Karl Perazzo on percussion.  Karl Perazzo on percussion. Trey sang verses through megaphone.  Karl Perazzo on percussion. “Norton Charlton Heston" replaced “Marco Esquandolas."  Karl Perazzo on percussion, Butch Trucks on drums, Fishman on Trey's percussion rack.
Notes: Karl Perazzo sat in on percussion for the entire show. Trey sang the verses of Fee through a megaphone. Mike repeatedly teased the bass line of Dave's Energy Guide in the C&P jam and then Trey very briefly teased it as well. The lyric “Norton Charlton Heston” replaced “Marco Esquandolas” in Antelope. Butch Trucks joined the band on drums for the encore while Fishman played Trey’s percussion rack. Portions of this performance were released to the syndicated radio program The Album Network. This show was released as the Coral Sky DVD in 2010 and is available as a download from LivePhish.
Holy Shit !!
Listen to this classic again. I'm watching it for the first time since the show and so much is coming back to me.
The Crosseyed and Painless so full of techno/groove layered beauty. Trey whacking away at this little drum kit in front of Page.
Those days may be gone, but what they're doing now is so creative and different.
I'm so fortunate to be living during a time in history where I can still experience this band live.
Just four regular guys from Vermont...I love this band so much.
Ah, the only outdoor show of Fall `96! We spent the day swimming in the Gulf of Mexico, which was a fantastic way to prepare for the show. Still reeling from the "Hotlanta"¯ mayhem of two nights before, my travelling group seriously needed the rejuvenation that was provided by the ocean. The name of the venue served to portend good things for that evening, as certainly the Coral Sky Amphitheater must have something good to offer! The stunning palm trees around its perimeter offset the fact that it was a standard, cookie-cutter outdoor amphitheater.
We staked out our territory on the lawn, and the place seemed empty. I heard that there were only ten thousand people in attendance, which was approximately half of Coral Sky's capacity. That evening was warm and crisp, and having driven from Chicago, our winter blahs were slowly disappearing. Fortunately for us, Karl Perazzo sat in for both sets and helped add to the Talking Heads feel that pervaded the Omni in "Hotlanta."¯ The show opened with an intriguing "Ya Mar"¯, which was the perfect opener, given the warm weather. The "Julius"¯ was quite good, but it's not the first set that people are still talking about.
The second set opened with the best forty minutes of Fall `96 (other than the Remain in Light set). "Crosseyed and Painless"¯ was shocking, and it certainly could only have come from another dimension. During this jam, the band sounded as much like One as I have ever heard them - ¯ not four mortals, but one Entity. This jam transported us back to the Omni, where nothing was real. The "Antelope"¯ that arose from the closing space of "C&P"¯ contained some interesting work from Trey early on. When it dropped off the sonic cliff, I fell down with it. Really. It was so intense that I fell down onto the lawn, along with one of my travelling companions. The rest of the set was forgettable, although the "Funky Bitch"¯ encore with Butch Trucks was fun.
In March `97, portions of the show were broadcast on the radio. There are sparkling pre-FMs of this tape circulating. Get it!
all you need to know about this show is crosseyed and painless>antelope. hot off the heels of halloween, with karl p still on board, they nail this one. little did fans know, they would not be seeing this one frequently from here on out. anyway, the duel drummers really light this one up. for a good 15-20 minutes, all 5 musicians are just in fantastic sync, blazing through this jam. finally it gives way to some nimble trey playing before they jack this antelope up into high gear. if you have not heard this pairing, you are seriously missing out. needless to say, the boys earned their cool down in waste after that monster opening pairing.
This is my original review (typos and all) from rec.music.phish titled "West Palm Beach Crosseyed and Painless" posted November 6, 1996 at 3 am:
I have recently returned from a rather hellacious roadtrip in
which I enjoyed every second (you know the kind). Almost 3,000 miles
roundtrip from Chicago->Atlanta->Fort Meyers->West Palm Beach->Chicago.
But oh was it worth it...
I have a lot to say about Haloween but so does everyone else. I
have only seen commentary by Saul and Alan on the West Palm Beach show so
I thought I would add my own.
First of all, south Florida is just an amazing place. If you read
Saul's review, we traveled together and had a splendid time. Before the
show on Saturday we went to Sanibel and Captiva islands and went swimming
and it was truly cleansing of the soul. Staring at my computer screen on
this shitty day in the Midwest is a far cry from my weekend.
Getting on to the Phish, the Crosseyed and Painless jam was just
phenomenal. It is a very hard jam to describe since I don't have any
tapes. The jam itself lasted 25 minutes and was just bliss. Carl on
percussion adds so much to the Phish sound that it makes it so much more
dense. He is quite a treat to listen to. This jam was not like many
other long, incredible jams I've seen in the last year (12/9, 6/26, 6/14,
12/29, etc). I don't remember it having a really huge climax. It was
just raw permagroove. I felt like I was at a dance party (even though
I've never been to one with the most amazing music conceivable
surrounding me. I had no choice but to dance. And the Antelope was just
spectacular. I have seen some of the greats (10/24, 12/12, 8/12) recently
and this one measured up in every sense.
And to close, two very funny moments that occured during this
1. In the middle of Waste, some drunk guy in front of my didn't yell the
usual "Trey" or "Fishman". He just yelled "PHISH" at the top of his
lungs. This was even during the beginning with just Trey singing and
and 2. During Sweet Adeline, THE CROWD STARTED CLAPPING. Try and invision
this inside of your head. I don't think I could if I hadn't witnessed it
myself. I remember people complaining about clapping during the MSG Hood.
How about Sweet Adeline???
The rest of the second set was not "forgettable" as another reviewer had written.
The entire second set of this show was worth all efforts it took to be present.
A stand out Harry Hood followed by some great jams to end the show capped off what was an incredible evening under the sun and moon on a beautiful November Florida night.
this was such an amazingly fun experience...i'd seen each of the previous south florida shows and was blown away each time, but this one upped the ante. getting in was a minor hassle and I missed the opener, but with 10th row center seats, I wasn't complaining. in addition, I was able to sneak my shiny new kodak dc40 digital camera in (which was an incredible feat, since the thing is not like the cameras today, it's huge...like the size of a small notebook.)
A delightful show, to say the least, if not a pantheon show or anything; that being said, the DVD of the show really ought to be a cornerstone of your Phish collection, as this is the kind of show you'd want preserved in video form. The C&P jam is magical, overflowing with energy and excitement (how many times has a song been played in consecutive shows since the early days?), and a fan favorite, but I've always loved the Antelope more - it's what I think of as a prototypical mid-90s Antelope, full of fire and fury and a massive release from the tension of the C&P jam. I'm not sure what else I'd immediately recommend (the opening Ya Mar's fun, and the Hood's quite strong), but the whole show is worth listening to, mainly due to the remarkable Fishman/Perazzo chemistry (Perazzo has a pretty solid case as best guest musician ever, IMO). It's one of my favorite shows from a year that isn't exactly my favorite year.
Plus, watching the front row kids dancing is just priceless.
This is one of the best-known shows of 1996, partly because high-quality FMSBD copies circulated not long after it went down. The Crosseyed > Antelope sequence is the important part, but in the wake of the band's ambient/trance/funk/space experiments of of 1997-99 it probably isn't an essential recording anymore. That said, it's still a party, Perazzo's still ridiculous, and its' exciting to hear the boys so fired up over the possibilities of their new Talking Heads material post-Halloween. So if you're digging into Phish '96 be sure to hear this one.