It was just months ago that we were awaiting summer tour with no idea what was in store for us. Now here we are months later with a pile of highlights and memories that will be ingrained in our minds for years. I figured it would be the perfect time to go back and revisit some of the many highlights from the summer in one fluid audio post. As there are simply too many highlights to include in a single two hour listening session, I have chosen jams with the most transcendent moments.
Most of the recordings the chosen are the best AUDs I could find, and really capture the experience of being at the show. I highly recommend throwing on a pair of good headphones and fully immersing yourself in the experience. Many of these jams are absolutely magical, and show the band playing with a level of musicianship we have not seen from them ever before. Thus far, 2010 has etched a worthy place in the history books. These are just a handful of the moments we’ve enjoyed…
“The Best of 2010 Pt. I“
The Best of 2010 [right click and choose save as to download]
Intro > DWD>What’s The Use (8.14) > BDTNL (6.12) > Light (8.7) > 2001 (6.25) > Mike’s Song > Simple (8.6) > Cities (8.6) > Chalkdust Torture (6.25)
[Picture courtesy of the great people at Glowstickwars.com]
Ever since Phish’s reunion last year, the band has gradually regained their stride in becoming the band they were before the first hiatus. Stepping back into the shoes of Phish was clearly not easy, but as the tours progressed so did the band. As time passed we saw “YEM” once again blossom into an intricate masterpiece – a major step from the sloppy mess which it had become. Each piece of the puzzle was required to fully recreate the experience that is Phish, and as they were put back into place the experience became whole again. But one of the missing pieces that was required to complete the picture was the power of the slow song – something that was missing in many of the sets in 2009 and 2010.
I was once told that it is far more difficult to play music slowly than it is to play it fast. One may wish to turn to Coltrane’s Ballads for perhaps the best example of this philosophy. Coltrane was a man who could play faster than almost any other. But on Ballads, he reserves himself allowing the beauty of the music to shine through the spaces between the notes.
This summer, on more than one occasion Phish (or more specifically Trey) tried to inject slow songs into places they simply did not belong. Rather than providing moments of beauty and grace, these songs sucked the energy from sets and were far from welcome additions. I won’t list specific versions – it’s all personal preference – but I think many will know the shows to which I am referring. However, as this year’s summer tour neared its end, the band seemed to rediscover the power that a slow song can behold.
Placement and execution are the most essential aspects when delivering a slow number. Slow does not mean a lack of energy, but rather a reduction in tempo. To to draw a comparison, when you’re driving it’s fun to go fast, but if you never slow down you might not get to enjoy the scenery around you. It’s the same in music – a set that constantly charges along is not as interesting as one that explores variations in tempo, and volume as well. The truth is, Phish has so many amazing slow songs it troubles me why they are not played more often. And that’s not to say the ones that were played are not great songs, they just weren’t delivered properly in most cases.
Injecting a slow song into a set is always risky; Phish sets carry an energy that travels like a wave from start to finish. Here’s an example, and one of my favorites, of a perfectly placed slow song from the Spartanburg Memorial Auditorium in Spartanburg, SC on 10.29.94. The band slips out of “Antelope” and into “Sleeping Monkey” in seamless fashion managing to contain the energy of the set. The wave comes crashing down following the solo in “Monkey” and the band slips back into “Antelope” riding the swell.
“Run Like an Antelope” > “Sleeping Monkey” > “Run Like an Antelope” (10.29.94)
I have a personal affinity for “Lifeboy”, especially when it comes out of an exceptionally heavy jam. There are numerous occasions where this has occurred, but one that I have always enjoyed is the “Ghost” > “Lifeboy” > “Bowie” from the second night of Alpine ’98. When placed in such a fashion between two major jams, a slow song can act as a guiding light between the two psychedelic adventures that surround it. I can think of few better examples.
“Ghost” > “Lifeboy” > “Bowie” (8.2.98)
Sometimes a slow song can stand alone offering a moment of beauty as strong as any heavy jam. These are moments when you look around and see the people around you with their eyes closed, taking it all in. Perhaps one of the best examples of this was the long-overdue “If I Could” from 6.28.00 at the PNC Bank Arts Center in Holmden,NJ. Few words can describe it better than those used in the 2nd edition of the Phish companion:
“The concluding jam takes the song’s metaphorical admonitions to heart; walking on water, soaring through the clouds, and taking the captivated audience on a joyful ride of bliss that quite literally evoked tears from many in attendance.”
“If I Could” (6.28.00)
In the second half of the second leg, Phish seemed to rediscover their ability to inject a slow song into a set without drawing all of the energy out of it. On these occasions, the slow songs acted as musical plateaus amidst the rock-centered sets in which they were placed. This idea first came to me in Alpine Valley when the band unexpectedly arrived at a perfectly placed rendition of “Dirt” during “Mike’s Groove”. This was a welcome break in a set that charged along without holding back.
“Mike’s Song” > “Dirt” > “Sneakin’ Sally Thru the Ally” (8.14.10)
Again, in Jones Beach Trey finally had his moment when he led the band into “The Horse” in a delicate segue that allowed the energy of the set to continue. After a summers worth of unsuccessful attempts, Trey finally managed to wind the jam in to “The Horse” > “Silent” after a rockin’ “Tweezer” without sucking the energy out of the entire venue.
“Tweezer” > “The Horse” > “Silent” (8.18.10)
[All photos provided by our good friends at Glowstickwars.com]
Since it’s Friday, I figured I’d put something lighthearted together to start readers off with a pleasant weekend. Recently, someone (if it was you please tell me) shared issues of the Doniac Schvice from September 1996 to 2000 in PDF format. I went through the letter sections, which always contained humorous tidbits, and took out some entertaining quotes. I hope you enjoy.
Who’s your wardrobe person? They must be ultra-fly!
San Francisco, CA
I take my fashion cues from the guys in the band – Mike’s knickers and Fish’s dress are TOO dope. And those shoes that Page wears…wack man, totally wack.
What’s the name of the new Scent of a Mule middle thing? Is it Spanish or Russian? I love it.
We call it the “Mule Duel,” Doug. It’s Klezmer. Klezmer, Doug, is the Dixieland of the Yiddish.
I have a question for you. Do you all ever have fights after being locked in a bus after for a long tour? Cause when were all on tour we want to kill each other sometimes! Just wondering.
Rock Forth! – Willow Breeze
We fight in the dressing room every once in a while about musical problems. On the bus it’s pretty rare for us to fight. Occasional there’s a fight about a bet. “I can’t believe you think you won the bet – there’s no way I’m giving you the money. You’re acting like a baby.” Another time, we fought over change. I argued for continuity, and Trey for change. Voices were raised, but in the end, we swapped sides, laughed it off, and faked a handshake [no touching rule].
What’s up with that Geddy Lee? How does he get his voice so high? I wonder if he talks like an ordinary guy.
Sincerely, Dirk N. DeCorners
Just because you quote Pavement, it doesn’t mean Trey will like you. But, as it turns out, he does like you. He asked me to pass along his number to you, as long as you don’t tell anyone else – 909.317.0911.
Ps. I know him, and he does.
- Your Fact Checking Cous”
From where do you get your inspiration to write the ever-so-loved, “Mike’s Corner?”
Ps. The Phish food is rather tasty.
Adam “Scrothe” Conrath
Walking about, I get an imagine in my mind. Often, it’s a common place, theme, like a man with a pile of business forms. Then I warp the scene while maintaining the original image. Then I also concoct challenges like “I’ve never written in the present tense, so I’ll try that,” or “maybe this one could exploit the semicolon.”
FISH MADE A BET
1. That he wouldn’t be a second late for the bus. $1200 Lost.
2. That 60% of the world’s drinking water comes from Canada. $100 Lost.
3. That Java is the most densely populated island. $65 Lost.
4. That Linda McCartney didn’t only become a photographer because she’s an Eastman and got free film and always was around cool people to photography because her husband was a Beatle. $100 Lost.
5. That he could eat a mound of wasabi the size of a golfball in one bite. $21.50 Won.
What do you think about the people who call Phish fans neo-hippies or weed smoking freaks who listen to bad music. Later, Becky Sullivan.
Musical taste is subjective. For example, I listen to a song on the radio and love it with tears streaming down my cheeks, switch channels and find the same song a minute later and hate it like listening to a pigeon die.
[to be continued...]
In the second installment of ‘From the Vault’, I will share with you one of my favorite segments from the Dead in ’73 – the “Dark Star” -> “Mind Left Body Jam” -> “Eyes Of The World”> “China Doll” from the Winterland on November 11th.
This segment reaches a level of transcendence that, at times, appears to be controlled by some sort of divine intervention. “Darkstar” – dubbed “the thinking man’s Darkstar” – carries a very relaxed vibe, allowing each member to fill their own respective space in the jam. The playing is delicate – Jerry’s notes seemingly float through the music, each dripping with soul. The music surrounds you and draws you in.
Following a period of deep space, the tempo picks back up while Jerry begins to explore a more psychedelic path aided by his wah-wah pedal. The jam travels to far-off places and then crash lands in an uptempo version of the “Mind Left Body Jam”. Unlike most other versions, Jerry chooses not to use a slide in this one. Instead, he traverses the neck with his fingers painting the jam with a jazzy psychedelia. The theme eventually fades and we seamlessly enter the introduction of “Eyes”.
Jerry’s playing evokes a calming grace as he delicately applies a noticeable effort to each individual note. It’s as if he is playing right in front of us,the recording has captured his playing so perfectly. This is also one of the better recordings in terms of hearing Bobby – who is very on during this entire show. With the band responding so well to one another, Jerry is left to venture out without having to comp for any rhythmic gaps. The soaring playing that characterizes this entire segment carries through the jam until the band effortlessly winds into “China Doll”.
Those who have not heard this, prepare to be drawn in by one of the finest moments in Grateful Dead history.
“Dark Star” -> “Mind Left Body Jam” -> “Eyes Of The World”> “China Doll” (11.11.73)
As was reported earlier this week in the Dog Gone News section, Phish has announced their fall tour dates including a Halloween show in Atlantic City. The question now turns to which musical costume Phish will don on October 31st. Rumors have already begun to emerge with favorites being a Zeppelin, Hendrix, or Bowie album. Stay tuned for updates and analysis.
PHISH FALL 2010 U.S. TOUR DATES
October 8 Austin, TX—Austin City Limits Festival
October 10-12 Broomfield, CO—ISTBANK Center
October 15-16 North Charleston, SC—North Charleston Coliseum
October 19 Augusta, ME—Augusta Civic Center
October 20 Utica, NY—Utica Memorial Auditorium
October 22 Providence, RI—Dunkin Donuts Center
October 23-24 Amherst, MA—Mullins Center
October 26 Manchester, NH—Verizon Wireless Arena
October 29-31 Atlantic City, NJ—Atlantic City Boardwalk Hall
Without a doubt 2010 has been the defining year for Trey’s new guitar approach, appropriately dubbed “the whale call”. During the tour opener in Chicago, Trey brought his pitch-shifting device to the forefront in an effort to shape his notes through a slurred – highly digitial – caterwauling sound. Trey has been exploring the sound of the whale since Hampton, but in 2010 “the whale” came to define Trey’s playing, much as the black-cat vibe did in ’99 and ’00. It was just prior to the hiatus that Trey first discovered the whale; and so much of its development has taken place outside of Phish in the various incarnations of TAB.
Even in 2010, Trey has constantly changed his approach to the whale, indicating that he has yet to perfect its sound. I discussed Trey’s new-found affection for the whammy in an article earlier this year called “Trey’s New Favorite Toy“. However, at the time, not even I could have imagined the extent to which “the whale” would become a part of Phish’s sound in 2010. Today, we look back on the story of Ernest and the whale.
Many fans point to the “Chalkdust” from 7.10.99 [Live Phish 8] as the jam where the whale first emerged. I would agree, and considering Trey’s stated affection for that jam, it would be reasonable to assume that this was the point that sent him searching for the sound he had attained in those moments of pure musical satori.
“Chalkdust Torture” (7.10.99)
But oddly enough, the whale was absent during the rest of ’99, and did not resurface until a year later in Darien Lake during a soaring rendition of “Reba” [Live Phish 3]. It is precisely this “soaring” quality that first seemed to attract Trey to the sound. What I find interesting is that Trey does not use the wham like any other guitarist known for using the pedal (Tom Morello, Kevin Sheilds etc.) Instead, using the “Down 2nd” mode on the Digitech Whammy II, he essentially can drop his notes 2 full steps and then bend them back to their original position, hence the whale sound. When Trey first used the pedal in the pre-hiatus jams, he was using it to create a single, siren-like effect that added a psychedelic tinge to the music. It has also served various other purposes over the years such as harmonizing, octave drops and other effects.
It was following the release of Bar 17 in 2006 that the early stages of the whale in its present form were heard. Bar 17 is different from Trey’s other solo projects due to the fact that most of the songs are written by Trey, without the help of Tom (only “Let Me Lie” and “Cincinnati” have the Anastasio, Marshall credit). The music itself was written immediately following Phish’s breakup, but was put on hold while Trey worked on other projects. Unlike Shine and Trey’s self titled album, Bar 17 bodes a much darker sound that speaks to the time during which it was written. On the heels of Bar 17′s release, Trey took to the road clearly attempting to define a new sound that suited the dark, personal nature of the songs. Listen below to this version of “A Case of Ice and Snow” from 10.18.06 at the Vic Theatre in Chicago, and hear Trey struggling with the early stages of the “whale call”.
“A Case of Ice and Snow” (10.18.06)
When Phish returned in 2009 Trey brought the whale with him. While only using it sparingly, he began to hone his new sound adding it to the new songs as well as the old. With the addition of his compressor – which acts as a limiter on the peaks and valleys of his notes – he creates a unique, overdriven sound. But in the early stages Trey was still struggling with the whale, often throwing off his bandmates rather than feeding the jams. As the year progressed we saw Trey step on and then off the wham for periods of time. For example, after the Exile set at Festival 8 it seemed as though Trey had left the whale behind for his old machine gun shredding ways. However, after a brief period in hibernation the whale returned stronger than ever. This “Ocelot” from the Gorge ’09 shows the whale still in its inception.
On the first leg of summer tour 2010, the whale was prominent in nearly every jam. In the past, Trey has referred to his pedals as “safety mechanisms”. And so, as Phish began their summer tour it seemed as though Trey was clinging to his “safety mechanisms” more than ever. While developing a new sound, he also sacrificed a great deal of the instrument’s versatility by using the whammy so frequently. Here’s the “Stash” from Blossom where Trey appears have become more adept using the whale to create tension and release.
By leg two, Trey once again began stepping away from the whale. When he did choose to use it, it was tasteful, and added a rare energy to the jams. I can think of several examples where the whale brought a jam to a level that would not have been reached otherwise. Some love it, some hate it. But there is no doubt that Big Red has once again crafted a new approach to his guitar playing while simultaneously recreating the sound of Phish.
[To order Hartford Whale Callers T-shirts click here for the link to Jiggs Lot!]
Nikon at Jones Beach Theater
Soundcheck: You Can Get It If You Really Want, Nellie Kane, Hey Joe
Set 1: Down with Disease > Sample in a Jar, Guelah Papyrus, Poor Heart, Ocelot, Chalk Dust Torture, Bathtub Gin, Tube, Destiny Unbound, Joy, Run Like an Antelope
Set 2: Axilla, Timber (Jerry) > Light -> 46 Days -> My Friend, My Friend, Harry Hood > Tweezer -> The Horse > Silent in the Morning, You Enjoy Myself
Encore: Suzy Greenberg > Tweezer Reprise
Notes: The soundcheck began with You Can Get It If You Really Want (Jimmy Cliff) and it included quotes from Trey of You Can’t Always Get What You Want. Rock On (David Essex) was briefly played after Hey Joe in the soundcheck. The Marco Esquandolas lyric in Antelope was changed to Mike-O Esquandolas, and was followed by a short bass solo by Mike-O.
[setlist via Phish.net]
DOWNLOAD: 2010.08.18 Nikon at Jones Beach Theater, Wantagh, NY
SOURCE: Schoeps MK41>KC5>CMC6>sonosax SX-M2>apogee Mini-me(aes out 24bit/96khz)>COAX>Edirol R-44
Over the course of four nights in the Midwest Phish continued to display two different sides to their musical coin. One side showed a willingness to dive deep into psychedelic jams; the other, a more contained form of straight-rock. Phish displayed both styles of playing in Deer Creek and in Alpine creating a run of shows that stand up to any since the reunion.
After what many considered to be a fairly tame run of shows in Telluride, there was once again some uncertainty as to the direction the band was headed. Two of the three shows in Berekeley had contained some of the best jams of the year. However, the shows in Telluride failed to produce anything of that standard. It’s doubtful that the decision to play a straight-forward rocker is predetermined, but rather a matter of feeling that seems to largely come from Trey. What is clear is that the band still shows a willingness to explore their music even if it’s not taking place on a nightly basis.
On the first night in Deer Creek anticipation ran high as Phish returned to the corn fields for their 19th and 20th visits to the venue (a stat held by few venues other than Nectar’s). However, in the first set the band rarely hit the note, and flubbed their way through several lyrics and notes. Highlights came during the first “Runaway Jim” of the tour, “Roggae”, and a “Cars Trucks and Bus” that features some nice interplay between Trey and Page.
As if to make up for their lackluster outing in the first set, the band stormed the Creek in the second with an engaging set from start to finish. The set began with a guaranteed jam vehicle – “Drowned” – that featured close communication between all four members. Following a chunky rhythmic section, the jam unfolded into an ambient groove perched above Jon’s Tony Williams-esque drumming. A near perfect segue came between “Jibbo” > “Gin” adding a sense of fluidity that has been missing in many shows in the modern era. Mike seemed to be constantly attempting to take the song outside of its structure, which was achieved for a brief moment, before Trey managed to reel it back in – a theme that would occur several more times throughout the night and weekend. In addition to the welcome bust-outs of “Buffalo Bill” and “Dog Faced Boy”, the band delivered two more engaging jams in “Twist” and “SOAMelt”. The dream-like encore featured the first “Fee” with Trey on megaphone in many years as well as “NO2″, – a nod to the helicopter flying above -”Kung”, and “Fire”. A very engaging second set that includes more than one highlight worth a listen.
On night two, Phish flipped the coin turning out more of a straight-forward rock show. The show was well-played, and featured a more engaging first set than the night prior, but failed to reach the same level of exploration. The first “Walls of the Cave” since its opening position at Coventry, “Stash”, “Ocelot” and “Possum” were first set highlights.
In the second set, a brief section of psychedelia emerged during “Light” where you can actually hear Trey playing a lick similar to the intro of “The Mango Song”. However, it was not until later in the set that the band moved into “Mango”, with a brief “Dave’s Energy Guide” tease from Page during the segue. At setbreak I ran into the guy from Bittersweet Motel who is asked if Phish can only be seen on drugs. He asked me if I “go to that place too”.
Following the trend since the return in Hampton, as the tour progressed so did the band. In Alpine Valley, Phish once again raised the bar in a spectacle show that had all 40,000 fans hanging off the band’s every note. Night one was one of the most cohesive shows since the return and perhaps even much before that. The first set was packed with memorable moments, including a divine rendition of “Reba”, the extremely rare bust-out of “Fuck Your Face”, a fiery “Antelope” closer, and more.
But what occurred in the second set will be remembered by all who were in attendance as a moment of pure musical satori – a flowing set from start to finish where each song weaved through a web of psychedelic energy. Few moments since the return have achieved a level of transcendence comparable to that which occurred in the combination of “DWD” -> “What’s The Use”. “SOAM” featured one of the best mule-duels in years that saw Page and Trey gunning through phrygian riffs in classic Klezmer style. “Mike’s Groove” featured a welcome landing point in “Dirt” that brought the show back to reality before launching into a funked out version of “Sally”. This show was one to remember, and features one of the best jams of 3.0. A must-listen.
“DWD” -> “What’s The Use” (8.14.10)
The next night, Phish brought the heat again while keeping a rock-focus for most of the show. The first set opened with a surprising “Tweezer” – the first since Hampton ’03 -that remained true to form and acted as more of an energy-builder than a jam vehicle. The set closing “Bowie” featured machine gun guitar work from Trey on his new ‘doc – a theme that carried on throughout the second set.
The second began with the engaging combo of “Ghost” > “Theme”, both including jams that remained close to the songs’ respective structures. “Piper” provided the exception to the rock-based set with an extended section of ambient psychedelia that eventually segued into “2001″. The band closed the night with a four-song encore that included the first rendition of the Velvet Underground’s “Oh! Sweet Nuthin’” in 2010.
(audio to come…)
While I didn’t have the chance to attend the show in Jones Beach last night, what I’ve heard has been great. It seems we are averaging a highlight every other night or so at this point.
Nikon at Jones Beach Theater
Soundcheck: Dog Log, Ginseng Sullivan, Burn That Bridge [Possibly incomplete]
Set 1: Fluffhead, Kill Devil Falls, Cities, Funky Bitch, Wilson, Reba, Walk Away, Wolfman’s Brother, Possum
Set 2: Lengthwise -> Maze, Halley’s Comet > Mike’s Song > Simple > Backwards Down the Number Line > Prince Caspian > Rock and Roll > Weekapaug Groove, Loving Cup
Encore: Show of Life, Golgi Apparatus
 Without whistling ending.
 Norwegian Wood tease (Trey).
Notes: Portions of Wilson were performed by Trey on a toy guitar. Reba did not have the whistling ending. BDTNL contained a Norwegian Wood tease, off-key, from Trey.
[Setlist via Phish.net]
DOWNLOAD: 2010.08.17 Nikon at Jones Beach Theatre, Wantagh, NY
SOURCE: Schoeps CCM4V’S(din)>Lunatec V2>Benchmark AD2K>Sound Devices 722 (24/48)
Alpine Valley Music Theatre
East Troy, WI
Soundcheck: Dog Log, new Trey ballad, Burn That Bridge, Liquid Time
Set 1: Tweezer, AC/DC Bag, On Your Way Down, The Divided Sky, Stealing Time From the Faulty Plan, Water in the Sky > The Moma Dance > Farmhouse, David Bowie
Set 2: Ghost > Theme From the Bottom > Big Black Furry Creature from Mars, You Enjoy Myself > Piper > Also Sprach Zarathustra > While My Guitar Gently Weeps, Character Zero
Encore: Oh! Sweet Nuthin’ > Cavern > Joy > Tweezer Reprise
 Close Encounters tease (Trey).
Notes: Piper contained a Close Encounters of the Third Kind tease from Trey.
[Setlist via Phish.net]
DOWNLOAD: 2010.08.15 Alpine Valley Music Theatre, East Troy, WI
SOURCE: Schoeps mk21 (ORTF wide/FOB) > kc5 > cmc6xt > Sonosax SX-M2 > Mytek Stereo 192 ADC > Tascam HD-P2 (24/96)
Alpine Valley Music Theatre
East Troy, WI
Soundcheck: Dog Log
Set 1: Tube > The Oh Kee Pa Ceremony > Suzy Greenberg, Funky Bitch, Reba, Fuck Your Face, Alaska, Back on the Train, Taste > When the Circus Comes, Lawn Boy, Sparkle, Gumbo > Run Like an Antelope
Set 2: The Sloth, Down with Disease -> What’s the Use? > Scent of a Mule, Mike’s Song > Dirt > Sneakin’ Sally through the Alley > Weekapaug Groove, Bug
Encore: Quinn the Eskimo
 No whistling.
 Lyrics changed to Marco Benevento.
Notes: Reba did not have the whistling ending. The Marco Esquandolas lyric in Antelope was changed to Marco Benevento.
[Setlist via Phish.net]
DOWNLOAD: 2010.08.14 Alpine Valley Music Theatre, East Troy, WI
SOURCE: schoeps mk4v(nos)> CMR> Naiant PFA> Sonosax SX-M2> SD 722
Verizon Wireless Music Center
Set 1: Chalk Dust Torture, Guelah Papyrus, My Sweet One, Axilla, I Didn’t Know, Walls of the Cave, Stash, Train Song > Backwards Down the Number Line, Ocelot, The Ballad of Curtis Loew, Wilson > Possum
Set 2: Halley’s Comet > Light > 46 Days > Maze, Meatstick -> The Mango Song > Fluffhead > Julius
Encore: Contact > Slave to the Traffic Light
 Dave’s Energy Guide tease from Page during segue into Mango.
Notes: The segue from Meatstick into Mango contained a tease of Dave’s Energy Guide from Page.
[Setlist via Phish.net]
DOWNLOAD: 2010.08.13 Verizon Wireless Music Theatre, Noblesville, IN
SOURCE: schoeps mk4v> CMR> Naiant PFA> Sonosax SX-M2> SD 722
Verizon Wireless Music Center
Set 1: Runaway Jim > Punch You In the Eye, Roggae, Cars Trucks Buses > Sample in a Jar, NICU, Horn, Sugar Shack, Wolfman’s Brother > Time Turns Elastic
Set 2: Drowned > Gotta Jibboo -> Bathtub Gin, My Friend, My Friend, Buffalo Bill > Twist > The Horse > Silent in the Morning > Split Open and Melt > Dog Faced Boy, Harry Hood > Golgi Apparatus
Encore: Fee > NO2 -> Kung > Fire
 Trey on megaphone.
 Lyrics changed to “Move over and let Cactus take over.”
Notes: Melt was unfinished. Trey used the megaphone during both Fee and Kung. The lyrics to Fire were changed to “Move over and let Cactus take over.”
[Setlist via Phish.net]
DOWNLOAD: 2010.08.12 Verizon Wireless Music Center, Noblesville, IN
SOURCE: Schoeps mk41 (DINa)> KCY> vms5u + mk21 (NOS) > CMR>naiant
Telluride Town Park
Soundcheck: Nellie Kane, You Better Believe It Baby [Unconfirmed and possibly incomplete]
Set 1: The Squirming Coil, Stealing Time From the Faulty Plan, Ya Mar, Timber (Jerry), Let Me Lie, The Divided Sky, Walk Away, Roses Are Free > Limb By Limb, Bouncing Around the Room, Run Like an Antelope
Set 2: Party Time, Mike’s Song > Crosseyed and Painless > I Am Hydrogen > Weekapaug Groove, Destiny Unbound, Carini > Free > Heavy Things, You Enjoy Myself
Encore: Shine a Light[setlist via Phish.net]
DOWNLOAD: 2010.8.10 Telluride Town Park, Telluride, CO [Torrent]
Source: (FOB) Schoeps mk22> KC5> CMC6xt> Aeta PSP-3 + Schoeps mk4v> KC5> M222> NT222> EAA PSP-2> SD 744t (@24bit/48kHz)
Telluride Town Park
Set 1: Down with Disease, Camel Walk, Ocelot, Light Up Or Leave Me Alone, Summer of ‘89, Stash, Cavern, The Wedge, Possum, Julius
Set 2: Sand > Backwards Down the Number Line > Prince Caspian > Tweezer > Boogie On Reggae Woman > Piper > Mountains in the Mist, David Bowie, A Day in the Life
Encore: Quinn The Eskimo, Tweezer Reprise
[setlist via Phish.net]
DOWNLOAD: 2010.08.09 Telluride Town Park Telluride, CO [Torrent]
SOURCE: Sennheiser MD441U > Edirol R4Pro ( Oade preamp mod ) @ 24/88.2
Amidst the backdrop of the traditional Greek columns, Phish performed a three night run that unfolded as if it was meant to become a live album. Each night, the band seemed to evolve from the night before; and in all three shows Phish displayed a different side of their diverse musical abilities. Over the course of the three nights in Berkeley, the band continued to develop a new improvisational style that has woven itself through the peak jams of 2010.
The first night began with a lukewarm display of standards. While the band was consistently hitting the note, they chose not to embark on any extended journeys. Instead, each song was played with precision charging the energy for the next two nights. On night one, Phish proved they too can play a great rock ‘n’ roll show. The highlight of the night came in a moment of stage banter honoring guitar luthier and former Phish soundman Paul Langeudoc. Trey introduced his newest guitar “Ocelot”, claiming Paul had crafted it from a piece of “magical wood”.
Like any magic device, it sometimes takes the user some time to become accustomed to its arcane ways. On the second night at The Greek, Trey and his magical axe led the band through a start to finish onslaught of psychedelic exploration. A rare event occurred when a ‘named jam’ appeared in the first set, following a delightfully funked out version of “Cities”. As the “Berkeley Jam #1″ kicked in, Page stepped forward allowing an organic form of funk to grow. Each member appears to be riffing of the next member’s notes – incredible stuff. The band took their heavily syncopated groove for an extended jam that featured some of the tightest group playing since the reunion. In the second set, Red’s solos were painted with grace and fire, allowing him to craft melodies atop the band’s layered psychedelia. The highlight of the night, and one of the top highlights of 2010, came when the band took “Simple” for a journey to the cosmos, allowing us yet another glimpse into their continually evolving spacey-ambient jamming style.
Night three was perhaps the most fluid of the three shows, combining both compositions with heavy jams. The first set contained standout versions of both “Reba” and “46 Days”. The second set contained yet another highlight of 2010 in a cosmically infused version of “Light”. The band’s ability to weave together sections of dark and dangerous energy with expressions of joyful triumph is simply beyond in this rendition. The second set also included a masterfully executed “Hood” that features Red prancing around the neck of “Ocelot” (the guitar). Placing a capstone on the three night run, the band busted out “Lizards” in the encore spot(!) followed by a rock solid rendition of “First Tube”.
Phish returns to Telluride tonight (on the anniversary of Jerry Garcia’s death) for the first time since 10.27.91. Stay tuned for updates…
This Thursday Phish will return to the Greek Theatre in Berkeley for only the second time in their career. The band’s only previous visit was in August of ’93, when they played the venue to close out their summer tour. This time, Phish will open the second leg of summer tour 2010 with three shows at the storied venue.
While Phish has minimal history at The Greek, the Dead have certainly etched their mark in the venue’s stone walls. Since 1967, the Dead have played 29 shows at The Greek Theatre in Berkeley (most of which took place during the 80′s). Much like Phish and Camden, there is an undeniable connection between the Dead and The Greek. In the past, the Dead have tapped into a divine energy when playing the venue, creating moments that were seemingly unimaginable. In just two days, we’ll see if Phish can tap into this same source, as they did back in ’93. Today I want to look back at some of the highlight moments from The Greek Theatre, taking us all the way back to the late 60′s.
The Dead’s second visit to the Greek came on 10.20.68 (the first being in ’67). This show is a top-notch performance from start to finish, showing the magic present in the confines of the traditional Greek bowl. This would be the band’s final visit until the 80′s, and showed them in a very different time. At this point, Pigpen was still the leader of the band, and the Dead were only beginning to embark on their lifelong psychedelic adventure. This SBD from The Greek in ’68 captures the band in fine form, and is a staple in any tape collection. Below we have the “St. Stephen” > “Eleven” that features blazing lead work from Jerry – one of the finest versions from a year full of them.
“St. Stephen” > “The Eleven” (1968.10.20)
In 1981 the Dead returned to The Greek delivering three memorable shows that rekindled the band’s connection with the venue. From 1981 to 1989, the band played an annual multiple night run at The Greek, each time delivering at least one show to remember. In ’83 on the first night of a three night run, the band performed one of their finest, and most intimate, shows of the entire year. The highlight comes during the 20 minute version of “Eyes of the World” that emerges from a charging “Estimated” jam. The entire setlist appears to be out of a dream, and bursts with energy from the outset.
“Eyes of the World” (1983.5.13)
When the Dead returned in 1984 for another three night run, something quite special took place, once again on the first night. Apparently, right before the encore the entire band witnessed a shooting star sail across the night sky. Phil asks the crowd to be patient because they want to try something – just this once. Just then, the opening notes to “Darkstar” ring out for the first time in four years, and the last time for another five. A truly magical moment that could only take place in a place such as The Greek.
In 1993, Phish finally made their way into Berkeley to close out their summer tour. When the band arrived in Berkeley they were firing on all cylinders. The show at The Greek acted as the finale to a tour that saw the band drop a highlight each and every night, without exception. On August 28th at The Greek the band explored a lengthy “YEM”, even tacking on an all-out jam on Santana’s “Oye Como Va”.
“You Enjoy Myself” (1993.8.28)
Here’s a video from the ‘Comes a Time: Tribute to Jerry Garcia’ concert at The Greek feat. Warren Haynes and Trey among others.