1: AC/DC Bag, Foam, Stealing Time From the Faulty Plan, Bouncing Around the Room, Sample in a Jar, Kill Devil Falls, It’s Ice, Horn, Mountains in the Mist, Poor Heart, 46 Days, David Bowie
II: Runaway Jim, Down with Disease > Free, Waste, Taste, Bug, Wading in the Velvet Sea, Mike’s Song > I Am Hydrogen > Weekapaug Groove, Cavern
10.31.09 – Indio, Team Hood’s Four Camera Edit ——————— (Click white You Tube links for widescreen)
“Torn and Frayed”
***
“Ventilator Blues”
***
“I Just Wanna See His Face”
DOWNLOAD OF THE WEEKEND: 11.18.09 Cobo Arena, Detroit, MI < Megaupload 1: AC/DC Bag, Foam, Stealing Time From the Faulty Plan, Bouncing Around the Room, Sample in a Jar, Kill Devil Falls, It’s Ice, Horn, Mountains in the Mist, Poor Heart, 46 Days, David Bowie II: Runaway Jim, Down with Disease > Free, Waste, Taste, …
Today, to end the week, we look at some final moments from fall tour that left a mark on our collective memories. Two are jams and two are songs, but all four are illustrations of those times at shows when time stands still and we swim in the shrine of the Phish.
***
“Disease > Free” 11.18 II
11.18.09 (M.Stein)
Phish usually drops one of their anthems to initiate and conclude their tours; creating thematic welcomes and farewells for all involved. This fall’s welcome-to-tour jam came as part of Detroit’s second set in the form of “Down With Disease.” Turning the upbeat rock and roll into a sharper piece of improv, Trey brought the band into darker thoughts using a dissonant tone. Shedding his strong guitar leads for a more collaborative affair, Trey offered fluttering melodies that accompanied Page and Mike’s offerings. An amoeba-like jam, the band pushed, pulled and stretched as one unit, without anyone dominating the mixture. Descending from the peak, the band sat in the musical denouement for a bit before Trey introduced the chords of “Free.” Allowing “Disease’s” jam to come to an organic conclusion, something the band hasn’t always been able to do this year, they moved quite naturally into the next song. Though “Free” hasn’t exactly been a vehicle for the band since their return, Trey added some gnarling guitar work, stretching Detroit’s version into the most significant of the fall. A bombastic landing pad for some other-worldy music, Cobo bounced in super-slow-motion with the over-sized bass grooves en route to the second-set’s standout sequence.
***
“Torn and Frayed” 11.21 I
11.21.09 (W.Rogell)
When Phish broke out this fan favorite from their “Exile” set, many people’s hopes were answered – Phish would continue to play “Torn and Frayed” as part of their catalog. Given the most interpretative treatment out of all the “Exile” songs in Indio, the song emerged as the leading contender to remain in the band’s catalog. And coincidentally, “Torn and Frayed” became the first song played off the double-album this fall. In line with the band’s current sound, were it not for the song’s significant legacy, it sounds like a piece that could have been cut in the studio while recording “Joy.” A narrative of the rock and roll lifestyle, “Torn and Frayed” is lyrically appropriate for Phish as well, referencing the path once traveled. Though I expected the song to pop up later in tour as a jam vehicle, the band kept it under wraps while bringing out three other songs from their cover set. Perhaps in Miami?
***
“Camel Walk” 11.24 I
11.24.09 (B.Ferguson)
“Camel Walk” represented the moment everyone knew the first night of Philly would be something special. Significant not for its musical blowout, but for its mere inclusion as the fourth song of the show, “Camel Walk” foreshadowed the incredibly entertaining night that would unfold. Following a smoking triumvirate of “Chalk Dust” “Bathtub Gin,” “Cities,” many expected a dip in the first set excitement. Instead, the band continued the non-stop opening frame with 2009 bust-out of their funked out, old-school piece. Phish locked the switch in the “on” position from the first note of this show, and never took the pedal off the metal. With a set of musical bellows, Phish stoked a setlist fire, and “Camel Walk” added a necessary spark to the early stages of an already burning blaze.
***
“Piper > BBFCFM” 11.22 II
Official Syracuse Poster
In a building that bled with an old-school energy, Phish played right along with the feel of the miniature arena. Transforming this second set “Piper” into a manic musical passage, Phish upped the intensity of their break-neck journey with a high-speed percussive chase. Tearing into a set of power chords, Trey lent a harder edge to the music, while Page initiated an effect-laden synth pattern that quickly grew into the focus of the jam. Sprouting a unique musical root, Phish cranked up their tongue-in-cheek homage to death metal, “Big Black Furry Creatures From Mars.” With an aggressive transition likening a gasoline on a fire, Phish unleashed a mid-set inferno. Complete with nonsensical on-stage antics, the band launched a ludicrous escapade into the occult. Eventually emerging from the bizarre in a comedic ending, Trey tipped his cap to Fishman and his family in their home town of Syracuse. A throwback moment of the highest degree, it was refreshing to see that Phish still carried their spirit of absurdity into this era.
I: David Bowie, Julius, Sparkle, Kill Devil Falls, Lawn Boy, Heavy Things, Funky Bitch, Sample in a Jar, Boogie On Reggae Woman, Let Me Lie, Beauty of a Broken Heart, Stash
II: Drowned > Twist > Piper > Big Black Furry Creature from Mars, Tube, Theme From the Bottom, Maze, The Horse > Silent in the Morning, Character Zero, First Tube
E: Good Times Bad Times
Source: DPA 4021 > Sound Devices 722 (24/96)
Today, to end the week, we look at some final moments from fall tour that left a mark on our collective memories. Two are jams and two are songs, but all four are illustrations of those times at shows when time stands still and we swim in the shrine of the Phish. *** “Disease > …
Listen to the ovation at the end of “Seven Below > Ghost.” The roar that you hear is one of absolute celebration from all sectors of the audience; Phish had transformed into psychedelic juggernauts of yore. Regardless of anyone’s opinion on the music itself, the band had showcased the qualities that made them famous – a musical abandon defined by uninhibited risk taking and, ultimately, golden musical pastures. Phish had just let it all hang loose for the first time since their comeback. Sure, the band had played some amazing jams, and certainly had put together more than a few awe-inspiring sets and shows, but this was a different story altogether. This was the exploratory magic of Phish at work again. For nearly an hour, the band pushed each other harder than we had seen them do in this era, experimenting with, and exploring, new musical planes, while arriving at some truly sublime segments of music along the way. In my memory, and in the memory of countless other fans, this was the type of passionate adventure that has always defined the Phish experience.
11.25.09 (Hybrid Radar)
Throughout this fifty-minute stretch, Phish proved what most of us assumed – they could still throw down the gauntlet on a moment’s notice. Listening to Albany while driving last night, I felt like I was listening to Phish of a different era. A different energy blared from the speaker than I was used to hearing this year; the music likened the exploratory bravado that dripped from stages for years on end. I could truly hear the band searching for the sound, and then about halfway through “Seven Below,” hitting their stride like a gazelle on the Serengeti Plains. Everything clicked deep into this jam; deeper than Phish had been usually willing to dig this go-round. And in no surprise, the first time the band let loose in this uninhibited manner, they succeeded with flying colors. With heart-tugging melodic themes and a connected conversation, Phish found themselves amidst the defining musical jaunt since their return.
12.5.09 (J.Thomas)
Once the band hit their stride, they never lost it for a minute. Careening to a triumphant peak of “Seven Below,” the band slid down the other side into “Ghost.” And from note one of this most unique jam, the band had everything locked down. Sewn together with profound musical glue, this piece would drive the band far beyond anything one would expect to hear from the song. Embodying the theory that if the band is flowing, it matters not what songs they play, Phish continued their musical theatrics with a multi-faceted jam that reached several sonic plateaus. Building from cooperative melodic grooves into a more abstract section of shimmering psychedelia, the music turned far more intense as Mike cranked up his filter and began crushing core patterns. The band continued to merge masterful sections of improv, landing in some of the most maniacal music of the modern era. This represented Phish without borders; jamming without preconceived notions of where things were headed; improvising in the truest sense of the word.
This is what Phish did in their prime, in various forms, from 1993 to 2000, and then again in 2003. Throughout these years, Phish always devised new ways to create original magic from similar springboards. Each year represented an evolution from the one before; Phish’s music built upon itself, morphing like a chameleon from one self-referential form to another. A freakish phenomenon, the band continued to reinvent their music year after year, proving to be one of the most creative forces in the history of the game.
12.4.09 (W.Rogell)
So here we are, at the end of 2009. With a New Years Run separating us from Phish 2010, the first year back in just about in the books. It’s been an incredibly positive year for the Phish community, one laced with more than a few memories of a lifetime. But musically speaking, I believe 2009 will be looked back upon as the foundation for everything that followed; the building blocks for the next musical evolution. The band needed to prove to themselves, more than anyone in the audience, that they still had their mojo. It took them a while to get back into the swing of things, with some sparkling highlights along the way. But I don’t think it was until Albany that the band fully realized the magic they were still capable of hatching. Listening back, one can clearly hear Trey trying to bring back the “Seven Below” melody, aiming for a safe ending to the set’s opening jam. But the band pushed on, unconcerned with what was supposed to happen, and diving off the edge. Emerging almost an hour later, the band had rediscovered the mystery of the unknown; those pristine possibilities that arise when they drop guard and allow things to happen. When the landing point is unknown, Phish is at their greatest. And listening to that crowd in Albany, I think everyone agrees.
I: Possum, Down with Disease, Nellie Kane, Weigh, When the Circus Comes, Kill Devil Falls, Water in the Sky, Stash, Meat, Undermind, Mike’s Song > I Am Hydrogen > Weekapaug Groove
II: The Moma Dance, Rock and Roll > Light > Crimes of the Mind, Pebbles and Marbles, Also Sprach Zarathustra > Golgi Apparatus, Cavern, Run Like an Antelope
E: Free Bird, Carini, Waste
Source: Beyerdynamic CK930 > Grace Design Lunatec V3 > Sonic AD2K+ > Marantz PMD-661 (@ 24 bit / 96 kHz)
Listen to the ovation at the end of “Seven Below > Ghost.” The roar that you hear is one of absolute celebration from all sectors of the audience; Phish had transformed into psychedelic juggernauts of yore. Regardless of anyone’s opinion on the music itself, the band had showcased the qualities that made them famous – …
The first sets of fall didn’t carry much improvisational weight, so when Phish unveiled a jam in the opening frame, it always drew enhanced attention. Providing musical respites from the composition and song-driven stanzas, these pieces often came as the first opportunity to really immerse oneself in all-out Phishiness. Most often sticking to contained exploration, the band rarely took chances during the first half of shows, reserving almost all musical risk for the second. Here, however, are four first-set pieces that did take off into creative wonderlands.
***
“46 Days” 11.18 I
“46 Days” (M.Christie)
Towards the end of a relatively generic tour-opening set, Phish sat into one of the thickest jams of tour. A song that varies between a vehicle for improvisation and a blues-rocker, the placement of this version had “blues rocker” written all over. But as the bombast came to a head, the band slipped into a very slow funk groove. Leaving the song’s structure in a wake of heavy organ swells, deep bass bombs, and a percussive rhythms, the band formed a gooey canvas that Trey painted with a retro funk line, circa 1997. Phish locked into a methodical and transportative groove that likened a mind-controlling soundtrack for an alien chain gang marching hopelessly to their death. With sonic effects gradually layered into the piece, the throwback groove morphed into a futuristic, ambient sound sculpture. Phish had jumped into the abyss out of nowhere, crafting one of fall tour’s enduring pieces in its opening frame. With a completely original lighting display by Kuroda, an indelible moment crystallized right away at Cobo Arena.
***
“Split Open and Melt” 11.21 I
11.21.09 (W.Rogell)
Late in Cincinnati’s third set of the weekend, the opening beat to “Split” shot from stage like a sonic cannonball. While always an adventure, the band had already played some extremely psychedelic renditions during the summer, making the first indoor “Split” all the more intriguing. As the band embarked into the nether, they wandered through a sublime melodic plane on their way to an abstract mind-fuck. Harnessing the very essence of the song, Phish upped the levels of this version with a gradual climb into the darkest realms of sonic sorcery. Completely overtaking The Crown with their psychedelic textures, all members of the band equally contributed to the symphonic cacophony. Growing into a “jaw-on-the-floor” moment, one could hardly believe the coherency in which Phish plowed through such precise, demonic music. Moving far out into an amorphous ball of sound and fury, a mind-popping moment occurred as the band slammed back “Split’s” natural groove without missing a beat. A high point of Cincinnati’s two nights, no first set pieces approached the levels of awe and terror induced by this piece.
***
“Undermind” 11.29 I
Official Portland Poster (N.Duval)
In perhaps the most engaging first set of fall, Phish took “Undermind” off the shelf for the only time during fall tour. The song that lyrically fits the band’s current place in time so well always seems to provide a tasty nugget of rhythmic exploration. Dusted off in fine style, in the band’s highly-anticipated return to Cumberland County Civic Center, Phish took “Undermind” to new heights. Playing with increasingly effected tones throughout the piece, Mike and Trey engaged in a dynamic two-step, wrapping their melodies around each other like supple snakes. Page hopped on the clav, adding another layer of crunch to the jam, as Fishman held things together from down below. As their momentum built, Trey and Mike showcased their symbiotic chops in what quickly became a clear highlight to the night. Getting downright dirty, Mike, Trey, and Page formed a creative three-person aural brew that bubbled with all sorts of spicy, filtered effects. As the band climaxed the jam, splashing back into the chorus, the crowd responded with appreciative fervor at the virtuoso mini-experiment.
***
“Reba” 12.04 I
12.4.09 (W.Rogell)
One of the band’s most complex pieces, “Reba” often features small mistakes by one band member or another. Whether a smudge in the song’s fugue or a massive flub a la Indio, more often than not, the compositional section hits a speed bump or two along the way. Because of its degree of difficulty, “Reba” always represents a signpost for the band’s precision playing. Consistently launching into one of Phish’s most blissful improvisational segments, a tightly wound beginning enhances the overall experience; and this first setter in Madison Square Garden’s final show had it all. Exploding through the composition with speed, confidence and a sense of musical drama, the band nailed the opening half with little trouble, carrying a gigantic head of steam into the jam. Taking off with a greater sense of musical determination than usual, the section of improv commenced immediately with a quicker tempo and zero time to settle. More akin to an older version, Trey came directly out of the gates flowing subconsciously, phrasing his melodies masterfully and pouring his heart into each measure. The band chugged right along with their leader, hitting a series of creative stops and changes along the upward path. A song that flourishes exponentially when the band is fully locked in, this Madison Square Garden outing levitated the mid-town arena with densely packed cascade of groove. One of the strongest versions of the year, sometimes the band can express more in less time with ultra-focused playing, and that is what this “Reba” is all about.
I: Chalk Dust Torture, Bathtub Gin, Cities > Camel Walk, The Curtain With, The Wedge, The Moma Dance, Reba, Golgi Apparatus, Stealing Time From the Faulty Plan
II: Possum, Down with Disease > Twenty Years Later, Harry Hood, The Mango Song, Mike’s Song > Simple > Slave to the Traffic Light, Weekapaug Groove*
The first sets of fall didn’t carry much improvisational weight, so when Phish unveiled a jam in the opening frame, it always drew enhanced attention. Providing musical respites from the composition and song-driven stanzas, these pieces often came as the first opportunity to really immerse oneself in all-out Phishiness. Most often sticking to contained exploration, …
On some nights, creativity, energy and musical acumen converge in a frame of Phish that leaves us all glowing. Every Phish set has something to offer, but sometimes one can feel like Christmastime, as the sparkling musical gifts flow like creamy egg nog. Once in a while, the band eliminates all filler music and creates a cohesive experience that is greater than the sum of its individual parts. The first night of Cincinnati was one of these nights. Following three sets of legitimate, but less than full-on, Phish to start fall tour, The Crown’s second set immediately burst to the forefront with a confluence of improv and creative transitions, all bookended by deliciously addictive sessions of dance grooves. This set stoked an arena-sized fire, with a ripple effect that would be felt throughout the weekend, not to mention the rest of the tour.
11.20.09 (W.Rogell)
After a composition-heavy opening frame, Trey sparked the kindling of the second set with the opening guitar-scratches of “Punch You In the Eye.” Able to tear through “The Landlady” section almost routinely again, the band has brought “Punch” into greater prominence as of late. Nary a more spirited set opener, its adrenalized rhythms quickly dialed up the intensity in the historic arena. And out of the trill apex of the song growled the opening licks of “Tweezer.” Immediately igniting the crowd with a much larger flame, Phish opened the freezer door for the first time of the fall, kicking off the season in earnest. At the onset of the jam, Trey set up shop with a sinister and repetitive lick. The band quickly morphed into a thick musical canvas, as Trey narrated an addictive guitar fantasy over the sparse and driving pattern. Taking his time and phrasing each idea with utmost care, he let his new-found swagger shine throughout this piece. Eventually making a change into his dirty, uncompressed tone, Red influenced Fish to alter his beat into a dirtier, snare-heavy scene, while his story took a left turn down a dark alley with smoke rising from potholes all around. Navigating the ominous environs, the band engaged in a sequence of grittier grooves that complemented the first half of the jam’s smoother planes.
11.20.09 (W.Rogell)
Forcefully, Phish climaxed the piece with a creative build that saw Trey unleash a furious solo. Settling into a post-peak section of spacier funk, the band slid through a drone soundscscape into “Light.” Another in the growing series of transitions from dark “Tweezers” into “Lights,” Phish brought this modern combination indoors for the first time. Breaking out their newest vehicle for its initial voyage of fall, all of a sudden Trey transformed into an intense geyser of colorful melody, shooting guitar lines through the sky like he was born to do. A beautiful foreshadowing of the many transcendent versions that would follow in the coming weeks, “Light”stoked the evolving fire of this phenomenal frame.
Breaking down the high-speed jam into a more percussive realm, Phish seemed headed for a completely new milieu. But instead of moving outward, the passage playfully blended into “Get Back On the Train.” A song usually reserved for first sets came out of a completely spontaneous place, a sure-fire sign that Phish’s creativity had been piqued on this evening. In their third consecutive segue, the band moved naturally from the back-country funk into the musically similar “Possum.” Taking one of summer’s most commonly played songs on its first arena adventure, the band attacked the song with an aggression unseen in the amphitheatres of ’09. Enclosed within cement walls, the copious energy bounced around the room, creating a celebratory conclusion to the set’s initial suite. And soon after “Possum’s” final note came to a crashing close, Trey delicately strummed the opening to “Slave.”
11.20.09 (W.Rogell)
In a slot where the band would usually insert a ballad, Phish keep right on chugging with a centerpiece version of one of their most well-loved songs. Showcasing ethereal textures, the band showed utmost patience in allowing this version to unfold organically. Trey, Mike, and Page were locked in a delicate conversation as Fish slowly increased his rhythmic backdrop. Each member phrased their playing masterfully, coming together in an soaring rendition. Infusing powerful emotion into his guitar work, Trey took this outing to the top with determination, upping the ante for the song over the next few weeks. And then the cherry on top – “You Enjoy Myself.”
“YEM” 11.20.09 (M.Stein)
Phish put an exclamation point on this set with a sequence of crunchy rhythms and thematic improv that left the many generic, guitar-based, summer versions of “YEM” in the dust. Fishman proved integral throughout this jam, contributing intricate and evolving rhythms, begging bodies to move subconsciously to the beat. Trey hooked up with an old signature lick, leading the jam into sparser territory, as Mike and Page swam melodies around him. Mike gained an enhanced presence as Trey switched over to some swank rhythm chords, playing all his cards in this one. Following this rhythmic seduction, Trey infused a completely original melodic theme into the mix, and the band jumped on board. Taking the jam away from its typical bubble-funk destination for the first time in ages, the band was finally doing something creative with “YEM.” At the end of their three-week tour, this version of stood head and shoulders above the rest, with MSG’s rendition more than a couple lengths behind. Having fallen into a somewhat generic formula during this era, “YEM” broke that model in Cincinnati, providing closure to a wildly creative set.
This jam-packed frame of music set the community abuzz, as everyone spilled out of The Crown into downtown Cincy. The first exceptional set of the indoor season had just gone down, and everybody understood. Tour was now fully underway. We sat, carefree, amidst the first two-night stand, with nothing to do but kick it until the next evening, and ten more shows staring us down. And after a set like this one, spirits floated through the night on cloud nine, awaiting nothing, and enjoying every moment of the ride.
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Jams of the Day:
“11.20.09 Set II” (listen only)
Enjoy fall tour’s fourth set in its entirety. Punch, Tweezer > Light > Train > Possum, Slave, YEM.
On some nights, creativity, energy and musical acumen converge in a frame of Phish that leaves us all glowing. Every Phish set has something to offer, but sometimes one can feel like Christmastime, as the sparkling musical gifts flow like creamy egg nog. Once in a while, the band eliminates all filler music and creates …
