Mr. Miner's Phish Thoughts » Uncategorized
Aug 24, It's hard to know how to take things slow in a relationship. Asking for your time and independence when you start dating someone can. Jan 14, It didn't take long to realize how exceptional these albums were. Rift was a deep, dreamy concept album about an unraveling relationship. I met Phish for the first time shortly after the show in Lowell, which inaugurated an The group set up a monstrous wail on one loud, slow passage that would have. sexygf.info make the first show you take her to about her. a phish sexygf.info is natural to take it all in the first sexygf.info that first . if you're a phish fan, don't hide it from a potential mate. if they don't like them, your relationship with I'm just glad she likes the slow songs -- the lovey dovey songs, etc.
Periodically, I'd get a call: I think we're going to run it after all.
Phish remained remarkably sanguine about the delays. The wholly unexpected outcome was that after I got to know Phish and vice versa, they tapped me to do writing for them. To top it off, when the Rolling Stone article finally ran init was nearly 5, words in length a virtual journalistic mini-epic.
And to think that everything, including this book, sprang from a story that very nearly didn't run. I was invited to Burlington to hang out with the group. Interviews would come later. I flew to Burlington's small airport, grabbed a rental car, and followed an e-mailed set of directions to Paul Languedoc's modest two-story home, buried deep in the Vermont countryside, a few miles from the nearest paved road. A detached building adjacent to the house was still under construction.
Languedoc's workshop occupied the first floor, where he built instruments for Phish and other clients. The upstairs alcove served as the group's rehearsal space. They paid him rent for its use, which helped subsidize its construction. I pulled up on a crisp morning in late May to find the group gathered outside.
A wiffle-ball bat rested on Gordon's shoulder. The four of them studied me with the wary look of New Englanders sizing up a stranger. The group had thus far achieved considerable success without the mainstream media, which had made virtually no effort to investigate the Phish phenomenon. So there was a certain understandable cautiousness about playing ball with periodicals like Rolling Stone just because they'd suddenly shown some interest. After almost literally breaking the icesnow was still visible atop nearby Mount Mansfieldwe repaired to the rehearsal room.
Cluttered and unfancy, this was where Phish spent five to seven hours a day working up material and practicing exercises of their own devising. In one corner stood a dry-erase board marked up with the set list for the "Voters for Choice" benefit they'd just played. This being a popular and prosperous rock band's workspace, one might have expected a refrigerator stocked with Vermont home brews like Magic Hat, made in Burlington and other goodies, but there was nothing but a box of Wheat Thins making the rounds.
They worked hard and laughed often. Phish's insistence on pushing themselves was evident at these sessions, where they spent considerable time on self-devised listening exercises.
Excerpts and photos from Parke Puterbaugh's Phish: The Biography
The best known was called "Including Your Own Hey. The whole idea was to improve the level of collective improvisation by learning to listen to one another while jamming. They'd do this by conjuring riffs and patterns out of thin air, varying and embellishing them until they were "locked in," individually announcing their arrival with the word "hey.
A variation on "Including Your Own Hey," which they called "Get Out of My Hey Hole," had the cardinal rule that one musician's note could not sustain over anyone else's.
Yet another was "Two Plus Two," in which one musician picked another person in the band to hook up with while still listening to the other two. They went at it like this for hours. I could see why; there was a tangible sense of concentration mingled with camaraderie present in the room. In terms of concert dividends, "It doesn't always work percent of the time," Fishman noted.
At least it's not like you're just blindly forging ahead. Titled "Taste," it was a complex piece of music in which they all played asymmetrical parts in different meters. The song, in a somewhat different arrangement, wound up on their next album, Billy Breathes. Prior to this, they'd already changed its title and lyrics, renaming it "The Fog That Surrounds" before reverting to "Taste.
Every song was always in the act of becoming, subject to amendment and revision. Afterward, Anastasio wandered over to the drums, excited because he thought he heard another implied counter-rhythm.
He picked up a drumstick and tapped out the elusive fifth rhythm on a snare for Fish-man, who attempted to incorporate it. They knew what they were aiming at but couldn't quite nail it. This tangent was abandoned, but the very fact they pursued it demonstrated the group's insatiable drive to push further.
As with most of my favorite jams, Page is securely on the grand piano during this exquisite section. The heavenly landscape we painted just a couple minutes ago is about to give way to unreal fiery full band throwdown.
I would describe many of my favorite Phish moments as full band exploration, with deep, dark movements. I cannot hide my love for the these two peaks. By the time this sucker ends I am an emotional crying mess. It takes over my soul, lifts me up, and reminds me of the beauty of Phish.
The patience of Phish, and of course Trey, is on full display here. Much like Ron Jeremy this peak is overwhelming with its length and grand scope. I beg you to listen and to single out each member during the last 10 minutes and try and focus on what they bring to this jam. Every single member is straight killing it.
Trey reminds you whose band it is with the slightest of tonal changes at The slightly grittier tone shines produces a diamond of ecstasy. Well that was amazing!!! All time jam for sure!
Thanks for following along. Miner, you want to take it from here? The first movement of this second jam is straight funk. And everyone loses their shit. Trey decides on the super gritty 2. This is one sexy groove! He takes this thing over and makes my head explode trying to figure out how the hell he is pulling this off. The variety of sounds he injects into this peak is not human, and somehow he still provides a concrete floor for the rest of the band to work.
Meanwhile over at the lead section, that guy Trey is at again. Somewhere in that brain of his he decides that he should try a jazzy, bluesy peaking lead over top of his 2. This produces one of the most creative peaks I can remember. I am pretending I am in a kick line while reaching up to the heavens for more. It sounds like he was abducted by Eric Clapton yet it still feels like Trey.
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The crowd eats up every second of it and insane roar comes over the crowd at I stand up and cheer and gush over my life long man crush on Trey Anastasio. The good jams transport me back upon re-listen. It reminds me quite a bit of the high octane Atlantic City version of of Mike throws this sucker on repeat and we are in a full tribal dance party in seconds. This is a straight valium produced DJ-led club rave.
This is a Saturday night let it all hang out type of jam. This is a throw and invisible uppercut followed by a right cross kind of jam. This is an invent a new violent head banging while doing some weird ass hip thing dance kind of jam.
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Trey then goes gritty and angry. Mike is still crushing that same bass line in the meantime. Fish drops a couple killer fills and we are officially next level. Page is hammering the hell out of the grand piano.
Chairman of the Blunt Force Trauma is more like it. By about the 10 minute mark things are completely nuclear. Full band percent ass kicking power. With an important slot late in the last set of Fall Tour, this version delivers. One last chance to dance the night away. My favorite song to see live starts off pretty normal. The real magic happens after the first refrain and in the second jam.