Phish for Beginners
A basic introduction into the music of Phish
INTRODUCTION
As I headed toward Soldier Field this past holiday weekend to see the reunion of the Grateful Dead via train, I incidentally eavesdropped on some Deadheads talking about the happenings downtown and their eager anticipation toward seeing their favorite band. They mostly discussed songs they wanted to hear, how the band sounded in Santa Clara, and where to score their next 10 dollar beer. In light of all this pleasant banter, the most interesting discourse involved their fascination with the regenerative lead guitarist Trey Anastasio. They took in his patient, on-point guitar licks, his surprisingly accuracy with evoking riffs tantamount to Jerry, and just “being a great fit” overall. The one line that caught my immediate attention, as well as made me laugh was: “I may just even see a Phish show after this!”
This line resonated with me. I sometimes forget that the reason people are coming in droves to see Fare Thee Well is Dead’s inexorable power to bring people together, forever carrying the journeyman mythos with them, and relish in that nostalgia that has been missing since Jerry’s passing in 1995. Just to talk about old times while listening to the music that is steeped in irrefutably positive memories: this had everyone overjoyed in Chicago (over 71,000 for those three nights.) Phish, while still touring into their 32nd year, and are perceived to be the torchbearers of the Dead, unfortunately do not get the universal recognition(even though Phish mythos is saturated in irony and abstruse humor and continues to be radically noncommercial.) There’s no bitterness obviously, it’s just the facts of life…The facts of life. Phish will forever live in the shadow of the Dead; as a Phish phan for 20 years, I am cognizant of this fact. What has captivated me about this Fare Thee Well tour (besides the amazing music) is that this emergence of Dead fans who are curious about this red-headed, stalwart sit-in for Jerry. Knowing Trey’s skills, as well as his experience playing with the band seeing these changes of heart made we wonder if they have even heard Trey perform. After these shows, it looks like they will.
When you consider who are the greatest rock and roll bands of all time, most of them come at a whip-snap’s beat — The Beatles, Rolling Stones, Led Zeppelin, Bob Dylan, The Grateful Dead for starters. These giants of rock deliver an immense echelon of music from their inception to their departure, and in some cases, their library continues to expand. Drawing on decades of music, their extensive influence makes them top tier; everyone alive enjoys their music and continues to use their music as an influence, or just a constant enjoyment throughout their lives.
If I were to tell you that Phish is in this echelon, most of you would have a hard time believing me, which is understandable. Phish music is rarely played on the radio for starters. Most people carp on their studio records saying, although numerously accessible, they fail to capture the edifying feeling most classic albums. I’ve talked to some people around Austin, and I’ve told them that they are coming to town this summer and they fully believed that Phish retired years ago — others made unsubtle references to the Dead (what’s ironic is Austin is the music capital of the world, so to speak.) The people that did know they were touring, were going to the show not because of the music, but because of the abundantly welcoming lot scene. Weeks before Dave Matthews came to town, radio stations pumped out most of his hits to promote the show; I have yet to hear any mention of Phish’s return to Austin, and the show is one month away. I had a recent discussion with Brad Listee of the literary podcast OtherPPL and he emphasized the point that The Grateful dead created such a countercultural legacy, that people who emulate it, like Phish, will never inherit the masses like the Dead. He also felt their lyrics were too silly, and just “wasn’t stoned enough” to get into “Fluffhead.” This sentiment is typically what most people feel about Phish, and I can empathize with Brad. You’ll hear most of the time that they are a band for hippies, or just a typical jam band fueled energetically and financially by the road.
Is this a complaint? Absolutely not. Phish and their fans are used to this cloaked exposure, not because Phish is unpopular, but because their image of being a scene convivial to hippies, college drop outs, and trust fund yuppies with money for drugs is a putative perception. I want to obviously dispel those rumors, however, I want to give a basic (and I mean basic) template for those that know little to nothing about Phish, so that you can at least have a foundation manageable to figure out where you stand, so that your enjoyment of this band will flourish. Yes Bill Walton, even you can learn something from this.
So what is Phish and why should you care? For starters, Phish are four guys from Burlington, Vermont that began their careers as a Grateful Dead cover band and ended up one of the greatest live bands in history. Their forte rests upon their extraordinary skill in improvisational musicianship. Their ability to conjure blissful and melodious harmonies instantaneously keeps their fans continuously returning to their shows. For some, it can be considered an addiction, to be able to witness on-point improvised craftsmanship. Along with the jamming, Phish’s immense library keeps them at the vanguard of American bands.
PREFACE
If you are reading this essay, you most likely fall into one of the four categories:
1. You only know Phish through various music discussions, or murmurings of some hardcore fan trying to convince you or someone that you know that Phish is the greatest, and you neither confirm nor deny the claim, you just don’t have any backing as to who Phish is. You’re a big fan of music, and you’ve come across this essay wanting to know a little more about them. Or you just wrapped up your Fare Thee Well tour, and now want to learn something about Phish. Welcome.
2. You have been listening to Phish for some time, and you dig it. Now, you want to expand on your knowledge, but you don’t know where to start. Some phans have rec’d some great shows, but your palate craves a more complex taste. Yes, Phish has been around for 30+ years, so trying to wrap your brain around every epoch, or style that Phish has covered can be overwhelming and off-putting.
3. You’re an avid phan and you want to see how I’ve collected a “Phish for Beginners” compendium, because you are curious, and you want to see how I’ve done it, which is great.
4. You’re an avid phan and you want to see how I’ve collected a “Phish for Beginners” compendium, because you are curious, and you want to castigate how poorly I’ve done this, which is still great — hey, I’m not an expert and it’s in our nature to criticize. In reality, I’m just a loyal fan who’s attempting to create a template for people wanting to start learning about a great band.
I feel I have to put some disclaimers here, only because people’s opinion’s of Phish range from temporal to religious, and that, right off the bat, establishing how I put this together is merely how I want to impart my experience of Phish to someone who is curious about the band. My choices and methods are predicated off of explaining Phish to someone with little to no knowledge of Phish, and who would indeed like to know more about them without the coercive vibe of having to learn about certain nuances of the band, or listen to “necessary shows in order to get them.” Everyone has their own way of swerving into indulgence, especially when it comes to music that they like, so if Phish is something that they want to know, they can read this and peruse at their own fashion. When you dig deeper into the fandom of the band, each person has their own proclivities, whether it is the raucous guitar solos from Trey in the early 90’s, or it may be the magic of their spacey improvisation in the late 90’s. Some will tell you that one particular show is amazing, only to be chagrined by others, merely because that show was their first show they’ve seen live. One of the downsides of Phish fandom is that their fans hold Phish’s music close to the breast; it’s not just about “listening to music,” but rather experiencing the mystic that the band conjures through the concert experience. I know, it sounds very hippie-ish, but once you are hooked (I’ve been listening to Phish regularly since 1996,) you’re hooked, and there’s no going back.
RULE OF FOUR
In the many years of listening, I noticed that the number four appears within the ethos of the band. This is neither here nor there; it was just a number that kept coming up, a non-definitive observation, but a pattern that kept reoccurring. It obviously starts with the four members of the band, then continues throughout the band’s identity. So to help account for explaining the band, I’m going to use the number four. Four is a mystical number — the Zuni tribe treated four as a sacred number representing wholeness and completion. There are four elements of Earth, four gospels, four points of direction. Historically speaking the number “four” possesses a rich occult following. Did Phish purposely implement the number four into their musical repertoire? I highly doubt that — however, exploring the vast array of Phish’s music, fans, and epochs, it can be noted that the number four can take on a symbolic representation throughout the course of understanding Phish.
THE BAND
TREY ANASTASIO — Lead Guitar: Trey, like most bandleaders, heeds the responsibility of the band’s image and sound. Not only does he play lead guitar, he controls the overall direction of the band in terms of live performances. Born in Ft. Worth, TX, he moved to the northeast at a young age and started his musical journey at the University of Vermont. He formed Phish in 1983 with Jon Fishman, a neigboring dormmate playing the drums, at the University of Vermont. Since 1983 to today, Trey’s prescient understanding of music and guitar virtuosity is what attracts fans the most. His major influences include Jerry Garcia, Frank Zappa, Jimi Hendrix, and Jimmy Page. Trey’s range of guitar playing spans throughout various genres from rock-n-roll to jazz to 1970's funk to ambient.
JON FISHMAN — Drums: Jon is the drummer and percussive genius. What makes him unique is his ability to create various forms of percussive backing to a song or jam, which evokes the eclectic nature of Phish. Fishman will usually don a red-dotted dress which was made in their early career. He caught this obscure pattern from a friend while sewing and thought it was odd, therefore asking to have a dress made to wear for shows. He can be considered the jester of the group, playing an Electrolux vacuum, providing strange voices during jams, and other antics.
MIKE GORDON — Bass: When Phish was being formed, Trey put up flyers looking for a bassist to join his band. Simultaneously, Mike was putting up flyers looking for a band. Their crossing of paths linked up a genuine musical and personal friendship for years to come. Mike’s contribution to Phish is his eccentric, low-key persona, keeping the “low beat” of a song or jam, and, over the years, expanding on the lower end of a song, creating consistent rhythms and sonic dissonance. His ability to give structure to an ongoing jam helps define Phish improvisation.
PAGE McCONNELL — Keyboards: In 1985, during a spring festival at UVM, Page, who was performing with another band, caught and immediately besotted the band’s unique sound. He asked if he could join in, for which they welcomed. Over time, Page became a regular member despite the early chagrin of Trey and Jon. Page’s contribution begets an elevated level for Phish’s sound. His ability to create multifaceted resonance is significant, being he has more tools readily available to do so. With a piano, organs, and other synthesizers, the textural complexity generates a widespread ethereal sound on some songs, and a gnarly funk on others.
OTHER PEOPLE OF SIGNIFICANCE TO THE BAND AND THEIR HISTORY
CHRIS KURODA — Lights: Chris became the lighting director in 1988 after filling in for their regular light director one night. Most phans consider him “the fifth member” being that his lighting extravaganza immensely intensifies a live Phish show.
Paul Languedoc — Sound: Paul is a behind-the-scenes guy who has been associated with Phish since the beginning. Paul not only works with Phish’s live sound, but has built guitars for Trey and Mike, for which Trey still uses to this day.
TOM MARSHALL — Lyrics: What Robert Hunter is to the Grateful Dead, Tom Marshall is to Phish (if we’re doing superfluous comparisons here.) A childhood friend of Trey, Tom’s poetry conflates irony with the everyday struggle with reality. His unique view of the world is conveyed in his spastic, diverse, and sometimes just plain weird lyrics, and yet he still draws on those poetic moments that great lyricists master. Some of his best work can be seen in Phish’s studio album Rift, one of the concept albums, where the thread of a relationship gone awry seeps into the metaphysics of dreams.
Jeff Holdsworth — guitar: Jeff is actually the Pete Best of the band, in where his arrival in the band, and his departure are equally noted in Phish history. Jeff was roommates with Trey when Phish first started. They began as a four piece with guitars only, but when the band obtained Page, and their music went from bluesy southern rock with Dead covers, to an unconventional, more composition-based band, Jeff felt out of the loop. He quit in 1986 on good terms, and never looked back. Jeff eventually came back on their 20th anniversary to perform a couple songs.
THE FOUR “C’s” OF PHISH’S MUSICAL LIBRARY
Like diamonds, Phish’s music can be categorized into 4 “C’s.” These categories will help you compartmentalize the vast library of Phish’s 200+ songs.
CANON: These are the basic songs: songs from albums, songs the band has written and performed on the road, songs from the Gamehendge chronicles (which we’ll get to later,) and other songs that don’t fit in the other three categories. Most of these songs are performed during the first set of their shows, or in between other extended jams or compositions. If you go through their albums, mostly after 92, you’ll see their library. The range of song genre is what you want to pay attention to — the band’s mastery performing countless forms keeps the band’s unique image taut.
COMPOSITIONS: These are the early songs Phish composed, which you can hear the more popular ones on their first two albums Junta and Lawn Boy. These songs’ structures contain progressive and uncommon forms, and have the body of what some classical musicians might consider a “composite” nature. YEM (You Enjoy Myself) may be the most recognized composition from Phish, and during the early years, the radical impressions these songs left on the audience built a following for the band quickly. In the early days, Trey incorporated classical techniques, which he learned at Goddard College in Plainfield, VT with music director Ernie Stires. These techniques such as fugues, staccatos, and more specific, structured approaches to songs brings a distinctive sound to a Phish performance.
Some other popular compositions include: David Bowie, Divided Sky, Run Like an Antelope, It’s Ice, and Harry Hood to name a few.
COVERS — Phish is notorious (to sound negative in my connotation only because music experts claim they are “the world’s greatest cover band) for playing covers. Their covers can vary in style:
1. Contemporary covers — these are regular covers, like any band who covers another song. Phish tends to make covers sound exceptionally like them; augmenting the original song’s melodies, or tagging on an extra jam at the end of it (this would also crossover to the next category, capacious jam vehicles.) A classic example would be Phish’s rendition of the Talking Head’s Cities. David Byrne’s original version and Phish’s version differ, but the appreciation is still apparent. Some other examples include: Drowned — The Who. Roses are Free-Ween. Golden Age — TV on the Radio. You will see Phish do a fantastic job covering songs, and even take some of these songs as jam vehicles.
2. Genre covers — these are specific genre covers. Examples are:
a. jazz covers — in the early years of Phish, the band would do spectacular and spot-on renditions of jazz favorites. “Take the A Train” and “Satin Doll” were frequented in the late 80’s. Phish stopped playing jazz tunes as their repertoire increased, but fans still hope to see a jazz tune appear unexpectedly.
b. bluegrass covers — Phish is a big fan of bluegrass and brought an embracing prospect to incorporating bluegrass covers into their performances. Nellie Kane, Old Home Place, and Ginseng Sullivan are just a few of the consistent bluegrass tunes that still appear at a show.
c. covers sung by Fishman — On certain occasions, Fishman will emerge from the drum set (usually introduced by the band playing “Hold Your Head Up”) to wail on his vacuum cleaner. In the early 90's Jon learned how to “play” an electrolux vacuum cleaner like a wood instrument. During these epic perfomances, the “suckiness” resounds with his song. Fishman has his collective of covers he refers to, most popular are his covers of Syd Barrett (Love You, Bike.)
CAPACIOUS JAM VEHICLES: These are the stars of the show — the songs that are specifically written to invite the “jam” portion of the song, and yes conveniently labeled “capacious” to fit my C theme. Phish, by nature, identify themselves as a live band, so when these vehicle intros start, phans are exuberant. Considered to be the most popular of this group, Tweezer is known to bring in some of the most extraordinary improvisation in the history of Phish. While the song started as just a “sound check” practice, it quickly metamorphosed into phans favorite song. Finding specific performances throughout the years are what makes Phish listening so unique: you will never hear the same. Some other notable capacious jam vehicles: Ghost, Down With Disease, Bathtub Gin, Piper, Light — not to mention surprises that can act as a vehicle — all of these songs saturate the Phish experience.
Like I said before, these are just basic compartments for song categories — any song can fall under two categories (Drowned is a cover and a capacious jam vehicle, AC/DC Bag, during the late 90’s, was part of the canon and a capacious jam vehicle. Even some of the compositions can get off the rails!) You’ll be able to put your own listening experience together as you peruse the shows.
THE STYLE OF PHISH’S “JAMMING” or “WHAT PHISH SOUNDS LIKE WHEN THEY IMPROVISE”
To categorize Phish’s music into a certain genre would be doing an injustice. Like the Dead, their ability to perform various genres hold no bounds. Genres that stick out could be rock, reggae, bluegrass, and even broadway. As I said before, what brings their phans in droves is their improvisational acumen.
When Phish “jams” or explores a particular song, certain aspects of the jam blend into somewhat dispensable “spectrums” of improvisation, therefore attempting to identify where we are in the jam layout. This, by no means, determines exactly what Phish is doing within their improvisation; this merely helps the listener navigate through Phish’s exploration and increases the enjoyment of the listening experience.
STRAIGHTFORWARD — this is the composed portion of the song; most likely this portion is the song’s coda, therefore welcoming the jam. Compositions have specifically written jams at the end, and rarely do the song’s composed jam fall out of their entreated chord progression. For example, Divided Sky always possesses an illustrious coda, yet never veers from the original chord progression.
TYPE I — This is where the band extends on the composed portion of the song — it is more an expected treat than a momentous occurrence. Usually the band will use this portion of the jam to “stretch their legs,” or begin to “listen” to where the jam might lead. Here is where it gets interesting: For years the “exchanges from Type I to Type II have been a phan’s addiction. They will take the Type I jam and go to Type II or “exchange” to a different song with seamless musical inter-workings.
TYPE II — This is where the normal chord progression has shifted, and the band is in undiscovered country. Through the many years of practice and live performances, Phish’s exemplary skill in generating well-developed improvisation makes them who they are. Complaints you’ll hear from avid Phish fans is when Trey re-directs a type 2 jam, and blends it into another song, where the jam itself was developing into something immensely exhilarating. Notice I haven’t recommended any particular examples of each type. This is purposeful: I want you the reader to hear for yourself, whether you randomly choose a show, or someone else recommends a show for you. Phish phans get a bad rap being too persnickety with their music, it’s not that were persnickety, we’re just natural apologists trying to explain why we love this music with subsequent lambasting. True, understanding Phish in it’s entirety takes some time (I’m still learning about them and I’ve been listening to them since 1996,) but the journey is very much worth it.
TYPE ? -The magical. The telepathic. The ethereal. Here is where Phish inexplicably reaches improvisational mastery. Here is where you as a listener determine if this level has been reached; for Phish jams are obviously interpreted at a personal level. Many have experienced this seeing a particular jam live, which immediately hooked them (I can attest to this: my first show at Coral Sky Amphitheater 11/2/96 — their cover of Talking Head’s Crosseyed and Painless.) Either way, this level can only be experienced with listening, more importantly - heard live.
THE LYRICS
Here is where Phish gets the most flack (yes, even more than their drugged out music.) Many phans will tell the public “just be patient with the lyrics, they’ll make sense later.” Phish lyrics are written to be cryptic so, like poetry, they’re not meant to be understood under a first read.
ARBITRARY: These songs’ lyrics possess a wayward element about them. Phish’s earlier songs, mainly their compositions, punctuated their arbitrary lyrics emphatically with nonsensical meanings. A popular composition, David Bowie, contains these lyrics:
David Bowie/UB40
You can feel the idea here that the song mainly wants you to focus on the music rather than the lyrics.
In 1987 Trey wrote in his college thesis, one that he wrote at Goddard College in Plainfield, VT. that “people take lyrics too seriously.” Taking from the Frank Zappa playbook that there can be humor in music, Phish’s abitrary nature captivates the audience at any given point, and having their lyrics awash with frivolity brings it all together.
Phish’s lyrics in this category have immensely expanded. They have become less nonsensical and have become more poetic. This urbane improvement is usually looked over from the public, which would rather mock Fluffhead, but looking closely into these lyrics, there is an intimate connection throughout. From nipple slicing (yes, I said nipple slicing,) to sounds of the sea, these are all compatible with the overall narrative of surrendering to the flow, a mantra for Phish fans.
FANTASY: I mentioned Trey’s thesis earlier; it plays a pivotal role in Phish’s next collection of lyrics. Trey’s thesis consisted of a fantasy world Gamehendge (similar to Narnia — Trey’s mother was a children’s book writer, so having this fantastical motif is natural for him) where resident bipedal lizards are exterminated by an evil tyrant Wilson. If you want to know more about it, you should read his thesis; it details various songs conveying the epic story. I’m not going to go into great detail — most of the songs from Gamehendge are phan favorites. People still dream about hearing “The Man Who Stepped into Yesterday” — the collection of all the songs from the musical. When you familiarize yourself with the story, check out when the band takes these songs for a spin.
- Many other Phish songs, specific songs about people, animals, and other narratives, are believed to be a part of the Gamehendge chronicles, even though this is neither confirmed, nor denied. I’m only mentioning this because I’m putting those songs into this category. Songs like Esther, Fee, Wombat — these recondite connections to Gamehendge make this fantastical world more mysterious.
METAPHYSICAL — Phish proclaims to stay away from politics, religion, or anything of a controversial nature throughout the years — the insular nature of Phish prides itself on self-preservation. Still, Phish sometimes imbues metaphysical tropes. Songs like Lifeboy, Dirt, and the Squirming Coil — all touch upon, albeit cryptically, the other world. In 2009 Phish’s album Joy traverses through being here and now (a concept written by Baba Ram Dass and Eckhart Tolle.)
TO the MYSTERIOUS WOMAN — Like Shakespeare sonnets, writing to a muse permeates through some of Phish songs. For example, Phish’s 1993 concept album Rift predicates on a diffusive relationship with a woman, and how coping with the relationship is affected in the dream state. Trey’s record label is conveniently titled Who is She? Music — if this is a connection, also conjecture (I read that Who is She? music was dedicated to Trey’s dog Marley, which sounds correct.) Most ballads dealing with love are subtextually directed to a woman. Now this last category may not be entirely exact, but there is a robust collection of lyrics that are toward a woman, so if it’s a mysterious woman I can only say from my experience that it might be.
THE EPOCHS
Finally, I have here a cursory explanation of the time periods where Phish performed, developed, and enriched their live performances. The interesting thing about being a Phish phan is that, by having these epochs, I’m able to enjoy the sound from the era that they’re in — a quality similar to the Dead. Phish’s theme is about transition, so they ensure their fans that no show is the same. Over the years, and as the crowds grew, Phish’s repertoire germinated progressively to a more improvisational nature, hence the multitude of phans constantly returning to shows to gather that new vibe.
83–86: BEGINNING
ALBUMS: The White Tape— a more of a collection of recordings, this Residents-esque album has early versions of later greats.
LIVE AUDIO RELEASES: none
This is where it all began. Like a baby learning to walk, the precious moments are seeing the progress in front of you, from the sitting up, to the grabbing of the chairs for leverage, to their first steps. This era is similar to that: hearing songs not only for the first time, but to hear them in their underdeveloped infancy, it’s quite a treat. From their start at Nectar’s to scattered appearances throughout Burlington, this epoch sets the tone as Phish becoming a regular band on the local scene.
RECOMMENDED BOOK: Phish: The Biography by Parke Puterbaugh. Although many Phish phans will argue that this book doesn’t even come close to expressing the real Phish, it does do a decent job retelling the earlier years where Phish started. To Mr. Puterbaugh’s argument, the more difficult descriptions were in their later years, where difficulties in the band became apparent, so getting an authentic recollection might have been complicated.
87–90: EMERGENCE
LIVE AUDIO RECORDINGS: Colorado ‘88: A collection of recordings of their impromptu performances in Colorado. What makes these recordings special, to me, is the lack of audience. After these monumental performances, there’s like 5 or 6 locals clapping indistinctly. 8/26/89 Townshend, VT
From local favorite to regional staple, Phish’s antics, intense compositions, and all around ass kicking started bringing the notoriety as a musical sui generis. Here is where Phish’s residency at Nectar’s begins, where constant play helped them develop their on-stage presence, as well as their rotation of various song styles, including the Gamehendge saga. Trey is quoted as saying that he was completely content with the success the band received at the end of 1990 — yes, 1990. They touring schedule expanded from Burlington to all throughout the northeast.
BOOK to RECOMMEND: JAMerica by Peter Connors. Even though Phish is mentioned sparsely in this book, its commentary on early jam scenes and significant jam locales, such as the Wetlands Preserve, really captures what Phish was a part of during this time.
91–94: IDENTITY
ALBUMS: A Picture of Nectar, Rift, Hoist
LIVE AUDIO RELEASES: 7/12/91 Keane, NH (With the Giant Country Horns), 12/31/91 Worcester, MA, 12/12/92 Toronto, ON Canada, 2/19–21/93 Atlanta, GA, 4/14 and 4/16/93 St. Louis, MO, 5/8/93 Durham, NH, 8/7/93 Darien, NY, 8/13/93 Indianapolis, IN, 8/14/93 Tinley Park, IL, 5/7/94 Dallas, TX, 6/18/94 and 11/25/94 Chicago, IL, 6/22/94 Colombus, OH, 7/16/94 North Fayston, VT, 10/31/94 Glen Falls, NY (Here is the first of many traditional “musical costumes” in where Phish dons a band’s album for Halloween, thus playing the album in its entirety. Their first one was The Beatles’ White Album — I suggest a watching to see a very “revealing” performance. Oh, and they still play two sets of their own music taboot.) 11/22/94 Colombia, MO, 12/29/94 Providence, RI
Phish’s touring-heavy epoch, here is where you’ll hear Phish at their phinest. Now they are touring nationally, broadening their musical space from theaters to sheds, as well as amassing an extended library of songs, they were considered one of the stronger touring bands of the early 90's. At times spastic, at times wildly synchronic: When you listen, the first thing that’ll pop up is “wow, these guys play fast.” Much nostalgia arises when listening to this epoch, desiring that accelerated confidence.
BOOKS to RECOMMEND: This Has All Been Wonderful: A Travel Monologue From Summer 1994, the Year Phish became Phish by David Steinberg. The title speaks for itself. A great narrative of the authors more personal experiences with that epic summer.
PS: There are other great writings of this epoch. First: Rob Mitchum, a music journalist has been tracking all the shows from 94 and writes about them. Second, Walter Holland, the author of A Tiny Space to Move and Breathe which covers the fall of 97 in a scholarly and erudite fashion, will be releasing a book discussing A Live One which comprises of a sundry of 94 tunes throughout the year. It comes out October 22 from 33 1/3 books and can be purchaced here. I feel Wally will do a more thorough job explicating Phish; he has been doing so since 95. You can purchase the book here.
95–98: TRANSITION
ALBUMS: Billy Breathes, The Story of the Ghost
LIVE AUDIO RELEASES: 10/21/95 Lincoln, NE 10/31/95 Rosemont, IL (Musical Costume: Quadrophenia by The Who) 11/14/95 Orlando, FL 12/1/95 Hershey, PA 12/7/95 Niagara Falls, NY 12/14/95 Binghampton, NY 12/31/95 New York, NY 8/13/96 Noblesville, IN 10/31/96 Atlanta, GA (Musical Costume: Remain in Light by the Talking Heads) 11/2/96 West Palm Beach, FL, 11/7/96 Lexington, KY, 12/6/96 Las Vegas, NV ,2/17/97 and 7/1/ 97 Amsterdam 3/1/97 Hamburg, Germany 7/22/97 Raleigh, NC 7/30/97 and 7/20/98 Ventura, CA 11/17/97 Denver, CO 11/21–23/97 Hampton VA and Winston-Salem, NC 12/7/97 Dayton, OH 12/29/97 New York, NY 12/30/97 New York, NY 4/2/98 Uniondale, NY 4/3/98 Uniondale, NY 4/4/98 Providence, RI 4/5/98Providence, RI (These four shows were known as the “Island Tour.”) 7/6/98 Prague, Czech Republic 7/15/98 Portland, OR 8/11/98 Burgettstown, PA 10/31/98 Las Vegas, NV (Musical Costume: Loaded by The Velvet Underground) 11/20–21/98 Hampton, VA 11/27/98 Worcester, MA
LIVE DVD RELEASES: 8/16–17/96 Limestone, ME THE CLIFFORD BALL: In 1996 Phish organized a two-day festival, which started Phish’s yearly festival tradition. This year’s Magnaball will be their tenth festival. 11/2/96 West Palm Beach, FL 7/22/97 Raleigh, NC 8/11/98 Burgettstown, PA
There was also a documentary made on the band, Bittersweet Motel, discussing their history, but mainly following them through their 97 European tour up to The Great Went — their 97 festival.
The reason I title this epoch Transition is not because they are changing — I mean there’s always a theme of change within this band. The paradigm shift in sound from year to year is what alchemizes this epoch as one of the top eras in Phish. First, with the passing of Jerry, many people searched for a new following, for which Phish welcomed them with open arms. Because of this, and because Phish spirals in their sound considering how the audience is reacting, 1995 became had very psychadelic influences. In 1997 shifting from intense, variegated jamming to a more funky, groove-laden jamming brought this phenomenal upstart to Phish’s image. It was a glorious time. In 98 another shift from funk to ambiant prooved to everyone that Phish’s diversity was limitless.
BOOKS to RECOMMEND: Besides Holland’s book on Fall 97, check out The Phish Book for in-depth interviews from the band, ranging from the collaborative shift in Phish music in 97 to discussing earlier Phish.
99–04: ATMOSPHERE
ALBUMS: The Siket Disc (A collection of recorded jams during The Story of the Ghost sessions.)Farmhouse, Round Room, Undermind
LIVE AUDIO RELEASES: 7/10/99 Camden, NJ, 9/14/99 Boise, ID, 6/14/00 Fukuoka, Japan, 7/8/00 East Troy, WI, 9/14/00 Darien Lake, NY, 2/28/03 Uniondale, NY, 7/15/03 West Valley City, UT, 7/29/03 Burgettstown, PA, 6/17/04 Brooklyn, NY
LIVE DVD RELEASES: 9/30/00 Las Vegas, NV, 8/2–3/03 Limestone, ME (The IT Festival — there are highlights and commentary mostly.) 6/17/04 Brooklyn, NY
Writing about this epoch makes me the most uncomfortable. At a personal level, Most of my Phish experience was from this epoch, and yet looking on the history of Phish, this epoch was the most controversial. For starters: 1. 1999 was their shakiest year to date — continuous song flubs, miscued exchanges, directionless jamming (ambient jamming to be more precise; this can work for some songs, but was very different sounding Phish.) Even Trey said 99 was “sloppy Phish.” This by no means says the music was bad — there are some phenomenal exploratory jams from 99–04. Plus, 99 possessed one of the greatest festivals Phish has eve accomplished: Big Cypress, located on a Seminole Indian reservation. 2. There was a 2 year hiatus, followed by what seemed to be a quietus. Fortunately, it was short-lived.
3. The rumors of drug use in the band surfaced, thus affecting their performance. You can read the biography, however for this, I only want to speak about this from a personal point of view. The majority of the shows I’ve seen live were during this era. To me, what made these years contentious was not the music, but the scene. The once edifying Phish now portended chaotic scenes and presaged a dark time. Drugs at Phish went from recreational psychedelics in the early and mid 90's to synthetics and synergistic enhancers such as MDMA and Ketamine. The dissociative repercussions caused by the spread of these drugs became apparant, especially during 03/04 (this is just what I witnessed when I was there.)There’s no doubt the relationship between Phish and drugs, but drugs used for Phish were to enhance the experience, not to just get high. The latter became the operant objective for most. In 2004, when Phish announced they were quitting, the scene became completely deflated, loyal fans desperately wanted to catch their final glimpse of the crippling band, while many used the Phish scene as a recreational pleasure garden. Coventry, their last festival, was a Shakespearean tragedy on all levels. But that’s…another story.
Yet, out of the dark, comes the light. Evidence of drug use came to light when Trey was arrested in 2006 for possession. He attended drug court, cleaned up, and resurrected a new and improved Trey. In 2008 he decided Phish needed to get back together, thus starting the Renaissance of Phish.
My final thoughts on this epoch is that the dissonance between the band and the scene takes center stage in most Phish discussions. If you do get a chance, you should explore this epoch, some of Phish’s most daring improvisation can be heard here.
BOOK to RECOMMEND: Phish Companion A Guide to the Band & Their Music 2ND EDITION Now that you’ve familiarized yourself with Phish, you should get this book. Inside contains all the information you need regarding the band. There
09–12: RENAISSANCE
ALBUMS: Joy
LIVE AUDIO RELEASES: 6/27/10 Colombia, MD, 7/3/10 Alpharetta, GA, 7/4/10 Alpharetta, GA, 8/6/10 Berkeley, CA, 8/7/10 Berkeley, CA, 8/13/10 Noblesville, IN, 8/14/10 East Troy, WI, 10/20/10 Utica, NY, 10/26/10 Manchester, NH, 10/30/10 Atlantic City, NJ,
LIVE DVD RELEASES: 8/14/10 East Troy, WI, 10/20/10 Utica, NY
Obviously a very exciting time for Phish. As a long-time phan, 2009 was such a fascinating year — they haven’t played together for some time, so some of the shows are innocuously awkward. I remember seeing them and thinking “OK, this is great that they’re back, but I feel that this may take some time to get back to the level that they were at back in their heyday.” Many phans vary in opinion as to when they did return, but as you can see from the releases, 2010 became a pivotal year for their craft.
This epoch also brought in the epic “Dick’s Run:” A three night stint in Commerce City, CO. If you ever venture out there, the ideal place to host a Phish show is there. Some of Phish’s epic 3.0 performances have been there (oh yeah, I forgot to tell you — Phish “eras” are conveniently titled by number in reference to discussion. So Phish 1.0 is from start to their hiatus, Phish 2.0 is from NYE 2002 to Coventry, and Phish 3.0 is from Hampton 2009 to today. Over recent years, idle discourse over the frivolity of these sobriquets has increased, but for source purposes they’re there.
BOOK to RECOMMEND: Mr. Miner’s Phish Thoughts: An Anthology By a Fan for the Fans by Dave Calarco. Calarco (aka mrminer) has been reviewing Phish shows for many years. His thorough breakdown of beginning Phish 3.0 has the reader channel in on recent, specific jams, while reverently reminiscing of the glory days through memorable jams.
13–16: DOMINION
LIVE AUDIO RELEASES: 12/30/15 New York, NY, 1/2/16 New York, NY
2013 brought a prodigious transformation within the band ethos. Changing up the musical costume from covering someone else’s music to performing their own unreleased material shocked and awed the Atlantic City audience. Their confidence in cohesive, more patient improvisation manifested into gorgeous pieces of seemingly composed music. Their most daring achievement: Halloween 2014 in Vegas where the band performed various composed pieces to the record of “Chilling Thrilling Sounds of the Haunted House.” You just have to see it.
If I may recommend going to the webcasts to catch most of these shows. Not much has been released, only because Phish music is so accessible now. That’s a good thing.
BOOK to RECOMMEND: You Don’t Know Me but You Don’t Like Me: Phish, Insane Clown Posse, and My Misadventures with Two of Music’s Most Maligned Tribes by Nathan Rabin. Although Rabin’s excursion into Phish was Bethel Woods, NY in 2011, his keen observations on how Phish is perceived from an outside looking in can be refreshing to glean.
I also recommend phishmaps if you’re into a more technical understand of Phish. Mike Hamad, the creator and curator of the project extrapolates on the specific jam concentration, from specific chord progressions, to modulations — all the technical jargon — all mapped out beautifully. He also does Dead jams.
2017: THE SECOND RENAISSANCE
In the summer of 2017, Phish embarked on an epic, musical quest not undertaken since Big Cypress in 1999. For 13 consecutive nights Phish would perform unrepeated, unfounded, and gloriously perspicacious shows, replete with solid jamming and quirky interludes. The entire run will be released in November. I am not here to give you my take on how magical this run was, but merely to introduce you to the second wave of Phish, even after 35 years!
BOOKS TO RECOMMEND: 100 Things Phish Fans Should Know & Do Before They Die by Andy P. Smith and Jason Gershuny. This recently updated book courses the purview of Phish’s tentpoles of their career, coupling with various tidbits and other necessaries a phan should definitely be aware of.
EPILOGUE: SOME RESOURCES TO HELP YOU ON YOUR JOURNEY
I hope that this has helped you at least get your foot wet when exploring Phish. Here are some resources that will enhance your enjoyment.
Phish.net. Your go-to resource for any question needing answering. Setlists, jam charts, you name it, it’s there.
livephish.com. Where all released shows are housed. If you subscribe, you’ll have access to most Phish live releases (there are way more than what I’ve put here, I just shared the Spotify ones.)
phish.in. All the shows are here.
Podcasts: There is an abundance of podcasts out, especially with jam music. Recently the Osiris Network collected popular music podcasts, and harvested them within the network. My opinion is to peruse those choices, specifically the HFPOD, BEYOND THE POND, and UNDER THE SCALES, a podcast hosted by Tom Marshall.
Finally, since you are here, you are obviously familiar with Twitter. Twitter has become the hub of Phish talk, so to recommend some favorite experts on this subject will do more harm, only because there are many phans out there with the same, if not more, passion for this band. Once you start listening, you’ll have questions. You can always ask me, and I can direct you where to go.
Thank you for reading. Enjoy the show.
