Last Friday, Trey traveled north of the border for the first time since his ’06 arrest, kicking off his brief winter TAB tour at Toronto’s Danforth Music Hall. Phish Thoughts had photographer Jesse Herzog on the scene to capture Trey’s first international performance since his 2008 comeback, and today I share with you some of his shots from the night up north.
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Last Friday, Trey traveled north of the border for the first time since his ’06 arrest, kicking off his brief winter TAB tour at Toronto’s Danforth Music Hall. Phish Thoughts had photographer Jesse Herzog on the scene to capture Trey’s first international performance since his 2008 comeback, and today I share with you some of …
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After such an extensive summer of Phish music, I haven’t been keeping up with Trey tour as usual. I haven’t listened to a full show or many jams, but reports have been solid all around. The most interesting aspect of Trey tour for me, however, has always been its proving ground for new songs and the potential they may hold for Phish. Trey’s larger band slayed 33 shows over the summer while debuting exactly one new original, thus I would imagine that on the first tour of 2012—whenever that may be—we’ll hear a batch of new songs. With work on an album forthcoming as well, one has to wonder what new Trey debuts might crossover to the Phish stage. With more than half his tour left, we may see Trey unveil more pieces yet, but for now, lets look at his first four debuts.
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“Land of Nod” – 10.7.11, Myrtle Beach, SC
Trey’s most recent debut, “The Land of Nod”—first played in the encore of the Myrtle Beach show—is my favorite and the most original of his new pieces. Written by Trey, alone, the song begins with a heavy, bass-driven groove and when the horns come in over this rhythm, the piece resembles genuine Israeli gyspy-dub (a la Balkan Beat Box.) With ridiculously danceable rhythms, Phish could slaughter this piece if they could adapt the horn lines to the quartet. The middle of the song moves into an uplifting and melodic passage with the refrain, “I was asleep for so long…”— a total juxtaposition of styles within the piece. When the song moves back into gypsy-dub stylings, TAB winds it down, though this is where Phish could just get going. Then again, this is one tune that could be tailor made for his solo project.
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“Glacier” – 10.1.11, Burlington, VT
The first Anastasio/Marshall composition of tour was debuted late in the second set of Higher Ground’s opening show, and that is exactly where I can see it fitting in a Phish show as well. Though the piece has already been pegged as Trey cheese by many fans, but I actually enjoy it quite a bit. While the lyrics are bit over the top about the Winter Queen and the Prince of Music, the guitar melodies and sparse supporting textures are both ethereal and cerebral. Trey and Tom usually write songs for one band and one band only, so I wouldn’t be surprised “Glacier” in the bigger pond at some point.
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“Snake Head Thumb” – 10.1.11, Burlington, VT
Inspired by a dream had by the Dude of Life in which Trey’s thumb was a snake’s head, this debut came in the first set of the first show at Higher Ground. A slow and filthy groove, “Snake Head Thumb” illustrates how 2010’s Halloween cover of Little Feat has influenced Trey’s songwriting. Crafted in collaboration with the Dude of Life, the chorus makes way for a slow and infectious groove that methodically moves to dirtier and dirtier places. The only debut that had included a jam, Trey unleashed his compressed growl over heavy organ swells in this percussive piece. A jam that Phish could take to sinister realms, this could be the second new-school Anastasio/Pollack contribution to the rotation (with “Show of Life”).
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“Frost” – 10.6.11, Asheville, NC
Beginning with beautiful vocal harmonies, this song’s opening gives way to a minimalist and chilled out groove, allowing its focus to remain on Tom Marshall’s lyrics. “Frost,” the second Anastasio/Marshall debut of tour could easily translate to a powerful Phish ballad. Containing the refrain of “Maybe you could sail away,” this section seems tailor-made for big-time Phish catharsis. Though more straightforward than many of Trey and Tom’s playful numbers, the more I hear this one, the more I like it.
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DOWNLOAD OF THE DAY:
MINER’S PICKS: Summer 2011 – Denver/VT
Here are the final download links for the Summer 2011 Miner’s Picks series—all with the best sources available. Thanks again to Chris Keiner of Phish Listening Room for all the hard work!
TORRENT LINKS:
Miner’s Picks: Summer 2011 – Denver (FLAC)
Miner’s Picks: Summer 2011 – Denver (Mp3)
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DIRECT DOWNLOAD LINKS:
Miner’s Picks: Summer 2011 – Denver (FLAC) Pt.1
After such an extensive summer of Phish music, I haven’t been keeping up with Trey tour as usual. I haven’t listened to a full show or many jams, but reports have been solid all around. The most interesting aspect of Trey tour for me, however, has always been its proving ground for new songs and …
Trey kicked off his solo tour on Saturday with a benefit show for Vermont Flood Relief efforts in Burlington. From all reports, Trey’s band was far more patient and focused on jamming than last tour. He ditched the acoustic sing-along for two sets of electric work, and included the horns in the jams far more than last year. And Trey even debuted two two tunes! I wasn’t able to make it to Vermont, so I asked another fan, and reader of Phish Thoughts, Jonathan Tran, to do the honors. His review is below and links you over to the “Reader Reviews” page. If anyone is interested in writing a review for one of the upcoming TAB shows, please shoot me an email at mrminer@phishthoughts.com.
I: Cayman Review, Simple Twist Up Dave, Liquid Time, Gotta Jibboo, Snake Head Thumb*, Burlap Sack and Pumps, Money, Love and Change, Magilla, The Devil Went Down to Georgia, Drifting
II: Acting the Devil, Alaska, Clint Eastwood, Push On ‘Til the Day, Sand, Let Me Lie, Valentine, Winter Queen*, Tuesday, Windora Bug, First Tube
E: Hey Ya!, Show of Life
*debut
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TAB @ Higher Ground, Burlington, VT: 10.1.11 / by Jonathan Tran
Trey and his solo band opened their tour with an inspired effort Saturday night in Burlington, where the band played the 750-person Higher Ground for a show that was only announced two weeks ago. With proceeds benefiting Vermont flood recovery efforts TAB threw down a musically relevant show that only foreshadows good things to come this tour. Before you wonder any longer, yes, Trey decided to drop the acoustic first set in favor of two electric. And, yes, this was a welcome move by just about every fan in the room. Also of note was the return of improvised horn parts (instead of leaving stage) during jams, which was absent from last February’s winter tour. In short, all signs pointed towards “Go!” on the first night of Trey tour.
With the energy already at a peak before show time, the band came out firing with the up-tempo “Cayman Review” followed by the ever-requested “Simple Twist Up Dave.” It seems as though Trey’ has decided that TAB tour is where “Liquid Time” will stay, and the band crushed the tune last night. The uplifting jam fit the Irene recovery vibe of the evening and this lesser-played song went over as well as anything with the crowd.
The fireworks came out next as the band grooved into “Gotta Jibboo.” This version veered away from recent Phish versions and turned into a full-band dance showcase with Trey comping Ray’s clav and organ parts, while Russ and Tony held down the low end. The presence of the horn section throughout the jam seemed to push Trey further into the groove, all the while filling space with well placed musical accents. The debut of “Snake Head Thumb” came next, and was also well received by the attentive Burlington crowd. A “Stealing Time”-“Steam”-“Ocelot” mash-up, this gritty blues number developed into a hard-edged jam that fits Trey’s current guitar style. I could see this song making it to the Big League, and it would be a welcome first set addition…READ ON HERE!
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Trey kicked off his solo tour on Saturday with a benefit show for Vermont Flood Relief efforts in Burlington. From all reports, Trey’s band was far more patient and focused on jamming than last tour. He ditched the acoustic sing-along for two sets of electric work, and included the horns in the jams far more …
