After nailing their costume of Exile On Main Street, Phish emerged for their third set of Halloween. Usually reserved for uber-exploratory, dark jamming, the final sets of Halloweens past have featured ’94’s demonic “David Bowie,” ’95’s colossal “You Enjoy Myself,” ’96’s combo of “Maze” and a dark-horse “Simple,” and ’98’s terrorizing masterpiece of “Wolfman’s Brother.” So when the band came out for their final frame, it wasn’t a leap of faith to think that we were in for some heavy psychedelia, ’09 style. But when the dust settled after the triumphant five-song set, many were left wondering where the ghosts and goblins had gone?
10.30.09 (G.Lucas)
Instead of delving into their hallowed haunted experiments, Phish laid down their most upbeat and cheerful Halloween set ever. Many waited for the spooks to arrive, but even when the band launched into a third set “Ghost,” no harrowing darkness emerged. Slightly thrown, waiting to hear a larger and more sinister piece of music, expectations poked at my third set experience.
10.30.09 (W.Rogell)
Opening the set with “Backwards Down the Number Line” seemed like an odd Halloween choice, but remembering the burgeoning versions of late-summer, it seemed Phish would use their favorite new-school vehicle to take us into the abyss. The last times we heard the song, it blossomed into uncharted psychedelia at SPAC and Chicago. But on this night in Indio, the jam barely broke form, and when it did, it spilled right into “Fluffhead.” Featuring the once-elusive opus in almost every big set this year, Phish played a particularly strong version of their revived composition. And when “The Arrival” hit, the tree-sized tiki-torches that surrounded the concert field shot blasts of fire for the first time of the weekend. A triumphant guitar solo had the crowd in the palm of Trey’s hand, and upon the ending of the song, Phish dropped into the “Ghost” we had been waiting for.
10.30.09 (G.Lucas)
“The Indio Ghost” – it sounded nasty before it even started. As Phish darted into the jam, they carried a distinct rock and roll texture with them. Some short clav patterns and rhythm chops would be as funky as this version got, as the band veered away from deep groove or dark psychedelia in favor of a straight forward rock grooves. Minutes into this section, Page initiated a piano pattern that spurned a gradual, band-wide peak into the fields of bliss. Trey decided he would take this one as far from the dark side as possible, doubling as a geyser of spiritual melodies in one of the most energetic peaks of the weekend. A relatively concise jam ended on very high note before winding back down into the song’s ending. A solid version no doubt, but certainly nothing eerie or supernatural.
10.31.09 (G.Lucas)
At this point, it became clear Phish chose a different path for this Halloween set, or perhaps their emotions just brought them there. Having just finished the Exile set, and no doubt hanging with all of their guests during setbreak, the obviously fun energy of their evening may have led them to choose feel-good music to finish off the night. And in the Phish universe there is nary a feel-good song like “You Enjoy Myself.” The ensuing version that followed a “Circus” interlude transformed into an instant show highlight with a series of grooves and continual peaks that showcased the band’s precision and passion on this special night. Phish slaughtered their classic in one of the strongest renditions of the year. An extended bass vamp led into a vocal jam in which Kuroda improvised with the fire of the tiki-torches rather than the stage lights – creating the most entertaining ending segment in memory.
Following the vibe of the show, the encore brought back the horns and singers for a blistering gospel-rock version of “Suzy Greenberg, complete with a “Suzy Reprise” jam once the song ended. It may have been Halloween, but Phish had just thrown down a definitively rejoiceful set with smiles all around. As the band transformed “Suzy” into a climactic show-closer with their entire ensemble, the positive energy oozed off the stage. A celebratory Halloween, this night will be remembered for its grab bag of musical treats rather than any wicked trickery.
I: Party Time, Chalk Dust Torture, The Moma Dance, NICU, Stealing Time From The Faulty Plan, Stash, I Didn’t Know, Poor Heart, Cavern, Beauty of a Broken Heart, Ocelot, Time Turns Elastic
II: Punch You in the Eye, Down With Disease > Prince Caspian > Wolfman’s Brother > Piper > Joy, David Bowie, Harry Hood, Golgi Apparatus
After nailing their costume of Exile On Main Street, Phish emerged for their third set of Halloween. Usually reserved for uber-exploratory, dark jamming, the final sets of Halloweens past have featured ’94’s demonic “David Bowie,” ’95’s colossal “You Enjoy Myself,” ’96’s combo of “Maze” and a dark-horse “Simple,” and ’98’s terrorizing masterpiece of “Wolfman’s Brother.” …
“What Phish is doing tonight is more than covering a record. They are telling, through these songs, their own stories about ecstasy, madness and survival.”
– David Fricke in Festival 8’s Phishbill
The Exile Set (Graham Lucas)
The Rolling Stones’ 1972 masterpiece “Exile On Main Street” chronicles the adventures and experiences of life in a rock n roll band. Via the album’s 18 songs, the Stones’ illustrated both the glamorous and dark sides of life as a touring act; a thematic fit for Phish in 2009. The band has returned to glory after living twenty-plus years of the rock and roll life, with many successes, tribulations, and anecdotes under their belt. By donning the music of Exile, Phish vicariously narrated their own tumultuous path of super-stardom, with each song providing a snippet of the experience. But when looked at as a whole, Exile On Main Street is a definitive cultural record that chronicles both the “beautiful buzz[es]” and “torn and frayed” nature of the rock lifestyle. And beyond its narrative nature, the album, itself, provides a veritable history lesson on the musical influences of rock and roll.
“Loving Cup” (G.Lucas)
While the album’s subject fit congruently for Phish, its music hearkened back to the roots of Americana rock and roll. Colored with blues guitar licks, country rhythms, and soulful lyrics and backed by a sparkling horn section and outstanding singers, Phish threw down one of their most powerful Halloween sets to date. With gospel-esque harmonies and horn arrangements that popped with cleanliness and authority, one could tell that the entire group had rehearsed the album plenty of times before stepping on the stage. Instead of pushing the band in a new musical direction, “Exile” seemed to be reflection of Phish’s current state of music. Joy’s cohesion lies in its blues-rock feel and its narrative, thematic storytelling, both facets that are part and parcel of Exile. Thematically similar – reflecting on darker days and the hope of a brighter future – “Exile” seemed incredibly appropriate as the set got going. And beyond its lyrical themes, Phish absolutely nailed the double-album of music.
If one word could define the feeling of the Exile set, it is “soul.” Combining a virtuoso horn section of David Guy (trumpet), David Smith (trombone), and Tony Jarvis (tenor saxophone) with Sharon Jones of The Dap-Kings and Saundra Williams on vocals, Phish created an ensemble that cooperatively killed the entire set. Sometimes out front and sometimes subtle, the horns provided impeccable accompaniment throughout the album, while the singers gave the set an authentic feel of southern gospel fusion. Collectively, their performances formed a near-religious run-through of the hallowed album.
Phishbill (Jamtopia)
Fans received Phishbills the morning of the show, eliminating any last-minute surprise to the Halloween set, but also giving fans time to re-listen to Exile a couple times during the afternoon. Once Phish took the stage, however, the captivating album sprang to life. With the popular opener “Rocks Off,” Phish and friends were off and running in what became a classic night in the band’s history. After settling in through the first few songs, Phish grew far more relaxed and by “Tumbling Dice” had loosed up to absolute comfort while having the time of their lives.
With eighteen songs on the album, Phish, more or less, played each true to form. But after a poignant version of “Sweet Virginia” with Fishman on vocals, the band let their chops loose on “Torn and Frayed” – a highlight of the set and the top contender to remain in the band’s rotation. Taking the emotional and groovy composition on a Phishy ride, the song seemed like a perfect musical fit for Phish at this stage of their career. Trey took liberty on his solo, lacing the song with his signature licks and crafting a massive high-point of the first part of Exile. Interestingly, Trey switched between two Languedocs during the set – one to mimic Kieth Richards’ metallic, rhythm-like playing and one for searing solos; this time he used the latter.
10.31.09 (G.Lucas)
The Rolling Stones’ ode to civil rights activist, Angela Davis, “Sweet Black Angel,” directly following “Torn and Frayed,” provided one of the most powerful moments of the set with its acoustic, southern-spiritual feel. This felt like the church of rock’s past, and we were all congregants. Goose bumps arose as the band delicately moved through this piece. The vocal harmonies were enough to make your heart melt all by themselves, and when the horns oozed into the mix, they provided a subtle, yet poignant, layer to one of the albums most meaningful songs.
The blow-out version of “Loving Cup” came next, boasting a completely full sound with the horns’ accompaniment. As the mid-point of the record, “Loving Cup” injected the set with a huge dose of energy. The horns and singers added so much to the song; a festive and Phishy moment amidst an album strewn with more somber themes. As expected, the crowd reacted enthusiastically to the suped-up version.
10.31.09 (S.Walters)
As the band turned the corner into the second half of the album, they were firing on all cylinders and carried a distinct musical momentum into the final stanza. The upbeat “Happy” kept the energetic vibe moving forward, as did the country-blues “Turd On the Run.” On these songs, as throughout the set, the horns shone brightly, illustrating flawless chops and a dynamic layer to the overall puzzle. The set took on a more-traditional blues feel with the slow-paced but infectious “Ventilator Blues.” Phish slid from this number into another set highlight – “I Just Want to See His Face.” With a refrain of “Let this music relax your mind,” and a sparse gospel texture, this song transported us into a small church rejoicing in the south. Jones and Williams, while defining the album’s feel, shone like stars on this song. “I Just Want to See His Face” provided a cool and refreshing moment as Trey integrated some Phishy effects into the mix; simply gorgeous.
10.31.09 (S.Walters)
From this point on, the album continued to build to its emotional peak, continuing with “Let It Loose.” Representing one of the Stone’s most prominent forays into gospel, Phish interpreted the piece with indelible accuracy. Page’s lyrical treatment of the piece infused a soulful feel, and combined with Jones and Williams, the band sounded spot-on. The emotional wave of the album began to peak in earnest with this piece. As the horns came in with their backing layers, the song dripped raw emotion onto the crowd, beginning the transformative – and hopeful – ending of the album.
After “All Down the Line” and “Stop Breaking Down,” two catchy blues-rock numbers, the set came to a cathartic peak with “Shine A Light.” Providing a stunning church-like musical experience, this may have been the most powerful cover of any Halloween album in the band’s history. Climaxing the set, both thematically and musically, lyrics have never seemed more appropriate for Trey, Phish, and for all of us at this stage of the game.
May the good Lord shine a light on you,
Make every song you sing your favorite tune.
May the good Lord shine a light on you,
Warm like the evening sun.
Peaking the darker album with a hymn of hope, the band and their guests absolutely crushed this song, creating a warm feel of Phish-gospel.
10.31.09 (S.Walters)
The album’s closer “Soul Survivor” carried a double-entendre, referencing the record’s musical roots and the band’s physical survival through their years of debauchery. A rocking denouement to a masterful set, this song punctuated one of Phish’s greatest Halloween escapades.
More than a simple cover, the Exile set provided a gorgeous glimpse into rock and roll history, bringing the genre’s roots to the forefront of the stage as Phish crafted one of their most memorable cover sets to date. More than any other musical costume, “Exile On Main Street” held a real meaning to the band members – both collectively and individually – a reflection of their own experiences as life-long rock stars. A record that each member fell in love with during their youth, both Trey and Page have dreamed of playing Exile forever. And on Saturday night, their dream came true, translating the classic album into Phish with grace and proficiency in the band’s triumphant return to Halloween.
I. Sample In A Jar, Divided Sky, Lawn Boy, Kill Devil Falls, Bathtub Gin, Squirming Coil, Runaway Jim, Possum, Run Like An Antelope
II. Rocks Off, Rip This Joint, Shake Your Hips, Casino Boogie, Tumblin’ Dice, Sweet Virginia, Torn And Frayed, Sweet Black Angel, Lovin’ Cup, Happy, Turd On The Run, Ventilator Blues > I Just Want To See His Face, Let It Loose, All Down The Line, Stop Breakin’ Down, Shine A Light, Soul Survivor
III. Backwards Down The Number Line > Fluffhead, Ghost, When The Circus Comes To Town, You Enjoy Myself
“What Phish is doing tonight is more than covering a record. They are telling, through these songs, their own stories about ecstasy, madness and survival.” – David Fricke in Festival 8’s Phishbill The Rolling Stones’ 1972 masterpiece “Exile On Main Street” chronicles the adventures and experiences of life in a rock n roll band. Via …
When considering Phish’s darkest, most demonic improv, few eras – if any – can compare to Summer ’95. Waging psychedelic jihad nightly, Phish made no bones about jumping off the deep end many times per show, churning out some of the most engaging music of their career. When thinking of what type of Phish best fit the essence of Halloween, I didn’t have to think very long. Whether you are going to Indio or not, this “Halloween Music” will make for some haunted late-night listening over the holiday weekend. All selections are excerpts of much larger jams. Enjoy. I’m packing.
Given the 24-hour nature of Phish festivals and the one of a kind atmosphere that we are about to encounter, my posts over the festival may be a bit more informal, and less than full-blown show reviews. I will definitely post something each day – possibly more than once a day if the wireless is legit – and will keep you abreast of the essentials. But I will most likely leave comprehensive show analysis for after Indio, as there is just too much to do at a Phish festival to be strapped to a computer for periods of time. Who knows what will happen, but disclaimer made. Thanks for understanding.
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No Spoilers – Indio
“No Spoilers” is a go for this weekend! We will try to get the links up the night of, but given the festival atmosphere, they could go up that night or by the next afternoon. While we have a plan in place, and will try get them up asap, we may be depending on the first source posted and that’s out of our control. Worst case scenario we are looking at the following morning / early afternoon. In summary, No Spoilers – Indio is 100% go; but if its not up a few hours after the show, don’t stay up hitting refresh all night. Ya dig? Stay tuned to phishthoughts.com/nopoilers all weekend long – it’s the next best thing to being there!
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Check out HeadCount’s “Reality Check” Game Show at Festival 8
If you are a maestro of Phish trivia, or an expert on current events, you’ll have a chance to prove it at Festival 8. Headcount, fresh off announcing superb stastisical results from last year’s voter registration campaign, will host the “Reality Check” music and political trivia game at Festival 8. The grand prize winner will walk away will receive an uncut sheet of four Pollock Halloween masks, available at the Water Wheel table throughout Festival 8. To make the prize one-of-a-kind, Jim is doing a special illustration on one uncut sheet – meaning the winner goes home with a true Pollock original.
“Reality Check” will pit you head-to-head with another competitor as a host quizzes you on Phish history, classic albums, the news and government. Plus, there will also be a Family Feud-style “Survey Says!” question. If you win three straight times, you can advance to the Tournament of Champions, held before Phish’s final set of the weekend on Sunday, Nov. 1.
My wife’s pick from the analog era, this end-of-tour party at Sugarbush represented the precursor to The Clifford Ball in 1996. Playing to a populated side of a ski slope at the end of a musically ludicrous, Phish inched ever closer to their first-ever full-blown festival. The second set jams “Runaway Jim” and “Tweezer” provided the improvisational meat of the second set, while “Reba” and “Slave” stood out as well.
I: Sample in a Jar, The Divided Sky, Gumbo, The Curtain > Julius, Camel Walk, Reba, I Didn’t Know, Rift, While My Guitar Gently Weeps
II: Runaway Jim > Makisupa Policeman, Scent of a Mule, Tweezer > Ha Ha Ha, Sleeping Monkey, Acoustic Army, Slave to the Traffic Light
When considering Phish’s darkest, most demonic improv, few eras – if any – can compare to Summer ’95. Waging psychedelic jihad nightly, Phish made no bones about jumping off the deep end many times per show, churning out some of the most engaging music of their career. When thinking of what type of Phish best …
Despite Ziggy Stardust being my personal choice for Phish’s musical costume, plenty of other engaging album choices still remain. Assuming Phish is working off their provided list, several defining records could still hold the golden ticket. While everyone has their own opinion of what could work and what certainly will not, I present to five other albums – in no particular order – that Phish could destroy.
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Exile on Main Street – The Rolling Stones
Hailed as one of the Stones finest accomplishments, their 1972 masterpiece blends the influences of blues, rock, country and soul to form a double-album considered among the best “studio” works of all time. During the recording process, nine years into their career as one of the biggest rock acts in the world, the Stones found themselves in financial straits, and decided to flee England to avoid paying income tax. The band drove to the French Riviera, setting up shop in the basement of Villa Nellcote, Keith Richard’s mansion by the sea. As they began recording in their makeshift studio, the band members were at the height of their drug and alcohol addictions, including Keith Richards’ notorious heroin habit. The combination of cramped quarters and intoxicated, unreliable band members created a frustrating dynamic for the band as they plugged away sporadically – usually in the middle of night – in all sorts of chemical states.
The resulting work, however, has since been exalted as a trendsetting record of the gritty, drugged-out rock and roll scene that blossomed in the Seventies. “Exile” came first, spawning a generation of bad-boy imitators, but no one did it quite like the Stones. Some hail the mere fact that the Stones actually got “Exile” recorded as a miracle, as they were hardly in control of anything during this period. But what resulted was “Exile On Main Street,” the Stones tenth album, and snapshot of ragged rock stars trying to keep it together. Perhaps Robert Greenfield, author of “Exile on Main St.: A Season in Hell with the Rolling Stones”said it best:
To say that the human toll exacted during the making of Exile on Main Street was extreme is an understatement of major proportions. But then even if you had tried to tell the denizens of Nellcote that far too many of them would, in the immortal words of Pete Townshend, die before they got old, no one would have listened. They were all too busy getting high.
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London Calling – The Clash
If Phish were to veer from classic rock, The Clash’s dynamic double-album, London Calling, would be an outstanding choice. The band’s third album, released in 1979, represented a shift in The Clash’s musical style, steering away from the classic punk sound, with elements of ska, pop, soul, rockabilly and reggae. And unlike The Rolling Stones odyssey of “Exile,” The Clash recorded London Calling within a matter of weeks; many songs finished in one or two takes. “London Calling” was the Clash’s watershed album, transforming the scruffy British quartet into bona-fide rock stars.
Their musically diverse songs carried various political messages. Whether attacking fascism in “Clampdown, denouncing drug culture in “Hateful”, or commenting on political rebellion in “Spanish Bombs,” The Clash’s songs often carried serious meaning amidst their playful feel. “London Calling’s” copious grooves and dub rhythms could provide Festival 8 with a horn-laced, desert dance party with a grand finale of the infectious pop single, “Train In Vain.”
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Hot Rats – Frank Zappa
The quirky time signatures, sudden changes, and generally bizarre complexity that defined Phish’s early work can be largely traced directly to Frank Zappa. An iconoclast to the end, Zappa made music his own way – a style that Hot Rats illustrates with vibrancy. Released in 1969, and comprised of only six tracks, Zappa described the album as “a movie for your ears.” Departing from his shorter satirical songs and raunchy lyrics popularized with his band, The Mothers of Invention, Hot Rats focuses on longer, jazz-like instrumentals with extensive soloing – a format that sounds perfect for Phish.
Though the album’s opener, “Peaches en Regelia,” has been in Phish’s long-time repertoire, the overwhelming complexity of the record’s compositions makes me question its real chances. This summer Trey was still working on nailing the licks to “Sugar Shack,” and for this costume he’d have to pick up the nuances of 17-minute track “The Gumbo Variations,” among others. But given the proper time and attention, this album could make for a mind-numbing set. Just thinking about Phish playing “Willie the Pimp” makes my ears drool.
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The Lamb Lies Down On Broadway – Genesis
This 1974 double concept album from Genesis could make a spectacular Halloween set, but with a ninety-minute running time “The Lamb” seems like a long shot. However, if Phish were to come out and nail the surreal tale of Rael, a juvenile delinquent in New York City who is swept underground to face his personal demons and split personality, the results would be astounding. Akin in structure to “The Wall,” “Lamb” is a theatrical rock opera that Genesis coupled with an elaborate stage show during their touring days for the album; a show that could translate to the stage in Indio. Peter Gabriel actually played the story’s protagonist, adding another potential layer of costume for Trey. If Phish took this route, they would certainly showcase hours upon hours of meticulous preparation.
With little to no time for improvisation, Phish would likely play this psychedelic relic straight through. But within the album, the songs differ in feel from the groovy to the eerie to the spoken word. The first record boasts ten structured songs, but the second half contains nightmarish soundscapes as Rael descends into the underworld. Though many wouldn’t know what hit them, there would be a lot of new Genesis fans leaving Indio on November 2 if the band chose The Lamb Lies Down On Broadway.
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Thriller – Michael Jackson
With Phish’s gallery of 99 albums, the talk of Michael Jackson’s masterpiece has faded to silence – and this could be exactly what Phish wants. Potentially a diversion to keep people preoccupied, the gallery has certainly kept the community’s heads spinning. But maybe – just maybe – this is all a smokescreen, and the band will come out and rock Jackson’s 1982 classic that fans have been pushing since 1995.
The most popular argument against “Thriller” is the wide range of dynamic vocals that fill the album, but if we start eliminating album choices because Phish aren’t the vocalists that their predeccessors were, we’d have to cross out quite a few. Could they reproduce Mick Jagger, David Bowie, Mick Jones, or even David Lee Roth? No – but that certainly hasn’t ruled out any of those albums, so I think “Thriller” must be legitamately considered. There could be a guest vocalist, Trey could “sing” with his guitar, or they could have another arrangement already in place. The bottom line is that this album would blow Indio apart – and what better subject matter for Halloween?! Just imagine the look of the crowd when Phish starts “Wanna’ Be Startin’ Something.” Now imagine the look of the crowd 20 minutes later after the disco-funk jam concludes. You know the songs; you get the picture. Just outside of his former Los Angeles home, and months after his passing, this could be Phish’s lasting tribute to the King of Pop.
Everyone knows about Oak Mountain’s 1999 installment, but if we rewind five years from there, or fiftteen years from today, we find The Dave Matthews Band opening for Phish in their only other visit to the Alabama amphitheatre. After a classic first set and an adventurous second, the band invited their guests out to join them on “The Maker.” A southern nugget from Fall ’94.
I: Wilson, Sparkle, Simple > Maze, Glide, Reba, Down with Disease, Golgi Apparatus
II: Also Sprach Zarathustra > Runaway Jim, Halley’s Comet > Scent of a Mule, You Enjoy Myself > Catapult > You Enjoy Myself, Amazing Grace, Foreplay/Long Time*, Bouncing Around the Room, Suzy Greenberg
E: Drums** > The Maker***
*Acoustic, **w/ Carter Beauford on drums, ***w/ Dave Matthews Band, debut
Despite Ziggy Stardust being my personal choice for Phish’s musical costume, plenty of other engaging album choices still remain. Assuming Phish is working off their provided list, several defining records could still hold the golden ticket. While everyone has their own opinion of what could work and what certainly will not, I present to five …
In the compelling debate of what album Phish will play for Halloween, many ideas and theories have been posed as to which records would create an ideal musical costumes. After perusing many of the potential albums, there is really only one choice for me – David Bowie’s The Rise and Fall Ziggy Stardust and The Spiders From Mars. Encompassing themes of hope and love within a plot of rock and roll idolatry in an apocalyptic society, Ziggy Stardust is often hailed as the seminal concept album of the 1970s.
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The History Behind Ziggy
Leeds, UK. June ’73 (M.Rock)
Ziggy Stardust was David Bowie’s alien savior, who brought a musical message of salvation via rock and roll, but eventually fell from grace due to the perils of rock and roll decadence. In Bowie’s own words:
Ziggy was my Martian messiah who twanged a guitar. He was a simplistic character. I saw him as very simple… Someone who was dropped down here, got brought down to our way of thinking and ended up destroying himself (1976). Ziggy Stardust…was very much Japanese Theatre meets American science fiction (1978).
Far more than a fictional character, Ziggy Stardust gave Bowie an alter ego, one which began to take over his reality. Beginning in 1972, Bowie began introducing himself at concerts as Ziggy Stardust and his band as The Spiders From Mars. Appearing in full costume and character, Bowie was Ziggy Stardust, and as his theatrical performances continued, he over-indulged in his on-stage character.
It was quite easy to become obsessed night and day with the character. I became Ziggy Stardust. David Bowie went totally out the window. Everybody was convincing me that I was a Messiah, especially on that first American tour (late-1972). I got hopelessly lost in the fantasy (1972)
Before long, Ziggy came off the stage, permeating Bowie’s everyday life. Appearing publicly in costume, the line between Bowie and Ziggy Stardust became dangerously blurred.
I thought I might as well take Ziggy to interviews as well. Why leave him on stage? Looking back it was completely absurd. It became very dangerous. I really did have doubts about my sanity. I can’t deny that the experience affected me in a very exaggerated and marked manner. I think I put myself very dangerously near the line. Not in physical sense but definitively in mental sense. I played mental games with myself to such an extent that I’m very relieved and happy to be back in Europe and feeling very well (1977).
Beverly Hills 10/72 (M.Rock)
In two separate interviews in the early ’90s, Bowie reflected on his period of mental instability as he battled – and basked in – his alter-ego. Ziggy had literally become an escape from himself and his every-day life; a place to hide from David Bowie.
I enjoyed the character so much and it was so much easier for me to live within that character that, along with the help of some chemical substances at the time, it became easier and easier for me to blur the lines between reality and the blessed creature that I created – my doppelganger. I wasn’t getting rid of him at all – in fact I was joining forces with him (1990).
There was a theory that one creates a doppelganger and then imbues that with all your faults and guilts and fears and then eventually you destroy him, hopefully destroying all your guilt, fear and paranoia. And I often feel that I was doing that unwittingly, creating an alternative ego that would take on everything that I was insecure about. Ziggy served my purpose because I found it easier to function through him, although I probably put myself on a path of pure psychological damage by doing what I did. But it felt like it was going to be easier living through an alternative self. Of course the major problem was that I was blurring the lines between sanity and an insane figure, and finally did break the lines down in the mid-Seventies where I really couldn’t perceive the difference between the stage persona and myself (1993).
David Bowie / Ziggy Stardust
Looking further into Bowie’s analysis of this era, one can see parallels to the rock-idolatry and excesses that contributed to Trey’s downfall. After working his whole life to become a rock star, once Ziggy/Bowie/Trey attained his goal – well – what next? As Bowie describes Ziggy’s fate, he could easily be talking about Trey.
It was his own personality being unable to cope with the circumstances he found himself in which is being an almighty prophet-like superstar rocker. He found he didn’t know what to do once he got it. It’s an archetype really – the definitive rock n roll star. It often happens (1974).
Always cast outside of the rock and roll mainstream, Trey’s former demise followed a not-so-uncommon path. As was Ziggy’s fate, the decadence surrounding his rock and roll super-stardom brought him down; the fame, the parties, the ego, the glamour, the sex, and ultimately, the drugs. Like Ziggy’s finale, “Rock and Roll Suicide,” dark habits threatened the very survival of certain Phish members, forcing them to “break up the band,” following the fate of The Spiders From Mars. Bowie’s personal relationship to Ziggy Stardust mirrors Trey’s battle with his own rock and roll stardom and inner conflicts that brought each man to the brink.
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Ziggy Stardust– The Album
Ziggy and The Spiders From Mars (Unk)
For the elaborate theatrics and space-aged costumes alone, Ziggy Stardust would make a superb spectacle for the Halloween set. But beyond the glamorous show this album could provide, the music and lyrics of Bowie’s record fit perfectly with Phish’s place in time. The dreamy psychedelia of Ziggy Stardust seems made for Phish to play, incorporating all band members (and a few horns) in forming a tapestry of Bowie’s early ’70s sound. And the copious fade-outs on almost every track is an essential detail of the record, leaving the door wide open for Phish to improvise out of almost any song. With musical coherence, symbolic relevance, poignant lyrics, Ziggy Stardust is the perfect choice for Phish this year.
1. “Five Years”
We got five years, stuck on my eyes
Five years, what a surprise
We’ve got five years, my brain hurts a lot
Five years, that’s all we got
The album starts off with Ziggy singing a melancholy dirge for humanity, stating there are only five years left before the apocalypse. Due to a lack of natural resources, the world is on the verge of perishing. In Bowie’s explanation of the song:
Ziggy was in a rock n roll band and the kids no longer want rock n roll. There’s no electricity to play it. Ziggy’s advisors tell him to collect news and sing it, cause there is no news. So Ziggy does this and there is terrible news (Rolling Stone, 1973).
The obvious Phishy reference in this song lies in the title “Five Years,” alluding to the past half-decade we lived without Phish in our lives. But now, like Ziggy and The Spiders, the band is back to save us from a degrading society with their universal musical messages.
2. “Soul Love”
Victoria Hall, Hanley, UK (P.Calvert)
This wistful song details various forms of love and their interrelation, including the highest form – “Soul Love.” Suggesting an overt spirituality, there are religious undertones to this song, asserting that “Soul Love” is embodied by every human, a central theme in Ziggy’s extra-terrestrial message. The beauty of the universe lies within everyone, there is still hope.
3.”Moonage Daydream”
Phish would absolutely destroy this scorching song that has often been cited as the strongest track on the album. Recounting times they played the song live, Trevor Bolder, a member of The Spiders From Mars observed:
It really used to get the kids going. That would start the kids off. Every night you knew that “Moonage Daydream” was going to be the one that really lifted them. (1976)
This song introduces Ziggy Stardust – the Space Invader / Alien Messiah – who offers rock n roll salvation from earth’s imminent disaster outlined in “Five Years,” and a object for society’s religious worship evident in “Soul Love.” Its searing guitar lines and syncopated keyboard patterns lift off into wild sheets of sound, and could provide Phish with a serious launchpad for improvisation. In some ways congruent with Phish’s place as worshipped rock and roll superheros, “Moonage Daydream” details the seduction of rock stardom. If the first two slower tracks don’t get people going, “Moonage Daydream certainly would.
4. “Starman”
There’s a Starman waiting in the sky
He’d like to come and meet us
But he thinks he’d blow our minds
There’s a Starman waiting in the sky
He’s told us not to blow it
Cause he knows it’s all worthwhile
David Bowie / Ziggy (Unk)
The only single off Ziggy Stardust, “Starman” tells the story of Ziggy’s origins as an “infinite being,” and details his message that hope and love can save the world before earth comes to an end. This, as Bowie explained “was the song that Ziggy wrote which inspired people to follow him…but he continued and then he was crushed by his own ego” (1974). Phish are the “Starmen” of our generation, enlightening us; showing us a different way of living amidst a war-torn, segmented world. Grandiose? Sure. Far fetched? Not so much.
5. “Lady Stardust”
Bowie’s personal tale of rock and roll androgyny kicks off the B-side of the album. But for Phish, and specifically for Trey, the power of this ballad lies in the lyrics.
And he was alright, the band was altogether
Yes he was alright, the song went on forever
Yes he was awful nice
Really quite out of sight
And he sang all night long
Seemingly written for this exact occasion in Phish’s career, these lyrics would bring shivers to every fan in the desert when Trey (or Page) sang them.
6.”Star”
This song details the Ziggy’s dreams of super-stardom with a more upbeat song. In the chorus, Bowie sang:
I could make a transformation as a rock n roll star
So inviting – so enticing to play the part
I could play the wild mutation as a rock n roll star
Fame and stardom allured both Bowie and Phish, dreaming of success while not compromising their art. In Phish’s modern era, however, “Star” would be a reflection on the band’s past inspiration as they fought for the big time – a glimpse back to the years of the early ’90s and the musical hunger that defined them.
7. “Hang On To Yourself”
Well come on, come on, we’ve really got a good thing going
Well come on, well come on, if you think we’re gonna make it
You better hang on to yourself
This song chronicles the height of fame for Ziggy Stardust with a rocking feel and melodic hooks. But as his popularity grew, so did his indulgences – hence the song’s title. Loosely parallel to the years of 2000-2004, this was the era that Phish barely hung on to themselves, battling the very temptations and indulgences as Bowie’s fictional rock-god. “Hang On To Yourself” leads naturally into the infectious album’s infectious title-track.
7. “Ziggy Stardust”
A classic song in the annals of rock history, Ziggy’s title track would be the song that any Phish fan is guaranteed to know. And hearing Trey destroy the song’s signature guitar riff would be worth the price of admission on its own. The song, itself, details the rise and fall of Ziggy Stardust – a symbol of the ultimate rock god – as told by one of his band members.
Making love with his ego, Ziggy sucked up into his mind
Like a leper messiah
When the kids had killed the man, I had to break up the band
Alluding to several of rock’s fallen idols, “Ziggy Stardust” explains the character’s fate as an idolized rock star and, subsequently, a rock and roll tragedy. In the end they had to break up the band – sound familiar?
8.” Suffragette City”
1972 (Unknown)
One of Bowie’s favorite originals, this is the most rocking track on the album by a long shot. This song – like “Drowned,” “Crosseyed and Painless” and “Rock and Roll” – would be a heavy favorite for Phish to keep in their permanent rotation. Chronicling Ziggy’s decadent over-indulgence, many fans theorize that this song should have came before “Ziggy Stardust,” as it sets up the star’s fall from glory. “Suffragette City” would also see a guest appearance from a horn section.
9. “Rock N Roll Suicide”
This acoustic piece narrates the fate of Ziggy Stardust, and his final demise. Despite its somber ending, Bowie’s wife saw an uplifting message of unity in the song’s final chorus :
Just turn on with me and you’re not alone
Let’s turn on and be not alone
Gimme your hands cause you’re wonderful
Gimme your hands cause you’re wonderful
Oh gimme your hands
So...
When looked at as a holistic piece of art, strewn with congruences and parallels to Phish’s career as rock superstars, Ziggy Stardust emerges as an ideal fit for the band’s Halloween set. Imagine Trey dressed as Ziggy, and Mike, Page and Fish as The Spiders From Mars?! This album could take Phish’s musical costume to a whole new level. Strewn with symbolism, artistry, and musical theatrics, The Rise and Fall of Ziggy Stardust and The Spiders From Mars presents not only one of the most engaging musical choices for Festival 8, but one that holds plenty of significance as well.
(References – Rolling Stone, Blender, Pop Matters, The Ziggy Stardust Companion)
Here we have Phish’s second visit to the beautiful Molson Amphitheatre, right on Toronto’s waterfront. Standout versions of “Reba” and “YEM bookend the 90-mintue opening set. The second frame opens with a delicate jam bridging “Limb” and “2001,” and closes with the feel-good combo of “Hood,” “Loving Cup.”
I: Reba, Dogs Stole Things, Taste, Dog Faced Boy, Heavy Things > The Moma Dance, First Tube, I Didn’t Know, The Inlaw Josie Wales, Prince Caspian > Golgi Apparatus, You Enjoy Myself
II: Limb By Limb* > Also Sprach Zarathustra > Bug, Piper > Driver, Harry Hood, Loving Cup
In the compelling debate of what album Phish will play for Halloween, many ideas and theories have been posed as to which records would create an ideal musical costumes. After perusing many of the potential albums, there is really only one choice for me – David Bowie’s The Rise and Fall Ziggy Stardust and The …
