Verizon Wireless Arena
Soundcheck: Nothing, Let Me Lie, Friday, Walls of the Cave (Unconfirmed)
Set 1: After Midnight, The Sloth, Alumni Blues > Letter to Jimmy Page > Alumni Blues, Mellow Mood, Access Me, Llama, All of These Dreams, The Curtain With > Scent of a Mule, A Song I Heard the Ocean Sing, It’s Ice, Walls of the Cave
Set 2: Possum > Light > Mike’s Song > Simple > Makisupa Policeman -> Night Nurse -> Makisupa Policeman > The Wedge, Ghost -> The Mango Song > Weekapaug Groove -> Llama
Encore: Show of Life
 “From Goddard College” added to lyrics.
 Phish debut.
 With Ghost and Night Nurse lyrics. With Can’t You Hear Me Knocking jam. Unfinished.
Notes: After Midnight was played for the first time since December 31, 1999 (206 shows). In Alumni, Trey added “from Goddard College” after the final “’cause I got a degree” lyric. This show featured the Phish debut of Night Nurse; original artist Gregory Isaacs passed away the night before, October 25, 2010. Weekapaug Groove featured lyrics from Ghost and Night Nurse as well as a Can’t You Hear Me Knocking jam and was left unfinished.
DOWNLOAD: 2010.10.26 Verizon Wireless Arena, Manchester, NH
SOURCE: Schoeps mk41> KC5> M222> NT222> Aeta PSP-3> SD 744t (@24bit/96kHz)
Mullins Center, University of Massachusetts
Set 1: AC/DC Bag > Camel Walk, The Divided Sky, Ride Captain Ride, Stash, Fee -> Time Turns Elastic, Cavern > Run Like an Antelope
Set 2: Seven Below > Wolfman’s Brother, Backwards Down the Number Line > Alaska > Free > The Lizards, Brother, Roggae -> Taste > Waste > David Bowie
Encore: Quinn the Eskimo > Chalk Dust Torture
 DEG tease (Trey).
 Trey sang verses through megaphone.
Notes: Ride Captain Ride was played for the first time since December 10, 1999 (214 shows). Stash contained a brief Dave’s Energy Guide tease from Trey. Trey sang verses of Fee through a megaphone. Chalk Dust Torture was played in an encore for the first time since October 6, 2000 (158 shows).
[Setlist via Phish.net]
DOWNLOAD: 2010.10.10.24 Mullins Center, UMASS, Amherst, MA
SOURCE: Schoeps mk5> KCY> Schoeps VMS02IB + Schoeps mk41> KC5> M222> NT222> EAA PSP-2> SD 744t (@24bit/96kHz)
Mullins Center, University of Massachusetts
Set 1: Meatstick, Party Time, Golgi Apparatus, Kill Devil Falls > Tweezer, Lawn Boy, Sparkle > Big Black Furry Creature from Mars, Hold Your Head Up > Love You > Hold Your Head Up, Possum > Tweezer Reprise
Set 2: Down with Disease > My Friend, My Friend -> Prince Caspian -> Halfway to the Moon -> Boogie On Reggae Woman > Maze, Wading in the Velvet Sea > Piper > Harry Hood > You Enjoy Myself
Encore: Shine a Light
 Japanese lyrics.
 Meatstick lyrics instead of Tweezer Reprise lyrics.
 Did not contain the “Myfe” ending.
 Wilson teases.
Notes: Meatstick included Japanese lyrics. During Party Time, Trey wished “Kevin” a happy birthday (Kevin is the owner of Higher Ground in Burlington). Tweezer Reprise featured band members singing the refrain to Meatstick in place of the Tweezer Reprise lyrics. Prior to Down With Disease, Mike teased the Leave It To Beaver theme. My Friend did not contain the “Myfe” ending and Caspian was unfinished. YEM included Wilson teases.
[Setlist via Phish.net]
DOWNLOAD: 2010.10.23 Mullins Center, UMASS, Amherst, MA
SOURCE: Schoeps mk4v> KCY> Schoeps VMS02IB + Schoeps mk41> KC5> M222> NT222> Aeta PSP-3> SD 744t (@24bit/96kHz)
Dunkin Donuts Center
Set 1: Down with Disease, Funky Bitch, Fluffhead > Roses Are Free, Rift, The Moma Dance, Ocelot, NICU, Sample in a Jar, Julius
Set 2: Rock and Roll, Carini, My Problem Right There, Mike’s Song > Sanity > Simple > Weekapaug Groove, Suzy Greenberg, Light, Character Zero > Also Sprach Zarathustra > Loving Cup
Encore: First Tube
DOWNLOAD: 2010.10.22 Dunkin’ Donuts Center, Providence, RI
SOURCE: Schoeps mk5> KC5> M222> NT222> Lunatec V3> SD 744t (@24bit/96kHz)
Utica Memorial Auditorium
Set 1: My Soul, Stealing Time From the Faulty Plan, Vultures, Wolfman’s Brother > Cities > Guyute, David Bowie, Wilson > McGrupp and the Watchful Hosemasters -> Saw It Again > Run Like an Antelope
Set 2: Drowned -> Sand, Theme From the Bottom, Axilla > Birds of a Feather, Tela, Split Open and Melt > Have Mercy > Piper -> Split Open and Melt > Slave to the Traffic Light
Encore: Good Times Bad Times
 Streets of Cairo tease from Trey.
 Alternate “Genesee Factory” lyric.
 Guyute teases during intro; Wilson jamming with Guyute lyrics.
 Guyute tease from Trey.
 Guyute tease from Trey during outro.
 Guyute tease from Trey during intro.
 Finished from earlier in set.
Notes: Wolfman’s included a Streets of Cairo tease from Trey. The “dry ice factory” line in Cities was changed to “Genesee factory” referencing a local brewery. Bowie featured Guyute teases throughout the intro as well as several sections of Wilson jamming with Guyute lyrics during the song proper. Wilson, Saw it Again and Antelope all included Guyute teases from Trey.
[Setlist via Phish.net]
DOWNLOAD: 2010.10.20 Utica Memorial Auditorium, Utica, NY [Torrent]
SOURCE: Edirol UA-5>Edirol R-09 HR>Nakamichi 300 Mics W/CP4 Shotguns
On Monday night, I was fortunate enough to attend Mike Gordon’s Moss CD release party, appropriately titled ‘The Mossery.’ I arrived at Kenny’s Castaway shortly before 7:00PM, and was greeted by a line that stretched a long way around the corner from the small West Village bar. Luckily, I joined some friends and made my way in just before Mike took the stage.
After meeting Scotty B. of YEMblog and Hidden Track, and exchanging our shared excitement, we casually made our way into the small area that confines the even smaller stage. It’s amazing to think that Kenny’s Castaway was the first New York City venue that Phish ever played, back in 1988. As we stood just feet from our bass-wielding hero, now an accomplished solo musician on his own, it was apparent that this would be a unique experience that we would not soon forget.
Mike was joined on stage by Joe Russo, who had played on some of the original Moss recordings, and Scott Murowsky, along with a rotating cast of guitarists, keyboardists, percussionists, bassists as well as a harmonica player and the odd singer (or someone attempting to do be one). The band played through the grooves from the new album while names were called out and musicians shuffled on and off the stage.
After seeing lots of horns and musicians with their own equipment outside, I was predicting to see some very impressive players. I mean, this is New York. Being in the West Village, and not far from NYU, there were surely some music virtuosos waiting to play with Cactus. Surprisingly, none of the horns ended up sitting in during the set that I saw (however, a friend of mine, who plays bass trumpet and has played with Mike in the past, informed me that he did sit in with Mike during the second set). While not every single player met my expectations, there were a few very talented cats, and many more who were able to hold the groove and add a some tasty licks along the way.
Overall, the music was far better than I expected – a testament to the talent of the three professionals on stage. The way Mike, Scott and Joe moved along with each of the various musicians, allowing the guests’ musical personalities to shine through, was quite something. Basically, I was able to witness a massive jam session with some of the best musicians on the scene today, featuring some random guests along the way. While I didn’t get a chance to play with Mike (I got there a bit late for the first session and was a bit hesitant to get up there and play, and by the time I got my shit together I was too late for the second) I was able to witness this amazing experience unfold as a spectator. This was truly a unique event, and one that I will never forget.
Augusta Civic Center
Set 1: Chalk Dust Torture, Back on the Train, Torn and Frayed, Bathtub Gin, Gumbo, The Divided Sky, Jesus Just Left Chicago, Nellie Kane > 46 Days, Possum
Set 2: Fuck Your Face > Mike’s Song -> Fuck Your Face -> Mike’s Song -> Fuck Your Face > Light -> Twenty Years Later -> Fast Enough for You, Weekapaug Groove, Halley’s Comet > Free > Harry Hood > Golgi Apparatus, A Day in the Life
Encore: Reba, Backwards Down the Number Line
 Manteca quote. No Whistling.
Notes: Manteca quote in, and no whistling ending to, Reba. First Reba encore since 9/21/99 Tucson.
[setlist courtesy of Phish.net]
DOWNLOAD: 2010.10.19 Augusta Civic Center, Augusta, ME
SOURCE: Sennheiser MD441U > Edirol R4Pro ( Oade preamp mod ) @ 24/88.2
On to Utica…
North Charleston Coliseum
North Charleston, SC
Set 1: Kill Devil Falls, Guelah Papyrus, The Curtain With, The Mango Song, Sand, Limb By Limb, Sneakin’ Sally through the Alley, Uncle Pen, Pebbles and Marbles, Cavern > David Bowie
Set 2: Crosseyed and Painless, Dirt, Fluffhead, Also Sprach Zarathustra > Tweezer > Show of Life, You Enjoy Myself
Encore: I Been Around, Quinn the Eskimo > Tweezer Reprise
[Setlist via Phish.net]
DOWNLOAD: 2010.10.16 North Charleston Coliseum, Charleston, SC [Torrent]
SOURCE: (FOB/DFC) Schoeps mk41v’s(DINa)>kc5>m222>nt222>744t
North Charleston Coliseum
North Charleston, SC
Set 1: Punch You In the Eye > Possum, Bathtub Gin, Bill Bailey, Won’t You Please Come Home?, Boogie On Reggae Woman, Destiny Unbound, Backwards Down the Number Line, Bouncing Around the Room, Stash, Joy, Buffalo Bill, Dog Faced Boy, Run Like an Antelope
Set 2: Down with Disease > Prince Caspian > Twist, Roses Are Free > My Friend, My Friend > My Problem Right There, Tube > Mike’s Song > The Horse > Silent in the Morning, Mexican Cousin, Weekapaug Groove, Suzy Greenberg > Slave to the Traffic Light
Encore: Character Zero
 Dr. Jack McConnell on vocals and tap shoes.
 “Mike-O” substituted for “Marco Esquandolas.”
Notes: Bill Bailey featured Page’s dad, Dr. Jack McConnell, on vocals and tap shoes. Antelope’s Marco Esquandolas lyric was changed to “Mike-O.”
[Setlist via Phish.net]
DOWNLOAD: 2010.10.15 North Charleston Coliseum, Charleston, SC
SOURCE: DPA 4023 (FOB, DFC, 6′ up, DIN) > Sonosax SX-M2 > Edirol R44 (24/48)
When Phish announced their fall tour at the end of August, the three night run falling on the weekend of Halloween quickly drew everyone in the community’s attention. But Phish was careful to add that the fall tour would include a “very special Halloween show,” without providing any further details. Since then, rumors have circulated surrounding a possible musical costume, or even a full-on Gamehenge performance.
That all changed on Wednesday when Trey spilled the beans to an LA times writer, confirming Phish’s plan follow their tradition of covering an entire album on Halloween. But what he said was particularly interesting, and has stirred the community in a new direction. As you read this, fans are probably trying to dissect Trey’s words to decipher any possible hidden messages.
“This year…this one’s for me. The one we picked, I’m going to get more out of this as a musician than I ever have before. Three songs into it, I called everybody and told them, ‘None of the other ones – I wouldn’t think, hopefully – will have nearly the effect on my playing this one’s going to.’ ”
This comment certainly narrows the list, but there are still many questions. I’ve put together my own list of albums, in no particular order, that I think would fit the criteria based on Trey’s comment and various other factors. Let us know your thoughts on this year’s musical costume in the comments section.
1. Genesis – The Lamb Lies Down on Broadway
Many consider The Lamb to be the pinnacle of Genesis’ studio albums, and also one of the cornerstones of progressive rock. It’s a concept album, with lyrics mostly written by Peter Gabriel, telling the story of Rael – a Puerto Rican man living in New York – who is trying to rescue his brother from some from very bizarre circumstances. Phish has never covered their music in one of their own performances, but they did perform two of their songs at the Rock Hall of Fame induction ceremony earlier this year.
Trey has publicly professed his love for Genesis, and it would certainly fit the criteria of an album that would change him as a musician. For that matter, I actually think any of Genesis’ Gabriel-era albums would work, and are all possible. Trey has stated that his favorite is Selling England by the Pound, however, the (Gabriel-era) song they performed this year was off the 1972 album Foxtrot. The Lamb also was featured as one of the names of the campgrounds last year at Festival 8.
It should be noted, but not looked at too deeply, that Phish’s Halloween tickets have the same image as a 2007 Genesis poster from Philadelphia, featuring a picture of the Dog Faced Boy.
“Every musical rule and boundary was questioned and broken [by Genesis]. It’s impossible to overstate what impact this band and musical philosophy had on me as a young musician. I’m forever in their debt.” -Trey Anastasio, 2010 Rock HoF induction ceremony
2. Frank Zappa – Hot Rats
Hot Rats was Frank’s first solo album after departing The Mothers. It contains “Peaches en Regalia,” which has been in the Phish rotation since the beginning. Does it fit the criteria? Well, there’s no question that it would change Trey musically. But when he says, “this one’s for me,” I don’t think you could include Zappa. It is widely known that Jon is perhaps even a bigger Zappa fan than Trey (having released an album of hand picked Zappa favorites) so that doesn’t seem to work. But nonetheless, it’s a possibility, and one that was supported by longtime Phish fan, and writer of the Phish Companion, Charlie Dirksen.
Zappa was a huge influence on how I wrote music for Phish. Songs like “You Enjoy Myself” and “Split Open and Melt” were completely charted out — drums, bass lines, everything — because he had shown me it was possible…Zappa gave me the faith that anything in music was possible. He demystified the whole thing for musicians in my generation: “Look, these are just instruments. Find out what the range is, and start writing.” – Trey Anastasio, Rolling Stone 2005
3. Led Zeppelin – Physical Graffiti
With “The Rover” being played this summer, and Trey’s well-known affinity for the band, this one has to be considered in the running. While I don’t see it changing him as a musician as much as some of the other albums, it certainly would be “for Trey”. But once again, Jon is also a major Zep fan. I also don’t see it taking three songs for him to realize the effect it would have on him, he’s probably learned to play the entire album before. I think Zep fans will have to wait this year.
4. Yes – The Yes Album
This album certainly fits the criteria in most ways, and would be a top pick for many fans. Last year at Festival 8 the band could clearly be heard jamming on “The Wurm” section of “Starship Trooper” during the sound check, leading some to believe that this was one of the albums they had scrapped in the decision process. The one obvious issue (aside from the incredibly challenging music) would be Jon Andersons’ vocals – who would possibly be able to sing them? Needless to say, seeing Phish cover this album – and Trey cover “The Clap” – would be one of the ultimate musical experiences, especially for us Yes fans.
“Starship Trooper Jam” (10.29.09)
5. King Crimson – Larks Tounges in Aspic
This album is highly probable, and would certainly fit the criteria in every way. Trey mentioned to Relix in 2003 that he had wanted to learn both Larks Tounges and Brian Eno’s Another Green World for Halloween that year. This obviously never happened, so there is good reason to believe the idea is still on his mind, or at least half of it. While the band has never covered a King Crimson song before, they have jammed around certain themes from this very album in the past – most notably the “Split Open and Melt” from 8.10.97. Along with The Lamb, Larks Tounges was also a campground name last year at festival 8. (Watch Bruford’s drumming in the video).
6. Brian Eno – Another Green World
As mentioned above, Trey referenced this album as a possible Halloween cover album in 2003, and has stated his affection for Eno’s music on various other occasions. It would fit the criteria of being a “Trey album”, and would surely change him as a musician. Brian Eno is largely considered the founder of ambient music, and I think this would suit the band perfectly at this stage, as they have been delving into ambiance quite regularly in 3.0. For those of you who don’t know, Brian Eno is the genius behind a great deal of Talking Heads music – he co-wrote every song on Remain in Light. I recently talked to Talking Heads drummer Chris Frantz about the influence Eno had on their playing during that time period.
7. My Bloody Valentine – Loveless
Consider this the underdog pick. It would fit the criteria in every way, and should be considered a top choice. Trey has pushed hard for this album in the past, and has said how much he enjoys playing albums that people aren’t as familiar with. Kevin Sheilds’ unique guitar style on this album was revolutionary, and has inspired countless imitators in years since (he strummed the strings with the tremolo bar) so that would surely change Trey as a musician. Pitchfork writer, and longtime Phish fan Rob Mitchum made Loveless his call for the musical costume this year in a twitter message written to me yesterday.
“‘Loveless’ is the best album recorded in the ’90s. History will tell, and 20 years from now that album will be considered a complete classic, while a lot of the albums that are real popular today will have been forgotten.” – Trey Anastasio
Over the course of three nights in the Rockies, Phish offered us our first taste of fall tour’s true musical offerings (ACL being merely a warm-up). While mixed reviews came in from various sources each night – perhaps showing the increasing divide in the Phish world – there are evident signs of progress. Each of the shows carried very different vibes, with highlights strewn amongst all three.
Mike and Trey both seem to have groomed their instruments’ tones (perhaps in preparation for Halloween) allowing them to fit into the mix much better, in my opinion. With that said, I think it’s safe to say we have entered the next phase in the evolution of Trey’s tone. But that’s a discussion for another day. For now, let’s take a look at the highlights from Broomfield.
The first night was far more straight-forward – setlist-wise – than the following two nights. There were fewer risks, and as a result, fewer blemishes. While not all fans were pleased with the “Phish-standard” filled first set, the band sounded very tight and rehearsed. Even though the songs were standard, they were well-played and it brought a fresh energy to them.
The second set “Ghost” gave us our first indication of the improvisational direction the band will take this fall. The song came out of a gorgeous “Simple” jam that features a modal excursion between Mike and Trey that would even make Jim Hall proud. Just as the “Simple” jam slips into a blissful ambient section, the crackling of “Ghost’s” intro rings out.
The band works with a noticeable patience as they takes the standard minor jam to the next level, while gradually sliding into an uplifting major-key segment. The jam explores multiple themes, none of which seemed remotely similar to the jams during the summer (when many jams featured common themes). This is a major sign of progress – the music went in new directions, and each member seemed to have something fresh to contribute. Trey also debuted one of his new tunes called “My Problem Right There,” following in his transition toward more of an adult contemporary rock style of songwriting (or “latter-era-Clapton” style as I like to call it).
The second night kicked off with another classic first set, although this time the songs were far from “standards.” The band took no time breaking out “Jim,” “Wolfman’s,” “Reba,” “Haley’s,” “Tweezer” a new song written by Mike and “Antelope” all in the first set. Both “Reba” and “Tweezer” were fully engaging versions, and followed in the musical progression from the previous night. “Reba” blossomed into one of the best versions of 3.0 – featuring some great interplay between Trey and Page – while “Tweezer” delivered a scorching rock jam. The whale saw minimal use, and when it did rear it’s head, it was used tastefully and fit the moment.
Yet another sign of progress came when the band sidestepped the anticipated list of openers for the biggest surprise of the run in the bust-out of TV on the Radio’s “Golden Age.” While apparently Trey had voiced his dissatisfaction with the version from Albany last year, he chose to put his issues aside appeasing the fans with another lyrically butchered version of the underground indie hit. But as DGB reader Drew pointed earlier this week, sub-par vocals and great instrumentation can pretty much describe Phish’s entire musical career. A brief jam on “Golden Age” made its way into an even briefer “Piper” that kept things pretty close to the song’s structure. The rest of the set followed this theme, and wound up with a few too many straight-forward songs.
“Golden Age” > “Piper“
But it was the third night in Broomfield that seemed to divide fans the most. It’s safe to say that the show suffered from some poor song placement, but there were multiple highlights that, in my mind, seemed to make up for any lack of flow.
It’s specifically the “Carini” > “Bowie” that I am talking about, along with the set ending “Split.” The jam out of “Carini” that magically makes it’s way into a psychedelic “Bowie” intro, is not to be missed. This transition was one of the best in some time, and caught my attention the moment I first heard it. The jam winds into an ambient soundscape that is loaded with subtle nuances and primal psychdelia. The band eventually coalesces as the intro to “Bowie,” funneling the energy from the previous jam and flying off in all sorts of directions. There are some poor song choices that follow, but again, the set-ending “Split” it not to be overlooked.
“Carini” > “David Bowie“
Torrent downloads for all three shows from Broomfield can be found in the posts containing the setlists.
Mike Gordon has announced a one-of-a-kind musical event to take place on Oct. 18 at Kenny’s Castaway in New York City. The show is free and guests will have a chance to play with Mike (instruments are provided). It will be a first come first serve basis, so make sure to arrive early if you are hoping to play with Mike. Gordo’s new album Moss, will also be available for sale.
The first half of the event will start at 7:30pm and continue through 9:00pm. The people in attendance will then be asked to leave to make room for the second half of the event, with all new participants, which begins at 9:30pm and continues through 11:00pm.
[For more info head over to MikeHYPHENGordon.com]
Set 1: Stealing Time From the Faulty Plan, Time Turns Elastic, Meat, The Divided Sky, Timber (Jerry), On Your Way Down, Heavy Things, Sugar Shack, 46 Days
Set 2: Carini > David Bowie, Light, Theme From the Bottom > Free > Joy, Halfway to the Moon, Bug, Summer of ’89, Split Open and Melt
 Harpua teases from Trey.
Notes: Carini ended with a meandering jam during which Trey teased Harpua several times. The first of the trapped miners in Chile emerged during the setbreak, and the second during Theme>Free>Joy. After the band finished Meatstick, the audience continued the song and dance for 8 or more choruses.
[setlist via Phish.net]
DOWNLOAD: 2010.10.12 1st Bank Center, Broomfield, CO [Torrent]
SOURCE: FOB/DFC > Neumann ak40′s(NOS) > lc3 >km100 > Aerco mp2 @ 20db > Sd 702 @ 24/48
“Split Open and Melt”
Set 1: Runaway Jim, Foam, Back on the Train, Wolfman’s Brother, Reba, Halley’s Comet, Tweezer, What Things Seem, The Squirming Coil, Run Like an Antelope
Set 2: Golden Age > Piper -> Camel Walk, Alaska, Gotta Jibboo, Wading in the Velvet Sea, Twist, Fluffhead > Backwards Down the Number Line
Encore: Sleeping Monkey > Tweezer Reprise
Notes: What Things Seem made its Phish debut. Antelope included a call-and-response between Trey (“Marco!”) and the audience (“Polo!”).
[Setlist via Phish.net]
DOWNLOAD: 2010.10.11 1st Bank Center, Broomfield, CO [Torrent]
SOURCE: (FOB/DFC) Schoeps mk4v’s(DINa)>kc5>m222>nt222>744t
Set 1: Chalk Dust Torture, Ocelot, It’s Ice > Bouncing Around the Room, Funky Bitch, AC/DC Bag > NICU > The Moma Dance > Horn, Stash, Golgi Apparatus
Set 2: Mike’s Song > Simple > Ghost > Weekapaug Groove, Fee > Makisupa Policeman, My Problem Right There -> Makisupa Policeman -> Slave to the Traffic Light, Strange Design, Julius
Encore: Loving Cup
 With megaphone.
Notes: Before Fee, Trey waved the megaphone around, and he also waved it around during Fee’s coda, and he used it to create feedback during the first Makisupa.
[Setlist via Phish.net]
DOWNLOAD: 2010.10.11 1stBank Center, Broomfield, CO [Torrent]
SOURCE: (FOB) Schoeps mk4v’s(DINa)>kc5>m222>nt222>744t
Fourmile Canyon Benefit
1st Bank Center
Trey Anastasio & Mike Gordon
Fourmile Benefit 1st Bank Center Broomfield, CO
Get Back On The Train, Water In Sky, Sample In A Jar, Train Song, Waste, Possum, My friend My Friend > Wilson, Bathtub Gin
The String Cheese Incident
Fourmile Benefit 1st Bank Center Broomfield, CO
Mouna Bowa, Rocky Mountain Way*, Outside and Inside*, Galactic > Round the Wheel, Sometimes a River, Who’s That Lady**, Sittin On Top of the World^, I Know You Rider^^
Enc: One Love^^
Notes: *with Trey Anastasio **with Todd Park Mohr ^with Drew Emmitt, Vince Herman, Andy Thorn, Bill McKay, Bonnie Paine, and Todd Park Mohr ^^with Drew Emmitt, Vince Herman, Andy Thorn, Bill McKay, Bonnie Paine, Jeremy Lawton, Jeff Austin, and Todd Park Mohr
[setlists via Jambands.com Box Scores]
DOWNLOAD: 2010.10.09 Fourmile Canyon Revival Benefit, Broomfield, CO [Torrent]
SOURCE: Schoeps mk4v’s(DINa)>kc5>m222>nt222>744t
“My Friend” Mike & Trey
“Rocky Mountain Way” SCI feat. Trey
Set 1: Down with Disease > Cities > Possum, Wolfman’s Brother,Chalk Dust Torture, Rock and Roll > Also Sprach Zarathustra >Backwards Down the Number Line > Harry Hood -> Light > Suzy Greenberg > You Enjoy Myself
Encore: Cavern > First Tube
Notes: This show marked Phish’s first appearance at the Austin City Limits Music Festival. Hood was unfinished.
Phish kicks off their fall tour tomorrow night with a show at the Austin City Limits Festival. The band soundchecked one of the songs written by Trey and his new songwriting partner Amanda Green, “Burn That Bridge”, who he has reportedly been working with for the past few weeks (while his old pal Tom Marshall went off to work with The McLovins). They seemed to be working on the song, and were said to have played it multiple times. It was also reported that the members of Phish played with at least one of the other musicians featured on the lineup. Possible guest appearance maybe? Stay tuned…
The other day I featured “The Riverport Gin” from 7.29.98. I’ve since received several requests for the “The Went Gin” from 8.17.97 to be posted, so here it is in a two part video. The results from the Riverport vs. Went poll will be announced on Friday so remember to get your votes in.
Today’s selection comes fresh off the top of the vault from Furthur’s recent appearance at Red Rocks. Since Furthur started playing shows last year, I’ve tried to keep up, but was admittedly not giving them the attention they deserved. People around me who would think of themselves as Deadheads seemed to be oblivious to what was happening with the band, and were rarely, if ever, listening to their shows. I was keeping my ears open, but did not fully realize how great this band really is. When I finally got a chance to see them this summer (after having been snowed out of my previous attempt in Buffalo) I was completely taken aback by the cooperation between the musicians on stage and have since been downloading and listening to their shows quite frequently.
When the setlists from the Red Rocks shows emerged on Oh Kee Pah Blog, I couldn’t wait to get my hands on the recordings. And after reading this Hidden Track review, I was even more excited and downloaded several copies from each night to find the best source. These shows not only seemed to recreate some of the musical experience that was lost after the Dead stopped touring in ’95, but actually seemed to be taking the music furthur. The show from September 25th, in particular, should be heard by anyone who considers them self a Deadhead. It’s the real stuff folks.
Right out of the gate we are treated to the opening combination of “Help On The Way” > “Slipknot” > “Franklins” (reminds me of another great show). But it doesn’t stop there. The band continues to cook through the first set and hits a major peak in the triple-decker “Viola Lee Blues” that sandwiches “Bertha” and “Cumberland Blues” in between.
Set two arrives with a fairly new Furthur original called “The Mountain Song“, a song that applied Robert Hunter’s lyrics to an unfinished arrangement by David Crosby. This was a fitting opener amidst the Rocky Mountains of Colorado, and is precisely what separates Furthur from the previous incarnations of the Dead in the past ten years – progress. “I Know You Rider” comes next and the entire band locks in, as Jeff and John exchange off on blistering solos, full of energy. And then, the music gradually slips into the “Terrapin Suite” in its entirety (debuted at Furthur’s Festival in Mt. Aire this year). It’s a half-hour long journey, cut from a rare cosmic fabric, that veers down a path of far-out psychedelia. The music is executed masterfully, with Joey Russo’s drumming standing out as the highlight.
Then, just as we return to earth following the “Suite”, John’s guitar lines catapult us into a soaring version of “The Eleven” and we take off once more for the cosmos. The energy is brimming at this point; it’s so strong you can feel it coming off the tape. The entire band is locked in throughout the jam with each member riffing off each others’ notes. You can hear Phil adding subtle phrases to which John latches on and explores them in his own way.
The music eventually dissipates, spiraling effortlessly into “Unbroken Chain” and the jam charges along with the entire band fully connected. Rather than individual solos, it’s more of a group jam that continues to take the music to new peaks. But just as the jam nears its end, we hear Phil flurting with the bassline of “Darkstar”. And then it happens. The band launches into their epic jam vehicle. However, this version is reasonably brief and fades into “Stella Blue” instead of exploring a lengthy jam. But it’s no matter, there is still more to come.
Following the beautiful “Stella” jam, Phil lays down the unmistakeable bassline for “The Other One”. The highlight for me here is the way that Joey and Phil syncopate their lines, filling the gaps in each others’ phrases. And Bobby, who has received a ton of flack for his mistakes and shortcomings, is completely on throughout the entire jam (and show for that matter). His vocals are delivered perfectly, and it reminds us of the power that Bobby’s voice can bring to a song. Once again, this is a full group effort – there is no aimless noodling, only rich group jamming.
I hope you enjoy this recording as much as I do.
“The Other One” (9.25.10)
DOWNLOAD: 2010.09.25 Red Rocks Amphitheatre, Morrison, CO [Torrent]
SOURCE: Milab VM-44 Link -> Lunatec V2 -> Tascam DR-680 (24/48)
STREAM: 2010.09.25 Red Rocks Amphitheatre, Morrison, CO [MP3]
SOURCE: AKG483>V3>MT2496 (16/44.1)
Built a fortress on a hill
I built a castle in the sky
I built a lean-to in the village down below
A fountain where the land was dead and dry
I built a palace overlooking seven seas
I built a church upon a stone
Gonna let my pastures go to seed
And let the mountain be my home
-The Mountain Song
(all photos courtesy of @furthurband)
There are certain jams that come to define the shows from which they are a part. Like the “Camden Chalkdust” or the “Providence Bowie”, these jams contain extra special musical highlights that represent peak moments in the band’s career. One of these jams is the “Riverport Gin” from 7.29.98 (included as the filler on Live Phish 17), which frequently contends with the “Went Gin” for the “best ever” version. While any “best ever” discussion is sure to enter subjective waters, there is little argument that this version is the strongest of the year (which happens to feature several memorable outings of the song).
The “Riverport Gin” landed in the opener position and treated fans to an extended jam right from the outset. Following the composed section, Trey quickly begins to latch onto some melodic lines that seem to effortlessly glide over the groove. The jam takes on a soaring, “Went-like” quality, but eventually Mike begins to slightly alter his phrasing, hinting at a new direction. It takes little time for the other members to jump-on, and before we know it, we’re riding the rails of a charging funk train. The transition is so smooth its as if the jam was charted out; as though there are no wrong notes to be played.
The funk paves the way for a heavily syncopated jam and we are taken into a section that can only be described as “primal groove” – each member riffs of one another; fully connected on all levels. As they ride this pulsing electro-groove, you can’t help but be amazed at how close the band is listening to one another. Phrases are exchanged; volume and tempo swell and recede. All signs demonstrate that the band is far less than four separate individuals, but rather one single expressive force bound for the deepest form of cosmic exploration. As the funk winds down, the song’s theme reemerges for a triumphant finish that concludes one of the finest openings to any Phish show, ever.
So without further ado I present to you:
“The Riverport Gin” (1998.7.29)
Let us know which version you prefer, and leave a comment telling why.
[picture courtesy of GlowStickWars.com]