Until we have something to talk about, let’s keep the thematic playlists rolling. A lot of people enjoyed Friday’s international flavor, so let’s take another dip into Phish jams from foreign lands to open up this week. Today’s selections contain some real heavy hitters to ease the transition back into the week. Enjoy the tunes, and by all means, “Read the book!“
One of the first fully blown-out “Pipers,” the improvisational centerpiece of the show. A stunning jam that had the audience in awe all the way to Barcelona.
Phish reprise the “Drowned” progression within this “Hood” then blow out its peak, bringing this Barcelona version into Hendrix’s “Izabella.” Note the whole crowd World Cup-based “Ole!” chant after the set closer.
Until we have something to talk about, let’s keep the thematic playlists rolling. A lot of people enjoyed Friday’s international flavor, so let’s take another dip into Phish jams from foreign lands to open up this week. Today’s selections contain some real heavy hitters to ease the transition back into the week. Enjoy the tunes, …
Den Gra Hal, Christiana, Copenhagen, DK—6.30.98 (Unknown)
There’s nothing quite like seeing Phish in a different country. Whether Europe or the Far East, these international club Phish are unmatchable experiences and many have been highlights of my show-going life. Instead of the monstrosity of an arena or amphitheatre, clubs and theatres provide an intimacy unparalleled in the post-Dead Phish world. Today’s playlist is comprised of jams plucked from these smaller performances abroad.
In terms of “Tweezer” and Europe ’98, the focus of conversations usually centers on the Scandanavian symphony from Den Gra Hal—”Tweezer > 2001.” But a week later, at the end of the first set in a sweltering club in Barcelona, Phish dropped this under-the-radar, gooey monster that will blow up any dance party at which it is dropped.
Amidst an Absinthe-soaked slop-fest on the first night at the Lucerna Theatre at Prague, Phish managed to stay on the same page for a standout, and virtually unknown, version of “Fee.”
There’s nothing quite like seeing Phish in a different country. Whether Europe or the Far East, these international club Phish are unmatchable experiences and many have been highlights of my show-going life. Instead of the monstrosity of an arena or amphitheatre, clubs and theatres provide an intimacy unparalleled in the post-Dead Phish world. Today’s playlist …
As soon as Phish debuted “Ghost” in their first show of Summer ’97, the song became a staple jam vehicle for Phish. Moving with the band’s musical direction of the late-90s, “Ghost” featured groove, rock, and ambient jams depending on the era, almost always providing a highlight for any show in which it appeared. And then in Phish’s second show of 2000, at Radio City Music Hall in New York City, the band rewrote the record books for their late-90′s song. Exploring the hyper-complexities of groove and moving far beyond them into completely transcendent music, Phish threw down, perhaps, the greatest version ever played.
After such a blowout, one would figure the band continued magnifying the song for the rest of the summer, let alone the rest of the year. But they didn’t. While the Phish played solid “Ghosts” in Hartford (7.1), Chicago (9.22), and Denver (9.27), the band only took out the song six times after Radio City. And only one truly stood out – 6.15.00. Phish let loose on the final standout “Ghost” of the pre-hiatus years on the penultimate night of Japan tour in Osaka, Japan. Towards the end of the first set, the band unveiled the only Japanese version of the song, and as it turned out, the last truly great version of 2000.
6.11.00 – Tokyo (E.Sakai)
In Big Cat, a small club, elevated six floors amidst a shopping plaza, the audience squeezed into the small, square room. The predominantly Japanese audience packed it in, as the concept of personal space differed from that in the states – a lot. Before long, a combination of fans began filling the room with blown-up balloons, like a life-sized lottery bin. But when the music started, silence fell, and everyone’s focus turned squarely to the stage.
After a routine four-song, set-opening sequence, Trey quietly initiated a series of siren loops, opening the only “Ghost” of the Pacific. Following the composed section, the band oozed into the piece with a methodical, bass-led groove. Taking ample time to settle into a thick rhythmic canvas, the band pondered the early course of the jam before diving in. Mike took the melodic lead, while Trey and Page added effects, beginning the excursion in a sparse dance pattern. Trey coyly began to pick a melody within the groove, very much blending with whole, yet bringing a whole new element to the table. Amidst a increasingly murkier plane, Fishman hit a disco-like groove that Mike immediately latched onto, bringing memories of the infectious dance odyssey weeks ago at Radio City. Page and Trey began to gently toy with the beat, and all of a sudden, the band rolled into subconscious territory.
6.15.00 – Big Cat Ticket
Offering independent melodic ideas along these uptempo rhythms, Trey stepped into prominence, before long, playing an open chord progression that would guide the band through an upbeat, out-of-character second half of the jam. The rest of his band mates picked up on his idea, gradually building a triumphant build over these changes, Meanwhile, after setting the musical plate, Trey transformed into the a cathartic waterfall of notes and melody, peaking the piece in a rolling, cyclical fashion. Uniting all the energy in the room, Phish took sailing on the majestic seas of bliss, drawing out the apex of the jam in an all-out celebration of the human spirit. After the peak, the band seamlessly slid back into “Ghost,” bringing this version to a close.
The Osaka “Ghost” became an immediate highlight of Japan 2000, and without anyone knowing at the time, represented the last pre-hiatus triumph for the song. This moving piece of music goes under-circulated due to its international origins, and has thus been under-appreciated over the years. Everyone knows the Radio City “Ghost,” and rightfully so. This one came next.
This standout version of the song has recently been remastered by Phish Thoughts reader, “Kenny Powers,” and is available to download by clicking the orange title above.
During and after the first Radio City show, fans lined the sidewalks of Manhattan to get tickets for Phish’s just-announced show at Roseland the night after. The intimate gig was filmed for VH-1′s “Hard Rock Live,” and though the show was relatively jam-less, the event provided a special night in the spring of 2000.
I: AC/DC Bag, Wilson, First Tube, Ya Mar, Mike’s Song > Simple > It’s Ice, When the Circus Comes, Back on the Train, Gotta Jibboo, Taste, Sleeping Monkey
II: Punch You In the Eye, Twist, Waste, Piper, You Enjoy Myself, Run Like an Antelope, Train Song, Bug
E: Boogie On Reggae Woman, Cavern
Source: SBD
As soon as Phish debuted “Ghost” in their first show of Summer ’97, the song became a staple jam vehicle for Phish. Moving with the band’s musical direction of the late-90s, “Ghost” featured groove, rock, and ambient jams depending on the era, almost always providing a highlight for any show in which it appeared. And …
Here is another in my series of Japan 2000 retro-reviews. This story recounts Phish’s daytime show in Tokyo, their third gig in three days. I wrote this later written that evening. Enjoy!
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6/11/00 – Phish: Hibiya Outdoor Theatre, Tokyo, Japan
Hibiya Outdoor Theatre – 6.11.00
Sometimes we experience magic. Sometimes we hold witness to events that far surpass the power in any one of us, and elevate our appreciation of life and all its amazement to the next level. Today was one of these days.
The day began quite rainy as fans flocked to the Hibiya Outdoor Theatre, a miniature amphitheatre within proximity to Tokyo’s Royal Palace in Hibiya Park. Merely twelve hours after the Zepp show ended, many Japanese and American fans, alike, filed into the venue around 1pm. An hour later, the Japanese jam-band, Big Frog, would take the stage. As I entered the grounds everyone seemed to embody positive and mellow states of minds, despite the gloomy weather. As Big Frog played, Japanese and American fans mingled about the park, talking and meeting each other, many for the first time. Everyone shared an excitement for Phish’s upcoming set in this beautiful location, and the collective energy filled the air with an atmosphere of total comfort, friendliness, and camaraderie. Big Frog ended their well-received set at 3pm, as the rain seemed to be letting up.
Phish took the stage about 3:45 pm to the enthusiastic cheers of the crowd of 2,200 predominantly Japanese fans. As soon as they came out, you could see the look in the band’s eyes – they shared the same excitement with the fans, thankful to be playing such a special locale. A huge grin broke out over Trey’s face as he ripped into “First Tube.” The crowd erupted as Phish charged through the opener, while Trey bounced with joy. Phish kept the fast-paced rhythms rolling with “Punch You In the Eye,” and this fierce opening had the crowd going berzerk. The energy exchanged shared between the fans, Japanese and American alike, became palpable, as ear to ear smiles dotted the crowd. After the fiery couplet of the show, the band slowed it down with “Horn.”
More notably, a quick “Ginseng Sullivan,” Trey played the opening riff of “Stash” for the first time since 12.12.99, during Hartford’s first set. Sorely missed from the bands all-night 8 hour millennium concert in Big Cypress, FL and and the Radio City weekend in May, the crowd grew visibly excited to reacquaint with the classic vehicle. The “Stash” jam began as Trey came out of the composed section weaving dark melodies around the bands groove. The piece remained a Trey-led improvisation, culminating with a screeching solo that captivated the audience. “Dirt” served as a cool down from the intense “Stash,” and out of the ending, Phish built the intro to “Possum.” This “Possum” remained anchored to blue-grass-rock rather than the more psychedelic “Possums” of yesteryear, nonetheless, the crowd erupted with each change and chorus.
Hibiya – 6.11.00
I cannot stress enough my amazement at how many Japanese fans knew every change, note, melody, and stop to all of Phish’s songs. These folks are not passive observers, but extremely active listeners and dancers. The excitement of the event continued to build as they dropped only the second “It’s Ice” since Cleveland ’98 (also played at Roseland ‘00). Nailing the intricacies of the song, the “Ice” grooves felt so refreshing after such a continued absence in the setlist. The first half ended with the band’s first performance of “Farmhouse” since the album was released on May 16th. Trey drew out the end of the song with an extended solo before thanking the crowd and taking a bow.
The set break immediately brought the realization that ever since Phish had taken the stage, the rain had stopped entirely! Albeit grey as San Francisco in January, it was dry and cool, making for a nice change of pace from the hot and stuffy Tokyo clubs of the previous two nights. The set break vibes flowed purely positive, as all Americans were at a loss to describe the unbelievable feelings and sheer international ‘Phishiness’ that filled the air. Japanese fans and Americans relaxed together, waiting for the second set with huge anticipation. Humanity was at its best today, as cultural bridges were built through the power of music. The feelings and emotion floating around the colorful atmosphere far outweighed the gloominess of the weather, and all involved seemed completely in tune with what was happening.
Club Quattro – 6.13.00
After a fairly long break, the band retook the stage, still fully immersed in daylight, and jumped into “Birds of a Feather.” This “Birds” showcased some smoking whole-band patterns and particularly hot improvisation by Trey. The version remained within the realms of a “Birds” jam, but fully developed, unlike the shorter “album” versions of Fall ’98. The dark feel of Birds gave way to the opening build of a bombastic “Free.” The band moved through the composed section methodically, launching into the jam with thick, bass-driven grooves that had the crowd completely freaking out. After Trey offered some settling rhythm licks for the first part of the jam, he started playing melodies in a dissonant and sinister tone, building the creeping jam in small increments with sublime lines. This jam featured two separate soloing sections for Trey before slowly building back to the “floating in a blimp a lot….” ending. This is an upper-echelons versions of “Free,” evoking memories of Sandstone ’99.
A powerful “Bug” followed “Beauty of my Dreams,” in the climactic vein of Roseland’s second set closer. The band hit the top of the jam perfectly, and slid into the intro of “David Bowie.” This “Bowie,” was quite similar in style to the last one played at Radio City, with fluid, groove-based improv from start to finish. Featuring silky smooth bass lines, and some outstanding rhythm offerings by Trey, this “Bowie” built to a ridiculous apex and drew an emotional reaction from the audience. This “Bowie” is a keeper for sure, especially for those who favor dancier “Bowies” to the more intricate or abstract ones. Los Lobos’ “When the Circus Come to Town” came next, placed perfectly as a reflective moment on the slew of dark improvisation that typified the set so far.
Hibiya 6.11.2000 (J.Greene)
Phish scripted an idyllic ending with the emotional release of “Harry Hood” As they moved through the composed section, I looked out over the crowd of Japanese folks who seemed to me the happiest people in the world at that point, many moving with each progression of the song. As the jam settled into the most sacred space, the crowd seemed to raise their arms in unison, opening themselves up to the surreal magic that flowed so greatly from the band and fans alike. As the jam began to build, the crowd looked above as the clouds began to break and the first rays of yellow sunlight broke through the late afternoon sky. This scene seemed to be orchestrated by the band and nature alike, and everyone felt the mystical of the rays of light coming from both the sky and the stage. This second consecutive glowstick-less “Hood” built for what seemed like an eternity, as all involved basked in the beauty at hand. A stupendous “Hood” reached amazing levels of melody and harmony, while the anthem provided the absolute perfect ending to this set, and all involved were united in this moment. Pure magic I tell you, pure Phish magic.
The adoring crowd gave the band a large ovation following this long and ultimately triumphant jam. The band stayed off stage briefly and returned for an extended rendition of “Character Zero,” featuring some Hendrix-like wails form Trey. This version ripped hard and midway through, a large rainbow appeared above the stage to the left. Band and crowd alike felt the special intensity of the moment as nobody wanted to leave. The rainbow seemed like an affirmation of the day’s beauty and transcendence by the forces above, and all seemed perfectly in place. Upon finishing the show, Trey exclaimed, “Arrigato!” several times, and took a traditional bow to the adoring sea of Japanese fans.
It’s quite hard to translate all the transcendent energy that existed yesterday through a keyboard, paper, or pen. It’s the stuff dreams are made of, an eye-opening experience for the ages. Sometimes differences in culture and language can be obliterated by the beautiful and unifying language of music. The shared experience of the couple thousand people in attendance today will never be forgotten by a single person, a true venture into the human spirit and a reminder that we are all connected souls traveling through this world. Sometimes, in the hustle and bustle of modern day society, people lose sight of universal realities. Today reminded everyone of these shared truths that are so often forgotten, and reminded everyone that the life is an amazing and privileged journey that we are all riding together.
A classic show from San Franisco’s iconic theatre; this one features the debut of “Simple”
I: Wilson, Runaway Jim, Foam, Bouncing Around the Room, David Bowie, If I Could, Punch You In the Eye, Harry Hood, Golgi Apparatus
II Suzy Greenberg, Peaches en Regalia, My Friend, My Friend, Reba, The Lizards, Julius, Nellie Kane*, My Mind’s Got a Mind of its Own*, Mike’s Song > Simple** > O Mio Babbino Caro^, Possum
Here is another in my series of Japan 2000 retro-reviews. This story recounts Phish’s daytime show in Tokyo, their third gig in three days. I wrote this later written that evening. Enjoy! ===== 6/11/00 – Phish: Hibiya Outdoor Theatre, Tokyo, Japan Sometimes we experience magic. Sometimes we hold witness to events that far surpass the …
Listening to Prague ’98 this week inspired me to dig into the international archives. I’ve dug up two stellar show, continents apart. The Osaka show from 200 features a creatively demented “Down With Disease” that may be the greatest jam that nobody talks about from Phish’s prolific run in the Pacific. The first set “Ghost” brings another dark-horse highlight from a show that took place three stories up in a massive shopping complex, (the second show of Japan to take place within in an elevated shopping plaza!)
The second selection comes from the transformative tour of Summer ’97, and the band’s gooey, raw funk is on full display throughout. The second set brings the heat from start to finish, bookended by thick explorations of “Wolfman’s” and “Ghost.” Have a great weekend!
DOWNLOADS OF THE WEEKEND: Listening to Prague ’98 this week inspired me to dig into the international archives. I’ve dug up two stellar show, continents apart. The Osaka show from 200 features a creatively demented “Down With Disease” that may be the greatest jam that nobody talks about from Phish’s prolific run in the Pacific. …
