[We would like to thank user imdano Dan Dudensing for this guest blog post. Dan's first show was 11/29/98, he resides in Burlington, and he hosts a radio show on local Burlington VT radio every Monday at 5:00 pm, which streams on https://bigheavyworld.com/stream. Dan's views are his own and do not necessarily reflect the views of any of the volunteers on this website. -Ed.]
When you consider Phish’s career of 34 years—I understand that 2021 minus 1983 is 38, however, I think we must subtract four years from the career total to capture the 2004-2009 breakup—you realize more and more how difficult and likely pointless it has become to argue for “greatest this” and “greatest that.” There are so many shows, containing so much music, and totaling so much time, that I don’t think it’s possible any longer to have a full grasp of everything they’ve done, which would be essential in order to declare superlatives.
I am sure we can all call to mind a jam that took our breath away, and yet receives few or no shoutouts when the all-time great [insert jam-vehicle song name here]) dialogue is underway. There is just so much music to listen to at this point. Yes, there are some objective high-water marks, but even those might be hard to find consensus on; I like to identify New Years ’95, Clifford Ball, and Big Cypress as the real mountaintops, however a younger fan than I (no disrespect intended) may argue Baker’s Dozen. At this point we should all just stand back, give thanks, and perhaps acknowledge that with such an immense amount of music and time to consider, we may continue to find it harder and harder to agree on superlatives.
Phish.net is a non-commercial project run by Phish fans and for Phish fans under the auspices of the all-volunteer, non-profit Mockingbird Foundation.
This project serves to compile, preserve, and protect encyclopedic information about Phish and their music.
The Mockingbird Foundation is a non-profit organization founded by Phish fans in 1996 to generate charitable proceeds from the Phish community.
And since we're entirely volunteer – with no office, salaries, or paid staff – administrative costs are less than 2% of revenues! So far, we've distributed over $2 million to support music education for children – hundreds of grants in all 50 states, with more on the way.