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12/4/09 by G.Lucas

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Written by Trey in the summer of 1985 while performing street music with Fish in Europe, “You Enjoy Myself ” (also known as “YEM”) is one of the oldest and most beloved songs in Phish’s catalog. The Phish phenomenon is exemplified by YEM’s history and nature, which is as compositionally intricate as it is lyrically goofy.

Fans have speculated about YEM’s mysterious lyrics since the song’s debut, hence the often-heard query,“What are they saying in You Enjoy Myself?” (“WATSIYEM”) YEM’s lyrics appear to be “Boy. Man. God. Shit. Wash Uffizi Drive Me to Firenze.” The latter lyric allegedly derived from an incident involving Trey, Fish and a Firenze cab driver in the summer of 1985, when Trey and Fish were vacationing in Florence, Italy. Actually, it was Jurgen, a German guy Trey and Fish had met on the street when they were in Italy, who remarked to them, “When I’m with you, you enjoy myself!”

The 2/3/93 Portland YEM features “Water your beehive in a team I’m a sent you” lyrics in place of “Wash Uffizi drive me to Firenze.” These hysterical lyrics were in the response that Mike gave to the “What are you saying in YEM?” question in the Döniac Schvice published only a few months before this show. And, as of this writing, 2/3/93 Portland is the only version featuring a substantial lyrical deviation, even though Mike, in Schvices over the years, has suggested that they sing: “Yes, I’ll play, but no I won’t raise”;

“Washer/Dryer/Freezer/Fencing”; “Wanton in a key, I live, and me for horse rent”; “Won’t you please-e-curve me from valensi”; “Wash, you face, and drive me to Valencia”; “Washington fences, please, says me”; “Watchusett fiji is sun-hived to floor antsy”; and, of course, “Wasohbf woeh ejwro jeeef je ei Fndsbid.” Some fans swear that they have heard “Wash Your Feet They Drive Me to A Frenzy” on many a night.

“YEM” is comprised of several segments. The opening, pre-lyrics segment, before 6:11 on the 12/7/94 A Live One (“ALO”; all timings below refer to this YEM) version, though composed, has nevertheless evolved over the years. The earliest versions of “YEM” (especially 2/3/86 Hunt’s, which features a violinist), and even the ALO version, lack the enchanting and spacey improvisation found within the first few minutes of many more recent versions of the song (e.g., compare 1:19-2:52 on the ALO version with the opening of the 4/22/93 Cleveland YEM, which includes “The Vibration of Life”). Since 1988, YEM’s opening segment has also regularly contained a brief solo from Mike (see, for example, 3:35 on the ALO YEM). “Jerusalem City of Gold” has also, like “The Vibration of Life,” been featured in

YEM’s opening segment, as in the 7/16/93 Philadelphia and 6/30/94 Richmond versions of YEM. Remarkable opening segments include 12/28/92 Palace, 2/7/93 Lisner Auditorium, 3/28/93 Arcata (“The Pez Song”), 6/18/94 UIC Pavilion, 11/23/94 St. Louis, 6/19/95 Deer Creek, 2/26/97 Stuttgart, 11/14/98 Cincinnati. As of this writing, the longest opening segment (over eleven minutes) was performed on 11/2/98. Other exceptionally long opening segments include 7/16/93 and 7/26/98, which were both over ten minutes long.

The transition to YEM’s next segment features an often-hideous scream (at 6:08 on ALO). This section of “YEM” (6:11-9:49 on ALO) features lyrics, as well as a funky, usually Page-driven jam. Page has been known to explore and rage (as well as tease Mission Impossible; see, for example, 5/7/93) in this section, as Trey and Mike bounce – giddy and pensive, respectively – on trampolines (“tramps”). This section of “YEM” is often referred to as the “tramps segment” because of the trampolines. The tramps have been featured in “YEM” since the 5/20/89 Northfield show, and they are usually brought out onto the stage to the great amusement of the audience in the opening segment of “YEM” by Brad Sands (listen at 4:03 on the ALO version). Page was particularly vigorous on organ in the tramps section in the August 1993 and November 1995 versions of “YEM,” as well as 10/28/91 Telluride, 5/12/92 Canton, 4/12/93 Iowa City, 5/23/94 Portland, 6/29/95 Jones Beach, and many other versions.

The jam segment of “YEM” has featured a plethora of Phish’s various improvisational styles over the years. Any given version from any particular tour will often reflect that tour’s improvisational themes (from jam-rock to porno-funk to spacey-groove), despite the fact that Trey’s soloing in “YEM” often hints at Carlos Santana’s soloing in “Oye Como Va.” For example, the jam segments of pre-1990 versions of “YEM” – like Phish’s music of that period in general – often contain riveting, powerful soloing from Trey, who leads all of the jam segments (as might Jimmy Page or Jimi Hendrix). Though this trend is certainly continuing into the next century, nevertheless, more recent versions of “YEM” may feature Mike leading the jam (7/7/99 Charlotte), or may involve a more collective improvisational approach – a jam seemingly led by all band members playing as one (2/21/97 Florence, 11/9/98 Chicago, 10/10/99 Albany). Paradigms of fall 1997 and 1998 funk, check out the 11/28/97 and 11/29/98 Worcester versions of “YEM.”

On 11/16/91 at the Bayou, Phish played the “Mrs. Pizza Shit”“YEM,” which was the first of many funky, unusually improvisational versions. Although Trey still leads the jam segment most of the time (for example, hear the amazing 6/11/94 Red Rocks “YEM”), there have been many full-band explorations in “YEM” since 1991. On 5/5/93 at the Palace in Albany, Phish jammed ferociously with special guests Aquarium Rescue Unit and the Dude of Life. Throughout 1995, versions regularly exceeded 25 minutes in length, and contained gloriously beautiful improvisation, particularly the 10/24/95 Madison, 10/31/95 Chicago, 11/10/95 Atlanta, 11/18/95 North Charleston (“Brick House” jam), 12/9/95 Albany, and 12/31/95 New York City versions. The band members switched instruments during an unusual version at the Spectrum on 12/29/96. And on 7/9/97 in Lyon, France, Phish played a magnificent “YEM” with help from Béla Fleck and the Flecktones (Victor Wooten on bass, Jeff Coffin on sax, and Futureman on drumitar).

The “bass and drums” segment regularly followed the jam segment in “YEM” between summer 1988 and December 1996, but it has rarely appeared in recent years. Mike and Fish have usually excelled during this section, but particularly noteworthy bass and drums segments include: 4/22/90 Colorado Springs; 5/2/92 Chicago; 6/29/95 Wantagh; 11/9/96 Auburn Hills (with Trey on the mini-drum-kit); and, of course, the spectacular 12/6/96 Las Vegas version.

Vocal jams featuring spontaneous vocal improvisation, from the merely strange to the auricularly traumatic, began to close “YEM” on a regular basis in 1989. The idea for this vocal improvisation came from a former voice teacher of the band, who suggested that they infuse their singing with some of the energy created by the playing of their instruments. Certain harmonization-themes have appeared in vocal jams over the years. For example, the “Go” or “Guuhm” theme (12/7/92 Minneapolis, 12/30/92 Springfield, 2/19/93 Atlanta, and 11/23/94 St. Louis);“Hom-Nee” (4/17/92 San Francisco and 10/15/94 Pelham); and guttural, animal noises, reminiscent of Pink Floyd’s “Several Species of Small Furry Animals Gathered Together in a Cave and Grooving with a Pict” (5/20/89 North-field, 10/20/89 Burlington, 10/6/90 Port Chester, 10/28/91 Telluride, 10/23/94 Gainesville, 11/10/95 Atlanta, etc.). Chris Kuroda has “directed” vocal jams with his brilliant light show in the past, particularly in 1995. You may want to keep a watchful eye on his work as you enjoy the vocal jams you hear at shows in the future.

Teases and quotes of all sorts of famous melodies and jokes have appeared in vocal jams since 1989, as well: 5/21/89 (Godzilla); 5/28/89 (Poop); 3/9/90 (“Sunshine of Your Love”); 4/22/90 (“Another One Bites the Dust”); 8/3/91 (Don’t Put No Gerbils in Your Bottom); 9/27/91 (D’OH!); 10/11/91 (Miss Piggy); 3/25/92 (White Boys Attack); 4/7/92 (Roger, “My Girl”); 4/12/92 (Blister in the Sun); 4/25/92 (Sprockets; “Chariots of Fire”); 4/30/92 (“Welcome Christmas” from How the Grinch Stole Christmas); 12/12/92 (Davey Crockett); 3/14/93 (“We Will Rock You”; “Welcome to the Machine”); 8/6/93 (“Cocaine”); 8/9/93 and 5/23/94 (“Psycho Killer”); 8/17/93 (“Ob La Di, Ob La Da”); 4/11/94 (“My Soul”); 4/23/94 (“Who By Fire”); 5/20/94 (“Low Rider”); 6/18/94 (SPAM); 6/30/94 (Redrum Redrum); 6/16/95 (with Boyd Tinsley on fiddle); 10/31/95 (“fuck you up the ass”); 12/06/96 (“Donuts, I love donuts”); 3/2/97 (Amy Skelton, first fan); 8/12/98 (“Who’s Your Daddy” and “Oooh Chicago”); 12/8/99 (“Tweezer”); etc. Some spectacularly psychotic and crazy vocal jams include 11/4/90, 5/3/91, 11/30/91, every spring 1992 version, 8/25/93, and 10/15/94.

“YEM” has evolved into one of Phish’s greatest improvisational songs. There are far too many versions that are excellent all-around to detail here. Nevertheless, in addition to those already noted above (especially those from fall 1995), and, in general, any version that closes a first set (for example, 7/31/97 Mountain View), check out these other special versions of “YEM”: 5/26/89 Rutland (Trey goes wild); 7/25/92 Stowe (with Carlos Santana, Karl Perazzo, and Raul Rekow); 12/7/92 Minneapolis; 2/3/93 Portland; 3/14/93 Gunnison (Teasefest); 4/14/93 St. Louis; 5/2/93 Philadelphia; 8/25/93 Seattle; 8/28/93 Greek Theater (several measures of Santana’s “Oye Como Va”); 4/20/94 Lexington (with members of the Dave Matthews Band); 4/23/94 Atlanta (with Colonel Bruce Hampton); 5/4/94 (with the Cosmic Country Horns); 5/28/94 (with Les Clay-pool); 6/14/94 Des Moines; 6/18/94 Chicago; 7/14/94 Canandaigua; 11/23/94 St. Louis; 6/26/95 Saratoga; 6/29/95 Wantagh; 10/14/95 (with MMW); 11/19/96 Kansas City (“Groove is in the Heart”); 11/28/97 Worcester; 11/29/98 Worcester; 7/15/99 Holmdel; 10/10/99 Albany; 12/2/99 Auburn Hills; and 6/09/00 Tokyo.