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Here are the 15 most recent reviews submitted

kevinAreHollo , attached to 1994-05-19 Permalink
Based on David Steinberg's recommendation of this particularly spooky Stash, I gave this one a spin tonight.

I'll get right to the point: how this Weekapaug isn't on the jam chart or highlighted as Noteworthy is beyond me. It's jaw-dropping in it's conciseness, no time wasted or breathing room, just a sub-7 minute runaway mineshaft ride with Trey doing his best Indiana Jones.

Temple of Doom is right.

Mike starts this thing off with a bunch of wild slapping figures, trilling chords way up the neck in a way I simply have never heard him play before. They come in like an oiled machine and the rest is a force of nature. How's that for mixed fucking metaphors.

Isn't that it though? These guys playing loosely with organic material in crazy mechanical ways? Listen to how Trey and Mike IMMEDIATELY play the same descending figure out of the jamming gate. They do it again towards the close. In fact, Fishman, who is a maniac this entire show, gets in as much crash action as a metal freak would want or need and follows Trey's leads more than once.

And Trey. Fucking Trey! It's more than Machine Gun. He simply smokes his lines with some sort of cool abandon, making things sound effortless but leaving you breathless just the same. It's funny. Made me laugh out loud. It's faster and more melodic and of a creative energy that didn't or doesn't exist then or today. His penchant for Languedocian feedback bleeds into his solo, and the result is ear-splitting sirens and Howitzer wails stuffed inside these monstrous jazzy runs. Nuts.

I can't wait to listen to the Hood tomorrow.
Score: 0
NiceGuyMike , attached to 2004-06-19 Permalink
NiceGuyMike Downloaded this SB yesterday and gave it my first ever listen. What a show! I certainly had not heard much from 2004 but I'm glad I took a chance based on the stellar .Net reviews.

Fishman absolutely slays it this whole show, but particularly on the set 2 opening ASIHTOS, Piper.
That Piper will certainly stay in heavy rotation on my iPod. If you have not heard this one yet, do get the SB.
Score: 0
FunkyCFunkyDo , attached to 2003-07-12 Permalink
FunkyCFunkyDo Gorge shows are magic. There is no possible argument against that. The venue is a psychedelic epicenter that you must be there, in person, to feel, appreciate, and ultimately respect. Its grandeur and immensity is not gaudy or forced - the backdrop, the environment, is one nature itself created and thus is adulterated and raw. It is pure. It is beauty. Because of this, regardless of what the setlist may dictate, Gorge shows ought to be listened to with ears filled with cosmic wonder.

Taste gets things rolling with an accelerated, open air twist on a classic tune. That's the Gorge for you. It, in and of itself, serves as an amplifier for any songs... all songs. To get things started with a spiraling Taste was a treat. This Taste at first features very nifty Page-piano work before Trey aggressively takes the lead and takes the jam to, as a I said earlier, a spiraling climax. Now, I try to look at the bright side of everything, and seeing a show at the Gorge is validation enough, but the next six songs simply do not flow. Mexican Cousin was a fun, off-balanced treat, but placing it in slot #2 was ill-advised. Stash came next and attempted to regain that momentum that Taste generated, but it fell short. Not much to write about with this Stash. NICU was standard affair. Heavy Thing was standard affair, and even Trey's solo felt just a little... off. At this point I am wondering, "Hmm... seems like the band is searching for that jam, rather than letting it come to pass on its own." It felt, not forced, but not also urgent; almost nonchalant in the sense that the band's passion was a little subdued and nothing was being done about it. Mock Song and Army of One really sucked the air out of the set. I quite enjoy Mock Song, given its rarity and quirky studio but it was a terrible pairing of songs after NICU, Heavy Things. Maze comes in next and finally we get some energy back. Too little too late? No such thing. Phish plays a hearty, gritty, swirling, intense, extended version of Maze that is able to cover up some of the lackluster selections that preceded it. After Page's frenetic organ solo which led into Trey's heated guitar solo, the band drops into a full conversation of snarls and growls. Not angry at each, no, but unleashing some pent up energy that the flow of the set let build and boil. All that energy was unleashed during this extended Maze. And even though the set leaves A LOT to be desired, the bookends give us some high-quality energy to feed the second set.

Piper set 2 opener, yessss please! Gotta admit, I had a little apprehension as to what would open set 2. Like I've said earlier, I go into these listening sessions without looking at setlists (not always beneficial, as some shows I know by heart... but this was not one of those, so I was unaware to all the surprises, good and bad). I pull up phishtracks, click the show, hang out, and occasionally partake in a living room dance party with Mrs. Funky that usually spills out onto the balcony... most of the time pantsless. Well the pantsless dance party wasted no time getting started. Piper locks into a high-powered rock groove right out of the chorus. I mean it really drives. Whatever they talked about at setbreak made a difference, because this jam has an attitude, a swagger. I am a smiling kind of guy, but this is a jam which if I was there in person, I would put my head down, narrow my eyes, and focus in on the intensity - trying to out-dance the pace of the jam. Whew. What a jam! It fades slowly into, god damn it, Two Version of Me. Set 1 all over again? Please no. Another bad selection to follow up a fiery jam. What's that I hear. The opening lick to the song that usually winds up with me behind bars due to the level of controversy my dance moves create? Oh. Oh yes. Tweezer. At this point I was eating my words (thoughts?) on the poor setlist construction. Tweezer saved the day, as it usually does, and I evaded the police (frankly, they were baffled by Walking Through Unseen Spiderweb at Night - my 6th most controversial dance move). The Tweezer energy was short lived, however. A brief, slow tempo jam playing on the Free riff led into a meandering, directionless "jam" that never got going. A fun segue into Dogs Stole Things perked everyone back up, as this bust out is fun, comical, and loose. Well placed. Water in the Sky comes next and my doubts about this set and show start to re-creep back in. A twinkling Page solo and an even brighter Trey solo assuage my fears ... and I know at this point (having a soft spot for the next song which I already knew by heart) that we are going to end on a high note. Ever wonder to yourself, "What's the best Ghost I've never heard." This one is. Oh man do I LOVE this Ghost. Slinky, sultry, spacey, break-downy. This Ghost has it all. It's like Phish saved it all for one, apex jam late in the show. I mean this thing just bubbles over with creativity. Akin in some sense to 2.26.03, this Ghost tinkers in the quantum, meaning the jam is small, quiet, and groove-based - not overwhelming or seismic. It tip toes and slinks around, whisping curls of musical mist into the atmosphere. It hits a "peak" of sorts, albeit respectfully restrained, and settles back into the Ghost theme before ending properly. Just a phenomenal version. Must-hear for sure. The high hat starts and the effects are layered. David Bowie. Now we're talking. It's never too late for a dance party. An above average Bowie that showcases some energetic chaos hits just the right spot to follow up that hypnotic Ghost. Bowie creeks along, moving in and out of psychedelic overtures before culminating in 4 well executed, tension filled, on-the-button peaks! Great stuff here. A rockin Frankenstein, Tweezer Reprise encore sends us off into the cool Gorge evening air with a renewed sense that Phish is ready to bring back the jams after its previous 3 sets asking, "Where did the jams go?"

Must-hear jams: Maze, Piper, Ghost
Probably-should-listen-to jams: Taste, Water in the Sky, David Bowie
Score: 0
FunkyCFunkyDo , attached to 2003-07-10 Permalink
FunkyCFunkyDo Last night's show was a great Phish show. Tonight's is an economical one.

Perhaps the weakest opener of the entire touring year starts thing off with a whisper. The song Spices, as in thee song itself, has legs if it practiced enough. Simple and pretty, it feels like it could go places. Emphasis on could. However the jam is a total train-wreck. Its a directionless, wanked out "huh?" fest. Thank god Waves comes in to save the day. More like runs into Waves. Whatever, I digress. (see, I can be negative). From here, the set is actually pretty decent, economical, but man does that Spices ever nip in the bud the potential for this show to be as great as its predecessor. Onto Economy Phish. Waves has a pretty and timely, which added to the value of the already peppy Waves. Waves settles into Reba, and the set has legs. Reba is composed in a more hazy feel this time around. Played well to my ears, technically speaking, its tone is just a little... fuzzy. Reba should be crisp and neat, this one doesn't have. Now, that's not necessarily a bad thing. That 2003 tone, which I find pretty cool, permeates through this version (albeit making it sound less "classic"). It grows confidently to a triumphant peak and were back on track! This nifty little Reba jam picks up on the energy Waves radiated and progressed very nicely to its peak. Lawn Boy can be a hit or miss song depending on the feel and loose-energy of the set. Meaning, sometimes the heartfelt comedic Page crooning fits right into the vibe; sometimes that change in direction slows down some hard earned progress. This Lawn Boy falls into the latter in my ears. It felt just a touch of out place...not totally, but enough to dilute the set at a noticeable level beyond the comedic goofy value. Thankfully, a truly earthy Moma Dance comes next, and we are back on track. Clocking in just under 13 minutes and full of musical clay that Mike is forming with deep bass grooves, this Moma rumbles along nicely. Slow and thick, but not entirely funky, this groove elevates into space before settling into Run Like an Antelope. Some playful opening-section back and forth injects just that much more life back into the set. Really fun stuff, sets a good mood. The jam is focused, but maintains a soft edge of intensity, ever-building to a great climatic peak, even if not as an explosion. 3 solid songs, 2 out place songs, and 1 that was somewhere in between. Economy, in a sense.

Set 2 starts off with a jolt. 46 Days has a nice spark to it, really rocking the venue! It flirts with going into an extended type 2 jam ever so briefly before Trey reels it back in. It returns to the chorus and, all said and done, this feels like a good springboard. Divided Sky is not what anyone had in mind, but the surprise was welcomed! (and would be even moreso some 19+ minutes later when this contender for "Best Ever" finishes). Like Reba, the composed section had a muted, but still well-executed feel. I kind of like this tone of Divided Sky...feels like clouds, appropriately. But let's get to the jam. Hoooo man. Is this ever sweet! Trey is adeptly, nimbly picking his way through this thing at first. Like running his hands through blades of grass, each making its own note burst with color. The full band locks into a bouncy groove, and starts to run a triumphant progression toward the expected peak. Ha! Expected. Phish rarely does the expected. At this moment they methodically bring the jam down into some *close to type 2* jamming that is equal parts space, quantum, and beautiful. Page layers some fantastic effects over the minimalist breakdown groove as Mike and Trey are trading soft humble notes back and forth. They then swirl out microscopic and return to a very inspired peak! Seriously has to be considered as one of the best versions of the song they have ever performed. It IS that good. Ok I'm gonna kick you in the nuts now. Ready. Friday. How'd that feel? Yeah, me too. A weirdly started, "get right into it" Free comes next. Anything is better than Friday at that point, and this relatively benign version of Free still was able to make our balls hurt less. A sneaky good version of Seven Below comes next. Rarely mentioned because it's buried in a relatively tame set of a tame show, this Seven Below swirls and blossoms into a very breezy, uplifting jam. A secondary highlight to the Divided Sky, but a highlight nonetheless, this jam packs a good amount of substance into a short little period. Economical. Wading comes next and deflates any energy that Seven Below had created. Bummer, set started to have legs, A compact 2001 never quite rebounded form the Wading punch. I think this one was on sale though. Hmm. It feels like they are winding down the set before Down with Disease growls into the darkness. Finally! Some jamm... but... ahh damn it this is gonna close the set! It scorches along for a solid 9 minutes and maybe they're gonna take it out there.... maybe.......... sadly no, they swoop back into the refrain, albeit with a flourish, and set show comes to an end. At least they ended on a high note :) Rift, Zero was actually a really cool encore pairing. 15 minutes of frenetic, well placed energy, this was a very good way to end the show. Really ended on another high note. All and all, there were a smattering of good jams interwoven into this mixed bag of Phish. A couple ill-placed songs really jilted what could have been, and had the promise of, a great follow up show to 7.9.03. But it never came to be. Nonetheless, a good economy of songs to choose from should you want to dive into some Phish I can almost guarantee you've never listened to.

Must-hear jams: Divided Sky, Seven Below
Probably-should-listen-to jams: Reba, Moma Dance > Run Like an Antelope
Score: 0
FunkyCFunkyDo , attached to 2003-07-09 Permalink
FunkyCFunkyDo For now, let's nestle back into the warm summer wind of 2003. Two pendulum-esq shows in, with moments swinging from very amazing to very questionable, show #3 is about the time the band starts to find an identity within the tour. Let me put it another way, if Summer 2003 was a pirate map, there would be a series of squiggly dotted lines connecting 7.7 and 7.8 with a HUMUNGOUS X over Shoreline night 1 before the squiggly lines continue onward to the next treasure. 7.9.03 is what a Phish show is all about.

When You Enjoy Myself opens a show, it is already worth the price of admission. Period. With a full-circle nod to the final show Phish played at Shoreline in 2000, encoring with YEM, Phish completes their journey back to the venue with a show opening YEM. This YEM has a softer feel and tone. Juxtaposed against the still smoldering show-opening 2.26.03 YEM, this one has a laid back, breezy vibe from the get go. Patiently and diligently working its way through the composed section, the jam actually hits a fiery little peak before ebbing back into warm ethereal-ness. YEM settles into a patient groove, short and sweet, for about 60 seconds as it then seamlessly bubbles into Simple. A true -> . What an opener. Normally I have about 13 exclamation points when I say that, but show deserves respect for how mellowly it permeated the venue. Exclamation points would take away from the subtlety and beauty of the jam and segue. Simple gets into a pure, soft, heartfelt jam that swirls like a leaf in the wind. This is a special version. It sways like a giant oak limb in the breeze, leaves detaching without violence and dancing in the soundscape of Shoreline. The flutter to the ground and land in the Mist. Perfectly constructed set so far. True, organic beauty. Compared to the first two shows, one might think this is from a different year, let alone tour, entirely. Chalk Dust gets into an extended type-1 jam, still with a soft edge, but a hard rocker any way your ears hear it. A great jam to follow up Mist. Bathtub Gin sashays into the setlist. And I do mean sashays. With the rhythm section taking control from the get go, Mike and Fish anchor this 26-minute, intergalactic multibeast. A first, trey is nimbly picking. Then Mike takes over about 8 minutes in. A deep, soulful bassline, Fish wastes no time picking up on it and dancing around the woodblocks to make this a softcore porno funk groove. Truly sultry playing. The groove starts to evaporate into some more Trey led (what sounds like) tension and release style peaking, but it doesn't quite get there. Instead it takes a right turn at Albuquerque and ventures off into deep space. Passing the Orc Cloud, this Gin teeters on the event horizon of space jamming (not just noise, but actual jamming). Trey and Mike have some great interplay while Page is doing something just amazing with his affects... no idea how to describe or quantify the sounds... pure space. The jam finally loops around a passing comet and slingshots back into Earth, returning into a subtle Gin theme before dissolving peacefully into another, short, interstellar episode. An amazing, complete set. Wow.

Set 2 starts off with promise. A spunky Boogie On gets the ball rolling but never becomes fully realized. In fact, I think this was planned: to have it be a funky, energized springboard for whichever song came in next. Without missing a beat, literally, they drop into AC/DC Bag and really get after it. Trey NAILS the peak and this is a hot rendition. As it twinkles down in the outro, Piper builds up. Still containing that soft tonal edge, Piper immediately takes off into a smooth orbit of a jam. Much UNLIKE Winter 2003 Pipers, this one is not bouncy or percussive. It is, in fact, very unique in how it steadily gets out there. It keeps going, and going, like a spaceship without a re-entry plan. It really goes. I can't quite put my finger on the sounds and tones, but man is it ever unique. Pretty, spacey, pretty spacey, and downright focused, this Piper finally settles down some 17 minutes later into a humble and patient jam. This jam dissolves into Twist. Twist, now this is a fun version. The first 4 minutes of the jam are rocking, high-energy and full of zest. Then it breaks down in BRILLIANT fashion. Some uber-nimble tones and picking from Trey led to 3 complete start/stop segments highlighted by Mike giving an off-tone, single note, "bewwwwwww." It's giggle Phish! You'll laugh to yourself for sure upon hearing it. Twist then takes on the theme of the second set and dissolves into really eerie space. Some more crazzzzzy affects from Page highlight the 3 minute psychedelic venture, and Mike is hammering some weeeeeird bass affects as well. Great stuff to listen to. Then, you hear it. Those circus-esq notes. Over the space you hear them. Tumbling in. Scents and Subtle Sounds intro. Just fantastic. Man, do I love those intro notes. SASS is beautifully played, really truly beautifully played culminating in a cathartic climax. A must hear version, absolutely. After some brief discussion and what sounds like an Antelope tease, Mike's Song drops in next. This version is weird. It is not dark or gritty, like Mike's typically are, no. It is screech-y and loop-ridden. I am not the biggest fan of this Mike's. Also, it's peak, though the typical notes, are not played in typical fashion. I'm not sure how else to describe it other than... weird. Hydrogen drops in next to form the natural Mike's groove and it played very well. Weekapaug shuffles into the mix and has a raucous, superball (the toy, not the festival) type of jam. It really is fun! It really BOUNCES. Complete with a full band breakdown with Fish yet again on the woodblocks, there is some circus-esq playing that is, again like Twist, downright funny. Great way to end the show! Loving Cup is timely, rocking encore with nothing else to be proven after this amazingly fluid show! A true gem!

Must-hear jams: You Enjoy Myself -> Simple, Bathtub Gin, Piper > Twist -> Scents and Subtle Sounds, Weekapaug Groove
Probably-should-listen-to jams: Chalk Dust Torture, AC/DC Bag
Score: 0
Jungleman , attached to 2010-06-24 Permalink
As of this writing, if you've made it all the way to this review, kudos...

June 2010 has had some highlights, & this 20 Years Later is among them. Anyone who wants to know just WHY Mike is one of the most attentive, creative, & downright Fine bassists ever, check out where he goes here. This is not to detract from any of the others' performances, it's simply worthy.

Peace & happy Phishing!
Score: 0
Shae_Dougall , attached to 1990-09-20 Permalink
Shae_Dougall Like much of 1990, I feel like much of this show can be sufficiently absorbed by simply taking any of the songs played during the year and listening to them in the evening's setlist's appropriate order. Phish was building a fanbase and as such, they rarely left the type-1 jamming box they so frequently occupied. A lot of fans (myself included for the most part) consider the early days of Phish mostly inessential for that exact reason, but there are still some interesting things going on here, and this is one of the top-tier shows of the year.

Exhibit A: Setlist flow. One common complaint of early Phish is that they had no concept of how to construct a setlist with proper song flow (occasionally complained about to this day!). This setlist is definitely out of the ordinary for the time because of how well the songs fit together. There is nothing jarring at all about song placement in the first set, and the Magilla through Possum to close the set is an excellent run of well-played tunes. In an era where type II jamming was still at a premium, setlist flow is markedly important, and they nailed it here.

Exhibit B: The Tweezer/Buried Alive sandwich. Um, what? This may be one of the first examples of Phish just ripping into a song right in the middle of another, and it must have been mind-blowing at the time. It works surprisingly well, although perhaps a bit jarring at first. The return to Tweezer is excellent, and Trey brings it to a satisfying conclusion with a fiery finish.

Exhibit C: The secret language has started to emerge by this point in 1990. After a lengthy break from playing shows, the band had written something like 15 new songs and developed a strange, new system of teasing whatever they wanted whenever they felt like it. Trey peppers many of the songs with Oom Pa Pas and countless Charlie Chans. The Tweezer and Antelope are definitely worth a listen for fans of the "ludicrously out of place" musicality.

Exhibit D: Check out this McGrupp!!!!! Unbelievable work from Page!

A soundboard quality recording from 1990 with a lot of well-played favorites with great setlist flow and a couple of bonafide highlights in Tweezer and McGrupp equals 4 stars from me. Give it a listen!
Score: 0
myers33 , attached to 2015-08-22 Permalink
Divided Sky was somewhat predictable, the sky did indeed divide that morning. After that I'd say the first set wasn't bad but wasn't special. It was more laid back with less jams, and in my opinion still a good midday set.

2nd set is where it got fun. Wolfman's Brother was welcome to kick us off. Halley's > 46 Days got pretty dull after a while so I welcomed BDTNL when it finally came. And now for the reason I gave it 5 stars: Tweezer > Prince Caspian was simply ridiculous. If you haven't listened to this on YouTube or anything yet, what the hell are you doing with your life.

Meatstick was a great 3rd set opener. Blaze On was well done, and Possum was a great time with the glow sticks (that's really all I can remember about that one). Cities was fun, Light was cool to hear, 555 was funky...I basically just did a lot of dancing at this point so it's all an incredibly-fun blur. Then came WITVS, which was a great fit, and Walls of the Cave was an awesome wrap-up tune. Boogie was a super cool dance number for the encore, and you had to know a Tweezer Reprise was coming.

The ambient nightclub-esque Drive-In Jam was killer, and I'm glad they didn't make as long as it could've been. Just like sex, some things are beautiful in part because they don't last forever.

All in all, what a great day for my first trip.
Score: 0
markah , attached to 1999-05-04 Permalink
Copied (typos and all) from a review originally posted: Wed, 5 May 1999 14:55:07 CDT
Subject: Trey in May! - 1st two shows

Wow. These two shows have been awesome. Honestly, I did not expect these Trey
solo shows to rock as hard as they did. Granted, it's not Phish, but I was
suprised by how well Trey led this new ensemble.

Last night, at the Murat Theater, things were different altogether. No miracle
seekers here, you couldn't even give your tickets away. It was worse than the
Thursday night of Nassau. I've sill got an extra to the Murat if anyone needs

Wow - this place is so cool. The outside looks like a cross between a Turkisk
mosque and a medieval cathedral, very ornate and intricate, with a faux face at
the front of the theater depicting the whole Turkish/Indian theme (and the word
'MURAT'). We chatted briefly with Russ who was out taking a picture of this
Theater - basically both of us saying how fun it was to play with Trey. He
complimented him on "keeping with it" and not letting yourself get discouraged,
perservering through hard work and finally making it on your own terms. He
said he was a bit sad that his own band had moved from the rural area to Boston
then to L.A. in order to 'make it.' Inside wasn't bad either; the uniformed
ushers, lack of security and full bar made me think I was seeing the symphony.
Getting in was a bitch, a near strip search lost me a few nicely rolled
j's...but inside all was taken care of by a few Tanquery n' tonics. (woo hoo!)
Before the show one of the ushers - an extrememly excited 17 year-old girl,
came over and told us how the balcony shakes when the crowd gets going. And
she wasn't kidding. I was sure the place was gonna come tumbling down during
the second set opener.

5/4/99 - Murat Theater, Indianapolis
Set I:
Dirt, Dogs Stole Things, Mountains in the Mist, Snowflakes in the Sand, Purple
Hugh, Talk, Bathtub Gin, Kissed by Mist, [Something Train song], Wading in the
Velvet Sea, Chalk Dust Torture

Trey told us tonight that all the songs in the first set were written by Tom
Marshall and him. I'd actually been wondering that on the drive down, thanks
for the clarification, Trey. Dogs was very enjoyable, ultra-bluesy. Mountains
in the Mist was anounced as the official title of that song, as was Purple Hugh
(which Trey spelled so there'd be no confusion). The crowd erupted for Talk,
almost like they had for Bouncin' the night before (which - I failed to
mention, Bouncing had a long, almost 'jammed out' ending. Quite impressive.
Absolutely the best Bouncing _ever._) ;^> Gin was then dedicated to the guys
that had posted the title "Minestrone" for Purple Hugh, with the audience again
singing on the chorus and winding down perfectly with Trey for the ending. The
jam was great, and afterwords Trey commented that he'd be back "in 4 more years
to play Bathtub Gin again".....I love his concept of's been six
years, Trey....

Kissed by Mist was a very pretty tune, and is for Julia Butterfly Hill (a woman
who has been sitting 180 feet up in a redwood for 18 months to protest
deforestation - what a gal!). The next one was as of yet unnammed, but Trey
mumbled something to the effect that it sounded like another train song. (Not
that it sounds like Trainsong, but that it sounds like a train.) Velvet Sea
was nice - strange to hear Trey singing it. Chalkdust rocked like you knew it
would. I forgot what song he was playing in the middle of it. (Too much

Set II:
Round In Circles, First Tube, Ooh Child, Bell-Bottom Blues, Heavy [something],
Learning the Rules, Somantin, Andre the Giant, I Can See Clearly Now, Pistol ->
Drums, Voodoo Child (slight return)
Encore: Row Jimmy, Last Tube -> Come On Baby

I'm not sure about the accuracy of this setlist in partuicular, I think First
Tube is really Last Tube and I don't know what last Tube is, but like I said
I've never heard the Tubes so I'd better shut the hell up. So I'll talk about
the new tunes. :)

Bell Bottom Blues, new tune...bluesy. Cool. Not much else to say. Heavy
something was either a tune Trey has not decided the tune to, or maybe he just
mumbled it. At any rate, we didn't catch the title. Learning the rules was
the one Reilly, Peerless and Rob heard that sounds like the Meat intro with a
Makisupa-type beat. The bassist has a repeated vocal "Is it a wind...or a
bug?" line which has some people calling it "Wing" "Bug" and lots of other
things. This title was picked by me becuase. The lyrics paint a picture to me
of musicians learning to play with one another ("leaning to we know
the rules..." etc.) I suppose it could also apply to any new relationship.
Somantin is from the 5/8(?)/98 Bearsville sessions tape, much more well done
last night. Weird tune, nonetheless. Andre the Giant featured Tony, pretty
funky. Don't remember much about it except that Trey intrduced it by saying
"This tune is either called [blah blah blah] or Andre the Giant." It didn't
matter what the [blah blah blah] was becasue everyone erupted for the latter

This Voodoo Child was much better than last night's. Woo whee!! And the
encore was very nice, although quite long!

So it has been a pretty fun two days. Right now me and travelling companion
Eddy are hanging at Purdue University, watching the Cubs-Rockies game. I keep
thinking they're saying Anastasio is pitching....

Until tomorrow,

- Mark
Score: 0
markah , attached to 2000-05-21 Permalink
Copied (typos and all...) from a review originally posted: Fri, 02 Jun 2000 00:51:09 CDT
Subject: Radio City Reviews (finally!)

Hi, everybody! Now to first dispell any unpleasant rumors, I am not dead,
nor am I married, nor did I mean for that to come out like some kind of
comparison between the two. I am, however, recharged and sustained - for
now at least - by two truly stellar performances (well, one and a half that
were _truly_ stellar...) and have no remorse that I missed what would have
been the smallest East-coast Phish show in some 10 years, but am a bit
disgruntled that Greater Northeast Productions, aka the Mail Order Gods
decided in their infinate wisdom to overlap tour and mailorder once again.
No, I did not M.O. for Fall.

So let's tawk about New Yohk. What a beautiful venue! Not so much ornate
as it was 'in a class by itself'. An impressive theater with a heavy
curtain draped from the top of an enormous stage - the lobby was painted
with scenic scapes involving floating clouds, chandeliers and lots and lots
of mirrors. The internet's "Project Phormal" was a considerable success,
with probably about 50-65% participating by dressing up somehow the first
night, and a little better participation the second night. Yours truly
opted for a comphy first show, and a tie and tails for the Monday gala. Now
onto the music...

Sunday 21 May 2000 - Radio City Music Hall
I: II:
First Tube Gotta Jiboo
Wolfman's Brother Down with Disease!!!
Squirming Coil Dirt
Possum Twist--> (new - different)
MOMA Dance Piper!!
Limb by Limb Harry Hood
Character Zero Velvet Sea
(0:59) Guyute

E: In-Law Josie Wales (aka "Minestrone" and "Bake and Boil")
Loving Cup

Very nice, strong opener, and a definate nice suprise from the opener
everyone and their brother were calling - Farmhouse. Of course, to open
what had been dubbed the "Farmhouse Promo Tour," what else? This has been
called "Bing Bong" by me and others in the past, but I now relenquish that
title since the album that was actually produced by Trey has the title
"First Tube" on it, even though "Bing Bong" is a clearly superior name.
When it's my band, I'll change it. But its Trey's band. And Trey likes the
internet community's descriptively cryptic moniker. Another thing Trey
liked is doing Pete Townsend-style guitar windmills during this tune after
the change to major key (at about 4:00 on the album).

Everyone got their little solo tonight, not so much a true "solo" as their
chance to be heard on the (really kick-ass looking) Radio City stage.
Page's came at the end of Coil and was considerably short. Of course, all
the screaming fans probably didn't help. It's clear on the tapes that even
if he'd wanted to strech his dynamic range on this solo, anything under a
mezzoforte would have been drowned out by the lurid cheering.

Fishman's solo was his inhuman singing/drumming extrazaganza during the Limb
outro. Fish was funny these couple of nights. For the first time ever in
my watching him, he seemed not to be intensely chugging away as usual, not
at all - but rather laid back. He dropped a couple of beats here and there,
one in First Tube, and I overheard at 7:00 before the Monday night show that
he was reachable "only by phone" from one of the crewmen, and that they'd
just been able to locate him for the first time that day. A taper said he'd
seen Fish at the bar he was at when he left at 1/4 to four am...

Mike's solo I guess was the second set Disease, which was over 20 minutes in
length and raged, rocked, and funked throughout the entire time. This
Disease was easily the highlight of the two days, and the only reason I put
it above the Ghost from 5/22 is becasue this one pumps hard all the way
through to the end, and while the Ghost is definately funkier and more
intense at points, it peters out into what I almost dare call a
"Simple-style jam" for the last five minutes.

Trey's solo came - well, he had a lot of them I guess. It could have been
Character Zero, a fairly standard version, or as Dirt, his self-professed
"favorite of the new songs," or even the next night with Horn. He played a
particularly beautiful Horn.

Most of the tunes this first night (with the exception of the aforementioned
Disease) were fairly straight-forward, no real suprises. Which was exactly
what I expected. We got to see a familiar combo with the Twist->Piper,
although the Twist was especially mellow. Probably due in part at least to
the new arrangement (yes, again) that differs from the version they did in
Hampton as well as on the album. This one starts out with just Fishman
really soft, then fade in slowly adding Trey, then Mike and Page, leaving
out the clever intro with the vocalized bassline entirely. Piper raged, and
had similar form to the CD version, in that they launch out of the first
vocal chorus, taking off with tightly-knit and seemingly reckless abandon
rather than the '97 approach of a slow and steady build. This Piper morphed
into Trey's favorite dj-style wah-wahs and had a slight Birds of a
Feather-feel jam in the outro, akin to the 10.22.99 Minneapolis Piper
although not as pronounced or long.

After Velvet Sea, Page turned to the audience and thanked them, saying he
"used to come here as a kid" and that this was a special show for him (and
also that it was his mom's (?) birthday). Trey, not to be outtalked,
commented that he and Page had come to see Steveie Wonder in RCMH, then went
on for nearly three minutes about how great "this whole thing" was - and
that "we don't want to do anything to screw it up, so let's just keep this
going for as long as we can." He profusely thanked the audience, saying how
lucky he felt for the last 15 years and how they've "built around the four
of us," and said they were the ones who should be applauding us.

Take care, and I hope to see each of you all soon...

- Mark

PS - Deer Creek tix go on sale this Saturday!

PPS - 12/11/99 Sneaking Sally-->Ghost!!!
Score: 0
Tbone , attached to 1996-12-30 Permalink
Tbone Good show and some songs that I took for granted at the time, to date this is the only time I have seen Uncle Pen, Sloth, Lifeboy and Llama live. The PA going out was genius and I got a real kick out of that Phish trick. The anticipation of going to see the them the following night was just killing me and that is what I remember most.
Score: 0
Tbone , attached to 1996-08-05 Permalink
Tbone This was my second show and what great experience. Again I was amazed by how tight they were, first show I attended was New Orleans Jazz fest so this was my first experience really seeing them open things up. I remember the Mike's being nasty and loud ass bass. the acoustic songs were a great way to wind down from that ride. The Haley's is one of my favorite versions because of the wah wah Trey uses. maybe this was a sign of things to come in with the funk in 97?
Score: 0
Midcoaster , attached to 2015-08-12 Permalink
Midcoaster Came in here a second time to remind everyone to listen in somewhere right after the 9:20 mark in Bathtub Gin for a legit quote of Dancin' in the Streets a la GDead 1977. This is a quick little EXACT copping of the lick before a tasty little Dancin' jam until the tempo change around 10:30 or 11.

I petition the admins to add it to the show's jam notes above!
Score: 0
FunkyCFunkyDo , attached to 2003-07-08 Permalink
FunkyCFunkyDo This is a weird looking show. And kind of a weird sounding one. I make a point to not look at any setlists before embarking on my musical journey through each 2003 show (more beneficial for Summer 03 because I am not nearly as well-versed as I am with Winter 03) so this one was a Jackson Pollock painting if there ever was one. Let's begin. Guyute opened the show in surprising fashion. Caught me off guard, and I think it caught the crowd, initially at least, off guard. Now, I will try to not let my personal agenda get too much in the way of this song, as I am not a big Guyute fan, but after the "caught-off-guard-ness" wore off (roughly 6 seconds into the show) I eased into the song as a pretty solid show opener. A very solid one, actually; one that delivers an unexpected jolt of enthusiasm, energy, and "Holy crap they just opened with Guyute!" Good form, Phish. You just may make me a Guyute fan yet. Horn trickles in next and I found this to be a very good selection for the #2 slot to follow up Guyute. Well played, with just a slight off-tone from Trey, it fit the bill nicely. My Sweet One caught me offguard again. (what kind of pot is this anyways??). Well, whatever it is, uhm... hmmm... Cooler Ranch Doritos sound pretty good right now. Snack tangents aside, My Sweet One was a weird, off-kilter choice. And the WHAMO! Tweezer?!? Are you kidding me?! The HELL is going on tonight?! ::puts the bong down, picks up the Doritos, fastens couch belt:: Tweezer wastes very little time setting a tone in its composed section of a furious, straight-forward version. Fish really thumps his kit and Trey adds some hot sauce to his lick. Tweezer takes off into a high-octane car chase of a jam, setting a frantic pace of hard-edged rock rounded off with some crescendo-ing peaks. It is not a "must-hear" version by any measure, but in the moment at the show this certainly was a heater!! I bet the atmosphere in the venue was wild given the unpredictable nature of the first four songs! Cool stuff even if the flow was odd. Did I say the flow was off? Not any more. A perfectly placed Limb by Limb spirals in out of that speeding-ticket Tweezer and amplifies the feel and sound of Tweezer to a T. A really well-executed LXL notched the energy levels up and it hits a really blissful, inspired peak. Fantastic combo of songs, these two. Fast Enough For You, despite how it may look on paper, settles nicely into a resolved set placement behind the still-smoldering wreckage of Tweezer > LXL. The band really liked playing FEFY in 2003, and with good reason. They always nailed it. Dreamy, drippy soundscapes permeate this version. A perfect yin to the fiery yang of the set so far, this misty version sails away into peaceful oblivion. Three songs in a row that really delivered. Make it four. Frankie Says is another favorite of 2003 that, I for one, certainly wish would come back into semi-regular rotation (same with FEFY). Polarized against the volcanic Tweezer > LXL combo, the FEFY, Frankie combo is a calm, autumn breeze. The outro jam has legs, reminiscent albeit briefly, of 2.14.03 Fee, but eventually fades much too soon into Taste. Nonetheless, a great stretch of four songs, paired into two different styles, each meshing perfectly. Taste wanks around for 4 or 5 minutes before settling into a groove and hitting a nice Trey driven peak. Not on par with 2.14.03's version, this one is good... but not that good. Still, in terms of a whole set, I can't really complain, as they really nailed the peak of Taste, sending the audience into setbreak wondering, really wondering, what could be in store for set 2?

Oh boy. Do I ever love that opening growwwwwwllllll of Down with Disease to open Set 2. Before I break this jam down, let me tell you something... after I listened to this song FOR THE FIRST TIME EVER 2 nights ago (no idea how that is possible, as this jam is AMAZING) I thought it must have been somewhere in the mid-20 minutes in length. There is SO MUCH music in this jam... a jam of ONLY 18 minutes. WOW! Ok here we go. It breaks into typical DWD shredding and then returns to the DWD theme about 6 minutes into the jam. At this point I was like, "Hmm, okay, just a straight up rocker to open the set and fade into something else..." How wrong I was. Trey takes them out of the DWD return and steers them into a swankkkkyyyyy groove. Oh man do I love this groove. It really swings. A full band dance, the jam has some serious attitude. Then it morphs into some syncopated, Mike-driven weirdness! THEN, it morphs back into that initial swanky groove, albeit with a more minimalist attitude. THEN it drops into this groove that is entirely reminiscent of 9.22.99 Ghost... you know the one, that 29-minute outer space monster from Portland MFING OREGON! What a jam! I mean, 4 distinct, highly stylized sections. Great stuff!!! Vultures comes in next. A cool choice. Unfortunately it was a sloppy version. Kind of diluted the energy that DWD created. Secret Smile did nothing to help the cause. A poor choice for that part of the set. Hood comes in next and really saves face. Another stretched-out, "where the heck did this come from?" version, this Hood builds towards a false summit before returning into an extended groove-based/Hood-based jam. Hood was exceptional in 2003, and it needs to be discussed more. These 2003 Hoods, specifically this one, play around with a typical build, then venture out into a second jam, then return to a triumphant peak. It saved the set, perhaps the show. An evil, dark Carini finds a perfect home behind this Hood. A very well dropped song. Keep in mind, 2003 Carinis were not thought of as 2012-2015 Carinis. That is to say, in 2003 Carini was not expected to take on a major key happy jam - no way - they were expected to be dissonant and dark, gritty and gnarly. This one is all those. A perfect juxtaposition to what Hood created. Discern... meh... I dunno. I kind of like the song proper, but also kind of don't. I wasn't too fond of its placement here, and the jam it gets into is, in a word, directionless. It seems like Discern could get into Waves jam territory, but it just doesn't... in fact it gets no where close. It just sputters along. Waste, even with a great solo from Trey, was an odd way to end the show. Bouncing, Tweezer Reprise encore was perfunctory and welcomed, even if not mindblowing. A disjointed second set highlighted by two AMAZING jams. A hard show to get a grasp on, especially not being there in person. Moments of brilliance met with moments of "huh?" Which direction would the rest of summer go? Read on respected listener!

Must-hear jams: Down with Disease, Harry Hood
Probably-should-listen-to jams: Tweezer, Limb by Limb, Fast Enough for You
Score: 0
Mark77 , attached to 2005-11-12 Permalink
Mark77 This was a fun show overall. It was in a college gym, so a much different venue than what we are used to now. Since it was a College Gym, no alcohol was served which was a real bummer for some. Tea Leaf Green was a good opener.

Trey's band was pretty tight from what I remember, but Trey seemed a little out of it. Still a lot of good playing though. At the time it was bittersweet hearing the Phish tunes since this was post break-up and we all assumed this would be as close as we got.
Score: 0
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