GOOD TO THE LAST DICK'S - DICK'S 3 RECAP
I just looked at the calendar and, indeed, it is not 1997 any more. I suspected as much, given the way my back feels when I get out of bed, but it’s good to double check sometimes. It doesn’t seem like it should be 15 years since Phish destroyed America. I want to call it a few years ago, five at the most, but the gray on my head and in my beard, like Mike, says no. So it must not be that Phish just played DCU last week; it must be true that the last show of the summer took place just hours ago. I was feeling old going into the Dick’s run, and I felt that the promise shown by Long Beach and BG3 had faded as the second leg went on, and I was wondering where the band was at and where it was going. I did not, however, forget one of the original commandments: Never put anything past Phish. These guys will make you throw out your preconceptions and will melt your face at the drop of a hat. This weekend was a jaunt in the WABAC Machine, three shows that will be talked about for years while they find a place among the greats. Debating how exactly to rate Dick’s 2012 can wait long enough, though, for us to appreciate that Phish closed out the summer in classic style, with a series of fist-pumping peaks in the first set and deep, inspired type-II jams in the second.
“Cars, Trucks, Buses” takes us around the block a few times to get our motors running, with Trey showing off how well he can drive this vehicle built by Page, and is paired with another traditional opener in “AC/DC Bag.” “Bag” features more dexterous soloing from Trey, builds steadily to the climax, and sublimates just as it should, but it quickly condenses again into the ominous Gordo growl that announces “Down With Disease.” It’s a fantastic segue that sets up a contained but confident “Disease” (with a lyric flub like a Persian Flaw) that Trey just manages to keep from becoming a monster. “Bathtub Gin” steps to the plate like a cleanup man and knocks home the opening tunes, thanks to Fishman’s shift to a higher tempo that combines the disco feel of Riverport with the “Ridin’ in the Bathtub” segment of Murat. It’s type-I all the way, but powerful and satisfying, too.
I love “Nellie Kane” and love its placement here as a cool down. “Sample in a Jar” is its old, reliable self and pumps the energy back up for “Back on the Train,” which rolls down the line a short way without getting too far off track. “Rift” is almost pristine and leads us cleanly into “Free,” which I will admit to being frustrated by as version after version is played with essentially no jam, but Phish leaves me little time to grouse. “Ride Captain Ride” works as a wonderful bait and switch when its feel-good vibe is plugged directly into the paranoid ticking of "Maze," and a Page vocal spotlight becomes a Chairman organ explosion. Trey doesn’t quite match Page’s punch in “Maze,” but the fist-pumping isn’t over yet. “Halley’s Comet” perfectly sets up a screaming “46 Days,” and “Possum” finds Trey employing some serious tension for one final climax before the set break.
It is impossible, under the space and time constraints of a post-show recap, to adequately dissect and explore the awesome and beautiful art that was created by Phish during each of the second sets at Dick’s. I fully expected “Sand” to open this last set of the tour, and tried to prepare myself for where it would take me. The spaces where for two years we have talked about ripcords and shuffle play, at least for now, have been replaced with patience and room to grow. “Sand” touches on many themes, at times hinting at “Bathtub Gin,” “46 Days” and “Prince Caspian” without ever sounding rehashed. Then, as the jam is about to die away, we are treated to a reprise of the main “Sand” theme with dark, plinko-infused funk that effortlessly morphs into “Ghost” in what might be the best segue of the year. “Ghost” gets right down to business, breaking down and putting on the mantle of rock regalia before dropping into another delicious funk groove and, ultimately, basking in ambient afterglow. This leads to another seamless segue and a “Piper” intro which takes more time than it has in years. In “Piper” we soon find ourselves in a quirky but delightful realm where all four band mates tinkle in the upper registers of bliss. It’s the last stroke on a fifty minute masterpiece that will be explored by my ears again and again in the cool months to come.
I don’t want to spend too much time on negatives. I’ll just say that “Twenty Years Later,” while an interesting call coming out of “Piper,” didn’t grab my attention, and the “Character Zero” encore was something of a disappointment for me. I didn’t necessarily expect a “Harpua” encore, but something more meaty than a 6 minute rocker would have been great. On the other hand, the “Harry Hood” may not be legendary, but I think it deserves to be listened to with headphones on and eyes closed.
Also, please permit me a moment to acknowledge Trevor Jackson. Trev, a devoted fan and dear friend of many .Netters, passed away one year ago tomorrow, before the final night at Dick’s. Yet even heavy hearts get a lift with the knowledge that Trev had a spot on the rail last night to hear “The Lizards,” his favorite song. The joy that flows from the music is joined with his spirit, and reaches me daily through the love of the people whose lives he enriched.
I look forward to the nitpicking and arguing about how great this show and the whole Dick’s run truly are. It’s the kind of obsessive geekery that turned me on to Phish in the first place. For now, though, I can only stress my renewed optimism and undying love of this band who, after all these years, still finds ways to blow my mind. The jams of the past weekend take the mature skill I’ve heard over the last three years and apply it to classic Phish risk-taking, and the payoff was enormous. It was beautiful to hear, and it leaves me with only one question:
When do they announce New Year’s Eve?
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Phish.net
The Mockingbird Foundation
SPAC 7/6/12
SET ONE
Runaway Jim(7:50)
Ocelot(8:56)
Heavy Things(6:05)
Back on the Train(9:01)
Funky Bitch(6:08)
Tube(1:35)
Psycho Killer(2:50)
Tube(2:19)
Hold Your Head Up(2:25)
Cracklin' Rosie(2:58)
Hold Your Head Up(3:47)
Stash(11:12)
Bouncing Around the Room(3:58)
Paul and Silas(2:34)
Horn(4:30)
Corinna(5:37)
Light Up or Leave Me Alone(8:44)
SET TWO
Chalk Dust Torture(8:30)
Carini(8:53)
Sand(10:15)
Roses Are Free(5:34)
Punch You in the Eye(9:24)
Sneakin' Sally thru the Alley(13:02)
Ghost(11:44)
Suzy Greenberg(5:46)
Run Like an Antelope(11:54)
ENCORE
Loving Cup(6:39)
SPAC 7/7/12
SET ONE
Grind(2:11)
Possum(8:32)
Golgi Apparatus(4:51)
The Moma Dance(7:23)
Torn And Frayed(7:40)
Rift(6:13)
Cities(6:03)
Maze(9:54)
Lawn Boy(3:24)
Peaches En Regalia(3:17)
Bathtub Gin(11:58)
Good Times, Bad Times(6:23)
SET TWO
Down with Disease(5:21)
Blister in the Sun(:45)
Down with Disease(6:11)
Boogie On Reggae Woman(7:03)
Golden Age(6:58)
2001(6:13)
Backwards Down the Number Line(7:18)
Prince Caspian(6:17)
Scent of a Mule(8:42)
Mike's Song(7:35)
Contact(6:37)
Weekapaug Groove(8:41)
ENCORE
Sabotage(3:52)
SPAC 7/8/12
SET ONE
AC/DC Bag(6:25)
My Soul(5:56)
Camel Walk(5:43)
Sample in a Jar(5:23)
Wilson(4:35)
Party Time(8:42)
Gumbo(5:24)
Nellie Kane(2:54)
Driver(3:49)
Foam(9:11)
If I Could(7:51)
Split Open and Melt(11:45)
La Grange(5:23)
SET TWO
Axilla I(3:50)
Light(13:16)
Twist(7:06)
Kill Devil Falls(10:44)
My Friend, My Friend(5:48)
Swept Away(:59)
Steep(3:50)
Piper(15:30)
Free(7:06)
Kung(2:55)
Harry Hood(11:21)
Cavern(4:42)
David Bowie(11:34)
ENCORE
You Enjoy Myself(20:40)
VERSUS....
Dick's 8/31/12
SET ONE
First Tube(9:41)
Uncle Pen(4:29)
Carini(13:51)
Kill Devil Falls(9:28)
You Enjoy Myself(19:14)
Ocelot(10:26)
Undermind(15:31)
SET TWO
Runaway Jim(20:00)
Farmhouse(10:54)
Alaska(9:53)
Chalk Dust Torture(18:28)
Emotional Rescue(5:55)
Fuck Your Face(4:35)
ENCORE
Grind(1:34)
Meatstick(7:07)
Dick's 9/1/12
SET ONE
Run Like an Antelope(10:38)
Backwards Down the Number Line (7:31)
Tweezer(13:25)
Fluffhead(14:19)
Roses Are Free(5:09)
Funky Bitch(6:24)
The Moma Dance(6:12)
When the Circus Comes(5:44)
Theme from the Bottom(8:07)
Golgi Apparatus(4:46)
Stealing Time From the Faulty Plan(5:33)
SET TWO
Golden Age(13:38)
Prince Caspian(11:13)
Light(23:56)
Boogie On Reggae Woman(6:16)
The Wedge(6:06)
The Horse(1:18)
Silent In The Morning(5:02)
Mike's Song(6:58)
No Quarter(7:37)
Weekapaug Groove(8:35)
ENCORE
Sleeping Monkey(5:49)
Tweezer Reprise(4:02)
Dick's 9/2/12
SET ONE
Cars Trucks Buses(6:36)
AC/DC Bag(5:59)
Down with Disease(9:49)
Bathtub Gin(10:51)
Nellie Kane(2:46)
Sample in a Jar(5:10)
Back on the Train(6:34)
Rift(5:50)
Free(7:38)
Ride Captain Ride(5:39)
Maze(9:22)
Halley's Comet(5:25)
46 Days(6:45)
Possum(8:59)
SET TWO
Sand(24:29)
Ghost(14:20)
Piper(9:38)
Twenty Years Later(6:31)
The Lizards(10:17)
Harry Hood(16:19)
ENCORE
Character Zero(6:38)
Night one at SPAC had a nice little sneakin sally> ghost interlude. Night two...yeah not so much...unless you like blister in the sun a whole lot. Pretty caspian tho. Night three decent light decent piper.
And dick's...well it speaks for itself really. Have you listened to the shows yet?
summer 2012- phish rebuilds america
Really miss the build-up Piper intro (not sure why they abandoned it) -- can't wait to give this a listen.
Sand was never a favorite of mine, and I thought Light was okay, but with promise -- man has that changed this summer. Sand and Light have been revelations and the heart of what the boys put together this Summer -- a unique tour in Phish History.
@e_dollo -- I like it -- "Phish Rebuilds America" -- great play on the '97 tour, combined with some campaign year humor...
It just feels RIGHT!
Sincerely,
Dosque
The whole webcast evolution is truly incredible and it is time to webcast every show. There should also be a season pass option. I am willing to bet that they make more than enough in webcast revenue to make this a feasible option. I am also willing to bet that a lot of people would pay for this option if it was available.
Phish has always been a leader in marketing innovation. They already webcast a third of the shows anyway. Someone please make this happen.
Thanks and see you for new years.
That's the sign of a great set- does a ballad feel like it fits? Or does it feel like a throw-in?
If I Could from Worcester and Billy Breathes from Atlantic City fit the criteria also. Two songs I've always appreciated, but suddenly loved again after one great placement.
My only issue with it? It isn't Roggae. I'm not sure if Phish realizes that people are all about that song now. It seems like they try and slip it in like medicine, hoping we don't reject it. Just feed us Roggae like baby birds, Phish. Halfway To The Moon would have been bang-up as well.
That Piper is fantastic though, holy crap. They've really figured out how to play sub-10 minute Pipers this year. It always seemed like an option, with even some of the greatest shows of the 90s employing short Pipers that were all build. Now it's like the build is secondary to that explosion off the cliff at the end. And JEEZ LOUISE am I loving the improv from this version. Around 5 minutes in is some of the most unique music I've ever heard Phish play.
20 years ago the band was jamming just like they did Sunday night, and they still can.
I don't have much affection for Character Zero—in fact, my jaw dropped when they played it, and not in a good way—but here it raged and rocked and felt like a solid enough period on the end of the Phish sentence that was the Dick's 2012 run, I just wanted an exclamation point, i.e., one final bustout, one final Big Statement of Phish like the rest of the shows had been. But when I hear that they wanted their crew, in honor of Labor Day, to be on their way, it makes me respect them only more. Good guys. We'd had our fill by then, as had they. There's nowhere to go from those jams in summer 2012—the moment ends, but the moment is eternal, and Phish seems caught up in what feels like Their Moment. I think any record made by these guys this fall is going to smoke, and future shows will as well... if they can maintain this level of energy and engagement. Nothing's a lock, and it can always go wrong, but for my money, Phish is peaking again right now. Glad to be a part of it.
As I have said ad infinitum on previous posts, this year has been the year of attention to detail and overall show-craft resulting in more thoroughly satisfying shows as a whole. Without going into detail, just go back over leg I and see how many shows were dload "skippable" and compare that with 09, 10, and 11. Some shows from 11 and the occasional from 09 and 10 had greater heights but not many had the whole show breadth of 12. Guyutica, Pine Knob, and Element Set are the exception to this trend (and before anyone says that I intentionally omitted the best set/show ever, I'm sure I'm missing some here).
More frequently, there was a great individual jam that made the highlight reel but the rest of the show was so-so. Another exception is BGCA night two for 2012 (Simple) that demonstrated this phenomenon. But I would posit, as a whole, 12 has been the year for developing entire shows. Maybe I'm biased towards this type of thing because I love to listen to entire shows from start to finish; I want to sit back and soak in the entirety to glimpse (if only vicariously) what it might have been like to have been there. Also, I think we should note that this is obviously how phish shows are actually played. Seems dumb to mention, but I think it puts one in a better perspective to go to a show and enjoy it.
With these types of whole-show entities, the normal parameters of songs are transcended to provide the context, the space in which the songs are felt and the jams are jammed. This is beautifully said @nichobert in the post above on balladry. These well-earned ballads glisten with the dew of the previous jam as a triumphant return is made; we come to them having known the journey and each note of the glorious melody is the sense of we have arrived. Think about the Dirt in the Element, or that If I Could (or if you want to get crazy, Stella Blue).
But enough about the ethos of whole-show. I could talk forever about it. The point to me was that they showed their willingness in 11 to jam the jams. And I'm not talking about any nifty 9 minute ghosts or 12 minute tweezers here. It was the dawn of the Disease. The only concern at the time was that that was the only platform that still seemed to be a launchpad (this would be alleviated soon enough).
Fast-forward to leg I. Oh dear God, they are not jamming the 20-minuters! Well, they were too busy relearning how to craft an entire show. I posted on this ad nauseum over the course of the tour so I won't bore everyone again with the details. Let's just say they bothered to take care of their songs and their sets again. I was actually thinking a little pre-thought from the band in terms of setlists might be a good idea, not as a blue print but as a source for flow. It seems as if they proved it to themselves that they had it in them to jam the real jams in 11 and then went back and handled the rest of the business in leg I. Leg I+11 style jamming= motherfucking, leg II.
I hate to be that "I told you so" guy, but I told you so. In the SPAC 2 recap blog. There seemed to be some haters hating and I had to let them know what was in store for us in leg II. I recall one guy actually said something like, Phish has never been less dynamic over a 4 year timespan. Ugh. Sorry, I just could not resist the urge that I foretold of the greatness and yea it was good. But I am not a unique snowflake and many many other people out there with brains saw this coming. Look at how much they care and how much fun they're having throughout leg I. We already saw that they could jam if the jamming moment was right. Leg I was about getting to the place where the time is always right to do what is jam.
And. Man. Did. They. Ever. I know its only 3 shows, and was immediately preceded by a show with an 09 mask on, but how can this not be a watershed moment for phish? We were no longer *really* hoping that they were as good as their potential (night one AC was my first revelation of this), but they were swaggeringly putting that shit right in our ears. Like this is what we came for, what did you expect? The Dick's run to me is not the culmination of the bands 3.0 arc, but is instead the impetus for 2012- onward. By revisiting the past, the band finally arrived in the present, and our ears may be pointed skyward to the future. The asterisk has finally left the building and those glimpses of glory that the 12 min jams provided are fully and thoroughly explored now.
And while I might draw some hate here, I think it is because they now have a willingness to sound bad. They are no longer afraid of falling flat on their faces in a jam, and we can get moments where the cohesion is lost that pushes the band to find new horizons of jam within the context of the ongoing jam. Runaway Jim, I thought was a perfect example of this. You can clearly hear the searching, shift and new direction the jam takes. In 10 or 11, this would have phased out and BDTNL would have started. The most basic requirement for jamming is the commitment to the jam because most of the time glorious hose does not just immediately leap out from the collected depths (unless its Undermind night one).
The second aspect seems to be an open mind. There have been amazing sands. Don't get me wrong here, I love the sand jam. I love the groove I love the melody, I even *gasp* love the lyrics. But, aside from the brief moment from DCU before it segues into Nellie Kane, I don't think I can name a single type-II jam that has come out of sand. Ever. Until now. Talk about a turn to left field, they deconstructed that mother hard. And then rebuilt it, somehow, but not quite, leaving the door open to one of the most solid segues of their career. Those segues where it's like they've just stuck the landing, 10/10, there is no better because it is perfection. You can get there again but you can't do better (unless you count creativity points for unusual pairings).
Anyway, before this becomes some kind of epic, I guess I should steer back to the main point. By giving us a taste of what can be, they have raised the expectations. Fair or unfair, realistic or not, we all know (them included) that they can do it. I think it would be reasonable to expect them to at least try (as in the Jim jam) to have the commitment to jamming. If a jam has an organic peak, then that's the time for the segue. If there is no peak, but glorious apocalypse instead ("storage"
I don't think we should have the realistic expectation that they will just play like its Dicks for all of 2013-> ? because (other than fall 97) they have never consistently done that over there career. But this ******giant******* leap forward should grant them a framework from which to work off of. I hope (not yet expect) that we will get a show of Dick's willingness to jam (if not caliber of jam) maybe every third show or so on tours from hereon out. With most shows displaying at least one real jam in the first set. And maybe something like: show 1 (17 min jam> 12min Jam) show 2 (15 min jam 1st set, 15 min jam 2nd set) show 3 (23 min jam> 15 min jam). Along with a sprinkling of fresh takes on bowie, reba, and last quarter hoods/slaves.
And finally (I swear), an understanding of what songs make sense in what point in the setlist. Strong 4th quarters are the final hurdle. This is the dawn of 4.0, folks, and I sincerely believe that we will get there soon.
Addendum: what is like fall 97 is the fact that in Dick's at least: we don't know what songs the jams will come from!!!!!!!! Chalkdust???!!! Prince caspian? Easily best ever. Ok, I'm outta here.
sweet line -- great post
Night 1 Dick's was cute, and the crowd energy brilliant, but flow? Night two, just fine. Night three? Sand! Yes. I'll go ahead and say it's my favorite (I detest using words like better and best int the absolute when there is so much variability in the listeners). In fact I think the whole Sand/Ghost/Piper is brilliant. 20 years later, I can do without. Sure I can rationalize that they needed to breathe after those first three songs, but...
And I can really do without Ride Captain Ride.
I do enjoy the recap - well written and insightful. I particularly echo the willingness of the band to go there, to explore, safety nets be damned. I just wish we could get away from having to rank them in some sort of absolute way. Much like food, what is "best" depends on the moment you are listening, the mood of the listener, the listening environment.
Let's stick with favorites and be clear that our judgments are our own and can change from moment to moment. That being said, maybe Dick's will grow on me. (ahem)
On a side note, will someone define for me the 1.0/2.0/3.0 thing?
While I've only been to 40 or 60 shows, they are scattered throughout their history, beginning at the campus club in ’87 or '88 (age revealed). I imagine that early time period is now referred to as 1.0? And I imagine 3.0 begins after the break-up. But when does 2.0 start? Or are these classifications more style classifications that are not as much rooted in time periods?
And speaking of the campus club, I have a distinct memory of a skin-headed Trey. Can anyone confirm?
1.0 - Through 2000 (first "Hiatus"
2.0 - 12/31/02 - Coventry
3.0 - '09 - present
As for your comments -- I think both legs had great flow in most shows (a few exceptions, particularly in the 4th Quarter of many shows in Leg 1 -- see July 4th)
But the improvisational flow and Giants coming out of Dicks (and SF 3) seem to my ears to surpass anything heard in SPAC. (I just don't see any 50+ min segments of improvisational flow form SPAC that can hold a candle to what was done in all 3 nights of Dicks, and SF 3)
And, really, SPAC 2 was fun -- but not really sure how it compares musically to Dicks.
What are the Giants to which you refer?
And yes, I definitely prefer SPAC 2 to Dick's 2 (save the No Quarter in place of Contact).
More questions...Does a "Type 2 Jam" refer to the time period 2.0?
And what are some qualities many would associate with each of the 1.0/2.0/3.0 eras? Just trying to catch up on the conversation that's all.
Any no takers for the skinheaded Trey?
Type 2 refers to Jamming that breaks form the chord structure of the principle song/Jam (Type 1 Jams maintain the chord structure). This has nothing to do with the 1.0/2.0/3.0 time eras.
This Type 2 distinction is the large factor that separates Dicks and BGCA 3 from SPAC (and most of Leg 1) -- and largely what had been missing in 3.0 in general.
Some "Giants" of leg 2:
- Crosseyed-Light-Sally-Crosseyed Reprise of BGCA 3 (among my favorite 50+ Mins of Phish ever)
- Jim-Farmhouse, and Chalkdust-Emotional Rescue-FYF of Dicks 1
- Golden Age-Caspien-Light of Dicks 2 (Nothing in SPAC 2 touches the depth in this Light)
- Sand-Ghost-Piper
"This Type 2 distinction is the large factor that separates Dicks and BGCA 3 from SPAC (and most of Leg 1) -- and largely what had been missing in 3.0 in general."
Really??? Then what the heck is it that I love so much about the SPAC Light> Twist? I think I still disagree though I haven't listened to SPAC since Dick's...
And yes I LOVE the cross eyed....cross eyed segment in BGCA 3.
Time>
Ever
And what are some qualities many would associate with each of the 1.0/2.0/3.0 eras? Just trying to catch up on the conversation that's all.
1.0 -- is 15 years, has so many different periods. Thai is a gross over-simplification, but here is my take.
- Pre '94 - Perhaps more like 3.0. Less Type 2, more song-based Jamming. Very little deep funk and other basic-chord-progression jams. mostly high energy arena rock, and Phish's brand of quirky jazz (see Junta).
-'94-mid '96. Arena Rock on Steroids!!! Type 2 high octane shows. I think Page comes into his own as driving a style. Fall '94 and Dec. '95 among others contain many must listen shows.
late '96 - '98. Funk the Funk!!! deep in dark in '97, through dancing cow-funk of '98. Perhaps launched by their work to cover Talking Heads' Remain in the Light. (many consider Fall '97 to be the THE TOUR. Along with infamous "Island Tour" of April 98.))
'98-2000. A more rock-based Funk. The very light Trey-Band infused (some would say "cheesier"
2.0 - Probably the most deep in Type 2 and maybe the weakest in performing written music (YEM intro always butchered, and Fluffhead not even tried). Perhaps a bit repetitive in the darkness of the emerging Jams. Very eery, dark spacey Type 2 Jams (see Scents and Subtle Sounds from Camden in summer '03, not sure of date). 2/28/03 and 6/19/04 are among the highlights. And a monster 46 Days and Ghost from IT are good Jams to hear the vibe of the time.
3.0 - Arena Anthem Rock Gods!! lol. Tight rocking sets as they find their improv legs. Type 1 jamming almost exclusively. 25 song shows a normal. Some great stuff in '09, and a lull to most of us in '10 -- but signs of what was to come in Summer '11. (Bethel, and the Storage Jam are good indications of what had the scene buzzing by the end of 2011, despite falling a bit flat at the NYE MSG run.) And now this monster summer!!
The last 3 years have been amazing to listen to them build a new style of Arena Anthem rock, psychedelia jamming, and Funk. Kind of melding a hybrid between the various styles, in what hopefully will continue to explode from the Glory we saw this summer.
I think SPAC 3 is above Dicks 2. I put SPAC 3 as Number 3 of the summer. (Behind Dicks 3 and BGCA 3). Though the Dicks 2 Caspien-Light is possibly Jam of 3.0 so far (and I hate Capsien!!).
In some ways, even though it's recorded on tape or disk or stored on a hard drive, the music seems to change - to age. It'd be overly simplistic to say that merely the listener has changed. Indeed the entire backdrop for listening to the music changes - from listener to the listening environ as a whole. What the band does tomorrow does have some impact on how the music of yesterday sounds. The foreground of these shows form the background of 2013 and beyond.
And boy, what a background!
Just wanted to add the ripple that how we have characterized past eras (as you pointed out with Robert Johnson) takes on an ideality of its own. I would argue that this actually changes the music itself as the source artifact can no longer be relevant in the same way it was to the world that created it. The present-moment of creation is the event of the art, but the shows immediate wake is that art's world. So we have our perception of that era laid over the top of the music from then, as well as our current orientation towards music today that informs the perception.
Further, it seems to me that these characterizations of the past eras not only inform our current reception of past shows but also serve as the contexting of the present. As you said, we are no longer in that time so we cannot actually perceive things as if we were, thus we have symbols as placeholders for how those times were. We abstract that time in terms of definable chunks (cowfunk, ambient, etc) and those chunks make up the history of the band as we perceive it. Finally, that perceived abstraction of history itself changes the "narrative" for how shows are received in the present. The past has its necessary narrative, but how can we define the present?
I think as long as the possibility for change exists, there is freedom from definitions. The past is over so we of course seek to define it. For a band that creates art in the moment, this freedom itself is its defining essence. When that freedom demands of us to accept the present, then we can truly live without past and future narratives clouding our now. And to me at least, there is a sense of joy. Just a connection that we are all on the rift of time forever cutting future into past, and when we are reminded of this through the morph juggernauts known as phish, then there is an opening and the clarity of reality shines through. These past shows were truly inspirational to me and a reminder of how I can be instead of who and what.
2013 (and the NYE 2012 run, if that comes to pass) are going to be utterly amazing, on the evidence of the past 3 shows/St. Louis/BGCA3/Long Beach. I can't wait to watch it unfold with the rest of .net.
Loved Worcester, both those shows were just an absolute blast; that 2nd set of nite 1, I'll never forget that shiz. The Ace.
Getting to hear Friar Tuck sing "Purple Rain" on July 4th made every mile, every second, every cent I ever spent on this wonderful musical group worth it.
SPAC 3... All I really 'wanted' to hear this season was Melt. This "Melt> La Grange" I'll be always thankful fer as well. La Grange! Summer of fuking awesome covers!
But when I think about it, the end jam of "Golden Age" 7-3 was my favorite single piece all summer. One of those I'll be remembering a long time. It was just spooky.
Then an uneven -- yet still pretty boss, meaty useful jams, pick a show, any show, they're there; lets not BS here -- Leg II definitely got book-ended by 2 of the best shows of 3.0, without doubt.
Showing off for Biebers in Long Beach.
Showing off for the fans with an always sweet "Lizards" (et al.) to close the run.
It was a good summer my friends.....a great one. Smiles all around.
I'd take no NYE Run for a Late Fall one.....but I know I'm just dreaming.
See you at MSG, or wherever...
Peace to the Middle East.
Great review
@AlbanyYEM said:
Peace,
Alex
I like many think that I have this uncanny ability to call songs. Most of the time I'm wrong. Bummer.
Anyways, during Ride Captain Ride I swore I heard Page really emphasize part of this line... "Be aMAZEd at the friends you have here on your trip." Before the song ended I leaned into my buddies and confidently whispered "Maze." My buddy signals me back over. "Bowie" he says. Ironic. Cue the high-hat...
Fast-forwarded a bit....
Twenty Years Later - when I first heard the song my first thought was "WOW - what a god awful chorus this song has." Twenty Years Later I will still think that this song has one of the worst choruses that Phish ever put out. BUT, the rest of the song is killer in my opinion. I love the sound of the verses and the outro is just out of this world good. It's Gov't Mule all the way. I love it. Change the chorus and this is a BAD ASS Phish tune.
The reason I bring up placement again though is because of the line that gave up The Lizards..
"I stop for a stranger just to give him a lift
I cling like a lizard to the side of the cliff"
Low and behold I leaned in just as the tune wound down. "Here's your Lizards".
I felt good about myself. Got some high fives. Kissed my girlfriend. Realized that I was getting my 2nd Lizards in 55 shows while my baby is getting Lizards in their 2nd show (in utero).
The insignificance of all of this is astoundingly awesome.