Very often, people will ask me “what are the best Phish jams?” or “where can I find a list of the best jams”? Approximately 30 people find their way to this site every day, simply by googling “the best phish jams”. The truth is, there are so many great jams -subject to varying tastes – that it’s hard to list all of the “best jams”. There’s just too many. The closest attempt in compiling a list of “the best jams” has been the incredible work done by the writers of The Phish Companion. The depth of their analysis is remarkable. However, that depth also leads to confusion amongst many newcomers, and even those who have been listening for years.
However, there are certain jams that everyone agrees are AMONG the best. These are classics that have stood the test of time, and are considered to be some of the finest moments in Phish history. Those who have never heard them will be in awe of the greatness they are about to witness. And those that have heard these a thousand times, well, I don’t think we mind hearing them again.
Today, we’re starting with some very well-known jams that are by all accounts, among the most memorable Phish jams ever. The idea is to eventually create a podcast series where you can subscribe via itunes, creating a collection of what we believe to be the “best phish jams” (thanks to Eric Wyman for the suggestion!). This will be the perfect way to introduce those who are less-familiar, or not familiar at all, with Phish’s music. You can either download the file or stream it through the site. Be patient while the file is loading, it is somewhat large.
The setlist for today is:
Bathtub Gin (11.23.97) > “Ghost” (12.31.98) > “Chalkdust Torture” (7.10.99) > “AC/DC Bag” (12.30.97) > “Funky Bitch” > “Jam” (11.22.94)
Classic Jams Series Pt. I
[The ambient clips you will hear before/after each song are to make things interesting for those who have heard these jams before, and to add a sense of fluidity. Whoever can come closest to guessing the "ambient" interludes will receive a little gift from DGB. I promise, it will be worth your while. Send your picks to email@example.com and we'll determine a winner by the end of the week.]
As we prepare enter into the next phase of Phish.30, everyone is wondering how the band will sound. With a full summer tour, a festival, fall tour and NYE run under their belt, there is no doubt the band has regained their collective stride. As Mike said in a recent interview with the Times Union Albany:
“We had a great first year back recording and playing. We feel now that we’ve got the engine greased up we’re ready to keep doing it. At the same time, it’s important for us to take about half of this year just to work on our own projects, so we can do everything we want to accomplish.”
And did I forget to mention (forget to mention) the three solo tours 2 from Mike and one from Trey? All three have received rave reviews all across the board.
There is no doubt, the band is playing with a renewed energy that we have not seen in years. This summer will definitely see Phish turn another corner. Those that were skeptical with regard to the lack of jamming in ’09…well, consider Mike’s words – they’re engine wasn’t greased up. It’s clear that this time around, they had no intention of simply diving back into the Phish mobile and cruising across the country aimlessly. And, rather than produce a year’s worth of mediocre jams, the band focused on regaining their communication with one another, relearning challenging compositions - the music rather than the jams.
As the year progressed, and the band shed their training wheels we began to see jams emerging, as they were perhaps testing the improvisational waters. Looking back, Camden’s “Sand”, which at the time was hailed as the return of the Messiah, still shows traces of sloppiness. But, by the time we reached Miami it was evident how far the band had come in such a short period of time. Jams were emerging from unexpected places, bust outs were happening left, right and center – Phish was back in every sense of the word. So as we closed the door on 2009, we all knew the next gathering 2010 would be big…and now it’s just over two month away.
Today is the last day to pre-order tickets for Phish’s Summer 2010 tour through their exclusive lottery system. Get your orders in by 11:59pm EST. We wish you all the best of luck, and hope to see you on the road this summer!
As we head in to another weekend, edging closer to Summer tour, we’ve compiled another round of highlight summer jams. Enjoy the jams, and the weekend.
“Birds of a Feather” (1999.7.8 Virginia Beach Amphitheater, Virginia Beach, VA)
This gem from summer ’99 features a gorgeous tease of the Dead’s “Day’s Between” before segueing into a spacey “If I Only Had Brain”.
“Tweezer“ (2000.6.24 Lakewood Amphitheater, Atlanta, GA)
A space-filled groovefest from the coveted Lakewood Amphitheater.
“Harry Hood” (1993.8.15 Macauley Theater, Louisville, KY)
One of the best “Hoods” from a year that saw many great versions of the song. Soaring, beautiful, melodic jamming.
“Split Open and Melt” (1997.8.2 The Gorge, George, WA)
A wild ride from Heaven’s amphitheater. Groovy outsideness. Man.
“You Enjoy Myself” (1997.7.31 Shoreline Amphitheater, Mountain View, CA)
One of the best “YEMs” from one of the band’s finest summer tours. A journey to the depths of psychedelic funk.
“Reba“ (1996.8.14 Hersheypark Stadium, Hershey, PA)
A spirited melodic jam that defines what summer tour is all about.
“Run Like an Antelope” (1999.7.25 Deer Creek, Noblesville, IN)
The jam moves between several different sections, from rock to reggaed-out funk. An experimental “Antelope” that features collective jamming throughout.
Phish 3D, a 3D concert experience, is opening nationwide on Friday, April 30th for an exclusive one week run. The more than two hour movie, presented by Action 3D Productions in association with Network LIVE and Cinedigm Digital Cinema Corp., highlights Phish’s Festival 8, a three-day, eight-set, 16-hour concert in the Southern California desert.
In advance of the nationwide roll-out, exclusive preview screenings will be shown in nine cities — Boston; Burlington, VT; Chicago; Denver; Houston; Los Angeles; New York; Raleigh/Durham, NC; and Washington, D.C.– on April 20th. In addition to experiencing this special screening, fans in attendance will take home a Phish 3D movie poster. The fully immersive music and visual experience, featuring state-of-the-art 3D technology, gives viewers the sense that they are not only at the event, but on stage with the band that Entertainment Weekly has called “the biggest cult band in America.” Phish 3D features fan favorites, never before seen cover songs, and intimate footage of the band backstage and in rehearsals.
Ticketing information for the Friday, April 30th opening of Phish 3D will be made available at www.phish3dmovie.com. Fans are encouraged to check the site for ticketing and event news frequently, as there a very limited number of seats available for this one week run.
Well, it looks like Spring is here again. As the classic jazz standard “It Might as Well Be Spring” goes, I’d say I have spring fever. Once again the Phish community is blooming with excitement for the upcoming tour. Over the next few days we will scramble to get our mail-orders in by the Friday deadline, and we wish the best of luck all of our readers.
It seems like just yesterday that we walked out of the American Airlines Arena on New Years, wondering when and where we would see the band next. And now, with the warm weather quickly arriving, it appears we are just around the corner! Thoughts of past summer tours fill our minds as we plan to return to many more storied Phish venues this summer. And as we look back, the growth and progress the band has seen becomes evident. For starters, we are planning for a SUMMER tour in March. If this was ’94, we’d be strapping up the car getting ready to head off on Spring tour! But, the band has aged, and those types of touring schedules just aren’t realistic anymore. As Greg Allman said in a very recent interview (included in the program to the 2010 United Palace run):
“Musicians don’t retire from music, they retire from travelling.” – Greg Allman
And so, as we get ready to dive into what is sure to be a VICIOUS ticket scramble, we here at DGB will be filling in for the lack of a Spring tour with some highlight moments from past tours (in no particular order). Just recently we talked about Spring ’92 (a favorite period of many a fan), and today we’ll be taking a trip backwards down the number line to Spring ’94. However, since Spring ’94 is such a massive tour we’ll be focusing on the shows from May – that is not to say that April ’94 should be overlooked. Many of the foundations for the truly outside, psychedelic jamming were laid in Spring ’94, and lots of these shows fly way under the radar. This is likely due to the size of the tour, and the sheer number of shows in ’94 altogether. Everyone knows the Bomb Factory “Tweezerfest”, and most know about the two shows at Laguna Seca (including the amazing “Reba” from 5.28). Well, there’s more…
“David Bowie” (1994.5.3 Starwood Amphitheater, Antioch, TN)
“Run Like an Antelope” > “BBFCFM” > “Run Like an Antelope” (1994.5.16 The Wiltern Theater, Los Angeles, CA)
“Bathtub Gin“ (1994.5.20 Campus Recreation Center, Evergreen College, Olympia, WA)
“Stash“ (1994.5.21 The Moore Theater, Seattle, WA)
“Tweezer > “Lifeboy““ (1994.5.22 Vogue Theater, Vancouver, BC)
“Reba” (1994.5.27 Warfield Theater, San Francisco, CA)
“Mike’s Jam” > “Mio Babbino Caro” (1994.5.27 Warfield Theater, San Francisco, CA)
“Split Open and Melt” (1994.5.29 Laguna Seca Raceway, Monterey, CA)
Set 1: Buried Alive > Poor Heart, Sample in a Jar, The Divided Sky, Axilla (Part II), Rift, Down with Disease, Bouncing Around the Room, Stash, Sweet Adeline
Set 2: Also Sprach Zarathustra > Run Like an Antelope -> Big Black Furry Creature from Mars -> Run Like an Antelope, Sparkle, It’s Ice, Julius, You Enjoy Myself, Big Black Furry Creature from Mars, Amazing Grace, Big Black Furry Creature from Mars
Encore: Fee > Rocky Top
[Thanks to Phish.net for the setlist + Hoydog23 for the link]
With Phish fans from all over plotting the course for their summer, speculation has begun to emerge as to which venue will bring the “best show”, and which will produce the “sleeper”. Last summer, the golden ticket in every lot was for the Fox show – the intimate venue that played host to the epic show from ’94. However, those in attendance were treated to a lackluster show with an encore that seemed like an apology. With this summer’s seemingly impossible navigational routes, there are some difficult choices to make – will you drive north from Columbia to Canadaigua before heading back down south to Raleigh? Will you fly from the Greek to Telluride? These are some of the thoughts on Phish fans minds’ as summer tour rapidly approaches.
Today we’ve selected two underdog shows, overlooked and often unmentioned, to help remind you of the importance of each and every Phish show. Deciding to skip one show to attend another might be the difference between the show or the dud of the summer. We hope this doesn’t make your planning any more difficult…Enjoy!
1990.9.22 Student Union Ballroom, University of Massachusetts, Amherst, MA
In the early years, Amherst was in many ways the home away from home for Phish. With manager John Paluska spreading the word, the band had a rapidly growing audience in the Amherst area. This sold-out show fell on the day following the release of Phish’s second studio album Lawnboy, a point in which the band was truly brimming with creativity. Constantly debuting new songs and covers, the band had introduced “Tube”, “Landlady”, “The Asse Festival”, “Destiny Unbound”, “Buried Alive”, “Magilla”, and “Stash” all during 1990. This show featured six of these new tunes, and was a energetic show packed with university students hungry for their fill of Phish.
The first set is loaded with early versions of several Phish classics, including a must-hear “Bowie” closer. “Bowie” features “Chariots of Fire” teases, secret language, and an extended intro section, and a jam clocking at 20 minutes – surpassing the ten to fifteen minute standard at the time – that shows the band attempting to extend their musical journeys to far-out places. The second set carries the “Chariots of Fire” tease, weaving it through several songs in the set. “Tweezer” was still in its infancy, yet to break out of the mold. This version features some particularly ripping guitar playing, as well as the original slowed-down ending. “Stash” had only been debuted a week earlier, and so this version is a very early look at the band working around the song’s infamous chord progression. If you don’t know it, check out this show, especially the “Bowie”.
Set 1: Buried Alive, My Sweet One, The Divided Sky, Tela, The Oh Kee Pa Ceremony > Suzy Greenberg, Magilla, Wilson, The Landlady, I Didn’t Know, David Bowie
Set 2: The Squirming Coil, Tweezer, Destiny Unbound, Fee, Uncle Pen, Bouncing Around the Room, Stash, The Lizards, Lawn Boy, Possum
Encore: The Asse Festival, Golgi Apparatus
 Chariots of Fire tease.
 Multiple Chariots of Fire teases, both in the intro and the main song itself. Hi-hat intro also a had a full-band Mo’ Better Blues tease, three Charlie Chan signals, an Oom Pa Pa signal, two Random Laugh signals (one from Trey and one from Mike), and a How High The Moon tease from Trey. DEG tease and How High The Moon attempt from Trey as well as a fourth Charlie Chan signal in song itself.
1994.7.3 The Ballpark, Old Orchard Beach, ME
This show, unlike the one above, was a nearly empty affair in a minor league ballpark. With so many great shows over the course of ’94, this one understandably slides a bit off the map. However, there are several gems that deserve recognition such as the divine first set “Reba” or the scorching second set “Split”. On a hot summer day, there’s nothing like a “Reba” jam. This version features a “Somewhere Over the Rainbow” tease from Trey, and a divine modal excursion that seems to soar through the open air. The second set features a wild “Bowie” and a wilder “Split”. The latter includes a nod to Jimi with a “Third Stone from the Sun” tease from Trey. The ensuing jam is an outside journey of varying sorts moving from raging sections with screaming guitar to syncopated discombobulation. Pure hose. “Bowie” and “Antelope” are also highlights. During “Antelope”, fireworks are lit off, leading to a wild reaction from the crowd and an appropriate musical response from the band. The show was fittingly closed with “Fire”.
“Split Open and Melt” (1994.7.3)
Set 1: My Friend, My Friend, Poor Heart, Down with Disease, Fee, NICU, Horn, The Old Home Place, Reba, Axilla (Part II), David Bowie
Set 2: Split Open and Melt, The Lizards, Bouncing Around the Room, It’s Ice, The Horse > Silent in the Morning, Julius, The Squirming Coil, Run Like an Antelope, Suzy Greenberg
[Thanks to Phish.net for the setlists]
Here are the OFFICIAL Phish Summer 2010 Dates:
June 11 Chicago, IL Toyota Park
June 12 Cuyahoga Falls, OH Blossom Music Center
June 13 Hershey, PA Hersheypark Stadium
June 15 Portsmouth, VA nTelos Pavilion at Harbor Center
June 17 Hartford, CT Comcast Theatre
June 18 Hartford, CT Comcast Theatre
June 19 Saratoga Springs, NY Saratoga Performing Arts Center
June 20 Saratoga Springs, NY Saratoga Performing Arts Center
June 22 Mansfield, MA Comcast Center
June 24 Camden, NJ Susquehanna Bank Center
June 25 Camden, NJ Susquehanna Bank Center
June 26 Columbia, MD Merriweather Post Pavilion
June 27 Columbia, MD Merriweather Post Pavilion
June 29 Canandaigua, NY CMAC
July 1 Raleigh, NC Time Warner Cable Music Pavilion
July 2 Charlotte, NC Verizon Wireless Amphitheatre
July 3 Alpharetta, GA Verizon Wireless Amphitheatre at Encore Park
July 4 Alpharetta, GA Verizon Wireless Amphitheatre at Encore Park
August 5 Berkeley, CA Greek Theatre
August 6 Berkeley, CA Greek Theatre
August 7 Berkeley, CA Greek Theatre
August 9 Telluride, CO Telluride Town Park
August 10 Telluride, CO Telluride Town Park
August 12 Noblesville, IN Verizon Wireless Music Center
August 13 Noblesville, IN Verizon Wireless Music Center
August 14 East Troy, WI Alpine Valley Music Theatre
August 15 East Troy, WI Alpine Valley Music Theatre
August 17 Wantagh, NY Nikon Theater at Jones Beach
August 18 Wantagh, NY Nikon Theater at Jones Beach
A limited number of tickets are available directly through Phish Tickets’ online ticketing system at http://phish.portals.musictoday.com/. The ticketing request period is currently underway and will end Friday, March 26th at 11:59pm Eastern Time.
Tickets go on sale to the public beginning Friday, April 2nd at 10am ET, followed by more public onsales on Saturday, April 3rd. For complete ticketing info (and there’s lots of it), check out http://www.phish.com.
Head over to Phish.com for info on tickets.
Last night two of the greatest forces in music came together – the music of Genesis and the musicianship of Phish. Phish opened the 2010 Rock Hall of Fame Induction Ceremony with “Watcher of the Skies”, off Genesis’ 1972 album Foxtrot, a fitting song that opened many of Genesis’ shows along their 1973 tour. The band took upon themselves a major challenge in covering one of the band’s extended compositions, which Collins commented was “played very well”. However, this style was better suited toward their playing than the cover of “No Reply At All”, the poppy 80′s hit off Abacab that followed Trey’s induction speech. After the first song, Trey spoke and then handed the award to several of the founding members of Genesis – Phil Collins, Tony Banks, Mike Rutherford and Steve Hackett.
“Watcher of the Skies” (2010.3.15 Rock Hall of Fame Induction Ceremony, Waldorf Astoria Theater, New York, NY)
Phish’s roots are deeply entrenched in the music of Genesis, and for a long time, I have felt they were among the largest influences on Phish’s songwriting. Songs like “Dancing with the Moonlit Knight”, “The Knife”, “Musical Box”, “Watcher of the Skies” and many others, have a distinct influence not only on some of Phish’s music, but also the early recordings of Trey in his basement in New Jersey.
While Genesis’ later post-Gabriel material is well-known, there are only a select group who are familiar with Genesis’ extended compositions from their earlier albums such as Foxtrot, Trespass, and Selling England by the Pound. And among those familiar with their later material, few are aware of its complexity. As Trey said, few would know that the hit “Turn It On Again” features verses and choruses in 13/8 time, and others in 8/8, and 5/8. Last night Trey gave a nod to the devoted Genesis fan, saying “this one’s for us”.
Many wrongly assume that the greatest influence behind Phish’s music was the Grateful dead – due to their similar touring style and extended jams – but Phish’s music incorporated many more sophisticated influences as well, Genesis being a major one.
Genesis was one of the first rock groups to incorporate various aspects of classical music into their own style of progressive rock. And, as Trey said last night this type of songwriting had a profound effect on him during his early years as a musician. Many attribute Trey’s classical influence solely to Zappa, and overlook the major effect Genesis’ had on him.
The types of aural textures Genesis created can be heard in songs like “Fly Famous Mockingbird”, “Slave to the Traffic Light”, “The Curtain”, “YEM”, “Harry Hood”, “TTE” and many other Phish compositions. Gamehenge, in many ways, was Trey’s attempt to recreate the musical theater effect that Genesis was able to produce on The Lamb Lies Down on Broadway. Last night Trey made specific reference to “Stagnation” as his favorite song off the 1970 album Trespass. For a long time I have heard a connection between “Stagnation” and the composed section in “Harry Hood” (especially the version from Trey’s 1985 demo tape). For those familiar with Genesis’ early material, there is no denying the connection.
“No Reply at All” (2010.3.15 Rock Hall of Fame Induction Ceremony, Waldorf Astoria Theater, New York, NY)
For us Genesis fans, last night was one of the ultimate musical combinations. A true dream come true for many of us. Let’s cherish it with these great recordings provided below and hope these songs reappear on summer tour!
DOWNLOAD “Watcher of the Skies” (2010.3.15 Rock Hall of Fame Induction Ceremony, Waldorf Astoria Theater, New York, NY)
DOWNLOAD “No Reply at All” (2010.3.15 Rock Hall of Fame Induction Ceremony, Waldorf Astoria Theater, New York, NY)
Here’s a few favorite Genesis songs. Enjoy.
(This is a rare recording as Gabriel left the band following the release of The Lamb, and so the songs from it were only performed a handful of times with Gabriel at the helm. One of my personal favorites.)
“The Cinema Show”
This is a dream come true for me. Seeing one of my favorite bands cover another favorite will be quite a treat. I’ve been waiting for this moment a long time, and have quite a bit to say about the Phish-Genesis connection. We’ll get to that in the coming days…
For now, here’s the scoop on tonight’s performance ceremony from our friends over at Hidden Track:
The members of Phish will take the stage tonight for the first time in 2010 at the Waldorf Astoria in New York City where they will open this year’s Rock and Roll Hall of Fame Induction Ceremony. As previously announced, Phish guitarist/vocalist Trey Anastasio will induct Genesis which will be followed by Phish performing a couple of Genesis classics.
Tonight’s ceremony – including Phish’s performance – will be broadcast live on Fuse starting at 8:30PM EDT. The 2010 Rock n’ Roll Hall Of Fame inductees are ABBA, Genesis, Jimmy Cliff, The Hollies, The Stooges, David Geffen, Barry Mann & Cynthia Weil, Ellie Greenwich & Jeff Barry, Jesse Stone, Mort Shuman and Otis Blackwell. Other musicians due to perform include solo star and J. Geils Band singer Peter Wolf, Pat Monahan, and Fefe Dobson.
“Dancing With the Moonlit Knight”
Phil Lesh turns 70 today. And, after a tour with his new band Furthur and number of festival stops planned for this summer – including their own in Mountain Aire, CA on Aug. 28-30 – it seems Phil will be delivering bombs for many more years to come. Consumed by his forever-evolving musical journey, Phil continues to develop his unique approach to the bass, constantly pushing his music further. Today we pay tribute to Mr. Lesh with a few favorite Phil moments. Happy Birthday Phil! Keep on…
“Estimated Prophet” (Grateful Dead – 1977.5.18 Fox Theater, Atlanta, GA)
“The Other One”* (Phil Lesh & Friends – 2006.2.12 Beacon Theater, New York, NY) *feat. Trey Anastasio
“Peggy-O” (Furthur – 2010.2.14 Barton Hall, Cornell University, Ithica, NY)
“Down With Disease“* > “Dark Star”* (Phil Lesh & Friends – 1999.4.17 Warfield Theater, San Francisco, CA) *feat. Trey & Page
It appears summer tour rumors are kicking into high gear once again, with heavy speculation as to which venues Phish will play. Rumor has it that the announcement video was filmed, and completed in LA just days ago, and will be released in the coming days. Within the community, rumors surroundings Toyota Park, the Greek Theater, Lakewood, Telluride, and many more are all gaining steam as we near the announcement date.
As the days grow longer, and the weather turns warmer our focus begins to shift from the indoor excursions of fall, to the all-out freedom of summer tour. While everyone loves the better-sound, and overall better musical experience that occurs during the fall, there is absolutely nothing like summer tour. Cruising down the sun-drenched highways with tunes blasting, seeing old and meeting new friends along the way. The warm weather lot chill, the open-air venues and their grassy lawns – summer tour, like fall, definitely has its perks. The wide-open venues on summer tour bring with them a different energy. And, inspired by each of their distinct natural surroundings, Phish’s music adapts to these environments, taking on a free-form quality that only summer can bring.
Lately, we’ve been experiencing some early warm weather. With the sun shining down as you get in your car, or throw on your Ipod, there’s nothing like accompanying it with a sublime jam. So for today, we’ve put together a selection of memorable summer moments from past years. Enjoy these tunes as we await the imminent summer tour announcement!
“David Bowie” (1995.6.15 Lakewood Amphitheater, Atlanta, GA)
“The Curtain (With)” (1988.7.29 The Roma, Telluride, CO)
“Reba” (1993.8.16 American Theater, St. Louis, MO)
“Bathtub Gin” (1999.6.30 Sandstone Amphitheater, Bonner Springs, KS)
“Split Open and Melt” (1996.8.12 Deer Creek Music Center, Noblesville, IN)
“Tweezer” (1998.8.1 Alpine Valley Music Theater, East Troy, WI)
“Harry Hood” (1997.8.14 Darien Lake PAC, Darien Lake, NY)
Frame Jam* >
Can’t Stand Still
Walls of Time^
Andelmans’ Yard Sugar Shack Jones Swamp Music Nobody’s Home The Grid River Niger She Said, She Said
* Improv jam with Todd on frame drum and Craig on N’goni
** First time played
^ with Danny Barnes on banjo, and with Scott/Mike/Danny trading places on bass, banjo and guitar
[Setlist via Mike-Gordon.com]
Phish jams contain so many different musical elements, many of which are often overlooked. Those who are educated in music often try to analyze jams, attempting to determine the musical elements within a jam in order to gain a better understanding of how such magic is even possible. But, the workings of a Phish jam can elude even those with high levels of musical education. Through the band’s famous practice sessions, they developed techniques and methods upon which to direct their jams. Whether it was responsive jamming techniques, musical signals, methods to create tension and resolution, or spontaneous listening exercises – they all factored in to Phish’s jams. In the band’s early years, these jamming techniques can clearly be heard. However, as the band progressed, their jamming styles became more fluid and complex, and as a result harder to decipher.
The words Ella Fitzgerald sung in the famous song “Every Time We Say Goodbye” (written by Cole Porter) will forever remain true: “How strange the change from major to minor”. The major/minor switch is something the human ear can pick up quite easily. The shift not only changes the sound, but the mood of the music as well. Major jams evoke feelings of happiness, liveliness and create calm, warm atmospheres. In contrast, minor jams communicate seriousness, sadness and introspection. Listen to two different pieces, on in major the other in minor, and you will clearly be able to hear the difference in mood. That said, without getting too technical, there are different ways of evoking major and minor moods using the different major/minor modes (see our article Modal Exploration). Since the beginning, Phish has used this as one of their tools to instantly change the mood of a jam, modulating between major and minor to convey feelings of joy or seriousness.
Today we present you with five jams that contain major & minor changes. Notice the change in mood that is created, and how strange it is. Hopefully next time you’re listening to a jam, you’ll have a better understanding of what’s happening when the band makes these sort of musical moves.
“Stash” (1994.5.3 Starwood Amphitheater, Antioch, TN)
“Stash” is one of the band’s most well-known minor jams, famous for Trey’s dark caterwauling guitar solos. This little-known gem from Antioch, TN perfectly displays the contrast between a minor and major jam. Listen as the band modulates between the two creating a very strange feeling. While the major sections are noticeably gracious and beautiful, the minor sections are dark and serious.
“Free” (1995.6.26 SPAC, Saratoga, NY)
“Free” continues to be a platform for major/minor exploration to this day. The current arrangement of the jam features two contrasting major/minor sections that the band changes between, but this is fully composed. In this often forgotten gem from SPAC ’95, the band arrives at a musical plateau by way of a major change before diving back into the depths of a minor jam.
“Down With Disease” (1997.7.22 Walnut Creek Amphitheater, Raleigh, NC)
Well everyone knows how this one goes…The storm came and the second set of this show took off into one long, dark trip into the abyss. “DWD”, which actually contains a major jam, has been known to take a turn for the dark, and this is one notable occasion.
“David Bowie” > “Cities” > “David Bowie” (1997.7.30 Ventura Fairgrounds, Ventura, CA)
“Bowie” is known for its dark excursions by way of its minor jam that begins following the composed section. However, this “Bowie” veers off course toward the bright grooves of the Talking Head’s “Cities”. The change is drawn out, and creates a section of prolonged weirdness as a result.
“Seven Below” (2009.11.28 Times Union Center, Albany, NY)
Whether or not people knew exactly what was happening when this jam occurred, everyone knew the band had just reached some sort of musical plateau. The atmosphere in the room immediately changed, as the transformation occurred, the lights went from dark to light courtesy of yet another major/minor switch.
“Seven Below Jam” 11.28.09
Only A Dream
Can’t Stand Still
Can’t Stand Still >
15 Step >
Where The Soul Of Man Never Dies**
Middle Of The Road
Soul Food Man
Dig Further Down
She Said, She Said
Crumblin’ Bones >
** with Danny Barnes on banjo
[Setlist via Mike-Gordon.com]
DOWNLOAD 2010.3.7 Sherman Theater, Stroudsburg, PA
From all accounts, the Gordo tour appears to be firing on all cylinders right out of the gate. A few comments from Scott Murawski’s Blog were particularly interesting and worth sharing:
…another really cool aspect of the show was the smell machines. We turn them on for a couple of key tunes and they basically can fill the room with a particular scent within a few seconds.
The beautiful thing about Mike and this band is that we’re always pushing the limits and trying to create new experiences for folks coming to the show. Mike is an artist in the truest sense of the word and it comes out in everything he does, and it’s great to be a part of it and to be a contributor to it.
March 6, 2010
New Haven, CT
What Things Seem*
When The Cactus Is In Bloom*
Things That Make You Go Hmm
Midnight At The Oasis
Fire From A Stick
Time (The Revelator) >
* with Danny Barnes on Banjo
[Setlist via Mike-Gordon.com]
Check out this interesting two part interview Ira Haberman did with Mike back in October of ’09.
It was one year ago today, March 6, 2009, that the opening notes of “Fluffhead” rang out through Hampton Coliseum – a moment that will forever remain ingrained the minds of every Phish fan present – as Phish reunited for the second time. When the lights went dark and the four band members appeared from behind a cloud of blue mist, the energy inside the venue was uncontainable. The moment we had all waited 5 years for, had finally arrived. And as the opening notes to “Fluffhead” emerged, the crowd erupted in a collective burst of joy that can still be felt to this day. At that moment, the moons realigned bringing back the feeling we had all forgotten in the years since Coventry. Phish was back, and we were experiencing it right before our eyes.
(I’ve also included the soundclip as this must be listened to in full. The video is simply for effect.)
In 2002, when the band returned on New Years Eve at Madison Square Garden, the return had been expected. The band had collectively referred to the downtime as a “hiatus”, and amongst fans there was little doubt they would return. However, after Coventry, Trey famously said the words that shattered the hopes of so many fans “we’re done…finished”. There was no attempt to regain their creative spark, no reason given, just a final and seemingly definite farewell.
So, when Phish announced their three shows at Hampton Coliseum – a Phish mecca – to take place in March of last year, we all prepared for what would surely be one of the most memorable musical events in any of our lives. The moment the shows were announced, heavy speculation began to appear concerning what they would play, how they would sound, what would be different etc. And so, when we entered the Mothership on March 6 to see Trey sporting his original Mesa Boogie MK-III amp, and Jon returned to his traditional location on stage left, it was clear that this time things were going to be different. And different they surely have been.
To think a year has passed since these three memorable shows is quite amazing. The number of friends made, the progress the band has seen, the numerous amazing musical events, the creation of this blog…have all taken place within the last year. And, for all these things we have Phish to thank.
To celebrate the one year anniversary of Phish’s return – a significant milestone – we’ve decided to share some of our friends’ and readers’ stories and accounts from the shows at Hampton. Thanks to everyone who contributed, I apologize if your story didn’t make it onto the site.
[Thanks to Jamtopia for the incredible pictures of the Hampton shows. To see the entire gallery, or download them for you're background head over to Jamtopia where there are plenty more.]
From Ryan at Hidden Track:
Ten Fond Memories From Hampton ‘09
10. Singing. Every time a new song started, I remember giving in to the undeniable urge to bust out the monotone.
9. Realizing Phish and Adulthood can (and will) successfully co-exist.
8. Night Two; after the band shook the dust off and settled into some funk.
7. IHOP, smothered and covered.
6. Thinking I needed to get in better shape to start seeing Phish again.
5. The general lack of bitching.
4. Page stealing the show(s).
3. Remembering how much fun my wife and I have together seeing Phish.
2. Determining I actually do prefer the floor at Hampton.
1. Fluffhead. That deafening sound of the Coliseum when Trey kicked into his solo not only ranked up there with the loudest cheers I’ve ever heard (including Michigan Football games), but the goose bumps came on so strong that it literally felt like all the hair on my body was falling off.
From Phanart Pete:
The lead up to Hampton was rife with anticipation for the shows, as well as to see old friends and make new ones. Arriving early friday and getting to the lots, the fans, the artists, the shirts, the beer vendors, even the token religious nut was there! We had it all again, and this time, the band and fans were both focused on the experience, not the experience modifiers.
The first night showed they weren’t fucking around: fluff + dsky to open were but a taste of an amazing opener. The long walk back to the hotel was punctuated by a need for sleep: the phish poster convention was early Saturday, and PhanArt: The Art of the Fans of Phish was finally printed and ready to share at the first set of Phish shows. It was a great show, Jason Kaczorowski put a lot into it, as did the artists with their art, and I felt proud and star-struck to be amongst all these creative forces in the Phish community. A long day and 40+ books sold later, we refueled and rested at the hotel, with a celebratory saturday in the works. Myself, Tim, Chris and Greg got to the venue and found seats in a corner behind the stage, fish-side. Great views of the entire coliseum were ours for the night. Some post-show action with friends, a late night, and some much needed rest were in store.
Sunday finally gave us all a chance to wander around shakedown, archive some Phanart for the next book (due out in 2020), and got inside early for some floor action. This was well worth it, even though my knees would get back at me later. Greg and I got as close as 5th row page-side, Tim finally got his Foam, Chris was mesmerized by Sanity, and I was happy to know that Phish was back, for good this time, and that nothing is better than the Phish community’s spirit, energy and creativity.
From Ben at Jam Festival HQ:
Sure, Phish was just a band. Sure, they were just four guys playing four instruments: a guitar, bass, drums, and a keyboard, with the occasional vacuum solo. But to those going to Hampton it was like winning the lottery. Hundreds of thousands of phans had wanted the golden tickets, and only a select few could go. All my cares and worries melted away as the plane lifted off the runway. I was finally going home, and it felt like pure ecstasy…
…8:00 was closing in. I had everything I needed: great seats, two beers in reserve, and an empty bladder. All that was left was for the lights to go out. It would be the loudest ovation I had ever heard, that I was sure of. But anything more than that, well, that was what had brought us all this way. A giant smile swept across my face. I glanced lovingly at my wife. She returned my smile. We had not seen Phish together since we had married. We were the most passionate Phish couple you would ever meet. We even danced to Phish for our first dance at our wedding. This was sure to be one of the most memorable moments in our married life.
The lights went off. The crowd went ballistic. The band walked onto the stage. Fourteen thousand people were clapping and screaming at the top of their lungs. Trey began to play. A fan favorite that had not been played since the nineties named Fluffhead elegantly floated through the crowd. Fans recognized the soft riff at different intervals during that first thirty seconds, creating waves of cheers. Happiness washed over the coliseum as the mothership took off. Never in my wildest dreams had I imagined a Fluffhead opener. Was this really happening? I put my hands on head in disbelief. Nothing had prepared me for what I was experiencing. It felt as if I was in some bizarre dream world. The energy exploded from the stage and into the audience. We were untouchable. The moment was ours. We had our band back. And the band appeared elated to be in front of their devoted fans once again It could have been heaven, I would have known no difference. And for the moment, nothing else in the world, in the universe, mattered…
From My Good Friend Dan A.K.A. “Goopy”:
The Hampton reunion show was, in a word, cereal. Actually, to put it into two words, Super Cereal. Well, actually the word I’m really looking for here is SURREAL. Looking back one year on the date I still can’t believe I was there to see/hear/feel/be it. (ok so in retrospect, this might get a bit redundant, but I digress) I still can’t believe I was there after stating since Coventry that I’d go to Anchorage, Alaska if the comeback was there, yet I had accepted in the months leading up to March of 2009 that I wouldn’t be present…
I still can’t believe they’re back..
Going backwards down the memory line now, I still can’t believe the mayhem on the strip after the show. What a beautiful buzzzz. I still can’t believe the balls dropped during bouncing. I still can’t believe the monstrous 2nd set song selection and placement; that’s just how I like my PhiSh; MEATY. I still can’t believe the ice under the floorboards melted and how we all danced in puddles. I still can’t believe my neighbor tapping me on the shoulder, pointing to the floor and asking me if I had peed myself and I wasn’t sure. I still can’t believe how we all knew each song from the first note and the ensuing roar/buzz. I still can’t believe how long setbreak felt. I still can’t believe how close we were. ISCB they opened with FLUFFHEAD, and how Trey nailed the composition and the peaks soaring with us like we all knew he could. ISCB how they returned to the original setup and how all us geeks GEEKED over it. I still can’t believe my eyes looked at the seemingly small stage from about 11 rows back on the coliseum floor, basking in the CK5′s beautiful purpleyblue aura. ISCB all of us running through the doors ABSOLUTELY FREAKING OUT. ISCB Bru handing the tickets to me. ISCB that Bru got me those tickets long after I had given up hope and was on lot waiting for me with them in hand. ISCB the cab ride to the Mothership and standing on Phish lot for the first time (Coventry aside). ISCB finally getting to the hotel and joining in on the epic party even though no one was around at the time. I still can’t believe the MD highway patrolman that pulled me over for going way too fast spoke even faster and we all burst out laughing at him because we didn’t understand a word he said. I still can’t believe the speedometer only showed km/h and how great it felt showing the patrolman who had no choice but to print me up a ‘warning’ and how we drove away in hysterics (gotta love driving delirium). I still can’t believe we drove over 16 hrs straight and through the night leaving the cold Canadian climate for the amazing southern warmth and charm. I still can’t believe my ride actually left for VA and turned back around about a half an hour later to come and collect me..
I still can’t believe they’re back..
Walls of Time
Middle of the Road
Can’t Stand Still
River Niger >
Traveled Too Far
Fire From A Stick*
Only A Dream
Ain’t Love Funny >
Dig Further Down
* Debut, Mike Gordon original
[Setlist via mike-gordon.com]
1992 was an unprecedented time in Phish history with the band arriving at a creative highpoint, while also discovering their improvisational stride. While the years leading up to ’92 were essential in building the foundations for Phish’s jams, it was not until ’92 that the band truly began to expand their music into wide-open territories. Songs like “Stash”, “Possum”, “Bowie”, and “Tweezer” were beginning to break new improvisational ground, and laid the path for Phish’s early jamming style – the “speedjazz” era. This was also the year in which Trey began spreading the Secret Language. In addition, the band had just finished recording A Picture of Nectar, and were already rehearsing some of their most complex songs. Many of these songs would appear on Rift early the following year. So to say the least, the band was flowing with creativity.
Check out this pre-debut version of “NICU” from the band’s house in Winooski, VT. Prior to the spring tour, the band had a private rehearsal that was recorded, featuring some pre-Rift era material as well as others.
“NICU” (1992.1.14 Band House, Winooski, VT)
But, for some reason in the discussion of great tours, Spring ’92 is rarely mentioned. Lately I’ve been having the discussion with some friends, that certain internet forums seem to persuade some people to overlook particular tours, or even entire years. As a result, so many great gems go overlooked and forgotten amongst these misinformed fans. The number of times I have come across the words “92 sucks” or “96 sucks” makes me wonder if these people have actually even listened to the shows. Whether they have or not, dismissing an entire year of Phish’s career seems somewhat odd.
And so, today I want to take a trip back to this era of Phish’s career to share some of the magical moments (many of which are captured on SBD recordings), and shed some light on these truly mesmerizing musical landscapes.
Spring ’92 Highlights:
“Run Like an Antelope” > “BBFCFM” > “Run Like an Antelope” (1992.3.13 Campus Club, Providence, RI)
I was originally not going to include this, as I figure everyone has heard it. But for completeness sake, I decided to add it. One of our readers, Poster Nutbag, provided the following comments:
“This jam, as far as I can tell, is one of, if not the first time phish really went outside the structure of a song and used multiple segues to weave one song in and out of another. Truly an epic jam and an important milestone in the evolution of phish. All haters of ’92 need to listen to this jam.”
“David Bowie” (1992.4.5 Fox Theater, Boulder, CO)
From the Fox in Boulder, partly owned by a friend of ours and the band, Phish was embarking on what would become a very memorable West Coast run. This show was only announced the prior night during the show at the Batch Fieldhouse, also in Boulder. The “Possum” from this show is a fan favorite, containing some phenomenal guitar work from Trey. But this “Bowie” shows the band jamming as a whole, displaying many of the techniques from their infamous practice sessions.
“Run Like an Antelope” (1992.4.12 Arizona Ballroom, University of Arizona Student Union, Tucson, AZ)
This ripping “Antelope” features a “Smells Like Teen Spirit” jam, a theme that carried through several shows on the tour – very fitting for the time. Trey’s machine gun guitar wizardry is in full force as he and the band give an early lesson in tension and resolution.
“Stash” (1992.4.13 After the Gold Rush, Tempe, AZ)
This is another great display of Trey’s fierce guitar work, with a clear nod to Zappa. Climbing toward mountainous crescendos before crashing back down, Trey’s use of Ten Dunbar’s modal theories (to whom he credits a great deal of his knowledge of tension and resolution) are clearly at work here.
“Split Open and Melt” (1992.4.16 Anaconda Theater, Isla Vista, CA)
This show is famous, and is an early favorite of many fans. Both sets are packed with timeless classics, with a mind-blowing “SOAMelt” taking place in the first set.
“Reba” (1992.4.17 Warfield Theater, San Francisco, CA)
Another phenomenal and well-known show from the night after they played the Anaconda Theater, featuring a very heavy first set including a divine “Reba”. For naysayers of first sets, let this show prove you wrong.
“David Bowie” > “Catapault” > “David Bowie” (1992.4.17 Warfield Theater, San Francisco, CA)
From the same show as the “Reba” above, and also from the first set, this “Bowie” features the debut of “Catapault” interwoven with the end of the song. This is a crisp recording where you can clearly hear each member communicating with the others while developing the jam.
“Harry Hood” (1992.4.18 Wilbur Field, Stanford University, Palo Alto, CA)
From the free outdoor show from Palo Alto, CA, the place the Dead was formed. The entire show is wild, but this “Harry” that Kevin chose to play on Great Went Radio is quite special. The band teases the classic jazz number “Linus and Lucy” before launching into a divine modal excursion.
“Tweezer” (1992.4.21 Redwood Acres Fairgrounds, Eureka, CA)
An early “Tweezer”, beginning to show its potential as the formative jam vehicle for the band. A great jam that features several major/minor changes. Listen as the band pushes this early “Tweezer” to new-found heights. This show also contains a heavy second set “Mike’s Groove”.
Check back tomorrow as we will have special feature commemorating the 1 year anniversary of Phish’s reunion at Hampton Coliseum last year. If you have a memorable story from the reunion shows that you’d like to share, please send it to firstname.lastname@example.org. Also, check back tonight for updates on the first show from Mike’s tour from Troy, NY.
“Run Like an Antelope” (1992.3.31)
On Sunday night, Trey and his Classic TAB outfit closed out their 2010 Winter Tour with an accomplished wave goodbye. Reinventing the band’s dynamic – offering a greater focus on the interplay between the reduced horn section – Trey successfully reached a higher level of musicianship with his band, and with his own playing. Hearing people so enthusiastic about “Trey’s chops” is like seeing a glowing sign in the right direction. Challenging compositions were nailed, new numbers were debuted and developed, and Trey’s machine-gun shredding made us all feel like we were transported back to the summer of ’93. Noticeably taking a greater focus towards jazz-oriented themes, and reducing the edgy tone that characterized the post-hiatus years, Trey and his band took on a new form. At times they sounded like one of Count Basie’s bands, and at others they had a dynamic similar to that of an early 70′s Miles Davis group. Like Phish, TAB is constantly evolving.
The new direction pays greater attention to the tight interplay between the various instruments. Jams were kept concise, however, when the horns would exit the stage the four old friends would lock into tight grooves, taking the songs to fresh new places. Trey was noticeably active in communicating with the different band members, often mimicking Ray’s phrases, filling the gaps of his notes, and meshing together in a web of sound. However, the revised horn sections, courtesy of Trey’s compositional collaborator Don Hart, shone brightly as the greatest new aspect of this incarnation of TAB. Creating a thick layer of orchestral sound, the horns brought a unique touch to many of the old and new Classic TAB songs.
Lately, Trey’s glowing smile at every show along the tour has been a topic of discussion. There is no question, Big Red has found a renewed sense of joy in performing. Trey’s glowing happiness was infectious within the confines of these small venues, and radiated across the band and the audience like a glowing beam of light. The past few years have been overshadowed by the difficulties Trey has experienced, and this has been reflected in his songwriting. Now that he has acquired this new sense of joy, it will be interesting to see what direction his songwriting will take from here. One of the new songs, “Show of Life” (written by the Dude of Life), seems to echo this new perspective on life, and is certainly a potential Phish song.
Anyone who attended at least one of the shows along the tour knows, these were fun-filled occasions, with party-like atmospheres. Seeing Trey in these small venues is a treat every single time, and is something that may not last forever. Our hats go off to Trey and the members of TAB. In particular we salute Natalie “Chainsaw” Cressman who brought a glowing new flare to the band.
Now let’s check out some of the highlights from the tour:
“Valentine” (2010.2.27 The Tabernacle, Atlanta, GA)
Valentine blossomed beautifully over the course of the tour, developing the song far past the early versions from ’08. The song has unique vocals, different from what we’ve heard from Trey in the past. The song itself, and the solo, are both among the best things we’ve heard from Trey in the last while. The horns are involved throughout the entire track, creating a thick layer of sound which which Trey graces with a soaring solo over the progression.
“Obstacle of Course” (2010.2.27 The Tabernacle, Atlanta, GA)
The newest Anastasio/Marshall tune, played three times over the course of the tour. Clearly in its early stages, this song holds potential to make the transition over to Phish. Fitting perfectly in line with their new joy message, the hook of the song repeats “anything is possible…” The song has a Stevie Wonder, R&B type sound, with great vocal interplays between Trey and Jen. Quite a catchy number if I may say so myself.
“Mozambique” (2010.2.27 The Tabernacle, Atlanta, GA)
Throughout the tour, “Mozambique” served as the stage to display the talent of the “newest member of the TAB family, Natalie Cressman on trombone”, as we heard Trey say at every show. Rising to the occasion, each time Natalie offered a unique solo that solidified her position amongst the other members of the band.
“Beauty of My Dreams“ feat. Del McCoury (2010.2.25 Ryman Auditorium, Nashville, TN)
This was a special treat, seeing Trey reunite with one of his childhood heroes. Starting in NYC, Trey brought out his acoustic every night for an extended sing-a-long. This was by far the best one featuring two songs with Del’s band and Trey, and one with both TAB and the Del McCoury band.
“Goodbye Head” > “Mr. Completely” (2010.2.26 The Fillmore, Charlotte, NC)
Prior to the tour, Trey had pointed specifically to “Goodbye Head” as a song he wanted to develop further. However, many were disappointed that the jam segment from the end of the song was removed. The focus, rather, was on the revitalized horn sections and perfecting the compositional aspects of the song. The segue into “Mr. Completely” occurred several times throughout the tour, offering a high-energy combination each time.
“Liquid Time” (2010.2.16 Terminal 5, New York, NY)
The most anticipated song prior to the start of the tour was “Liquid Time”. Included on Party Time, and soundchecked by Phish at Festival 8, the song had yet to be performed in front of a live audience. Clearly influenced by Mark Knopfler’s playing in Dire Straits, “Liquid Time” has insightful lyrics that reflect on the sea, using it as a metaphor for time. Over the course of the tour, the song developed with Trey adding tasteful solos that gave a definite nod to Knopfler’s staccato style of playing. I have no doubt that Phish will bring this one on at some point, it’s simply too good to avoid.
“Sultans of Swing” (2010.2.16 Terminal 5, New York, NY)
Like the tune above, this song is a nod to Mark Knopfler, one of the most underrated guitarists in the rock world (for an example, check out Knopfler’s album with Chet Atkins entitled Neck and Neck). This song, off Dire Straits debut album, was Trey’s opportunity to pay tribute to two heroes at once. While recreating Knopfler’s great guitar lines from the song, Trey also incorporated one of Zappa’s tricks – having the horns play the guitar solos note for note. Seeing it live is truly impressive, and was a nice trip back to Bonnaroo ’04 when Trey first debuted the song with his 10 piece band.
“Money, Love, and Change” (2010.2.14 Count Basie Theater, Red Bank, NJ )
“Money, Love, and Change” was one of the largest jam vehicles throughout the tour. On numerous occasions, Trey would lead the full band, changing keys with the use of hand signals. The song’s deep, funky grooves offered an ideal platform for Trey to display some of his machine-gun guitar wizardry.
“Shine” (2010.2.12 House of Blues, Boston, MA)
“Shine” opened the majority of the shows, and was one of the best displays of Don Hart’s reworked horn sections. The arrangements brought out a very thick sound in the horns, creating an orchestral effect, which seemed larger than a simple three-piece horn section.
“Show of Life” (2010.2.12 House of Blues, Boston, MA)
One of the “sushi songs”, “Show of Life” was composed by Trey and the Dude of Life over a sushi dinner. The lyrics are reflective of the maturity and age that the two old friends have acquired. In contrast to the playful lyrics from their childhood, “Show of Life” contains a clear message following in Phish’s new style. I would not be surprised if this one were to make jump to Phish.
“Blue and Lonesome” 2.25.10
Mike and his band have spent the past week rehearsing in Vermont for their upcoming 8-date March tour, which kicks off this Friday in Troy, NY. Yesterday, the band released a clip of one of the sessions from their recent rehearsals entitled “Birth of the Universe”. The song was created through a unique process, much like many of Phish’s tunes, and is explained in greater detail on Mike’s website.
“On the first day of practices, we decided to come to the studio and invite the muse to control us for a day. I led a guided meditation in which we imagined tapping into universal energy that connects from the spheres, through us, and into the center of the Earth, and then we imagined being on stage as the music played the band and the coolest sound we could imagine came out. Each band member then described his aural vision, directing the others to create it. And this little sampling is Craig Myers’ vision, entitled ‘Birth Of The Universe.’ He described ambience wallowing from nothingness, and then mouthed out a rhythm that Todd could then interpret, helping to kick the thing into rock-ass gear. Nice work, Craig.
Check out “Birth of the Universe” below.
This has us very excited for the upcoming tour. “Birth of the Universe” has a sound reminiscent of Weather Report, and shows the band completely letting loose allowing the music to take control. The result is a big leap for Mike and his band, showing the band’s development and increased tightness that comes with a couple of tours under the belt. Mike and his band are quickly becoming a strong creative force with endless potential. We will be providing setlists, updates and downloads as the tour kicks off. The full list of Mike’s tour dates are below.
MIKE GORDON MARCH TOUR 2010
3/05 – Revolution Hall, Troy, NY
3/06 – Toad’s Place, New Haven, CT
3/07 – Sherman Theatre, Stroudsburg, PA
3/09 – Rams Head Live!, Baltimore, MD
3/11 – Jefferson Theatre, Charlottesville, VA
3/12 – Theatre of the Living Arts, Philadelphia, PA
3/13 – Pearl Street, Northampton, MA
3/14 – Lebanon Opera House, Lebanon, NH
Posted above is the setlist from last night’s show in Auckland, NZ. The band opened with “In the Mouth a Desert”, from their debut album Slanted and Enchanted. The rest of the set displayed a wide variety of songs from the band’s mid-late 90′s releases. Early reports show signs of a revitalized band that has rediscovered its direction. The tour continues on Thursday in Sydney, AU. Check out some videos below from the show last night.
“Range Life” 3.1.10
“Cut Your Hair”
Click below to see the rest of the band’s 2010 Tour Dates.
The well-received TAB 2010 Winter Tour has come to a close. Gladly, we were able to catch one of the shows along the tour. The new horn arrangements sparkled brightly, bringing a fresh sound to some of the band’s staples. We will be breaking down the tour in more detail as the week goes on. There are some great moments to share, and some necessary discussion to be had. All in good time. For now, check out last night’s show from the Tennessee Theater.
February 28, 2010
Set I: Push On Til The Day*, Valentine, Small Axe, Burlap Sack and Pumps, Night Speaks to a Woman, What’s Done, Cayman Review, Gotta Jiboo, Tuesday, Money Love and Change, Sultans of Swing, Kill Devil Falls@, Waste@, Strange Design@, Backwards Down The Number Line@, Chalkdust Torture@, Wilson@
Set II: Shine, Ether Sunday, At the Gazebo, Down So Easy, Alaska, Mozambique, Goodbye Head > Mr. Completely, Sweet and Dandy
Encore: Moesha, First Tube
[Thanks to Oh Kee Pah Blog for the Setlist]
DOWNLOAD TAB 2010.2.28 Tennessee Theater, Knoxville, TN [Torrent]
[Source: Schoeps CCM4V'S(din)]
The results from Friday’s article, the “Phish Jam Olympics”, have been determined based on the four voting criteria. The results were not overly surprising, as Phish fans are often the most supportive of the shows they were actually present for. What was interesting was to see how the different jams ranked among the four criteria, and where obvious agreements were held. So, without further delay, here are the 2010 Phish Jam Olympic winners:
“Sand” > “Quadrophonic Toppling” (1999.12.31 Big Cypress Seminole Indian Reservationl, Big Cypress, FL)
“Mind Left Body Jam” > “David Bowie” (1994.6.18 UIC Pavilion, University of Illinois, Chicago, IL)
“Twist” (1998.4.2 Nassau Coliseum, Uniondale, NY)
As was expected, a large contingent came out in support of Big Cypress and the Island Tour. However, it was interesting to see that many people felt the “Back on the Train” from the 2009 NYE run, ranked among the highest in musicianship (clearly we’re headed in the right direction). Disagreement largely rose under the criteria of “Most Transcendent Moment”, as this is obviously subjective to each person’s tastes. Whether one was standing in the field of Big Cypress on January 1, 2000, or in the NY Islands in April of ’98, or in the confines of the Mothership in November ’97, we all have our own subjective opinions. Each person has their preferences, and very rarely is there a consensus ‘favorite’ among a selection of great jams. Personally, my taste is constantly evolving. What I love last month might be my least favorite this month. That’s what makes Phish so fresh and exciting for me. The ability to jump from one era to the next, hearing the same song in vastly different forms, is what keeps us coming back…
Ambient Alarm Clock:
Here’s a little gem from the summer of ’94 to get your day started. Beginning with the ultra-rare “Letter to Jimmy Page” bustout (the final(?) version of the song), the band then dove into “Bowie” leading toward one of the many colossal versions of the year. This jam is ripe with ’94 madness – a psychedelic excursion toward the cosmos. Traces of what would unfold on the fall ’94 tour can be heard here. Close musical interplay, a willingness to extend jams to lead to new discoveries, and uncharted risk taking characterize this period. This “Bowie” can be seen as a hybrid during the transitional phase that was occurring in ’94. Stepping away from the gimicky jams that often featured numerous cover “teases”, the jams were taking a more direct path toward undiscovered musical territory. This jam has both and features a tease of the ABB’s “Jessica” as well as some wild psychedelia.
“Letter to Jimmy Page” > “David Bowie” (1994.7.15 Jones Beach Amphitheater, Wantagh, NY)