MR. MINER'S PHISH THOUGHTS

First Night Fiestas

With Bangor fast approaching, and everyone anticipating quite the banger in Maine, I figured it would be a good time to take a look back at the other tour-opening throwdowns of this era. For the past couple years, the band has come out practiced and polished to kick off tours, and—very often—these tour openers have blossomed into one of the most memorable nights of the season. Putting all these shows side to side, it’s quite eye opening to see all the amazing music that has come in 3.0 tour openers. Let’s look back at the making of a 3.0 tradition.

*****

Toyota Park—6.11.2010

Phish sparked Summer Tour 2010 with their first mega-opener of 3.0. During 2009, opening shows were a clear warm up, but starting in Chicago on this brutally hot day, the band laid the groundwork for future tour-opening blowouts. This show featured two sets chock full of improv and full-tilt playing. One can tell from the setlist alone, that the band meant business—but the setlist was just part of the story. Six months after playing their best modern shows to date in Miami, the band hit the stage in The Windy City with a similar fire and cohesion, and what resulted after setbreak was a thing of beauty. Framing the set around the centerpiece jams of “Light” and “Ghost,” the latter of which remained a highlight of tour well after tour’s final show, Phish sculpted a flowing stanza of music that never once hit a road bump. The “Limb” was spectacular, “Caspian” was placed perfectly, and “Antelope” was more shredding than usual, all before they closed the set with the debut of “Show of Life.” I can still remember the glow of everyone faces when the lights came on after this one—this night was a keeper.

I: Down with Disease, Wolfman’s Brother, Possum, Boogie On Reggae Woman, Reba, Jesus Just Left Chicago, Divided Sky, Golgi Apparatus > David Bowie

II: Light -> Maze, Ghost -> Limb By Limb > Prince Caspian > The Horse > Silent in the Morning, Run Like an Antelope, Show of Life

E: Cavern > Julius

*****

Bethel Woods—5.27.11

The Bethel run, or at least the first two nights of the Bethel run, is the stuff of modern era legend. Bursting out of the gates with far more improvisational bravado than we had heard from the band in 2010, Phish set their community afire with these two shows. This leg of summer tour would be a game-changer for the band, as they dropped far more complex jams than we had heard in the previous two years—and it all started here in Bethel. The opening show has lived in the shadow of the brilliant performance on night two, but has almost just as much to offer. To begin with, the band dropped “Tweezer” to open the show and jump-start the summer. The opening half also saw high points in “Wolfman’s -> Walk Away” and the best “Kill Devil Falls” outside of Bonnaroo ’09. The meat of the second set, however, would remain one of the elite jam sequences of the year. “Boogie > Waves > Prince Caspian > Crosseyed” contained some of the most dynamic playing of the era to that point, but more improtantly, it showcased Phish’s intent to bring things deeper. A transcendent “Waves” jam saw the band sculpt abstract soundscapes with staggering, leader-less interplay—a revelation at the time, and quite the blast off for the opening night of the year. Not to mention that the guys had just masterfully deconstructed and dissolved a “Boogie” jam to segue into “Waves.” “Caspian” provided an anthemic comedown before they took “Crosseyed” right back out into a deep improvisational space. A murky, evil groove emerged from the hard-rock playing, absolutely slaying the audience while tallying the the third open jam of the sequence! I think we spun this chunk of the set ten times through before coming to Bethel the next day. Phish had taken five months off and had come back way better!

I: Tweezer > My Friend, My Friend, Poor Heart, Roses Are Free > Funky Bitch,Wolfman’s Brother -> Walk Away, Stash, Bouncing Around the Room, Kill Devil Falls, Bold As Love

II: Carini > Back on the Train, Boogie On Reggae Woman > Waves > Prince Caspian > Crosseyed and Painless > Wading in the Velvet Sea > Possum, The Squirming Coil

E: Julius

*****

The Gorge—8.5.11

Few other things need to be said about this show than “Rock and Roll > Meatstick.” Playing—arguably—the greatest jam of this era, rivaled only by Dick’s “Light,” the story of this show began and ended with this unforgettable sequence. Spanning so many different feels within one jam, the band flowed through distinct sections of melody driven improv, the dirtiest funk you’ll ever hear, and evil, storage-laced abstraction. This “Rock and Roll” in the context of The Gorge created an experience that tapes can never translate. This is the type of jam that steals a show—in fact, it stole the entire weekend as the second night was a fun, though straightforward, show. To illustrate the magnitude of this jam, people debate it versus Big Cypress’ monstrous “Rock and Roll” for the best version ever! I’m not picking a winner, but I think that tells you the level of jam we are dealing with here. Then, the final bass-led jihad into “Meatstick”—an all-time Phish moment—to bring us into the heavily funkified segment of “Meatstick > Boogie On.” That three-song run is what everyone remembers about the show—and rightfully so—but there are a couple other points of note. First and formost, a sunset version of “Roggae” that transformed into a wide-open daydream, easily the most impressive version ever played. And the delicate “Farmhouse” placed after the second set theatrics is as good of a rendition as you’ll ever come across.

I: Kill Devil Falls, The Wedge, Bathtub Gin, Nellie Kane > My Friend, My Friend,Cavern > Taste > Roggae > Walk Away, Funky Bitch, Roses Are Free > David Bowie

II: Backwards Down the Number Line > Rock and Roll -> Meatstick ->Boogie On Reggae Woman > Farmhouse, Show of Life, Julius, Character Zero

E: Loving Cup

*****

MSG—12.28.11

Although Phish’s Summer ’11 tour was their best modern jaunt to date, many were not sure how the extended layoff between Labor Day and New Year’s Run would treat the band. If the first night of the run was any indicator, however, they hadn’t missed a beat. And then the next three nights happened. But the first night was legitimately awesome. First set standouts included a third-song “Cities” that stopped abruptly deep into open waters, the promising first set sign posts of “Stash” and “Bathub Gin,” and a rare “Ballad of Curtis Loew.” The second set was straight fire start to finish, and one of the better Holiday Run sets of this era. “Carini” flipped into major key territory, taking the show on an uplifting journey before Trey seamlessly wove in the opening lick to “Tweezer.” This prime-time combo exploded the arena and before long, the band was ripping off a plinko highlight reel amidst the “Tweezer” jam. One crack lick led into another in this swampy, urban dance monster which smoothly rolled into a mid-set “My Friend.” The darkhorse jam of this show, however, is the “Rock and Roll.” Overshadowed by “Carini -> Tweezer,” this jam puts a magnifying glass on the dark, glitchy, abstract, plinko-esque jamming style that was prevalent during 2011. “Harry Hood” rounded out the night, a version in which Trey led with notable passion, evoking his “Hood” playing of old, if even for a little bit. Walking out of MSG after this one, I thougvht we might be looking at one of the elite New Year’s Runs of all time. We weren’t.

I: Free, Glide > Possum, Cities, The Ballad of Curtis Loew, Stash, Contact >Sample in a Jar, Kill Devil Falls > Bathtub Gin

II: Birds of a Feather, Carini -> Tweezer > My Friend, My Friend -> Rock and Roll -> NICU, Bouncing Around the Room, Harry Hood > Bug

E: Tube > Rocky Top > Tweezer Reprise

*****

Worcester—6.7.12

The band opened last year’s touring schedule with one of their strongest shows of 2012. A complete show—bookended by “Buried Alive”—possessed a retro feel and intensity that was certainly welcome after MSG’s anticlimax. This night has been discussed so much that I feel I don’t need to go into it here. It was outstanding on every level.

I: Buried Alive > Runaway Jim, Torn and Frayed, Funky Bitch, The Moma Dance, Rift, Nothing, Ocelot, Beauty of a Broken Heart, Possum, Rocky Top

II: Carini -> Taste > Ghost > Boogie On Reggae Woman > If I Could, Quinn the Eskimo, Harry Hood > Cavern > Buried Alive Reprise

E: Loving Cup

*****

Long Beach—8.15.12

Leg One of 2012 was unquestionably the band’s most impressive tour to date when it ended. Exploding through their staple sheds on the East Coast and in the Midwest, Phish had themselves at a crossroads. Despite their clear musical proficiency, none of the jams had surpassed 15 minutes (or so). Obviously, time is not the central factor in jam quality, but you’d be hard-pressed to find a Phish fan who’s favorite jam is under twenty minutes. The band often finds musical gold mines 17 minutes into a piece or deeper, places they just weren’t going in this era. But on this night in Long Beach, everything changed. Taking the next logical improvisational step, the band opened the second set with 40 minutes of jamming, including 25 in “Rock and Roll” alone.” And it was awesome, exploratory improv, the type of stuff fans had been yearning for. This show sparked the modern trend of long form jamming that would culminate at Dick’s two weeks later—and we all know what happened there. That road to glory—however, at least in the short term‚ started at Long Beach. Oh, and the “Hood” that ends set two is the best of the year.

I: Suzy Greenberg, Cities > Kill Devil Falls, Guelah Papyrus, Cool It Down,Rift, Stash, Bouncing Around the Room, Bathtub Gin, Quinn the Eskimo

II: Rock and Roll > Ghost > Limb By Limb, Guyute, Dirt, Harry Hood > Good Times Bad Times

E: Julius

*****

MSG—12.28.12

A year later when Phish was heading to MSG after a long layoff, people were confident Phish wouldn’t tank again—and they were right. The magic of Dick’s carried over to MSG’s jams, and the most dynamic and far reaching of them came bursting out of the gates on the first night in the form of “Tweezer.” Taking their classic vehicle on a multi-staged odyssey with their new-school musical sensibilities, the guys gave us a message that Dick’s wasn’t just a Rocky Mountain high. And when the dust settled on the New Year’s Run of 2012, an argument could be made for the 28th as the most complete show of the four. A hot “Stash” and a “Little Drummer Boy” infused “Wolfman’s” set the improvisational stage for “Tweezer,” while the band filled out the second set with solid playing and selections all the way through.

I: Stealing Time From the Faulty Plan, The Moma Dance, Funky Bitch, Army of One, Tube > Stash, Nellie Kane, Kill Devil Falls, Free, Wolfman’s Brother

II: Tweezer > Maze, Twist > Theme From the Bottom -> Fluffhead, David Bowie

E: Bouncing Around the Room, Good Times Bad Times

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Ventura: A Glimpse Into the Glory Years—Pt. II

Today we take a closer look at the Ventura shows from ’97 and ’98.

7/30/97: I: NICU > Wolfman’s Brother > Chalk Dust Torture, Water in the Sky, Stash, Weigh, Piper, Cars Trucks Buses, Character Zero

II: Punch You In the Eye, Free > David Bowie -> Cities -> David Bowie, Bouncing Around the Room, Uncle Pen, Prince Caspian > Fire

E: My Soul

First a little context. Ventura’s ’97 edition unfolded in the first half of the band’s US Summer Tour in about a week’s proximity to their experimental funk tour of Europe. The band was loose and honing in on a new sound they had developed since the previous Halloween. Eager to stretch almost any song into a syncopated groove session, the band had been throwing down spectacular shows in their first week stateside. Virginia Beach, Raleigh, Lakewood, Dallas, Austin, and Phoenix—all monster shows in their own right. And now it was onto Ventura.

This Ventura show—an incredible portrait of Phish in the Summer of ‘97—has never circulated in great quality due to the coastal winds that swirled around the venue, thus this remastered soundboard comes as nothing short of a revelation. The first disc of the set brings us back to an era when first sets meant something. Right away in the second song “Wolfman’s” we hear the loose wah-funk that the band had been exploring all season. After Trey takes a solo over the bands extremely slowed patterns, the band locks into each other’s ideas in a thick dance jam that has nothing to do with the song, foreshadowing the methodical wah-grooves that would come to define the summer. The band surfs this wave without finishing the song with a brief jam on “Take Me to the River” that leads them directly into a “Chalk Dust” that grabbed me on first listen. The utter intensity and creative mini-tangents throughout this jam illustrate Phish taking no prisoners in their live show—even during a first set in Southern California.

The “Stash” that follows contains glorious jamming that smoothly moves in and out of a major key , providing a beautiful middle section to an intense tale. The band closed out the set with a four pack of songs, including a short, old-school “Piper” and a wah-infused “Cars, Trucks, Busses.” Despite the on point playing throughout the first set, this show has—rightfully—always been synonymous with the meat of the second.

Simply put, 7/30’s “Bowie -> Cities -> Bowie” is one of Phish’s finest jams from one of their finest improvisational years. Having warmed up for a month in Europe, the band hit US turf running, dropping monstrous jam after monstrous jam. But this one was special. Phish hadn’t played “Cities” in the United States since 1989, and the way the band builds into the song is nothing short of masterful. Blending their new-found groove with their intricate, prog-psychedelic roots, the guys dropped a piece of music that set the Phish world afire. Confident, daring, and without hesitation, they collectively tear apart the “David Bowie” jam as a band possessed, each contributing stunning pieces to the puzzle. But deep into the jam, the guys break down the seething music into something far more percussive. On comes Trey’s wah-pedal, and the band begins to migrate from darkness into quickened groove. The following few minutes are the most engaging of the jam as the band dives head first into some very unique funk patterns with Gordon going ape shit. The band is in destruction mode here as the music seems to be playing them as much as they are playing the music. Trey begins working in the rhythm licks of “Cities” and a James Brown concert breaks out! Straight Krush Groove here as the guys liken superhuman robots oozing with soul. “Cities” stays at its original pace throughout, far from the exaggeratedly slow versions that would follow. As the lyrics end, the band takes little time to seamlessly mesh back with “Bowie” in what seemed like an aural hallucination. And the band doesn’t just rush to finish the song, they dive back into the jam for seven minutes—longer than most current “Bowies” altogether—and annihilate the peak of the jam. Just as this sequence stole the show that summer night sixteen years ago, so does it steal the spotlight on this release, despite its mp3 soundboard having surfaced a few years ago. This sounds superior in every way.

After “Punch” kicks off the second set Free” gets the treatment in a version that serves as a signpost for the jam. The band had recently ditched the piano led direction and changed motifs with “Free,” transforming into the bass and guitar driven juggernaut of the late ‘90s. In this Ventura version, we hear the band acclimating to the new milieu, but without really building anything of significance. This would start to change over the summer and more earnestly in the Fall when the song truly started to expand. After such monumental jamming in the middle of the set, the band rode into the sunset with a quartet of diverse, well-played songs that end the show.

7/20/98: I: Bathtub Gin, Dirt, Poor Heart, Lawn Boy, My Sweet One, Birds of a Feather, Theme From the Bottom, Water in the Sky, The Moma Dance, Split Open and Melt

II: Drowned -> Makisupa Policeman > Maze, Sea and Sand, Prince Caspian >Harry Hood

E: Sexual Healing > Hold Your Head Up, Halley’s Comet

While Ventura ’97 stood out amidst its tour, Ventura ’98 most definitely did not. It was a solid show, but coming right after Europe, Portland, the Gorge and Shoreline, the SoCal Monday nighter felt like the West Coast afterthought before it started. But when the band greeted the crowd with a colossal “Bathtub Gin” to open the show, the possibilities opened wide. The Riverport “Gin” that came nine days later is often hailed as the top version of all time. This Ventura “Gin,” placed in a similar show-opening slot, paved the road for the all-timer with a jam that progresses through many similar stages. Check ‘em out back to back. Interestingly, this show all but excludes the chunky, rhythmic style of Summer ‘98, and the “Drowned” opener of set two illustrates this alternate path. Taking the arena rock cover in a direction that The Who might have if they jammed, this excursion was underlined by white-hot rock and roll. Loud, fast and boisterous, this jam is a musical depiction of a hyena going for the jugular of its prey. Once he has conquered and killed, the music shifts to a more down tempo feel as the hyena salivates over his family’s still-warm dinner. As he begins to drag it back to his clan, Trey hits his wah grooves and the music becomes decidedly chilled out in a gorgeous, sinister final few minutes.

Aside from these two prime-time jams, however, this show features unbelievable intensity throughout, allowing the performance to come off totally fine. The second set features the classic pairing of a hearty “Makisupa” and a full-throttle “Maze,” and a big-time bust out in “Sea and Sand” (the set’s second Quadrophenia track about water) paying homage to Ventura’s surroundings. Closing with strong versions of “Caspian” and “Hood,” this show set is carried by the band’s type I creativity and is a very smooth listen the entire way through. A quality “Split” punctuates the first set, while a looped-out “Halley’s Comet” provides the second selection of a double encore (after Fish had debuted “Sexual Healing) and sees the band exit the stage one by one leaving a series of delay loops behind them. The “Bathtub Gin” is the only lasting jam of significance from this night, but the strength of this show illustrates how effective Phish was at doing everything in their repertoire in the summer of ’98—not just open jamming.

The final details to add about this Ventura release are the two soundcheck jams. Each feature extended, instrumental takes on “Makisupa,” with ’97 ‘s carrying a bit more musical depth. The ’98 soundcheck features” jokingly layered lyics from “Venus,” (“I’m your “Venus, I’m your fire…”). Though both are fun listens a couple times through, these aren’t like those crack soundcheck jams we get every now and then—just Phish having fun.

In summation, the Ventura box set is a fantastic release, easily the strongest since Hampton / Winston Salem. (Though 12/6/97 was in there too!) As time moves forward into this Golden Age of Phish, more and more re-mastered releases from their glory years continue to hit the shelves—a welcome trend that is sure to continue. Providing us crisp memories of magical nights gone by, sometimes all we need in a moment and a CD to take us back. And Ventura certainly does that.

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Jam of the Day:

“Bowie -> Cities -> Bowie“ 7.30.97 II, Ventura

Here is the mp3 SBD that has been out. This is NOT the release.

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VENTURA GIVEAWAY!

I have three Ventura Box Sets to give away for free! If you’d like to be eligible for this contest, please write two haikus—one that captures the essence of eachshow. Email these haikus to mrminer@phishthoughts.com by Wednesday at 8pm Pacific and I will post the three winning entries on Thursday or Friday! Make sure you adhere to proper haiku format or your entry will be disqualified. UPDATE: I’ m getting some really good entries and it will be tough to choose the three winners! Get yours in!

Today we take a closer look at the Ventura shows from ’97 and ’98. 7/30/97: I: NICU > Wolfman’s Brother > Chalk Dust Torture, Water in the Sky, Stash, Weigh, Piper, Cars Trucks Buses, Character Zero II: Punch You In the Eye, Free > David Bowie -> Cities -> David Bowie, Bouncing Around the Room, Uncle Pen, Prince Caspian > Fire E: My Soul First a little context. Ventura’s ’97 edition unfolded in the …

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Reader’s Picks: Jeff D’Alonzo

All selections and text by Jeff D’Alonzo

A disclaimer. I love trey and i love jams that exude emotion. Tried to do a combo of relatively unknowns and monsters, but thanks to Miner and this ridiculous community, there aren’t really any unknowns.

***
“Carini” 2.17.97 II, Amsterdam, NL

Thank the dude who remastered this show. It’s my belief that this show changed the game. The winter Europe tour started off strong, new style being developed and whatnot. The night prior, 2.16.97 took it a little further. However, this show, specifically this “Carini,” is where it went down. Coming out of the gate dirty, the band connected and went straight into that funky psychedelic vibe that is everywhere in ’97. There is really solid playing by everyone throughout the jam, but what makes it, is the ending. The last 4 minutes is the blissiest piece of bliss every made. Utter beauty and flowing with a peak that is the definition of gorgeous. I just blissed my pants.

***

“Antelope” 5.16.94 II, Los Angeles, CA

Pretty sure the only people that knew about this one, were the people at the show until this set popped up on etree, i guess 4 or 5 years ago, it was the last missing link to my 1994 collection. Lo and behold I saw a 20 minute “Antelope.” Popped it on and the rest is history. The jam after the “BBFCFM” nonsense is one the most beautiful pieces of Phish music ever made. Trey leads a melodic build up that makes me shiver with emotion. Not really sure how to explain it, heart wrenching glory I guess.

***

“Ghost” 6.15.00 I, Osaka, JP

I went through a month phase where I listened to this “Ghost” three times a day. Perfect driving music. Fishman is a god here and Trey follows his lead all the way through. Two jams, both brilliant, leading to a groove laced peak towards the end. Kids were lucky to be in Japan for this one.

***

“Bathtub Gin” 2.14.03 I, Los Angeles, CA

A personal favorite of mine. The only song on my list that i was present for. It seems like tour openers always have a big jam. The “Gin” is it. The whole winter tour was laced with huge “Gins.” But i like this version the best. Trey is a monster during this one. Funky, dirty, grooving, crushing. Pick whatever adjective, maybe Miner can help me. This jam is just amazing. Throw down city.

***

“Bathtub Gin” 9.12.99 I, Portland, OR

When I discovered this jam randomly back in the day, I was floored. Hadn’t really read about it anywhere or heard any mention, prolly overshadowed by the “Ghost” from the same show. But this jam rules. It’s a perfect summer show jam, sunset, all that jazz. As my buddy Shin likes to say, a straight candy raver. It’s just a really bouncy and happy version with a beautiful groove.

***

“Tweezer” 6.9.00 II, Tokyo, JP

Japan 2000 is arguably their best “jams” tour. So many heavy hitters. This one is probably the biggest. This “Tweezer” starts off cool, really laid back and patient. Gets a tad lost in the middle but then around the 18:00 mark,
everything in the world makes sense. So patient, all four of them finding their way. Both dirty and pristine, this ending jam is one for the ages, complete perfection.

***

“Mike’s Song” 11.7.98 I, Chicago, IL

My favorite “Mike’s” ever. First jam is solid, well played and energetic. Then comes jam two, an absolute blissful beast. I love every kind of Phish, acidy experimentation, deep swamp funk, methjazz, etc. I love it all. But what really gets me is the bliss. And the second mikes jam from UIC is one of the blissiest. And also being a complete Trey whore, i love it, and this jam has IT.

***

“Ghost” 7.12.03 II, George, WA

Post hiatus fire. Trey tone is in full effect. Another grooving shred fest, starts off really smooth and elegant. 10:50 mark on is why I go to shows. One of those moments when all you can do is smile at the fact that you got to listen to the greatest band on the planet do their thing.

***

“AC/DC Bag” 11.7.98 II, Chicago, IL

Everyone knows this one but I don’t care. ’98 is prolly their best year all around, imo. The ambient shit brought things to a whole other level. This monster has complete experimental psychedelic ambiance all over the place. Whatever that means. I don’t condone drug use, but if you decide to indulge, put this on and listen to the whole thing.

***

“Mike’s Song” 11.21.95 II, Winston-Salem, NC

My friend Cheryl turned me on to the jam a couple years ago. Not the best “Mike’s,” but a personal favorite. First jam is typical ’95, rocking, Page and Fish owning. But again, the second jam is what i crave. It starts off spotty and confused but towards the end turns into another bliss fed gem. Trey takes control and plays a slow melody that cuts to my core. Beauty.

All selections and text by Jeff D’Alonzo A disclaimer. I love trey and i love jams that exude emotion. Tried to do a combo of relatively unknowns and monsters, but thanks to Miner and this ridiculous community, there aren’t really any unknowns. *** “Carini” 2.17.97 II, Amsterdam, NL Thank the dude who remastered this show. …

Reader’s Picks: Jeff D’Alonzo Read More »

Reader’s Picks: Luke Falk

All selections and text by Luke Falk

“Split Open and Melt” 4.16.92 I, Santa Barbara, CA

This tight rager showcases Big Red’s chops back in 92. Listening back, I’m struck, not only, by how absolutely all over the fret board he is, but by how he barely used to use any effects at all (to great effect). A great version that is completely overlooked.

***

“YEM” 6.11.94 I, Morrison, CO

This first set of this Red Rocks show was broadcast on the radio, which is how I got a good quality copy that year. My vote for best ever “YEM” (possibly my favorite Phish jam ever), which somehow doesn’t get mentioned anymore with almost everyone’s attention falling on 12.9.95 and other versions.

***

“David Bowie” 10.30.90 II, Crested Butte, CO

Not exploratory, but tight and intense, this early “Bowie” reminds me of the band’s recent gesture toward shorter, more economical playing. They really get right down to business here.

***

“My Friend, My Friend” 2.26.97 I, Stuttgart, DE

The best version ever played.

***

“Down By the River” 10.3.98 Farm Aid, Chicago, IL

This Neil Young sit-in gets my vote for second-best guest performance ever; a nasty extended jam for the benefit of small farms. (For the record, everything with Karl Perrazo is the best guest performance.)

***

“Free” 6.17.04 I, Brooklyn, NY

This is the last good version of “Free.” And it is very good. The Trey and Mike jam ultimately inspired a horrible moment at Coventry, which, I speculate, is why they’ve never tried to jam it since.

***

“Stash” 7.2.97 II, Amsterdam, NL

A 30-minute abstract monster to kick off one of my favorite sets ever.

***

“Bathtub Gin” 2.28.03 I, Uniondale, NY

This multi-section, type II joyride foreshadowed what would come later in the show during “Tweezer.”

***

“Suzy Greenberg” 12.28.03 II, Miami, FL

This version features a super funk throwdown and then explodes into an growling catharsis featuring Trey’s uncompressed tone.

***

“AC/DC Bag” 8.9.8 Set II, Virginia Beach, VA

Just because it never gets old—of the top three or four versions ever, which kicks off the second set of a magical night in Virginia.

All selections and text by Luke Falk “Split Open and Melt” 4.16.92 I, Santa Barbara, CA This tight rager showcases Big Red’s chops back in 92. Listening back, I’m struck, not only, by how absolutely all over the fret board he is, but by how he barely used to use any effects at all (to great …

Reader’s Picks: Luke Falk Read More »

Reader’s Picks: Jeff Walls

“Midwestern Meltdowns and an Assorted Few”

Selections and text by Jeff Walls aka @Tela’s_muff

“Tweezer –> Makisupa” 11.30.95 II, Dayton, OH

This masterpiece is in the middle of a run of what I consider to be the greatest string of “Tweezer’s” ever performed by the band. A monster exploration of rock groove that they band was owning on a nightly basis at this point. Trey and Page each shine on this one, and we even get hints of what sounds like an early “Birds” jam! Frankly, it may be Fishman that deserves the MVP throughout. This is a fine example of peak Fall/Winter ’95 Phish—explosive, percussive, guitar heroics, it’s all there. Cherry on top with a nice segue into “Makisupa,” allowing Trey to hop on his mini-kit.

***

“Maze” 12.28.96 II, Philadelphia, PA

If nothing else, know that 1996 was the year of “Maze” (and “Simple”), and when it takes the second slot of Set two on the NYE run, hold on. This was the last version of the year, and it gets the full treatment. Both Page and Trey both crush this version, with Trey getting the edge, giving it an extra helping of tension, and a little dash of evil with the last couple of minutes reaching terrifying levels. They don’t play “Maze” like this anymore.

***

“Caravan” 12.29.96 II, Philadelphia, PA

This slid under the radar then, and it still does now. The last “Caravan” played by Phish, and it’s a murky, swank little run through the jazz classic they had performed so well in their club days. It carries over amazingly well in the cavernous Spectrum.

***

“Ghost -> She Caught the Katy” 7.21.98 II, Phoenix, AZ

Having missed all of ’97 and all of ’98 up to this point, and having been completely out of the tape trading circle, I hadn’t heard Phish funk, although I had read reviews on the internet. The last live show I had seen was 12-31-1996, so, needless to say, this show was a revelation to my ears. This isn’t the best “Ghost” ever, but to me it holds a special place. It has some funk, then Trey kicks it into overdrive, building and directing, and the jam absolutely soars, eventually landing into a huge “She Caught the Katy” bustout, complete with heavy fog machine usage. I was front row this night, and still haven’t gotten over this jam sequence.

***

“My Friend My Friend -> My Left Toe -> Whipping Post” 7.25.99 I, Noblesville, IN

This is easily my favorite first set ever, and this may be my favorite sequence of Phish ever performed. It may be one of those “had to be there” moments, but the cosmos aligned in the cornfields that night. After the fun “Meat” opener, and a heavy “MFMF,” “My Left Toe’s” ambiance enveloped the masses (who were baking in 99 degree heat that day. I consider this to be the finest version of “My Left Toe,” and the drop into Whipping Post could not have been more unpredictable, and perfect for that time, on that day.

***

“Twist” 12.31.99 II, Big Cypress, FL

This is my personal favorite “Twist.” It’s the first song that comes to mind when I think of that night in Florida. I think it’s the best example of Phish excelling at ambient music. It’s mesmerizing, and beautiful, almost like a bedtime lullaby, but instead performed for 80K people swaying in unison, as the band calms us down for the long night ahead.

***

“Drowned > Chalk Dust Torture Reprise” 7.11.00 II, Noblesville, IN

This show had a lot to like, mostly antics and creative setlist construction, but the unequaled highlight is “Drowned -> CDT Reprise.” A blistering jam erupts out of The Who classic, with Trey all over his loops. Eventually he lays back and allows the band to settle into an infectious funk groove, complete with a brief start-stop jam. I can’t think of many jams where I had as much fun dancing as I did during these 5 minutes. When the hilarity ensued with “CDT Reprise,” the bliss and humor of Phish reached it’s zenith.

***

“Bathtub Gin” 2.22.03 II, Cincinatti, OH

A must hear, top tier version of “Gin.” May or may not have been inspired after Trey pegged a kid in the face with a glowstick. Either way, this is a beast that can be separated into two parts. Part 1 – “The Mr. Completely Jam,” containing all that dirt and growl from Trey that I love from 2003. Part 2 – The insane Trey/Page weirdo “Gin” funk breakdown (listen for what I think sounds like playing with “FoTM”). In between all that is straight up dirty rock and roll.

***

“Tube” 6.24.04 II, Noblesville, IN

Those were dark days for all of us, and the Deer Creek >Alpine Valley run in 2004 did little to shake the stain of sadness. Yet this “Tube” gave me one last time to dance in the moat at Deer Creek, and dance I did. The last jammed out “Tube” provides a good work out for Page, Mike, and Fish, while Trey adds some effects and other tones throughout. A bit harsh for “Tube,” but overall still above average rock groove.

***

“Split Open & Melt” 11.21.09 I, Cincinatti, OH

My pick for the best “Melt” of 3.0. 2009 has left little for highlights, but the Cincy shows that Fall were well played, and this “Melt” showed signs of a band still able to send kids fleeing for the doors. I tend to think that all 3.0 “Melt’s” are formulaic to a certain degree, but the level to which they commit to the truly demented is what make “Split’s” work for me. This version left everybody in attendance motionless, I imagine having internal discussions with their sanity. I think what makes this work is Fishman finding something to do while Trey sets up his loops. It’s a devilish few minutes at the end of the jam, and one of the more challenging improvised pieces the band has dropped in 3.0. And yes, they’re able to seamlessly work back into wrapping up the song.

“Midwestern Meltdowns and an Assorted Few” Selections and text by Jeff Walls aka @Tela’s_muff “Tweezer –> Makisupa” 11.30.95 II, Dayton, OH This masterpiece is in the middle of a run of what I consider to be the greatest string of “Tweezer’s” ever performed by the band. A monster exploration of rock groove that they band was …

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