|Originally Performed By||Phish|
|Vocals||Page (lead), Mike, Trey (backing)|
|Historian||Dan Purcell (sausagemahoney)|
Like a lot of young men, Page McConnell used to hurry a lot, he used to worry a lot, he used to stay out 'till the break of day. But these days, daddy don't live in that New York City no more. Now "Home" is where he wants to be; pick him up and turn him round. He feels numb, born with a weak heart; guess he must be having fun.
"Home" is not the first rock song to narrate a midlife crisis and its aftermath, or navigate the realizations about oneself and one's worst tendencies that (hopefully) come with age. But the sentiment is unmistakeable and the outlook, at least on the surface, is all smiles. Page alludes to his days of late nights and parties, hints at self-sabotage and the fallout from failed relationships, and concludes things are much better now. You can't really argue with him.
On Big Boat, Page set this tale of learning and growing to a stately and straightforward midtempo piano-pop groove that's equal parts Richard Manuel, Gary Brooker, and Ben Folds. If you're looking for a moment of regret, a wistful glance backward at all the crazy shit the now-sated narrator used to get away with, you can find it in the slippery modal weirdness of the song's nascent jam segment, which surprisingly jumps the rails of the basic chord progression. Lasting just 30 seconds or so on the studio version, it has potential to do much more in the live setting. Dare we hope that Page has finally crafted his long-awaited second-set centerpiece? Stay tuned.
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 just about $1,500,000 to support music education for children – hundreds of grants in all 50 states, with more on the way.