper extraordinaire and one of the nicest guys in the scene, @Lazy has spliced together HD footage of his favorite jams—and just the jams—from fall into one amazing compilation. Check out his outstanding work above. Below, I have included a little blurb about each segment of footage.

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1. “Carini” 10.18 II: Starting out this video is the jam with the most swagger of any played over Fall—Hampton’s “Carini.” Trey sets up the excursion’s bluesy, feel-good peak as the camera cuts in, and what transpires throughout the rest of this footage is some of the most hooked up playing we saw from the band all fall. The video then cuts to the laid back funk at the end of the jam, illustrating the amount of ground covered in this dynamic tour highlight.

2. “Weekapaug” 10.19 I: Next we have the meat of Hampton’s first set “Weekapaug”—super percussive and with plinko textures from Page. The whole band brings the jam on a tangent, documented here, before returning to “Weekapaug’s” theme.

3. “Ghost” 10.19 II: Hampton’s second-night “Ghost” carried an incredibly uplifting vibe and the band laid into it with a passion. In this video we see them on the way to the mountain top, and we stay with them through their glorious ascent. Trey unleashes some cascading sheets of notes as the rest of the band chugs away like a single-minded entity behind him. This footage includes the jam’s denouement—a sublime, break-beat laden soundscape that gradually becomes more and more ambient, setting up an oncoming “Disease.”

4. “Tweezer” 10.20 II: The dark and stormy Hampton “Tweezer” needs no introduction. This video comes in after the initial jam segment, as the band takes a left turn into the Netherworld. At this juncture, everyone in the building knew that fall tour was gonna be something special. This footage follows the band into the abyss, and fades out once the full descent has been made.

5. “Piper -> Taking Care of Business” 10.20 II: The next clip documents one of tour’s most memorable moments—“Piper -> Taking Care of Business.” In this footage, one can actually see the band discover the idea, communicate to each other and execute the segue. And the crowd goes wild!

6. “Twist” 10.23 II: Here we have the second segment of the Glens Fall’s “Twist,” as Trey is teasing “The Line” before anyone had heard the song. This jam signified a turning point of tour from which Phish never looked back, paving a path of gold for the duration.

7. “Waves” 10.25 II: Worcester’s “Waves” has been severely underrepresented in the post-tour chatter. A gorgeous piece of psychedelic Phish, the band moved from something far more upbeat into this dreamy ambient realm—the beginning of the footage we see here. The video tracks the jam as it moves into a heavier outro, one that sparked the idea for the move into “Carini.” This one is a gorgeous clip of Kuroda’s light work, taboot.

8. “Bathtub Gin” 10.26 I: The next clip documents the first set “Bathtub Gin” from Worcester’s second night—a version that I highlighted last week and one that has to be among the most dynamic of the year. The band locks into a swanky, airtight groove and lets it ride in a spectacular segment of musical catharsis. Even with all the jams in set two, this was the most energetic, collective peak of the entire show.

9. “Drowned” 10.26 II: Next up is the Worcester “Drowned,” a sprawling jam that the video picks up as after it had moved through a couple feels and has settled in an uptempo, “Guy Forget”-eqsue groove. We follow the band as they stop on a dime and drip into one of tour’s most sublime musical sequences—A soul-tugging, blissed out segment that eventually blends into an instrumental and chill-inducing nod to Jimmy Cliff’s “Sitting in Limbo.”

10. “Tweezer” 10.27 II: The final jam before “Intermission” is the final segment of my pick for jam of tour, Hartford’s “Tweezer.” The band has navigated an extended segment of hooked up grooves, and have found their way—seamlessly—way into this melodic second part of the jam. The guys find a three chord progression that provides the melodic framework for the rest of the jam.

Setbreak: part of “Fuego”

11. “Golden Age” 10.27 II: The second part of the video picks up with Hartford’s “Golden Age,” by my estimation, the standout version of tour. We hear the band center this jam around Fishman’s rhythmic fireworks, as he consistently changes beats, adds fills and generally destroys his kit. The guys eventually blend into a more ambient soundscape towards the end of this footage, a jam that would eventually end with the onset of “Halley’s Comet.”

12. “Split Open and Melt” 10.29 I: Had the band nailed the ending of Reading’s “Split,” we’d all be talking about it as a highlight of tour, and this segment of footage shows you why—Phish got into some super-locked, menacing-as-fuck jamming. They seemed to have the piece by the jugular, but just as they were set to begin working their way back from this musical dementia, Trey pulled the string for an abrupt change into “Julius.”

13. “Down with Disease” 10.29 II: Reading’s second set was among the best of tour, and the spine-tingling peak to the set-opening “Down with Disease”—captured here—is one of the central reasons why. Trey’s magical guitar solo is among his most prolific of the past five years, and certainly one of his most original—pure transcendence on every level.

14. “Twenty Years Later” 10.29 II: But while many have focused on “Disease,” I find the true improvisational gem of Reading to lie in this “Twenty Years Later.” Patiently working their way into a pre-historic dancehall groove, the band evoked the feeling of ’97 amidst a truly sinister milieu. The entire fan base had been waiting for this moment ever since the guys debuted the song back in ’09, and boy was it worth the wait! Eventually, they pull off a back door transition into another Americana outro, this one likening “I Know You Rider.”

15. “Ghost” 10.31 III: After the band introduced us to the songs of Wingsuit, they came out and did something far more familiar—jam their faces off. This set-opening “Ghost” provided a jolt of adrenaline to a crowd half comprised of those disappointed in the Halloween set. Nonetheless, the band put a smile on everyone’s faces with this ripping rendition of a crowd favorite.

16. “Twist” 11.1 II: This sequence from the AC “Twist” is why we go. ‘Nuff said.

17. “Sneakin Sally” 11.1 E: This surprise encore of “Sneakin Sally” put the cherry on top of one of Fall’s most complete shows on the second night in Atlantic City. This night had it all, including the most hard-hitting encore of the tour.

18. “Theme from the Bottom” 11.2 II: We end this video tour through fall tour with the first set funk throwdown that emerged out of “Theme” in Atlantic City’s penultimate set. This one felt like the olden days as the band hadn’t unleashed grooves of this nature in quite some time. A truly electric moment in a tour filled with them.

A Tour in (Moving) Pictures Read More »

Put Your Wingsuit On!

Poseted in Uncategorized
With the 2013, Fall '13, Halloween, The Moment
On December 1, 2013
By Mr.Miner

Wow! Just wow. Just when you thought Phish had done everything a live quartet could do, they pull another trick out of their hat. Bucking tradition and quenching any Phish fan’s fantasy, the band came out for their coveted Halloween set and debuted twelve new songs—tentative tracks on their new album, “Wingsuit,” that they will start recording next week! And these weren’t just off the cuff Trey ditties, these were spectacularly crafted Phish songs. Ten songs jumped off the stage as instant hits that could be inserted into rotation as soon as possible, and we’ll see about two of the acoustic songs—but holy shit what a treat! The only events with any such precedence in Phish history are Lowell ’95 in which the band debuted six originals, and first night of Summer ’97 in Dublin, Ireland, in which they premiered seven new songs and 13 over two nights at the SFX Centre. But here we were on Halloween 2013, and Phish just dropped a dozen on our domes!

The decision to play Wingsuit was incredibly brave, daring and risky—characteristics that have defined the band throughout their career, and traits for which we adore them. And for that alone, they must be applauded. But god damn, these songs were amazing. I felt like I was floating on cloud nine for the duration of the second set as incredible compositions fell like rain. And there were some legitimate jam vehicles too, that will blow up—in my estimation—starting tonight! These songs spanned a spectrum of feels like so many classic Phish albums. The title track “Wingsuit,” evoked a Pink Floydian vibe, while the third track, “The Line,” sounded influenced by the band’s love of Velvet Underground. But the opus of the set was “Fuego,” a song, that if I had to bet, was written after they listened to the drum and bass jam from Dick’s “ Chalk Dust” (as the band was quoted in the Phishbill as having listened to recent jams and picked out memorable parts to form songs around). “Fuego” features several parts, including a vicious drum and bass jam and overlaid lyrics. The song “Monica,” performed acoustically with a head of steam last night, will make for an incredible electric arrangement. “Waiting All Night,” a trippy and groovy number with drippy guitar work will fit great deep in second sets.

And the songs go on! “Wombat”—featuring a hip-hop dance routine with actor, Abe Vigoda—is a new funk vehicle that will provide some serious dance sessions in the near future. “Devotion to a Dream” carried an upbeat rhythm and a bluesy, Allman’s feel, with lyrics that sounded like an allegory for the band’s 30-year journey. “555” was a groove-based, Gordon-scribed piece that continues a recent trend of engaging Mike contributions to the catalog. “Winterqueen” is a gorgeous Trey and Tom ballad—played once (or more?) by TAB—that also featured some improv, taboot. “Amongst the Peals of Laughter” was a harmless acoustic folk song and “You Never Know,” the set’s finale, was an intricately written piece about the band being taken five million by a ponzi-esque schemer.

The feeling amongst my crew at setbreak was one of straight elation. We had just been hand served one of the—if not the greatest—batch of new songs ever dropped by Phish! And five long years after Joy, nothing could have come at a finer time. It’s hard to believe that tour is about to end with an entire universe of new material having just been unveiled. But, damn, we may very well be looking at their greatest record ever. Back in ’09, when Phish was interviewed by Rolling Stone, Trey said that he wasn’t sure the band had recorded their best album yet. Guess what, Trey? I think you were right.

And if an entire set of incredibly lush new Phish material wasn’t enough, the band came out and played, arguably, the best third set of their career, jamming their proverbial faces off. Kicking things off in true Halloween fashion, Phish opened the late-night frame with a seething version of “Ghost.” The band converged on a driving, inspired jam that evoked the feel of some memorable ’99 versions. But then the 3.0 twist came in, as the guys slipped into a gorgeous and uplifting second movement of the jam, bringing things into cathartic territory. The band was in total command of their craft in this third set—clearly feeling the weight of twelve debuts lifted off their shoulders—and were locked into sacred jamming. Equitable, lead-less, and totally awe-inspiring, this “Ghost” seemed like it would be the jam of the show. That is until they started “Carini.”

The band was taking no prisoners on this night, showcasing every element of what makes them the incomparable live act that they are. And so after a colossal version of “Ghost,” Phish stepped into their most prolific jam vehicle of the last two years—“Carini.” Having just spun this jam once in my buddy’s hotel room, I can—easily—say that this is on the level of anything from this tour, and likely beyond. For me, it was one of those out-of-body experiences in the live setting that when you go back to listen floors you twice as hard. That what full-fledged, all-in Phish will do to you—and this jam was all that and a bag of chips! “Carini” was multi-faceted to the core, spanning darkness, infectious groove, and straight free-form jamming for what seemed like an eternity. This was bliss—Phish throwing down the gauntlet in the third set of a holiday show! Can you remember the last time that happened? 1998—it’s been a while. And this was a complete, start-to-finish Phish set, unlike the three-song, abruptly ended stanza of lore.

Following 35 minutes of the best music you’ll ever hear, the guys tore into an interlude of “Birds of a Feather” before dropping into an impeccable, soul-tugging rendition of “Harry Hood.” “Bug” bridged the set to its closing “Antelope,” at which point I needed to be hooked up to IV fluids to compensate for what I had lost over the night. But water would have to wait as the band demolished their final jam of an unforgettable Halloween night. A celebratory “Quinn the Eskimo” provided the only cover of the three-set show, a rarity for Phish, and a cool twist on the encore for a night once defined by other’s music. In all of the possible scenarios that could have gone down last night, what happened was easily the Phishiest, thing that the band could have done. It is night’s like Thursday’s that make these guys the Phish from Vermont, living legends of rock and roll history.

First set notes: Comprised entirely of standard rotation songs, Phish was clearly focused on what was to come set for the duration of the first set. “Stash” and “Gin” provided slightly better-than-standard versions, but it was clear from the jump that this night would be about the second two sets. And was it ever.

I: Heavy Things, The Moma Dance, Poor Heart, Back on the Train, Silent in the Morning, Kill Devil Falls, Mound, Free, Camel Walk, Stash, Golgi Apparatus, Bathtub Gin

II: Wingsuit*, Fuego*, The Line*, Monica*, Waiting All Night*, Wombat*, Snow*, Devotion To A Dream*, 555*, Winterqueen*, Amidst The Peals Of Laughter*, You Never Know*

II: Ghost, Carini, Birds of a Feather, Harry Hood, Bug, Run Like an Antelope

E: Quinn the Eskimo

*debut

Put Your Wingsuit On! Read More »

Thinking Out Loud: The Flow of Ideas

After years of listening to Phish improvise, I wanted to document some patterns. While all band members—clearly—listen to everyone else in the band in a circular flow, I have found that each member has tendencies and patterns in the general flow of ideas onstage. Here’s what I have to posit about the general flow of ideas during a Phish jam:

Page to Trey:

The flow of ides from Page to Trey is perhaps the most easy to hear live and on tape. Very often—and more than ever these days—Trey picks up on subtle melodies and lines that Page plays and turns them into prominent parts of his own line, and often the entire jam. One of the most significant and easy to hear examples of this pattern from ’13 is the Tahoe “Tweezer’s” “Woo” section. As the band headed into a change, Page blocked out a five chord melody on piano two times. Trey echoed that melody on his guitar, and—immediately—that subtle piano melody had transformed into the main vamp of the oncoming “Woo” section of the jam; the melody that you recognize as that part of the “Tweezer.” But in the mix of each and every jam, Trey picks up on what Page is doing, often mimicking parts of his phrases or his exact line as part of the developing exchange. Even a casual listen to recent jams—such as the wide open part of Dick’s ’13 “Sand’—will provide plenty of examples of this interplay.

Trey to Fish:

Trey and Fish are, historically, the backbone of Phish, and it is their uncharacteristic dynamic that often makes Phish music sound unique. Very rarely in bands is the drummer keyed in on what the guitarist is doing, as they are most often concerned with the bass player. However in Phish, beyond forming a pocket with Mike, Fish gets many of his ideas by following Trey’s lead. Fish will actually echo guitar patterns on the drums, dropping his beats in a sing-songy way, in a very unique use of the drum kit. This directional flow of ideas from guitarist to drummer is a dynamic that most bands don’t have, and provides an extra layer of connection within the music. Fish is a rare breed, one who can be deep in the pocket, echo a rhythm lick from Trey, all while telling a joke about his favorite beer, but very often, a jam’s directionality comes from Fish following Trey, and consequently Trey being pushed even further.

Trey to Mike:

Beyond being locked with The Greasy Troll at all times and offering his eclectic Gordeaux bass lines, Mike is often very focused on Trey’s playing. Mike is known to echo Trey, though he more often plays counter-melodies and fills around Trey’s playing. The close connection between Trey and Mike is also not the most common in bands, where guitar and piano generally take care of the top while bass and drums provide the bottom. But the way Mike incorporates Trey’s ideas into his own offerings instantaneously, makes the most hooked up jams pop with a whole ‘nother level of adhesive. And when Trey’s ideas are woven into Mike’s unique bass lines their effect is not just connection, but enhancement.

Mike to Page ?:

This would complete the pattern as I would like, but I’m not sure that I can back it up like the others. Page most often converses with Trey, often exchanging ideas like a game of ping pong, but does Page get ideas right from Mike? Hmmm. Page often blocks out chords to fill out the empty spaces in Trey’s grooves, giving his offering some relationship to Mike’s bass lines. By helping define the patterns of grooves, Page is most definitely sculpting in collaboration with Mike, but I’m not sure Page is responding directly to Mike’s notes regularly enough for me to complete this neat and tidy pattern. Do you guys notice a flow of ideas from Mike to Page? Other than Trey, who do you guys hear Page getting ideas from?

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Jam of the Day:

“Twist” 10.18 II, Hampton, VA

One of very few unposted jams from fall tour. This one showed us that this tour was gonna be different. Trey continuously hits a signature lick from “Shine On You Crazy Diamond” in the depth of this one.

Thinking Out Loud: The Flow of Ideas Read More »

TTFF: The Structured Stuff

Poseted in Uncategorized
With the 2013, Fall '13, Jams, Miner's Picks
On November 22, 2013
By Mr.Miner

10.22.13, War Memorial, Rochester, NY (Jake Silco)

As everyone well knows, I almost exclusively comprise my playlists of Phish’s open jams. Not today. The band’s playing was so strong across the board this past tour, that I’d like to highlight some of my favorite contained jams for this Friday’s playlist. As I wrote about as recently as this year, the band’s structured—or type I—playing, was the last part of their repertoire to ripen in this era. Sure, they could get through all the changes without the obvious flubs of post-hiatus, but for the first years of this era, they infused little to no creativity into their structured jams, causing parts of shows—particularly first sets—to drag. This year, however, starting in summer, Phish made a point to resuscitate classic pieces that has lost their luster; pieces like “Bathtub Gin,” “David Bowie,” “Stash,” and “Harry Hood.” During 2013, these jams—and more—have regained their proper place in the Pantheon of Phish. Here are some of my favorites from fall presented to you in a thought out playlist that bring some flow to your Friday.

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“2001” 10.26 II, Hartford, CT

Though “Also Sprach” had been gaining creative steam all year, this this tour is first time the guys gave the piece a decent amount of time to breathe, as both versions clocked in at must over eight minutes. Hartford’s tour highlight came at the tail end of a groovalicious set that featured massive versions of both “Tweezer” and “Golden Age,” and kept the vibe alive with a nasty rhythmic throwdown.

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“Harry Hood” 10.23 II, Glens Falls, NY

Perhaps the retro environs of Glens Falls seeped into Trey’s consciousness, because he took this set-closing version of “Harry Hood” with the fury of old. The jam begins with some distinctly modern textures and ends with a scorching peak the likes of which we haven’t seen in quite some time—all in all, a stellar version.

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“Bathtub Gin” 10.26 I, Worcester, MA

This “Gin” provided the highlight of perhaps the best first set of the tour on the second night of Worcester. Almost breaking form, the band remains anchored in groove and brings this version to a colossal peak—the largest single peak of the entire show.

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“Sand” 11.1 I, Atlantic City, NJ

This third-song “Sand” beat out any second setter of this tour, as Phish’s relaxed and confident demeanor showed immediately on night two in Boardwalk Hall. They had just turned in their first “Shaft” jam of the weekend in “Runaway Jim,” when they flexed their muscles on their groove anthem—an incredibly fiery start to one of tour’s strongest performances.

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“Roggae” 10.18 II, Hampton, VA

I recently respun Hampton’s tour opener and found it to be an incredibly well played show, if not a touch mellow. This mid-second set “Roggae” stood out immediately and paced the set between “Twist” and before “Carini.” This second set is a dark horse of tour.

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“Sneakin Sally Through the Alley” 11.1. E, Atlantic, City

After a spectacular performance, Phish went right ahead and blew up a “Sally” encore, eventually reprising the “Shaft” jam from “Runaway Jim.” Whew!

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“Split Open and Melt” 10.29 I, Reading, PA

The band seemed to have this “Split” jam by the horns as they had progressed the piece into ominous abstraction. Then, without even attempting to bring it back, Trey bailed out of the jam abruptly for “Julius.” Not sure what that was about, but this jam is nasty.

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“Gotta Jibboo” 11.1.13 II, Atlantic City, NJ

After a monumental “Twist” jam, the guys applied their focus to the groove in this smoking “Jibboo.”

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“David Bowie” 10.26 I, Worcester, MA

This intricate “Bowie” closed out Worcester’s big-time first set on the 26th, coming at the tail end of a powerful, set-closing trifecta that started with “Stash” and “Simple.”

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“Slave to the Traffic Light” 10.20 II, Hampton, VA

This gentle, understated “Slave” served as a perfect juxtaposition to the fire-filled set it closed, the set of the fall tour.

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“You Enojy Myself” 10.29 II, Reading, PA

A real live “YEM” jam?! Lordy, lordy where have you been? Refreshing to say the least!

TTFF: The Structured Stuff Read More »

Moments In A Box: Magic

Woven into the fabric of Phish shows alongside compositions and jams are moments—those instances where time stands still, everything goes into slow motion and the world explodes. Fall tour had many of these indelible occurrences that everyone in attendance will always remember. Here are a few of such moments from Fall—presented chronologically—that still give me goosebumps to think about.

“Piper -> Taking Care of Business“—10.20 II, Hampton, VA

Though there are several frozen moments from Hampton’s third show, none brought a more thunderous response than this one. As if an exuberant “Piper” to punctuate an outrageous jam sequence of “Tweezer > Golden Age” wasn’t enough, this impromptu move into “Taking Care of Business” was nothing short of genius. As soon as everyone in the crowd recognized the song they were playing, Hampton’s roof nearly blew off. People freaked out, and rightfully so, because Phish hadn’t only just executed a shrewd and seamless segue, they had laid down their mission statement for the next two weeks! They were as excited as we were to be on tour. If everyone didn’t already know that shit was on like donkey kong this fall, after this moment they certainly did.

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“Drowned‘s” “Sitting in Limbo” jam—10.26 II, Worcester, MA

This one still blows my mind. The band was neck deep in an uptempo groove of the likes of “Guy Forget” when they—collectively—stopped on a dime and converged on one of the most surreal segments of music of the entire tour. As if they had this change preconceived, the guys were immediately on the same page as they bled into the infinite. Mike dropped some enveloped filtered notes that provided an aural cushion for this ethereal music. The band sat into a delicate, to-die-for groove for a minute or or so before Page (I believe) hinted at the chords of “Sitting in Limbo.” Trey picked up on the Chairman’s idea—as he so often does—and he, himself, offered the chord progression of Jimmy Cliff’s reggae classic. Trey had played “Sitting in Limbo” with TAB once, and I was sure he was about to step to the mic to sing the first line. Apparently, (from someone who actually watches the show) he almost did, but deferred, keeping the poignant nod instrumental. But damn if that change and subsequent jam isn’t one of the most sublime moments of 2013.

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Trey’s final solo in “Disease“—10.29 II, Reading PA

There are moments and then there are moments. Ask anyone who was in the intimate Santander Arena on that Tuesday night about the end of Reading’s “Disease” and they may just turn away and blush. Yeah, it was like that. Following the meat of a solid, though unspectacular, “Disease” jam, Phish found their way into one of their now-classic, blues-like codas. This southern-laced jam was particularly significant on the brink of Halloween with all of the Allman Brothers talk in the air. The band actually worked their way into a jam around Eat a Peach‘s famed live track, “Mountain Jam,” and it was within this feel good context that Trey would make history. The guys had the room in the palm of their hands and were bringing the jam to a full-band peak when Trey reached back and unleashed the most spiritual, spine-tingling, and downright spectacular guitar solo of the past five years. Channelling his inner Duane Allman and harnessing every bit of his own soul, Trey opened his heart and out burst rainbows and Klondike gold. And this wasn’t just a short statement, he let it all hang out in a blissed out guitar solo for the ages. This is one we’ll be telling our grandkids about. (nb: I had continuous chills just recounting this tale without the music on.)

***

“Twist” middle peak section—11.1 II, Atlantic City, NJ

One could sense during the first set of Halloween that Phish was more focused on the second. They had clearly practiced the Winsguit set and had a lot riding on the success of its songs. Thus, the first frame of Halloween didn’t amount to much, but with the pressure lifted in the third set, the band was clearly able to let loose and jam. Well, when they came back to Boardwalk Hall the next day after nailing their Halloween show, the guys were visibly looser and more comfortable on stage from the jump, tearing apart the show’s opening half. And that brings us to “Twist.” The band had played two versions thus far on tour, Hampton and Glens Falls—both bigger than any since Cincy 2012—and the second had built substantially from the first. Thus, when Phish opened the second set in Atlantic City with “Twist,” everyone knew we were in store for a treat. But midway through this jam, things got straight silly, and we stumbled upon another magical moment.

I’m not exactly sure just what transpired during this segment, but it was one of those instances where the energy of the moment continued building upon itself and informing the actual music onstage. Page and Trey had locked into an exchange that the other guys quickly latched onto, collectively forming a sort of anthemic vamp. This drew in the audience’s energies and this sequence gained series momentum before the band broke from this vamp into a high-speed, cathartic peak. Then, this moment truly crystalized as they continued switching between these two feels, creating a monumentally triumphant passage, both musically and energetically. This was one of those bigger-than-music metaphysical explosions that happen from time to time at Phish shows, and quite honestly, this was the most collective, in-show peak since Tahoe.

MR. MINER'S PHISH THOUGHTS

A Tour in (Moving) Pictures

Put Your Wingsuit On!

Thinking Out Loud: The Flow of Ideas

TTFF: The Structured Stuff

Moments In A Box: Magic

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