MR. MINER'S PHISH THOUGHTS

10.31.16 (Micahel Stein)

Lawn Memo: Before we get into the actual Halloween set, let’s talk about the first and third set of Halloween. Dave, what are your overall thoughts?

Mr. Miner: I thought they were both quite good. I thought the song selection for set one was great and there were a lot of high energy moments throughout, starting right off the bat with “Carini.” I thought the “Tube” “Wolfman’s” was a great combo and I really liked the juxtaposition of “Petrichor” “Antelope” to end the opening set.

Memo: Agreed, great song selection! The “Petrichor, “Antelope” combo put me in the perfect frame of mind going into the Ziggy set. Love the new-Phish and old-Phish combos. I liked the third set live but love it even more after a couple spins. “46 Days > Sand > Twist” was an excellent way to start off and “Slave to the Traffic Light” was the perfect way to close it. “Sand” and “2001” brought some excellent jams in short time frames. I thought both the first and third set were nice bookends to Ziggy.

10.31 (M. Stein)

Miner: Yeah, the third set felt like a great exhale after the band nailed Ziggy. They let loose with some groovier stuff and created a really fun atmosphere to end the weekend. I think “Sand” was one of the high points of the run, as the band went outside the box to create a truly cathartic peak. And it’s always a treat when they blow up a “2001” like that amongst this era of four-minute versions. I love when Trey actually plays lead guitar over those grooves rather than just mess with effects which has, for better or worse, become the norm. I also really dug the “Twist” drum jam. The way they maintained the song structure within that limited expression was really cool.

Memo: Yeah, that “Twist” jam was really unique. Man, I love when they close a run with “Slave to the Traffic Light.”

Miner: It’s a great finale. It allows for reflection, introspection and a sense of peace after all of the madness. Definitely a great choice. I really likes this version as well.

Memo: “Slave to the Traffic Light” IS the song that does that for me. It melts me every single time. When it caps a run—you nailed it—total reflection for me. It gives me the warmest of all feelings. I could see “Slave to the Traffic Light” at every show.

10.31 (Michael Stein)

Miner: Every show? It might get a little old for me as the jam is pretty formulaic, but when placed in the right spot, it is unquestionably perfect. My friends and I often say that a show needs to earn a “Slave,” and that it should be held back to cap a standout night of music. I think when they play it after a standard-ish show, it kind of loses its power.

Memo: Yes, every show. I need a lot of reflection in my life. Agreed that the right placement only elevates it. Some of the best hugs in my life have been post “Slave to the Traffic Light”.

Miner: Fair enough, I’ll take a Tweezer every show.

Memo: Ha, so will I! So after a full tour, what are your thoughts on “Petrichor?”

Miner: Funny you ask. I usually can digest new Phish immediately, but it took me three times seeing this song live to truly “get it.” At first it seemed like “Time Turns Elastic” junior, but it is actually far more dynamic that that song. Granted it’s a very long composition, but it has many feels and movements that work as one which is what I thought TTE never achieved. It’s a great piece of music.

Memo: “Petrichor” has grown on me. I loved the placement in Vegas and thought it’s execution was top notch. I love how different each section is yet how well they all fit together. I try to pause and think about the fact that my favorite band can write songs as different as “Petrichor” and “I’ve Always Wanted It This Way.” I have high hopes for “Petrichor.” They seem to touch on the jamming element but bail at this instance. I hope it goes deep sometime. I could see it being a baby “YEM”.

10.31 (M.Stein)

Miner: Sorry to burst your bubble, but they aren’t gonna jam “Petrichor.” That’s not what it was written for. There is no departure point written into the song. It creates a journey without improvisation, and I think that it’s strength. It’s like long form musical theatre. But I totally agree with you on Trey’s diverse compositional abilities. That’s always been one of his hallmarks. From something as simple as “Jibboo” or “Dog Faced Boy” to something as complex as “You Enjoy Myself” or “Petrichor,” for him to succeed almost every time is remarkable.

Memo: You’re probably right. I’m still waiting for the first “Waiting All Night” jam. I might be waiting even longer for “Petrichor.” Regardless, it’s brilliant. I listen to it a lot on my way to work, it always seems to put a bounce in my step. If they just so happen to jam it, well, we might need to do an entire post about it.

Miner: I’m still waiting for a “Bouncin” jam to be honest! What have they been doing all these years?!

Memo: One of the best part of Phish’s Halloween shows are how all-out their fans go with costumes. What were the best Halloween costumes you saw?

Miner: Two friends of mine dressed up as the murdered sisters in the hallway from The Shining and another friend of mine dressed up as Mike Ditka. They all nailed their costumes beyond anything I’ve seen in years. I’d have to say it was a tie.

Memo: I saw the Ditka costume, great stuff. Lot of good ones, however, nothing to top my all time favorite—The IT Tower which I saw at Atlantic City (http://i.imgur.com/6IECYwf.jpg). Moving forward, Dave, you wrote an entire blog post back in 2009 about how you thought Ziggy Stardust was the best choice Phish could make on Halloween. Seven years later it happened, was it everything you had hoped it would be?

Phishbill 2016

Miner: Well, I didn’t really have any expectations of what it would be like. I felt that the storyline to the album and the history behind David Bowie’s alter ego of Ziggy had so many parallels to Trey’s rise and fall, that there couldn’t have been a more perfect album fior them to cover upon their return. I thought the entire performance was incredibly soulful and spiritual, especially with the recent passing of Bowie, himself. Though the album chronicles a tragedy, it is ultimately a hopeful story and that feeling truly permeated Phish’s performance. Trey, Bowie, Ziggy—they were all one in the same in this context, and the parallels of their three storylines are undeniable. I thought that made the performance incredibly intimate and personal.

Memo: Man, Dave you just nailed my thoughts in one paragraph. There is no doubt that Ziggy Stardust is an album with incredible meaning for Phish. I especially like your description of soulful and spiritual. It was of all that for me. Hearing each member of Phish belt out those incredible lyrics was something I will never forget. You could feel the emotion with each note and you can still hear the emotion on each re-listen. It was a soulful experience to take that in with 16,000 fellow fans and think about how each of our lives have risen and fallen, and what a journey it has been with Phish.

Miner: Yeah, if there was one word to describe the set it would be soulful. The band really accessed a part of their playing and themselves that isn’t always on display, and that made the performance so special. They usually fluctuate between goofy, rocking, grooving, and uplifting, but soulful isn’t a word I would generally use to generally describe Phish. On this night and in this set, however, they oozed soul.

Memo: Phish often has guests for these cover sets and Ziggy was no exception. What were your thoughts on the decision to go with strings and backup singers and no horns?

10.31 (Michael Stein)

Miner: I, personally, don’t like horns with Phish. I realize that’s probably an unpopular opinion, but I just don’t dig on how their sound meshes with the band. There are probably a few exceptions throughout the years, like Exile, but I was happy with their decision to leave them out this year. I thought the strings provided an incredibly dreamy feeling to the music and I thought it provided the perfect accompaniment for such a soulful performance. I thought the backup singers were integral to the entire set. Without them I don’t think it would have worked nearly as well as it did. David Bowie’s vocals were obviously the most challenging element of the album for Phish to tackle, and I feel that the support of the backup singers provided the necessary complement for the songs to truly come to life.

Memo: I was initially shocked with the decision to go without horns, but I’m glad they went without them. The strings/backup singer combo was impeccable. It was the perfect complement to the central performers. At no point did they overshadow but instead only aided in the beauty. I get chills on each re-listen. The arrangements were perfect. I thought it was an all emotional, classy application and exactly the way they should have played it.

Miner: Phish has a knack for executing these sets perfectly. Their brilliant musicality and their unparalleled sense of the moment always combines in all-time performances. They were born for this stuff.

Memo: So what were your favorite parts of the Ziggy set? Favorite songs or moments?

“Rock and Roll Suicide” (Michael Stein)

Miner: This was the first album that Phish has covered—other than Dark Side—that I knew note for note while it was happening, and it is one of my favorite albums of all time as well, so it’s hard to pick what my favorite moments were since it’s such a holistic piece of art. I’ve always dreamed of hearing Trey play the signature guitar lick to the title track, so that was very special for me. I also thought “Rock and Roll Suicide” was perhaps Trey’s best vocal performance of his career and one of the most emotional moments in Phish history—the lyrics, the meaning, the crescendo of the set—it was absolutely perfect.

Memo: I firmly agree that “Rock and Roll Suicide” was a defining moment for Trey. The lyrics are so applicable to his journey that I think it helped him to find something extra. Trey belting out “You’re not alone” while bobbing in the front of the stage is an all time moment for me. I listened to that before work one night and was belting out in my best Trey rendition for about five hours. It was something special.

Miner: Yeah, who would have guessed Trey would have had a defining career moment without a guitar in his hand?

Memo: My favorite Bowie song has always been “Moonage Daydream” so seeing that was obviously something special for me. Trey’s voice rang true and the solo was everything I had hoped it would be. Powerful stuff. Speaking of the strings and backup singers, there are moments in “Moonage” where they intermingle with such beauty.  

Miner: I love the song “Soul Love.” I thought the strings and the backup singers really worked perfectly on this one. Once they nailed this tune, I felt they reached a level of comfort to execute the rest of the set.

Memo: “Soul Love” was outstanding.  Near the top for me in amount of re-listens. The backup singers give me chills. “It Ain’t Easy” was another tour de force with the background singers. I feel like I could take on the Death Star by myself while listening back.

“Ziggy Stardust” (Michael Stein)

Miner: Yeah, that was awesome. Another great Trey vocal performance. It was so surreal to see him on stage without a guitar. I’m not sure I’ve ever seen that before other than vocal jams and a capella tunes. Little known fact, that song is a cover of a Ron Davies original that Bowie included on the album.

Memo: As you stated the vocals were obviously the most challenging part of the album. I loved how Phish broke them up and every member contributed. For the most part I thought they were excellent. They may not have hit the range that Bowie could hit but the emotion behind each lyric elevated the performance.

Miner: Yeah, I thought the lyrics were as good as Phish could have made them, and what more can you ask for than that? Additionally, I absolutely love “Starman” and “Lady Stardust” and thought Phish really nailed each song. They both carried so much meaning as well. Phish are the starmen that have come down from the sky and blown all of our minds for thirty years now, and the lyric in Lady Stardust—”And it was all right, the band was altogether”—was a chill, borderline tear-inducing moment after all that Phish has been through. That lyric totally relates to this golden age of the band’s career and it hit with such poignancy.

Memo: What do you think Ziggy’s legacy will be? How do you think it fits into the pantheon of Phish Halloween sets?

10.31 (M. Stein)

Miner: I’ve come to a point where ranking and comparing shows seems fruitless to me. They are all so unique and special. I know that’s a little against the grain that I’ve established on my site over the years, but how can one compare their Halloween performances? They are all so great and so different. I think the most we can do is pick favorites. But in terms of third sets, my runaway favorite is Vegas ‘98. That “Wolfman’s” is one of my all-time favorite jams and the most quintessential Halloween jam that they have ever played. That shit is over the top Phish. In terms of Ziggy, I think it stands on its own as a straight cover set as opposed to an interpretive cover set—just like the White Album. All the other sets, the band made their own in one way or another, often with improvisation. I guess the next closest straight cover would be Exile. I loved the reverence with which they played The Beatles, The Stones and Bowie. I mean what can you do to improve on such classic rock and roll albums? To even try borders on sacrilege. I also loved the more improvisational Halloween sets, they had a whole different feel, with the obvious example being Remain in Light, and somewhat lesser so Loaded, Quadrophenia and Waiting for Columbus. If one thing rings true, however, I’ve absolutely adored every Halloween set. I think they have all been perfect.

Memo: I thought Ziggy was one of the finer Halloween performances, and both the first and third set only help the 10/31/2016 cause. It certainly doesn’t hurt that Vegas as a whole was an all-time run. I want to give credit to how Phish approached the last two Halloween runs in Vegas. With Halloween being the first night in 2014, coming out with Chilling, Thrilling was brilliant. That set the tone for the entire run and was the perfect way to inject life into Vegas right from the start. In 2016, with Halloween being the last night, Phish slayed the first three nights with huge jams and even bigger sets. Ziggy felt like a culmination of all four nights. It was the perfect set at the perfect time. Both in 2014, and 2016 Phish nailed the setlist construction. Let’s talk a little about the show experience. Your thoughts on Vegas / MGM for Halloween as a city / venue?

10.31 (Michael Stein)

Miner: Vegas is the best possible city for Halloween. I think that goes without saying. I feel it’s probably the best city for Phish in general. The all night aspect of everything is unmatched in other cities and all the sensory overload of Vegas make it the perfect psychedelic destination. Hunter Thompson was onto something. As a venue, the floor is a total clusterfuck, but there are enough nooks and crannies around the building to make it an enjoyable experience.

Memo: Vegas rules. It’s insane. I love it so much yet there is no city I can’t wait to leave like Vegas. The energy for Phish is on another level. Hearing everyone’s stories is an experience in itself.  I do love Boardwalk Hall as an actual venue but Atlantic City can’t touch Vegas. Hopefully it’s a common occurrence.

Miner: A lot of people talk about the grueling nature of four nights in Vegas, but I don’t really drink or gamble so it’s all just like one big 24 hour amusement park for me. I feel I get all the positive and none of the negative out of that town. I’ve been to every Phish show in Vegas, but never been to Vegas without Phish and I’d like to keep it that way. The city has little appeal to me without Phish there, but when the band is in town, I find the entire experience to be one big spectacle.

Memo: I am pretty sure I did enough drinking and gambling for the both of us. In fact, I still might not have recovered. 24oz Lagunitas IPAs during the shows is no joke.

Miner: Wow! That sounds like a lot of piss breaks to me. But, hey, any way you cut it, Phish and Vegas go together like peanut butter and jelly. And on that note, I guess this is a wrap! Great talking Vegas with you, brother. This was a lot of fun. Let’s revisit this format in the future. Happy Holidays to all!

10.31 (Michael Stein)

Lawn Memo: Before we get into the actual Halloween set, let’s talk about the first and third set of Halloween. Dave, what are your overall thoughts? Mr. Miner: I thought they were both quite good. I thought the song selection for set one was great and there were a lot of high energy moments throughout, …

Discussing Vegas: Part III Read More »

12.31.16 Las Vegas (Michael Stein)

Last week, Myke Menio (@LawnMemo) asked if I wanted to co-write a piece on the Vegas run. I hadn’t felt the motivation to write on my own just yet, so I figured this might be the perfect opportunity. Myke took the lead on organizing topics and a format for our piece, and as we went back and forth, we wound up with quite a lot of content. We have decided to post our musings in three parts, and today we present you the first. Enjoy!

*****

LawnMemo:

Vegas….

I haven’t been the same since.  

The jams, the memories, the impact of Ziggy Stardust. It was only four days, but three weeks later I can’t stop thinking about it. I can’t stop listening to it. I want to talk about it with anyone who wants to do the same. I am lucky enough to have someone who is as passionate talking about Phish as I am in Dave aka Mr. Miner. After most shows we usually hit each other up and give a quick take on what we thought. After runs, those conversations last longer. After runs that floor us, they can turn into short novels. As you might imagine, our enthusiasm for this year’s Vegas run is oozing out of us. Almost every day since, one of us been blown away on a relisten of one jam or another, so this time, in the wake of such monumental Phish, we decided to take conversation public.

So let’s get this show on the road!  I’ll start…

Topic 1: Setlist Construction

Vegas Official (Landland)

I think my overall lasting impression is just how well the run as a whole was laid out. Dave mentioned how impressed he was with the Vegas “setlist construction” in one of our conversations. I thought that was the perfect term with how things played out. Whether it was decided pre-show or whether they were adjusting on the fly, almost every single call made sense and more importantly, was executed to perfection. Flow is such an integral part to killer Phish show and for four days, I moved right with the band.  

The decision to open the run with “Martian Monster” and pay homage to the incredible last Halloween in Vegas was brilliant. It was the perfect Phishy choice. From there, the machine was in full force. These four days had it all—old school Phish, some bustouts, and most importantly, new material dropped at the right time. Each song from Big Boat (and “Mercury”) didn’t seem to be shoved down our throats. Instead, it helped sustain energy and often times increase it.  

Dave, anything stick out to you about how Phish constructed these setlists?

Mr. Miner:

I thought that the musical flow of the first three second sets were impeccable. The sets weren’t just collections of songs but thought out, conceptual musical statements over 90 minutes. There was never a glitch or a bump in any of them, and that alone makes such a difference in the delivery of a set. Spectacular jams were aplenty over the three nights, with clear standouts in each show, and the band filled in around them smoothly and tastefully. These second sets were complete journeys from beginning to end, the type that I love so much. They set sail, brought you into the depths and then back home again. In addition, the 28th and the 30th had very clear thematic statements as well. I’ll say a bit about each.

10/28: Crimes of the Mind, Golden Age > Simple > Light > Twenty Years Later, Blaze On, The Squirming Coil

10.29.16 (Michael Stein)

The second set of the 28th contained a poetic narrative about the journey Phish has taken over 30 plus years. The set started out with the juxtaposition of “Crimes of the Mind” and “Golden Age,” a song hearkening back to their earliest days and a song that could be considered the anthem for the modern era and all Phish has become since 2009. They let loose on “Golden Age” with an extended and celebratory multi-peak groove exploration that blew the roof of the MGM Arena—the longest jam of the tour—and then segued into “Simple,” with the opening line “We’ve got it simple, cause we’ve got a band.” The clear meaning of this combination immediately struck me, and quite honestly gave me the chills. Phish is so self-aware at this stage of their career and they are beginning to reflect on the totality of their career and their lives, as can be seen in the lyrics of their newest songs. They have reached a place where they can rejoice in everything they have accomplished while still pushing forward with enthusiasm. Over the past couple years, they have openly spoken of the deep gratitude they have for the ability to do what they do for a loving and loyal fanbase over the course of three plus decades. That first line from “Simple” fully rings true for them at this point in their lives, and bringing it out of such a profoundly happy jam really made such a huge statement.

They continued with two songs that maintained this reflective theme, “Twenty Years Later” and “Blaze On.” It doesn’t take an English major to understand the symbolism of these song choices. “Twenty Years Later,” a song, quite literally, about Phish’s twisting career path, spoke to the theme of the entire set with its lyrics “Twenty years later I’m still upside down.” Coupled with this was one of their newest songs, “Blaze On” which speaks to their present state of being in this stage of their career—”The worst days are gone / and the band plays on / you got one life, blaze on.” Phish is in such a state of grace and peace at this point in their career, they persevered so much in their collective life together and have come out in the most positive place imaginable. Blazing on is exactly what they are doing as they continue to make new music, push new boundaries and play as well as ever—something no other band has ever done thirty years into their career. It’s absolutely beautiful. They closed the set with “Squirming Coil, another one of their earliest songs, bringing their musical self-reflection full circle.

10/30: Disease -> Birds, Fuego, Miss You, Harry Hood -> Have Mercy -> Hood, A Day in the Life

10.29.16 (Michael Stein)

Not only has Phish become reflective on where they’ve been and where they are at this point in their lives, they have also been clearly been coming to terms with their own mortality and the inevitable end of Phish. Trey mentioned this in an interview about Big Boat, referencing the subject matter of “Breath and Burning.” Though this theme is present throughout the song, it crystallizes with the lyric “And what does it matter / That the end’s in sight? / We’re not going gently / We’re gonna rage with Page at the dying of the light!” Additionally, he spells out this mindset very clearly in his new ballad “Running Out of Time.” The band have members reached an understanding that this life they have been blessed with in Phish will not last forever, nor will their time in this earthly realm, and they have infused this understanding into the songs of their new album.

The second set of the 30th dealt with precisely this theme, serving as an extended meditation on mortality. The opener, “Down With Disease,” served as a launching point of this subject matter with the refrain “this has all been wonderful, but now I’m on my way.” I won’t get into the profound nature of this jam right now (in my opinion, the most prolific of the weekend) but the collective musical statement that materialized from this lyrical theme was profound. “Birds of a Feather” speaks to the social connection of life and the transient relationships built with people encountered while moving through one’s time on earth. Additionally, the elevated and ethereal jam that came out of it contained the most transcendent melodic themes of the weekend and felt like a musing on the beauty of existence. “Fuego” provided an anomaly to this theme, but it quickly resurfaced in “Miss You,” a universally accessible song about mortality and the feelings that people on earth are left with when loved ones depart. “Harry Hood,” a song who’s jam I’ve always felt embodies the spirituality of life and existence came next. Written by Trey in Greece in 1985, after he and Fishman had returned to shore following a life-threatening experience with a storm at sea, a capsized raft and high-quality LSD, I’ve always thought that this piece was his reflection on the sacredness of life and the beyond. Amidst this uplifting jam, the band pulled off a surprise segue into “Have Mercy” in which Trey sung the lyric “Time is running out” far louder than any other, emphasizing and underlining the theme of the set. “A Day in the Life” closed the frame powerfully and poignantly, and its meaning as the punctuation on this musical statement needs no explanation.

LawnMemo:

10.29.16 (M.Stein)

I love your lyrical and setlist breakdowns Dave. Great work! I agree with you that Phish knows exactly what they are doing when grouping songs and sets together. As good as both the 28th and 30th second sets were at creating improv and an emotional impact, I know we both have an incredible connection to the 29th. The opening five song adventure of the second set was a journey that when it was finished, left me floored. From “Mercury” to the end of “I Always Wanted It This Way,” it felt like one long symphonic jam. Sixty-five minutes of improv. “Mercury” finally got to stretch and and explore like we always knew it could. “Piper” was a throwback to the monster versions of the previous eras. “Scents” provided the perfect bridge from “Piper” to “Tweezer.” Speaking of “Tweezer,” this one is a full throttle sports car. Placed in the middle of a heater set, this “Tweezer” is a furnace placed on the equator. It reminds me of the criminally underrated version from Atlantic City in 2013.  MGM was left in ruin and  yet there was more…

“I Always Wanted It This Way” was the song I was most looking forward to seeing. This song is something different, and for me, something special. In an era where we criticize many new songs as “dad rock,” “I Always Wanted It This Way” is the most unique song I can remember. I am glued to every listen trying to figure what the hell is going on yet loving every second of it. It feels like the best kind of acid trip, the kind devoid of all the garden gnomes trying to scare me. I already love it, and nothing excites me more than the places it might go.  

Then…after 65 minutes of incredibly flowing improv Phish stopped to catch their breath. Then…the entire MGM Grand took a breath and we all looked around in disbelief.  I will never forget the sound that collective breath made after the last note of “I Always Wanted It This Way” finished, and we tried to process how a band 30 plus years in can still deliver creativity like that.  

Your thoughts on the 29th Dave?

Mr. Miner:

10/29: Mercury > Piper > Scents > Tweezer > I Always Wanted, The Horse > Silent, Golgi

“Tweezer” – 10.29.16 (Michael Stein)

Yeah, man. I walked out of there on the 29th saying it was one of the best sets I’d ever seen. It is rare that Phish throws down such non-stop action for over an hour at a time. Beyond that, four of my current favorite five songs were featured in this maniacal run of music in “Mercury,” “Scents, “Tweezer and “I Always Wanted is This Way.” Needless to say, this set really spoke to me. I thought it was easily the best set of the weekend from start to finish. The jams never stopped and they flowed like a river. Though the entire set was outstanding, on listen back, the true centerpiece was the combination of “Piper” and “Scents.” The music contained within this one-two punch is some of the best playing of the weekend, and illustrates just how locked in the band was on this night. A wide open and fluid jam space in “Piper” moves through several feels and eventually climaxes—along with the crowd’s energy—in several minutes of monstrous, screaming groove, a righteous peak if there ever was one. “Scents” wastes no time in elevating into an dark and abstract spiritual foray that perfectly compliments the more vigorous music of “Piper.” A “Tweezer placed at this point in the set was a straight pipe dream, but the band was on fire and went for the jugular with a powerhouse version that was the musical equivalent of a Mike Tyson uppercut. Phish capped this marathon jam sequence with their most stylistically forward looking new song, “ I Always Wanted it This Way.” From the moment I heard this on the leaked album I knew that it could provide Phish with a totally new paradigm in which to work. The song combines a retro-80’s synth vibe with distinctly future sounding electronica,  creating a state-of-the-art milieu for their improvisation. The piece of dance music is comprised of addicting rhythms and grooves that hold limitless potential, and the band only scratched the tip of this iceberg on Fall Tour. Its pairing with “Tweezer” combined the band’s seminal launchpad with its freshest artistic jump off, creating energized and hypnotic one two punch. As Page sang the chorus to “I Always Wanted It This Way” at this juncture of the night, the words expressed a sentiment with which every fan agreed.

Stay Tuned for Part II Coming Monday…

Last week, Myke Menio (@LawnMemo) asked if I wanted to co-write a piece on the Vegas run. I hadn’t felt the motivation to write on my own just yet, so I figured this might be the perfect opportunity. Myke took the lead on organizing topics and a format for our piece, and as we went …

Discussing Vegas: Part I Read More »

10.29 Las Vegas (Michael Stein)

Part II: The Jams

Now that we have covered and overall feel of the first three days, Dave, let’s cover some of our favorite individual musical moments of the first three days. We can save Halloween for a separate breakdown…

Mr. Miner:

Quite honestly, in the live setting I absolutely loved every moment of this run. I was floored after each and every show and I thought the four nights were the perfect ending to a truly incredible fall tour. But after listening back, I have definitely honed in on a three segments of music that I feel stand out—”Disease > Birds, ” “Piper > Scents,” and “Sand.”

Vegas Official (Your Cinema)

The “Down With Disease,” in my opinion, was the jam of the weekend. Holy shit, was that a tour de force! If one were looking for an example of Phish being more than the sum of its parts, playing as a unified whole, this jam is an easy answer. One of the terms I used years ago that people always remember and say back to me is “bass led jihad.” I’m not sure what jam I was describing when I initially used that phrase, but I guarantee that its low-end work did not approach that of this “Disease.” Mike Gordon absolutely goes beserk in this piece with some of the best bass playing I’ve ever heard. Though the band is a one-minded monster throughout this passage, Mike is clearly at the forefront carving up the jam space with almighty prowess. Honestly, listening back to this “Disease” had my jaw on the floor in awe of Gordeaux’s rhythmic acrobatics. But what is so amazing is how the band locks into these patterns and meets him with incredibly innovative interplay. Fishman unleashes fierce breakbeats that combine with Mike’s bass lines in one of the most unique and advanced pockets of all-time. The rhythmic foundation for this jam is just bonkers. On a tour on which Trey switched up his rig a bit and focused on dialing in his tonal palette, this jam was his crowning achievement. His prolific spectrum of sound within this piece steers the vibe of the music from uplifting and beautiful to dark and dungeon-like. The way in which he manipulates his raw, hard-edged, dissonant tone in the latter half of this jam is the stuff of fantasy, creating a sonic assault that colors the music with a potent darkness. Aside from the notes he plays, which are quite something in their own right, the sound of his guitar is what makes his contributions to this jam so sublime. Meanwhile, Page juxtaposes relentless grand piano patterns into this maniacal alchemy, completing an absolutely surreal sonic puzzle. The thunderous peak of this jam left the building in shambles—truly a master work.

The band coupled their virtuoso exploration of “Disease” with their first wide-open “Birds of a Feather” jam in memory. And the sonic quality of this jam provided the yin to “Disease’s” yang. A jam that focuses on delicacy and nuanced interaction, “Birds” builds into a gorgeous, almost atmospheric plane in which Trey lays down some truly soul-caressing melodies. Fish remains cymbal heavy throughout much of this piece, lending a shimmering rhythmic palette to the improvisation, while Page’s prominent piano lines meet this vibe congruently. Trey once again has his wizard-like tone control on display, this time gravitating towards the more blissful and elegant end of the spectrum. The melodic theme he rolls out as the band collectively elevates the jam is staggering in its emotional beauty. At the end of this piece, the guys lock into some amazing group-wide hits that serve as the icing on the cake. In this “Birds,” Phish hooks into a piece of improv that fully compliments the darker exploration of “Disease.”

Vegas Official (Your Cinema)

10/29 “Piper > Scents and Subtle Sounds”

Though the five song run that started the second set of the 29th provided a seemingly endless passage of standout jamming, the true gems emerged in the combination of “Piper > Scents.” The “Piper” in my opinion, comes in a close second to the “Disease” amongst the band’s prolific escapades of the weekend. In “Piper,” Phish often has a tendency to fall back on relatively stock “Piper-jamming,” but on this night, the entirety of the extended piece burst with original ideas and passed through several distinct themes with notable cohesion. The band is in full annihilation mode throughout this jam, beyond locked-in and reacting to each other as if controlled by a puppet master. Trey offers up well-conceived, on the spot melodic leads for much of the jam as if they were composed. Page alternates between his organ and Rhodes for the majority of “Piper’s” opening half, contributing varying textures and sounds to the wide open space. Mike and Fish create a bouncing, ever-shifting rhythmic backbone to this jam, and about half way through begin to subtly build into a groovier feel while still switching back into their more intricate, driving patterns. This alternating rhythmic quality creates a very cool tension to the music that defines the rest of of the jam until they fully commit to the groove and the piece absolutely explodes. Trey steps to the forefront at this point and unleashes a seething solo over this deep pocket and Page shifts to grand piano, complementing Trey with non-stop leads of his own. The resulting music feels as though it’s bursting at the seams with intensity as the entire arena—band and crowd together—hit a collective peak that was unmatched throughout the weekend.

Then, on a dime, the band drops into “Scents and Subtle Sounds.” Following the lyrical section, Phish wastes no time with any sort of convention, as Trey plays some minor chords amidst the floating textures and the band is off on another path of creation. Mike and Trey progressively move into darker territory as Page plays against this vibe with more typical grand piano lines. Trey gets into some truly masterful abstract playing—snaking dissonant leads that serve to color the entire piece with a menacing vibe. Mike moves into a hypnotic bass pattern beneath Trey’s leads as Page’s lines grow in intensity and vigor, coalescing with the jam’s tone. Fishman is riding the cymbals while like an octopus on the kit, unleashing subtle break beats beneath the surface of the music. Though this jam doesn’t proceed for an incredible duration, the music within is both dense and cerebral. Phish’s momentum built within “Piper” spills right into “Scents,” resulting is another standout combination of full-band improvisation.

10/31 “Sand”

12.31 (M.Stein)

Much like “Piper,” “Sand” is a jam that has the propensity to stagnate without the band’s proper attention. In Charleston and Nashville, however, Phish had dropped two particularly active and engaging versions, thus when they unveiled the groove monster in Halloween’s final set, it seemed bound to pop off. And, boy, did it ever! This version fully transcended the typical “Sand” jam and elevated into the cathartic peak of the evening. As the band sets sail into the jam, Trey kicks into unconventional offerings with diverse tones, invigorating the piece with a fresh energy that would only grow throughout the its course. The rest of the band was fully synched in a groove so tight that it felt like it could have been electronically programmed. Mike’s lines began to diversify more and more as time passed and before long the band had left the jam’s usual feel into far more elevated music. Trey pours his heart into a stunning, patient solo composed of long, sustained notes that pulled on the heartstrings of every listener in the building. This jam, once again, finds Page on grand piano meeting Mike and Trey with offerings that had no connection to “Sand’s” foundation. Yet all the while, Fish maintained a crushing groove that anchored the experiment in “Sand’s” rhythmic structure. The combination of all of these facets transformed a usually one-dimensional jam into one of the standout highlights of the weekend and the improvisational apex of Halloween.


LawnMemo:

All I can do is nod my head in agreement. All three of the jams you talked about are serious business. Your description of “Down With Disease” is so dead on.  That sucker is one of the most interesting jams I can remember. I am in total awe of Gordon’s work on that behemoth and I am very happy you put words to it. My head would have exploded had I tried to tackle that.  Only thing I got on that “DWD” is what I tweeted immediately after, “Feel like I hit at craps, blew lines of a strippers ass, rented all my friends a limo, the bills won, and I just took a shower after that DWD.”

10.31 Las Vegas (Michael Stein)

10/28 “Golden Age”

Dave has thrown me the lob and I am going to my best to dunk home the recap of what is my opinion an all-time jam in “Golden Age.” I have about a 25 minute commute to work and Vegas “Golden Age” has been on my car stereo on repeat for two weeks. I can’t friggin stop. When “Golden Age” dropped live I was questioning whether I was a host on Westworld or just simply the luckiest human being alive. It was one of those jams where time stops, and the entire audience forgets the rest of humanity outside of the arena even exists. Since the weekend, I’ve hit play countless times and sat back in admiration of a jam that covers more ground than a tarp on the floor at Dick’s. Oh, did I mention it has two peaks the size of Everest or Dolly Parton depending on your choice of analogy? 

Following the composed section, “Golden Age” springs into it’s usual blissful space and then transitions to an excellent funky celestial soundscape. Mike Gordon is the boss here and then the 10:02 mark downshifts this “Golden Age” Cadillac jam. The smoothness of this first shift is mind boggling. Mike moves his tone into a some crazy EDM, techno, African dance sounding thing. I remember this tone distinctly showing up in the SPAC “Moma Dance” from this summer and launching that jam into the next level. It does the same here. I am left in a full arms-swinging, body-grooving, and an eventually back-aching-days-later trance.

Vegas ’16 (Isadora Bullock)

Following the EDM Mike section Trey finds himself and begins lifting my soul into the heavens with every carefully selected note. This is 2016 Trey at his best.  He doesn’t machine gun my memory to bits but instead each melody is one that I remember long after the jam has finished, humming continuously in my head to make my day better. Sublime stuff. As with most of my favorite jams, Page is securely on the grand piano during this exquisite section. Then…THE MOVE

At the 15:27 Trey delivers an absolute fucking screamer. The heavenly landscape we painted just a couple minutes ago is about to give way to unreal fiery full band throwdown.  

I would describe many of my favorite Phish moments as full band exploration, with deep, dark movements. Well screw that. I cannot hide my love for the these two peaks. By the time this sucker ends I am an emotional crying mess. It takes over my soul, lifts me up, and reminds me of the beauty of Phish.  

The patience of Phish, and of course Trey, is on full display here. Much like Ron Jeremy this peak is overwhelming with its length and grand scope. I beg you to listen and to single out each member during the last 10 minutes and try and focus on what they bring to this jam. Every single member is straight killing it.  

Trey reminds you whose band it is with the slightest of tonal changes at 17:13 and it results in the biggest moment of this peak. The slightly grittier tone shines produces a diamond of ecstasy. I can only scream out “YES!!!!!!!!!!!!!” as them damn tears of love start to swell in my eyes.

Well that was amazing!!! All time jam for sure! Thanks for following along.  Miner, you want to take it from here?  Oh…Wait…

GTFO

WE AINT DONE YET!!!!

10.29 (M.Stein)

Much like the Dick’s “Simple” the first jam is incredible, and then they just keep going…This produces one of my favorite feelings in all of Phish. That moment when they move into an entirely new direction and you know it’s officially on. The first movement of this second jam is straight funk. We catch a glimpse of America’s most funky jam band, and least funky funk band. And everyone loses their shit.  

Trey decides on the super gritty 2.0 type tone and we are off on another adventure. This is one sexy groove! From the 21:03 mark to the end of this jam, if you want to know why Phish can do things that other bands can’t…listen to Jon Fishman. He takes this thing over and makes my head explode trying to figure out how the hell he is pulling this off. The variety of sounds he injects into this peak is not human, and somehow he still provides a concrete floor for the rest of the band to work.

Meanwhile over at the lead section, that guy Trey is at again. Somewhere in that brain of his he decides that he should try a jazzy, bluesy peaking lead over top of his 2.0 tone. This produces one of the most creative peaks I can remember. I am pretending I am in a kick line while reaching up to the heavens for more.  

At the 23:50 mark Trey goes next level, producing stuff I have never heard from him. It sounds like he was abducted by Eric Clapton yet it still feels like Trey. This is a culmination of all Trey’s blues and jazz influenced with the raw power of rock and roll. The crowd eats up every second of it and insane roar comes over the crowd at 24:10 and the swinging good time only ramps up.  From there it’s just pure insanity. I stand up and cheer and gush over my life long man crush on Trey Anastasio. An incredible segue into “Simple” provides ZERO rest. Unreal.

The good jams transport me back upon re-listen. Vegas’ “Golden Age” seems to capture everything I felt during the magical four night run. It’s like I am still there, only not losing money.

Vegas 2016 (Unknown via Scene Music)

10/29 “Tweezer”

Placed impeccably in middle of the incredible 29th second set, this “Tweezer” is not for that faint of heart. It reminds me quite a bit of the high octane Atlantic City version of of 2013. This “Tweezer” jam starts off pretty normal and experiments for a few before Mike Gordon makes this jam his own. Around the 5:45 mark things are beginning to take shape and the groove begins. At 6:23 Mike creates the lick the rest of the jam is based around. It’s big, powerful, and catchy as hell. Mike throws this sucker on repeat and we are in a full tribal dance party in seconds.  

Coming from the light and fluffy blissful “Scents and Subtle Sounds” this “Tweezer” is everything but. This is a straight valium produced DJ-led club rave. The only beings that can handle this much groove are the zombies from the “Thriller” video. This is a Saturday night let it all hang out type of jam. This is a throw and invisible uppercut followed by a right cross kind of jam. This is an invent a new violent head banging while doing some weird ass hip thing dance kind of jam.  

PTBM Ticket Art

The jam literally sits down in this heart pounding groove for almost three minutes. Trey then goes gritty and angry. Mike is still crushing that same bass line in the meantime. It’s like in Mallrats when Jason Lee starts yelling “That kid is still on the escalator!” For all the chilling Trey did during that groove he is in full on attack mode by about the 8:45 mark. Fish drops a couple killer fills and we are officially next level. LETS GO!!!!! Both Dave and I love the Mike Tyson analogy for this “Tweezer.” Well by about the 9:05 mark it feels like somehow Tyson might transport back in time and knock Buster Douglas the fuck out. Page is hammering the hell out of the grand piano. I bet Yamaha didn’t test the C7 for that kind of impact before production. Chairman of the Blunt Force Trauma is more like it.

And MIKE IS STILL ON THAT BASS LINE!!!  By about the 10 minute mark things are completely nuclear. Forget the old “hide the women and children” stuff, this is “hide the future grandchildren” stuff. On my best day at work I might give a solid B+ effort, the height of this “Tweezer” couldn’t be thrown down by many people half Phish’s age.  

It’s over in a flash by the 11 minute mark and they fade into an outro that bridges to “I Always Wanted It This Way.”  I need a nicotine patch after that and I don’t even smoke. There aren’t many jams that pack a larger six minute punch than that “Tweezer.” It’s placement couldn’t have been more perfect. Full band 100 percent ass kicking power. Ladies and Gentlemen, the 2016 Vegas “Tweezer.”

12/31 “2001”

Well you know Dave was letting me write about “2001.”  Especially since this is the best version since either Darien ’11 or DCU ’12. With an important slot late in the last set of Fall Tour, this version delivers. One last chance to dance the night away. My favorite song to see live starts off pretty normal. The real magic happens after the first refrain and in the second jam.  

10.29 Las Vegas (Michael Stein)

Things are grooving along when Trey comes blasting out with a killer lick at the 3:43 mark. This a beauty and immediately draws cheers. Those cheers peter out as everyone finds their dancing moves. Is there anything better than watching Homer Simpson, the Three Amigos, and Blues Brothers in a full funk  “2001” dance party throwdown in Vegas on Halloween? Trey is lighting up the mu-tron and Mike is dripping liquid melodies all over this bad boy. Page drops the most perfect raindrops down ever so subtly at 5:53. So, so good.  

Trey responds to Page’s raindrops and changes his tone to something that makes me think of an elegant dance bird. A full on “Fame” vocal jam rides the coattails of this boogie. Whether that was planned or unplanned it was cool as hell. From the “Fame” jam things move into more of a spacey evil groove. Some killer “2001” space exploration from Trey at about the nine minute mark.  Mike, of course, is full on blasting asteroids while all this exploration is going down. A standard peaking conclusion caps this excellent “2001.”

The tag I wrote for the Phish.net “2001” jam chart reads: “The longest 2001 since the MJ version, and best since Darien 2011. Trey leads out in the second jam and the MGM turns into a DMT paradise. Things get evil, spacey, and the band quotes “Fame” while Mike liquefies the crowd. Monster version fitting of the monster 2016 Vegas run.” That about sums it up perfectly.

Mr. Miner:

Great stuff, Myke! I love your colorful and creative descriptions of the jams and, needless to say, your enthusiasm for these pieces jumps off the screen. That’s what it’s all about, brother! Though I chose not to write it up, I do want to mention the “Light” from the 28th. Following the monstrosity that was “Golden Age,” “Light” has somewhat fallen into the shadows of the Vegas run, but it is truly an awesome jam. In a clear theme of the weekend and the tour, Trey unleashes a host of different guitar tones within this version that drive the direction of the music with a purpose. The band doesn’t spend much time in conventional “Light” territory, and once they break form, they waste no time synching up in a series of dense soundscapes. Mike and Trey play symbiotically off each other, while Fish and Page remain locked into Trey’s offerings. In a true mind-melt, the band members remain completely linked in with each other’s ideas while continuing to push the jam forward with their own. The piece shifts into a more ambient wall of sound in its final stages. Another example of how tight the band had grown come this four-night finale, “Light” plunges some sonic depths that must be recognized.

Part III: Halloween Coming Soon…

Part II: The Jams Now that we have covered and overall feel of the first three days, Dave, let’s cover some of our favorite individual musical moments of the first three days. We can save Halloween for a separate breakdown… Mr. Miner: Quite honestly, in the live setting I absolutely loved every moment of this …

Discussing Vegas: Part II Read More »

Dick’s 2016 (Stephen Olker)

In the subjective medium of improvisational music, perfection is a loaded term, as beauty lies firmly in the ear of the beholder. But sometimes stars align and factors converge resulting in a performance whose excellence is both undeniable and universally accepted. Not often does Phish unveil a set of music that fully embodies their artistic prowess and is praised by all as exemplary of their musical acumen. When this happens, a feeling arises in the community—a group-wide understanding—a manifestation of the shared, unconditional love we all have for the Phish experience. These nights remind us of why are here, why we have come this far, and why we have such a limitless devotion to this band. Phish’s closing act in Colorado was one of these nights.

The final set at Dick’s was a fully realized set of music like Phish hadn’t played in quite some time. There weren’t highlights—the entire set was the highlight. There was not a single awkward moment, no random calls, no blips, no stumbles, no stutters. Songs were simply springboards into the universe as the band sculpted Phish art of the highest magnitude. This all-time caliber performance flowed from first note to last in a continuous musical thrill ride the likes of which we dream; a show that gripped one’s soul, held on tight and never let go, transforming fantasy into reality right before our eyes; a night of music that produced emotional memories as much as musical ones, feelings that are impossible to articulate yet understood by all. This was Phish in its purest form of creation, leaving a trail of treasure in the cool mountain air, dancing on the astral plane on a night that will live forever.

Dick’s 2016 (Michael Stein)

The synergistic flow that defined the band’s playing on this night peaked over the course of the second set which centered on an hour plus of free-form improvisation. In a show where Phish could do no wrong, they unfurled three massive jams in “Crosseyed and Painless,” “Piper” and “Light,” and while these were all top-shelf endeavors, “Crosseyed” elevated to career-highlight status with a sublime plunge into infinite beauty. In an spell-binding excursion, the band gelled masterfully, surfing a colossal soundscape while climbing to one of the most dreamlike and extended peaks in memory. One of those jams with staggering one-minded communication, “Crosseyed” not only set a highly elevated tone for the set but delivered a surreal Phish adventure that belongs among the band’s most esteemed.

Following a very active composed jam, the band moved into a melodic preamble of “Crosseyed’s” open jam from which they blended into the central mind-melt of the night. A passage so fluid and open yet tight and connected, the following section of soul-drenched reverie truly defies description. Teeming with retro ’98 / ’99-esque wizardry, the quartet stepped into sacred stride and channeled music that will forever send tingles down one’s spine—real deal, best ever type stuff. Mike’s eclectic and heavy-handed rhythms, Fishman’s crashing cymbal textures, Page’s rolling intensity on grand piano, and Trey’s otherworldly emoting meshed in a cosmic ambrosia that stayed among the heavens for minutes that felt like a lifetime. Finally allowing the sonic fallout to settle, the band likewise brought the audience back to earth.

Dick’s 9.4.16 (Calico Gicewicz)

But IT didn’t stop there. The band continued in a heightened flow state for the rest of the set, descending tastefully into “Steam” before melting into “Piper.” Launching into this jam with fierce passion, Phish rolled into a cathartic, guitar-led theme behind which the band entered full annihilation mode. Mike anchored the savagery with creative bass lines, a motif of the entire evening as well as the weekend. A shift into a sparser segment of jamming saw Mike step to the forefront and Trey back off, as the group never lost their airtight cohesion. They soon coalesced into a full band drum jam with Trey on marimba, a sequence that had potential to derail the set’s flow, but instead burst with a vigorous musicality often absent from such ventures. Slipping out the backside of this percussive fiesta into a knee deep, pornographic Phish groove, it was clear at this point that there would be no slowing down the four-headed monster on this night. Bouncing the stadium in series of slow motion, musical crossover dribbles, the band continued to demonstrate the vast stylistic diversity that laced this powerhouse set of music.

Without hesitation, they layered a brief “Crosseyed” lyrical reprise over the deep groove before segueing smoothly into “Light”—another piece that transformed into a virtuosic jam of high order. Upon the conclusion of the lyrics, Trey sidestepped an extended guitar solo as the band dropped into a minimalist texture from which they built. Reaching a place of near silence, the foursome displayed patience and a willingness to let things breathe before intricately collaborating on their next sound sculpture. Mike and Page soon locked in as Trey layered ideas over their foundation while Fishman offered an ever-changing and delicate rhythm. This piece built slowly into an intense wall of sound, and peaked with a fury far removed from its starting point, another episode of improvisational gymnastics.

Dick’s 2016 (Stephen Olker)

The band had played amongst the stars for over an hour as they opened a portal to Gamehendge and coyly landed in “Lizards.” This move evoked a certain poignancy as Phish hearkened back to their earliest days, 30 years later, with one of their seminal compositions. And they didn’t just play it, they shredded it to bits with the same level purpose that had been on display all night long. As they moved through the uplifting piece and into Trey’s classic solo, everything was in its right place. Following a bumpy summer tour, the last night of the season brought things back into focus in a way nobody could have imagined. Amidst a prolific set of music, a sense of serenity whispered through the air as the band and audience basked in their bond. “First Tube” provided the energetic culmination—an exclamation point—on this special evening.

Rarely does a set of music come together like Sunday’s second. A night like this is immortal—a show that transcends a mere concert and becomes a life experience. They don’t come around very often, sets without a hiccup, sets that flow relentlessly with unparalleled music, sets that define Phish’s raison d’etre and embody the ethos of the community that loves this band with all of their being. Sunday night at Dick’s, however, was one of them. It was a perfect set of Phish.

Dick’s 2016 (Stephen Olker)

In the subjective medium of improvisational music, perfection is a loaded term, as beauty lies firmly in the ear of the beholder. But sometimes stars align and factors converge resulting in a performance whose excellence is both undeniable and universally accepted. Not often does Phish unveil a set of music that fully embodies their artistic …

The Feeling Returns Read More »

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