Archive for Classic TAB


Posted in Uncategorized with tags , , , on February 18, 2009 by Mr.Miner

2753470556_323b1c04b7As we approach our final stages of preparation for Phish 3.0, many readers have put out the practical request to review some of the new music we could hear from Trey’s new catalog come Hampton and beyond.  On his Classic TAB tour last October, he played many new songs that he and Tom Marshall had recently finished; and something tells me Trey and Tom didn’t sit down to write a bunch of tunes for Tony, Russ, and Ray to play!  If things are as they appear, Trey wrote most of this new material with Phish in mind.

Having played some of his new songs once, and others only a few times over his eight shows, it seemed that Trey was holding out on the most significant songs, waiting for his “other” band to chart their destinies.

Obviously, any TAB versions of these songs represent mere templates of what they could be.  What Phish will do with these pieces if, and when, they play them is a whole different story.  Here are ten selections we may hear come 3.0.

Backwards Down the Number Line

2752637457_502e1c88f3Debuted acoustically at Rothbury last summer, and played over the second half of Trey’s tour, this is the new song that all fans are familiar with.  The song’s poignant theme of old friends reuniting captures the tone of the moment in the Phish world.  With an uptempo rock-based jam and a lyrical reprise at the end, this song seems like the new-school “Down With Disease.”  Odds are favorable that we will hear this at Hampton, potentially opening one of the three second sets.



“Light” is the song that *sounds* like Phish the most.  With sublime harmonies and melodies within a transcendent milieu for improvisation, this song seems specifically written for our favorite foursome.  With an ambient intro, reflective lyrics, and a soaring jam, this one brings shivers just imagining what Phish could do with it.  Trey only played this song once over his tour, most likely signaling its place in the Phish universe.  When they bust this one out, you will know- it will be one of the highlights of the show.  “Tweezer > Light,” anyone?

Greyhound Rising

A multi-faceted compositional beast, “Greyhound Rising” is another song that seems custom made for Phish.  Beginning with a gorgeous ballad-esque feel, the song progresses through wistful lyrical passages before moving into the distinctly different, and more grooving, second section.   The song then slides into a blues-based jam before eventually building back to the original lyrical melodies.  “Greyhound Rising” has a little of everything Phishy, and it is another that sounds like a perfect fit for the band.


2744294710_757c96018aThis song was only brought out twice along Trey’s tour due to the improvisational limitations of TAB.  When this song first dropped in Brooklyn last summer, it was an immediate favorite with its soulful feel and unique lyrical path.  An inspiring piece of music, this one seemed to be stashed away for Phish after TAB’s third show; a guitar solo could only take it so far.  Add Mike, Page, and Fish to this tune, and you’ve got a Phish staple for years to come.  This song catches you immediately and draws you right into its flow.  This will fit in perfectly if Phish so chooses.

A Case of Ice and Snow

Trey included an acoustic version of this song on his solo album, Bar 17, but when he played it throughout his solo tour, the song took on a wholly different shape.  Reflecting on hard times gone by, the mellow and gorgeous song could give way to surreal soundscapes, something that was merely hinted at via TAB.  Again, this sounds very much like a Phish song, and it could be a tremendous addition deep in the second set- like how The Dead used “Morning Dew.”

Ruby Waves

508845899_e37b3b878dTrey only busted this song out once over his eight shows.  Representing the poppier side of his writing, this song could certainly fit in with Phish 3.0.  Boasting a smooth palatable groove and an uplifting chorus, this could turn out to be a latter-day Phish “single” with legitimate improvisational potential when played live.  This is a song that Phish could vibrantly enhance.

Burlap Sack & Pumps

Consistently introduced with the group of songs that Trey wrote with Tony and Russ, and that made the transition to Phish, it seemed that Trey was implying that this song would do the same.  A centerpiece of Trey’s October tour, this was rearranged for a four-piece, with Trey taking adopting the horn’s lead melodies from TAB’s big-band incarnation.  With two distinct jams, this “Burlap Sack & Pumps” could provide multiple launch pads for Phish.  Many feel that due to the song’s long TAB history, this one won’t be brought into Phish.  Yet, after hearing the psychedelic planes that this song traversed throughout Trey’s tour, I wouldn’t be making any wagers!

Let Me Lie

508836127_44cdb2be4eThis could be the next beautiful Phish ballad, though due to its incredibly autobiographical nature, I’m not sure it will make the jump.  Played extensively over TAB tour, this recovery-themed song seemed very appropriate for his solo comeback performances.  Though the song would definitely translate beautifully to Phish, whether they choose to include it is another story.


2986884805_0fc77b4ca7An older song off of Shine, this was also played a on GRAB tour a few years ago, so Mike already knows it.  Played twice over the recent TAB tour, “Spin” possesses an dark and open-ended ambient jam at the end that Phish could absolutely slaughter.  A reflection on Trey’s less-happy days, this one could also be too personal to bring to his “other” band.  If Phish does decide to play this- forget about it- the results will be huge.


A straightforward, and somewhat comedic, blues song, Phish could adopt this for a diversity of feels.   This could work, bringing some dirty blues-based jamming into the mix.  As most fans seem to know the lyrics already, this one could be an underwhelming arena sing-along that morphs into improv.  Only time will tell.


Time Turns Elastic

img_06031The second movement of Trey’s orchestral piece that he debuted with Orchestra Nashville in September surfaced as a solo acoustic demo on the Internet.  When listening to the acoustic piece, one can hear how this entire movement could translate into a latter day Phish epic.  With lyrics rich in imagery and diverse musical approaches, this “song” could develop into a masterpiece.




ph_headerGodfather of Phish Internet space, and good friend, Andy Gadiel, will be guest DJing a special “Phish Reunion Set” set tonight on KPFA’s “Dead to the World” radio show with David Gans on 94.1 FM in the Bay Area from 8-10pm.  Manning the DJ booth for two hours, you can be sure he will throw down a juicy playlist!  Regardless of where you live, be sure to tune in for what is sure to be a good time! Tune in to the broadcast at KPFA 94.1 FM in the Bay Area, or online everywhere.



12.16.95 Olympic Center, Lake Placid, NY < LINK

Olympic Center, Lake Placid, NY

Olympic Center, Lake Placid, NY

This is the first of the final two nights of Fall ’95.  This would be show number 53 of 54, and Phish was clicking.  Two weeks away from their legendary New Years Run, these two nights in Lake Placid are revered in Phish history.  (The second show was posted a couple days ago.)

I: Buried Alive, AC/DC Bag, Fog That Surrounds, Ya Mar, The Sloth, The Divided Sky, Dog Faced Boy, Julius, Suzy Greenberg

II: Sample in a Jar, Reba, Scent of a Mule, Cavern, Mike’s Song > Simple > Weekapaug Groove, The Squirming Coil

E: Fire

A Tour Story

Posted in Uncategorized with tags on October 28, 2008 by Mr.Miner
Andy Hill (State of Mind)

Albany - photo: Andy Hill (State of Mind)

After a day of decompression and a 15 hour slumber, some post-tour processing is necessary.  The past two weeks have been incredibly inspiring.  To see Trey so happy and healthy in such intimate venues was like being with an old friend again- there was a lot of catching up to do.  The zest and precision in which Trey played his trusty Languedoc all tour long encouraged vibrant dreams of the future.  With Trey referencing Phish throughout the tour, and specifically mentioning the Hampton shows at the end of the last show, he made it clear where his intentions were.  With Tony, Russ, and Ray- the only members that should ever comprise the Trey Anastasio Band- Trey became re-acclimated to stage, and by mid-tour, he owned it once again.  With his multi-faceted guitar repertoire flowing like molten lava, Trey gained so much momentum throughout the eight shows that it seemed he wished the tour was not ending so soon.

Andy Hill (State of Mind)

Albany- photo: Andy Hill (State of Mind)

Despite similar setlists, Trey magnified different songs on different nights and sprinkled in enough new and other songs to keep every show feeling unique.  Enthusiastically shredding throughout the tour, song selection was secondary to his consistently pristine, clean and refreshing improvisation.  Trey seemed to have as good a time as anyone over the fortnight, as he was all smiles all the time.  Complete with his one “show shirt” for the tour, it sure seems that the cosmic jokester we know and love is back to tickle, tease and tangle our minds again.

Musically announcing his comeback to each audience across the Northeast, and one in the south, Trey seemed as if he was rediscovering the joy of just playing.  Clearly not carrying as much personal weight with him, his childlike bliss shone each and every night.  With shows comprised of several new songs, some from Shine and 18 Steps and many TAB classics, Trey and his band delighted each and every audience of the tour.  With the white-hot focus on the sublime improvisation of the man himself, he consistently responded with blistering, yet delicate playing that provided a significant contrast to his last days with 70 Volt Parade in 2006.

Andy Hill (State of Mind)

Albany - photo: Andy Hill (State of Mind)

The entire tour had a distinctly celebratory tone to it, as the energy in every room was astronomical.  With the imminent return of Phish, and no shows scheduled between now and then, people knew this might be the one time they saw Trey before Hampton- or beyond.  It would not be surprising, seeing how much fun he had, to see Trey announce a New Years show or two, but as of now all we have are rumors.  This was the return of Trey, and with so much anticipation for the return of Phish, it was most definitely the return of the Phish community.  With many fans reacquainting after the extended time away, one of the coolest parts of the tour was seeing so many familiar faces again, both friends and also those people you didn’t really know, but always saw all over the place.  And this is just a preview of the massive homecoming that Phish shows will be.

Andy Hill (State of Mind)

photo: Andy Hill (State of Mind)

Gotta’ give props to Trey’s band who were great all tour.  Tony and Russ always holding down a deep pocket, but more specifically Ray Paczkowsi on keys.  Adding a completely other dimension to the smaller sized band, he consistently improvised with Trey on the tour, supporting his melodies and licks, while helping build some monster jams.  If there were a non-Trey MVP award, Ray would clearly be the winner.  Trey went out of his way on multiple nights to point out that Ray has been by his side for every non-Phish show over the last eight years, and to say what a spiritual and musical connection he felt to his second keyboardist.  Adding tremendously to funk jams, and layering melodies and sounds behind others, his playing stood out in every show.

Andy Hill (State of Mind)

photo: Andy Hill (State of Mind)

In looking forward to Phish, there were some songs that seem clearly destined for our favorite band, and others that could possibly make the transition as well.

Let’s look at the possibilities:

Backwards Down the Number Line: Written by Tom and Trey, about friends coming back together, with a ripping jam, this one seems both lyrically and musically spot-on.

Light: Only played once, opening the second set of Wallingford, Trey seems to be saving this one for Phish.  When you listen to the song, you can imagine Phish destroying it.  A transcendent jam that will be brought to uncharted realms, I for one, cannot wait to hear this in Trey’s “other band.”

Greyhound Rising: Also only played once, deep in the Philly’s second set, this compositional masterpiece seems written for Phish as well.  You have to figure if Trey has these amazing songs, and only played them  once during these shows, he wants Phish to be the quartet to define their destiny.

Burlap Sack & Pumps: Consistently introduced with other TAB-to-Phish songs written by Trey such as Sand, Jiboo, and First Tube, it seemed as though Trey was implying that this was the next to make that jump.  A song made up of multiple diverse jams and six total words, it sure fits the description of a Phish song.  Played for the first times ever as a four piece band, this could be a fiery piece of Phish 3.0 improv.

Valentine: Played twice in the first three shows, Trey kept this one stashed away for the rest of tour.  Another song you can just hear Phish playing and taking to divine places of improvisation, this new uplifting song seems like it was tucked away for a reason.  Only able to go so far with a guitar solo, add three master improvisers to the mix, and you’ve got a whole different monster all together.

Let Me Lie: The next in the line of beautiful Phish ballads, this one will have a jam as well.

Ruby Waves: Debuted in Burlington, the only time played on tour, this song features flowing verses and extended guitar improvisation. Phish will make this into something this band just can’t.


Spin: With an open ended jam that has absolutely no necessary direction, this one would be a psychedelic adventure every time Phish played it.  These would be the type of jams that dreams are made of, the ones that have no logical ending point and are wide open for the imagination.  Potentially too autobiographical for his larger band, one can only hope Phish adopts this one.

A Case of Ice and Snow: It would awe-inspiring.


Alaska: This is the exact type of song that Trey would bring to Phish for no apparent reason.


DOWNLOADS OF THE DAY: Here are crispy AUDS of the entire Trey Tour (except Roseland), linked all in one place for your selection. Back to Phish tomorrow!

10 08 Chevrolet Theatre,Wallingford, CT

10.18 The Palace, Albany, NY

10.19 Higher Ground, Burlington, VT

10.21 Lupo’s, Providence, RI

10.23 The Orpheum, Boston, MA

10.24 The Electric Factory, Philadelphia, PA

10.25 The National, Richmond VA




“Sample In a Jar” acoustic, Richmond, VA

“Sitting In Limbo”  solo Richmond, VA

Philly / Richmond Downloads

Posted in Uncategorized with tags on October 27, 2008 by Mr.Miner

10.24.08 Electric Factory, Philadelphia, PA < LINK

I: Cayman Review, Last Tube, Drifting, Gotta Jibboo, Alaska, Ooh Child, Money Love and Change

II: Backwards Down the Number Line, Sand, Tuesday, Spin, Greyhound Rising, Push On Til the Day
E: Moesha, Let Me Lie, First Tube

10.25.08 The National, Richmond, VA < LINK

I: Push On Til the Day, Sand, Ooh Child, Tube Top Flop> Cayman Review, Drifting, Backwards Down the Number Line, Money Love and Change

II: Sweet Dreams Melinda, Mr. Completely, Gotta Jibboo, Sitting In Limbo, Alaska, Shine, Water in the Sky*, Brian and Robert*, Strange Design*, Sample in a Jar*
E: Burlap Sack and Pumps, First Tube

(Thanks to Jon Goldberg for the uploads!)

Endings and Beginnnigs

Posted in Uncategorized with tags on October 26, 2008 by Mr.Miner

10/25/08 The National, Richmond, VA
I: Push On Til the Day, Sand, Ooh Child, Tube Top Flop> Cayman Review, Drifting, Backwards Down the Number Line, Money Love and Change

II: Sweet Dreams Melinda, Mr. Completely, Gotta Jibboo, Sitting In Limbo, Alaska, Shine, Water in the Sky*, Strange Design*, Sample in a Jar*
Burlap Sack and Pumps, First Tube    (* acoustic)

Within a stones throw of Hampton Coliseum, the Phish community’s current Mecca, Trey closed out his encouraging Northern Exposure Tour with a show south of the Mason-Dixon Line.  With a show that concluded his ten-day comeback tour, Trey displayed the enthusiasm, goofiness, and incredible guitar playing that has defined the run.  Consistently impressing crowds in each and every city he pulled into, Richmond was no different.  Trey took his favorite songs from tour and put together, in the words of many Southern fans, “the best Trey show I’ve seen in a while.”  With high octane power from the moments the lights went out,  Trey seemed enthralled and engaged, eliciting similar emotions from the excitable audience.

Slamming his foot on the gas from the moment he stepped on stage, Trey opened the show with the ripping improvisational duo of “Push On ‘Til the Day” and “Sand.”  Catching up the Southern crowd to what has been going on up North, Trey used two staple jams from this tour to spark the fireworks of the final night.  A potent one-two punch, “Sand” followed up the opener with session of screaming phrases and blazing lead melodies, creating a militant soundscape of improvisation.

Brain Ferguson

The Electric Factory - photo: Brain Ferguson

The bookends of the first set brought the most intense moments, and concluding combo of “Backwards Down the Number Line” and “Money, Love and Change” took the set to its musical peak.  Dedicated to his lighting director on his 50th birthday, Trey played the song that Tom Marshall created for Trey’s own birthday.  After not appearing in the first four nights, “Backwards Down the Number Line” appeared in every show thereafter.  Boasting catchy verses, melodic hooks, and vocal harmonies- all giving way to a shredding, yet controlled jam, this song seems to possess the tangible qualities of many Phish hits.  Perhaps performed for the last time before Hampton, time will tell what will become of this piece.

Taking liberty to annihilate the set closer, Trey took “Money, Love and Change” out further and more aggressively than any time of tour.  Beginning with a series of classic rhythm licks, Trey funked hard for the early part of this jam.  Enraptured by his playing, head nodding subconsciously side to side in tempo with his grooves, Trey was a portrait of his old-self, losing himself in his guitar playground.  Inspiring to watch, and equally addicting to move to, it is these type of moments that keep us eternally coming back- bearing the crowds, traffic, teenagers, and general mayhem to get to the source.

The National, Richmond, VA

The National, Richmond, VA

The opening three songs, the meat of the second set, featured near forty minutes of intensely tight playing that had the room collectively bouncing like a pinball being slammed around a triangle of three bumpers.  Putting a spotlight on “Sweet Dreams Melinda” for the second time in three nights, Trey used the smooth pop textures to improvise a flowing series of stirring melodies that brought the room to an elated state.  With Boston’s version, tonight’s represented the best of tour from a song that many wrote off three years ago when released on Shine.  Taking the energetic highpoint, and blowing it through the roof, the band launched into the tour’s second “Mr. Completely.”  A crowd favorite, last night’s version one-upped the The Orpheum’s rendition with vicious improv from everyone on stage.  Matching the intensity and insanity of Philly’s tour-best “Sand,” this Completely will no doubt wind up on many a post-tour highlight compilation.  With all of Trey’s best on display in this jam, the audience responded to the extended jam with the raucous adoration.

As if the he hadn’t just given the entire crowd 1000 cc’s of adrenaline to the dome, as “Mr. Completely” came to an end, Trey launched into the final “Jibboo” of the run.  Appearing in every show and highlighting the first four nights of tour, it seemed quasi-nostalgic to hear the last run through of the candy-grooving TAB composed vehicle.  Soaring through a final set of guitar acrobatics, Trey looked as joyful as ever as he crafted a second set centerpiece.

Brian Ferguson

The Electric Factory - photo: Brian Ferguson

After the initial high-paced segment of the set came the most emotionally poignant moment of the night.  Playing a gorgeous, slowed down rendition of Jimmy Cliff’s “Sitting In Limbo,” Trey seemed to embody the lyrical path of an unknown future.  Only played five times with 70 Volt Parade in the lackluster year of 2005, this performance had the vibe of a debut.  Not only rife with Phish symbolism, this song choice evoked the spirit of Jerry Garcia, as he also covered the reggae classic with his side band.  With undeniable parallels between the lives of the two guitar gods, this performance by Trey at this time in his personal journey, seemed incredibly relevant.  This was a particularly powerful moment at the end of a very significant tour.

After closing out the electric part of the set, his final acoustic mini-set took on some final meaning. Preceding the segment some funny banter about heading down the road to Hampton and camping out for five months to practice Phish songs, he had the crowd in the palm of his hand, drooling over the reality of March.  Sending out a “dual dedication” to his daughters- both in attendance- and to Mike’s daughter who was born yesterday, Trey played the acoustic treat of “Strange Design.”  Without Page alongside, hearing Trey’s voice delicately sing these lyrics, which he wrote himself, seemed like an affirmation that the tires are off the lines these days.  Reminding us that life is an imperfect episode, this composition spoke to the resiliency within us all to persevere hardships and life’s speed bumps.  Another intentional song choice for its layered meanings at this point in time, Trey seemed to move inwards as he gracefully strummed the emotional Phish ballad. Topping his last acoustic set with a sing-a-long Sample In A Jar, the anticipation of Phish ballooned considerably and filled the room.  The energy  that both Trey and the crowd possessed during this Phishy classic only foreshadowed “teensy-weensy” preview of the type of energy that will build over the following months and explode in Hampton.  With no other dates scheduled between now and then, this could have been the last time we see Trey on stage until March 6th.

Brian Ferguson

The Electric Factory - photo: Brian Ferguson

With a show that highlighted the best parts of tour, Trey finished his brief return to road in high style.  On a Saturday night in Richmond, VA, finalizing a triumphant comeback tour, Trey officially was declared back in action and as good as ever.  As the crowd filtered out into the temperate Virginia night, Hampton was certainly the buzz.  Maybe he’ll play New Years and maybe he wont, but in the end, the moral of the last couple weeks has to be the rallying cry, “Viva Phish!



10.23.08 The Orpheum, Boston, MA < LINK

In possibly the best start to finish show of tour Trey gave the Red Sox faithful something to celebrate.  A great recording, and standout jams throughout, download it now for your Sunday afternoon!

(Thanks to Jon Goldberg for the upload!)

A Party In Philadelphia

Posted in Uncategorized with tags on October 25, 2008 by Mr.Miner
"Alaska" - Electric Factory

"Alaska" - Electric Factory

10/24/08 Electric Factory, Philadelphia, PA

I: Cayman Review, Last Tube, Drifting, Gotta Jibboo, Alaska, Ooh Child, Money Love & Change

II: Backwards Down The Number Line, Sand, Tuesday, Spin, Greyhound Rising, Push On ‘Til The Day

E: Moesha, Let Me Lie, First Tube

Bursting with energy, Philadelphia was afire last night.  On the brink of the Phillies’ first home World Series games since the ill-fated season of 1993, the city is literally painted red.  With the hype of tonight’s game three looming large, Trey pulled his party into a town needing no excuse for festivities.  With a show that stood up to Boston in might and psychedelia, The Electric Factory is now officially on the ballot for the best show of tour.  Again taking every song beyond its natural length with feverish energy and vigorous guitar-led improvisation, Trey crafted a standout show for his beloved City of Brotherly Love.

In another show that never dragged from start to finish, Trey even left the acoustic songs aside, favoring more time to shred.  With a tour-best second set- featuring only six songs and some of the best moments from tour- Trey delighted the jam packed club with a set of pure fire.  Opening with the most extensive “Backwards Down the Number Line” to date, this first-time placement as a second set opener could foreshadow what is in store for the song.  Evoking folk rock textures reminiscent of the Dead, this song has been a focus of the second half of tour, appearing three nights in a row.


The Orpheum, Boston - photo: unk

Directly following the opening peak of the set, Trey dropped into easily the hottest Sand of the week.  With not much difference in TAB’s “Sand” and Phish’s version, Trey was laying into this with such ferocious improv, at times I felt like we were already at a Phish show.  No joke- with his band providing every bit the groove Phish did with the song, Trey annihilated this wide-open psychedelic epic with dirty venomous solos and disgusting dance grooves.  Absolutely the Sand to hear thus far, Richmond will need to go the distance to keep up with Philly’s masterpiece.

After a quick “Tuesday,” Trey unleashed the second “Spin” of tour and the first since the Roseland.  Entering into the post-song jam with an ambient and eerie space, Trey slowly led his band in an earnest full-band jam that built into a virtual cover of Pink Floyd’s “Breathe” off of Dark Side of the Moon.  Another jam that more closely resembled what you’d expect to hear at a Phish show, this directed improvisational segment vaulted itself to the must-hear highlights of the entire tour.  Ridiculously psychedelic, this jam provided the down-tempo compliment to the blistering Sand.

As the audience reassembled their brains, Trey seized the opportune moment to slide into the beginning of the long-awaited return of “Greyhound Rising.”  With polished transitions and extended soloing following the lyrical sections, Trey has clearly worked out the kinks on what seems to be sure-fire Phish epic. With several striking compositional sections, a heavier bluesy jam, and mellifluous lyrical verses, the community has been waiting for something like this from Trey for a while.  Fully showcased as a centerpiece of the second set, Trey seemed both excited and proud to reintroduce the song to his larger fan base.  Anyone who already felt attached to this song will now love it even more, and it will scoop up any doubters along the way.  This one is certainly destined for greatness.

Roseland - photo: Roli Breitenscher

Topping the incredibly improvised set with a spirited and intense “Push On Til the Day,” the sweaty venue was left in a cheering frenzy as Trey gave his signature fist pump, assuring everyone he is right there with us.  Using diverse styles of improvisation and enough energy for the Spectrum, let alone the Electric Factory, Trey left no one in Philadelphia in doubt of where he is at musically at this point in time.  With a fierce approach to the set and a list of fresh songs to go along with his masterful chops, Trey delighted the venue with a no-holds-barred hour plus display.

Although after the show few were thinking about the first set, though it did contain some notable points.  A mid-frame “Jibboo” provided another series of improvised dance grooves ranging from the deranged and dissonant to the silky and smooth.  All previous songs had solid jams, but it was “Jibboo” that gave the room its initial spin of the evening.  Following the tour staple of “Alaska,” Trey busted the tour’s second “Ooh, Child,” bringing the blissful improv to a much higher place than Providence, his guitar sounded heavenly throughout.  Juxtaposing the melodic cover with the grittier “Money, Love and Change,” Trey closed the set with a jam that gained direction as momentum about half way through, turning into a piece of rock-funk fusion.


The Orpheum - photo:unk

With a show that contained at least two of the best jams of tour in “Sand” and “Spin,” Philadelphia proved to be Trey’s stomping ground yet again.  Regardless what side of the Ben Franklin Bridge his shows are on, Trey always seems to treat the Camden / Philly area with monster efforts.  Following in a long tradition of sparkling Phish in the city of cheesesteaks, pretzels, and water ice, Trey owned the classic room from note one through the crashing conclusion of “First Tube.”

Richmond prediction- best yet- tonight is gonna’ blow up!



10.19.98 Higher Ground, S. Burlington, VT < LINK

A new, superior source of a special night!  Boston is coming next!!

I. Gotta Jibboo, Peggy, Dark and Down, Push On Til The Day, Sweet Dreams Melinda, Sand

II. Burlap Sack and Pumps, Money Love and Change, Last Tube, Let Me Lie, Drifting, Alive Again, Tube Top Flop, Windora Bug > Ruby Waves*, Moesha, Dragonfly

E: A Case Of Ice And Snow, First Tube   * debut



“First Tube” (Thanks to Michael Blume)

“Money, Love & Change” Clips Philadelphia Last Night (thanks to SpaceCadetGlow @ PT Phish)

A Big Night In Boston

Posted in Uncategorized with tags on October 24, 2008 by Mr.Miner

10/23/08 The Orpheum Theatre, Boston, MA

I: Push On ‘Til The Day, Heavy Things, Dark and Down, Come On Baby Let’s Go Downtown, Burlap Sack and Pumps, Drifting, Tube Top Flop, Mr. Completely, Shine

II: Last Tube, Sweet Dreams Melinda, Sand, Let Me Lie, Backwards Down The Number Line, The Way I Feel, Gotta Jibboo, Sample In A Jar,* Wilson*, Bathtub Gin* (*acoustic)

E: Tuesday, First Tube

In arguably the strongest show of tour, Trey absolutely shredded the Orpheum from start to finish last night. Extending almost every song beyond it regular length into improvised territory, he crafted a show that never let up for a second. Giving a preview of what the ending of what tour will sound like in Philly and Richmond, Trey most definitely hit his groove in Boston, playing inspired guitar, with no lulls, like the man we know and love.

Taking the momentum from Lupo’s and snowballing it considerably, the first set blasted off with an energetic and jammed out “Push On Til the Day.” Certainly making a statement that he was here for business, Trey launched into some spirited improv right off the bat. Taking the high energy that filled the classic theatre Trey used the TAB-to-Phish song “Heavy Things” to up the further juice the crowd before launching into the rest of his set.

Yet, the most significant highlights came towards the end of this set. After a now-always-interesting “Burlap Sack and Pumps”, Trey turned “Drifting” into a larger improvisational vehicle than usual, as he soloed ferociously and brought the band right along with him on a climactic melodic introspective journey. Following the cool-reggae instrumental of “Tube Top Flop,” Trey paused to instruct the band to drop the tour’s first “Mr. Completely.” Easily the most adventurous jam of the evening, moving between rhythm grooves and wailing solos, Trey led the troops through a jam that that was long overdue. A psychedelic guitar odyssey, Trey shredded this one to pieces and it is the must-hear highlight from Boston.

The Orpheum

The Orpheum

The buzzing set break gave way to a second set that turned an already special show into the best one of tour. “Last Tube,” a song that has been getting bigger each time it is played, was cast into the set opening spotlight last night. Responding with a percussive palate that Trey brought into an darker intense realm, the song bust the improvisational gates of the set wide open. “Sweet Dreams Melinda,” a song that has been great but succinct all tour, was stretched out into an improvised melodic piece that Trey brought to a climactic peak. Finally using the songs smooth textures to improvise over more enthusiastically, it was perfect counterpart to the murky waters of “Sand” that followed. Easily one of the best of tour, this song seems to be racing “Jibboo” to the finish line for the most shredding piece of the run. While “Jibboo” was out in front early, the last few “Sand”s have been making up some ground. Tonight, “Sand” peaked the early set, as Trey drove the audience on a high-speed joy ride through the dark side.

"Tuesday" - The Orpheum

"Tuesday"- The Orpheum

“Let Me Lie” was placed perfectly after this adventure, as the Ray stepped up to compliment Trey more like another keyboardist might, foreshadowing what could become a gorgeous Phish ballad. After the breather, Trey busted out “Backwards Down the Number Line” for the second consecutive show, this time in the middle of the second set. I can’t help but think about Phish when this song is played- it just seems like the next Down With Disease, with lyrics for the adult generation- we’ll see. More magnified than Lupo’s version, tonight’s up-paced jam previewed what I think Phish will be playing in March. After bringing the faster improvisation to a climax, Trey’s band sat into the laid back group-effort, “The Way I Feel.” Smooth as a baby’s behind and with subtle mastery by Ernest, this extended period of mellow grooves did nothing to slow the set down, as its intricacy kept most directly engaged.

Higher Ground

Higher Ground

You could almost feel the massive “Jibboo” coming like an elephant right around the corner, and it came as heavy as ever. With many segments of sick grooves, Trey absolutely blew The Orpheum apart with a version that could stand up to any of the tour. Seething with adrenaline, the Boston audience reveled in the aftermath of what was over an hour of virtuoso guitar improvisation in which Trey’s band was on point throughout, creating a show that may remain top dog when all is said and done. With non-stop enjoyment, even the Phishy acoustic trio of Sample, Wilson, and Bathtub Gin didn’t seem to drag at all. With a rocking encore, The Orpheum needs to be knocked off the pedestal by one of the next two nights to relinquish the title of “hottest night of tour.”

In all likelihood, it will definitely happen.



11.22.97 Hampton Coliseum REMASTER <LINK

In anticipation of Hampton, and with the enthusiastic response to Paul Gwynne-Craig’s great job with 12.6.97 (the Tweezer is fixed), I am featuring another piece of his work with one of everyone’s favorite show. More to come from Paul! (His account may run out of bandwith quickly, so if the link stops working, that is why. He is in Europe, and I’m sure will be on it when he sees.)

ROSELAND, NYC – photo: Jeremy Gordon

Mid-Tour Musings Pt. II

Posted in Uncategorized with tags on October 23, 2008 by Mr.Miner
10.21.08 Lupo's

10.21.08 Lupo's

With three shows to go, Trey seems to have hit his stride and is off and running…Boston and Philly should be great, but I think Richmond, the out of the way tour closer, will be the throwdown…Not sure if people got to hear the new Wallingford FOB source yet, but it sounds like they are playing in your living room- be sure to grab it…and the well received Lupo’s show download is below!

…Fan Greg Doucette has started a petition to Phish going around the internet in order to get the Hampton shows simulcasted the for all of those who won’t be able to attend to due to the ticket fiasco.  Here is the link- it is a good cause, please CLICK HERE and sign the petition!…

10.19.08 - Higher Ground

10.19.08 - Higher Ground

…As the Phish rumor mill begins to swirl into the summer time, two pieces of possible info are floating around- an appearance at Bonnaroo in June and a multi-night return to Red Rocks around July 4th!!  Bonnaroo seems like a strange fit, as Phish does not generally share bills, and the festival already draws almost 100,000 people.  But these festivals (Bonnaroo, Rothbury, etc) are a direct offshoot of what Phish created, and were designed to fill the void after Phish swam away from the scene.  Possibly looking to re-stake their claim as the top live music act today, or maybe just looking to share in the groove that they created, either way, it would be an strange and potentially awkward Phish show.  But Red Rocks- Hello!  That’s the best rumor yet, as it appears that Morrison, CO might give the Phish another chance 13 years after being asked not to return…Can you imagine?…

10.19.08 - Higher Ground

10.19.08 - Higher Ground

…A note about my show reviews– I love Phish.  I love Trey.  If you know me, I basically have the best time at every single show.  The point of my reviews is to share with you the love, joy, and inspiration I draw from Phish (or in the past week, from Trey.)  My goal is to point out the highlights of the show, and talk about why they were so sick, while also conveying the show’s overall thematic vibe.  You will not read me ripping on songs I don’t like- yes, there are some- but I don’t see the need to litter my writing with negativity.  There is too much negativity in the world today.  I respect what Trey and Phish do for us, and the world, far too much to waste my bandwith telling you that “Dragonfly” is a poor choice of a set closer.  You either know that, or will figure it out soon.  Bottom line, I will always focus on the best parts of shows and the positivity that lives and breathes within this special community.  You may as well know my perspective moving forward, especially into March…



10.21.08 Trey and Classic TAB, Lupo’s Providence, RI < LINK

A great show.  Check the review from yesterday.

(Thanks to Matt Daly for recording!)

12.6.97 The Palace, Auburn Hills, MI REMASTER < LINK

Another piece of hard work by Paul Shapera Gwynne-Craig, he has remastered, in my opinion, one of the best Phish shows of all time from start to bottom.,  If you don’t know this one, well…download it now! (Single track downloads)

1: Golgi Apparatus, Run Like an Antelope, Train Song, Bathtub Gin > Foam, Sample in a Jar, Fee, Maze, Cavern

2: Tweezer > Izabella > Twist > Piper > Sleeping Monkey,  Tweezer Reprise

E: Rocky Top


Video Nuggets From Tour

“First Tube” Burlington, VT

“Push On Til the Day” Albany, NY

“First Tube” jam ( w/ Kreutzmann, Burbridge, and Murawski)

“Last Tube” Solo (partial), Roseland

The Italian Wolf

Posted in Uncategorized with tags on October 22, 2008 by Mr.Miner

10/21/08 Lupo’s, Providence, RI

I: Come on Baby Lets Go Downtown, Last Tube,Tube Top Flop, Sweet Dreams Melinda, Cayman Review, Ooh Child, Alaska, Backwards Down the Number Line, Gone, Sand

II: Push on Til the Day, Gotta Jibboo, Drifting, Simple Twist Up Dave, Water In The Sky*, Brian and Robert*, GBOTT*, A Case of Ice and Snow, Tuesday

E: First Tube > Jam (w/ Billy Kreutzmann, Oteil Burbridge, and Scott Murawski)

Lupo: wolf (Italian)

In a venue named for the man himself, Trey delighted the rowdy mid-week crowd with some of his best playing on tour and a memorable encore that showed Trey is right where he needs to be. The small downtown Providence theatre was packed like sardines on the floor, but opened up in the seated balcony; all were very vocal and enthusiastic, responding to a very animated Trey dancing, jumping, and lunging around the stage, rediscovering how fun tour can be. Complete with post-song fist pumps and huge smiles, Trey was clearly having as much fun as anyone in the building during a show that all left raving about.


"Come On Baby, Let's Go Downtown" - Lupo's

While Last Tube was the only significant improv towards the beginning, the first set took off musically with the return of the cover of the soul classic “Ooh, Child.” With lines resembling the uplifting textures of a Slave jam, although brief, it felt so good to hear that type of Trey again. Following this up, he took the mundane, loafing song of Alaska out further than ever before and wound up bringing the house down. With a solo that started in the dirty and distorted tone that is coming to define a large part of his current sound, he built the bluesy composition into a heavier climaxing slow rock jam.

The crowd responded with an extended ovation as Trey went around to his band members to discuss the next song. Coming back with the tour’s first Backwards Down the Number Line, Trey improvised a bit more than Brooklyn, showcasing the pop-rock jamming capability of the newest Anastasio / Marshall composition. Thematically about old friends reuniting, it would be hard to see this one not hopping into the bigger pond of Phish. Continuing the first set trend of bust-outs, Trey played the introspective “Gone,” also for the first time since Brooklyn. Clearly alluding to his troubled past few years, Trey used his voice exceptionally well with these melodic lyrics, another illustration of the strength of his vocals these days.

Lupo's - Alaska

"Alaska" - Lupo's

Despite all the new additions to the setlist, the standout highlight of the first set was the scorching Sand that closed. Moving through several furious segments of Trey improv, this one, coupled with Burlington, upped the ante for the song for the second half of this brief eight show in ten night swing. Really getting comfortable now and beginning to just let it flow, he tore apart the venue with a tour-highlight version of the song. Never returning to the composition, Trey ended the set at the natural conclusion of his sinister thoughts.

Carrying this momentum directly into the beginning of the second set, the usual set-closing Push On Til the Day was put under the lens, as Trey extended the jam further than any time this run. With incredibly fiery playing, Trey transcended his usual musical territory with enthusiastic improv that brought the jam outward- the crowd returning the energy from the stage blow for blow. Taking the highest point in the show to drop the biggest song of tour, Trey strummed the opening chords of Jibboo. Deciding to leave the rhythm funk behind, Trey sat into the colorful backdrop with a flowing non-stop series of improvised lead melodies. Beginning delicately and ending in a much more boisterous place, Trey’s improvisation grew in stature and never let up in a highlight version that provided a musical contrast to the rest of the Jibboos of tour. This stuff was very impressive and encouraging!

This wave of momentum crashed right into Drifting, where Trey chose to sit back and groove with his band and accent the music as opposed to taking another gargantuan improvised solo. His improvisational excellence returned in the heavier Simple Twist Up Dave. Continuing to solo subconsciously, Trey found his way to a sped up “The Name Is Slick” jam for a while as he moved through some sublime playing in this song. The top heavy set peaked with this intensely improvised guitar marathon, as his band has certainly has found their stride, supporting Trey with just the right amount of groove, with a dash of improv, to absolutely go off.

Murawski, Kreutzman, and Burbridge

Murawski, Kreutzmann, and Burbridge

Yet, the surprise of the night came right at the end. As the jam of the newly-improvisational First Tube began during the encore, the recently formed trio, KBM- Billy Kreutzmann, Otiel Burbridge, and Scott Murawski (Max Creek, Mike Gordon Band)- found their way to stage, replacing Tony, and bouncing Russ to a snare and a cowbell set up behind the drums. As the stage was taken over by master improvisers, the band dove head deep into a ridiculously psychedelic jam that never returned to First Tube. Taking on a completely new and magical feel the moment Billy sat down, the guests collectively played the first true “group jam” of the run. Jamming with the best around, Trey was ready and waiting, unleashing some improvisation of the like we haven’t heard so far. He’s ready to go folks, and placed in the context of these maestros, Trey felt right at home. This was one of the most positive Phish foreshadowing moments of the tour, as Trey proved that he is drooling to dig into some deeper stuff!

In a show that featured a few bust outs, some of Trey’s personal best of tour, and a special encore that seemed like it should have continued for another song or two, Lupo’s was treated to a mid-week treat, as the weekend crowd prepares to migrate to Boston, Philadelphia, and not so much Richmond. Adding some songs to the mix over the past few shows, and really feeling it now, Trey is shaping up the last three nights to be quite an adventure. See you there!



10.17.08 Chevrolet Theatre, Wallingford, CT < LINK

^^ FULL SHOW, NEW SOURCE!!! (Thanks to Matt Pagni for the upload!)

10.19.08 Higher Ground, Burlington, VT < SENDSPACE LINK

(thanks to Maniah @ PT Trey)

10 16.08 ROSELAND, NYC – photo: Col. Forbin


I’ve lost my taping source, so if any tapers would like to help out with the last three shows please email me at!

Mid-Tour Musings

Posted in Uncategorized with tags on October 21, 2008 by Mr.Miner

Thus far, the Northern Exposure Tour has exposed the fact that Trey is back and happy unleash his cosmic fury on us nightly once again.  What has also become greatly apparent is the reverence that Trey has for Tony, Russ, and Ray.  Often seen as a backdrop to Trey’s power, he has gone out of his way each and every show to discuss the musical contributions that were collectively written, and have progressed to Phish songs.  Paying tribute to his second songwriting “voice,” has been a thread running through the first weekend of shows….

Roseland- photo: Jeremy Gordon

…Resiliency is one of the most admirable qualities of the human spirit.  The ability to get back up when life has knocked you down, or as Trey sings in Let Me Lie, to “use [your] brakes when [you] go downhill,” inspires us, though it  is not always as easy to personally replicate.  Over the last four nights, I have been incredibly moved by Trey’s model of resiliency and personal strength.  As if addiction wasn’t enough of a monster with which to grapple, he had to fight his personal battles largely in the public eye of the Phish community.   Possessing an incredible humility, when he hit bottom, he never stopped creating music and pulled himself back to place happier than before; an example of pure personal resilience.  Persevering through an arrest, a drug program and a fourteen month relocation, Trey took a bad situation and turned it into something positive.  Garnering a new sense of enthusiasm and joy for life and music, he has again began to crank out new inspiring music.  Seeing him so happy on stage as he navigates the musical universe with us again has been heartwarming.  We can all learn something here…

…so far Trey hasn’t played Backwards Down the Number Line or Greyhound Rising- two of the songs that highlighted his comeback in Brooklyn.  Potentially holding them for the second half of tour, or for his other band, it will be interesting to see if these two songs pop up soon…I cannot wait to hear Phish play, “Light.”  It was a song made for the four of them to play- that much is clear.  I bet we see it as a second set opener in one of the three Hampton shows…A huge Mr. Completely should present itself in Providence or Boston…Trey’s voice sounds so strong and clear these days, something that can be heard noticeably during his acoustic pieces of tour…during the acoustic Sample in Wallingford, I thought of how massive the swell of energy will be when Phish drops the first 3.0 Sample…wow…


Roseland - photo: Col. Forbin

…Finally, I want to apologize for the delay in the Burlington show. I realize few were there and many want to hear it.  I hope it is up soon.  I’m trying to work out the kinks of facilitating this immediate turnaround of the shows for the first time, and since I’m not a taper, there is only so much I can control in this situation.  Rest assured that I will get you every show on Phish Thoughts as soon as I possibly can, I WANT YOU to hear what has been happening. The Wallingford second set should be up soon as well.  Hopefully this process will smooth out over over the next few shows. I appreciate your patience…


I found a copy online until I get my source up. (Thanks to Maniah)..

10.16.08- ROSELAND BALLROOM, NYC photo: Col. Forbin


Feeling Vermont

Posted in Uncategorized with tags on October 20, 2008 by Mr.Miner

10/19/2008 Higher Ground, South Burlington, VT
I. Gotta Jibboo, Peggy, Dark and Down, Push On Til The Day, Sweet Dreams Melinda, Sand

II. Burlap Sack and Pumps, Money Love and Change, Last Tube, Let Me Lie, Drifting, Alive Again, Tube Top Flop, Windora Bug > Ruby Waves*, Moesha, Dragonfly

E: A Case Of Ice And Snow, First Tube   * debut

Higher Ground

Higher Ground

In his first show in Phish’s hometown since 2005, Trey greeted the tiny audience at Higher Ground with an electrifying performance that challenged, if not exceeded, any of the first three shows of tour.  An event that was larger than the concert itself, the entire evening was a benefit for Trey’s Seven Below Arts Initiative.  In conjunction with Burlington City Arts, Trey offers local visual artists grants for their work as eight-week residencies in The Barn to create uninterruptedly. Additionally, the program provides outreach arts education programs, and is looking to expand their work with children.  With a silent auction featuring Trey’s CD catalog, tickets (not for Hampton!), some old-school TAB posters and his personal artwork, every dollar- including ticket revenue- went directly to Seven Below.  With an incredibly friendly and local vibe, the crowded club was also host to quite a concert!

Higher Ground - Set One

Higher Ground - Set One

In a show where Trey was particularly warm and chatty all night long, the night carried a greater sense of intimacy than any Trey related event in a long time.  With a first set constructed out of some of his best played songs of tour, the night took no time to get moving.  Opening with the tour highlight of Jibboo, the show was spinning quickly as Trey opened the vault and initiated his show with a solo in his now characteristic ’08 sound.  Deep, distorted and dirty, he began the jam layering his thoughts over a classic siren-esque loop.  While staying relatively compressed as the first song, there was no shortage of sizzling improv.  Throughout the set, each song seemed as well played as the next, remained within their thematic jam structures.  Sweet Dreams Melinda, a song that has stood out all tour for its tightly improvised melodies, again brought the smooth delight of the first set, but the no-doubt highlight was perhaps the best Sand played this week.  With scorching improvisation, Trey led the band in a high-speed chase though a post-apocalyptic wonderland.  Closing the set on the highest of notes, the crowd quickly funneled into the bar and auction room to watch the triumph of Tampa Bay Rays in Game Seven of the ALCS amidst a densely populated crowd of Red Sox fans.

A Phish family feel pervaded the set break, as well as the evening, with the number of old familiar faces multiplying from the larger venues of the run.  In a show clearly meant for Vermont locals, tickets were only sold at the Higher Ground box office after the small allotment vanished from pre-sale in less than a minute.  With nary a broker ticket to be found on the entire internet within the last few days, this one was an incredibly tough ticket to come by.

The second set was one flowing highlight, as the improvisation was some of the greatest of the run.  Opening with his new favorite song, Trey re-introduced Burlap Sack and Pumps to his hometown in shiny psychedelic fashion.  A song, that with Jibboo, has become a central vehicle of the tour, had yet another dark ambient-to-groove jam that provided one of the most exciting points of the night.  Yet, outdoing the hot set opener were the next two songs, and another deeper in.

The subsequent songs, Money, Love and Change and Last Tube absolutely blew up.  With some of hottest improv of the tour, these two songs kept the audience completely engaged for quite a long time time.  From the extended addictive funk rhythms of the former to the more aggressive Antelope-esque grooves of the latter, this combination served up some of the heartiest meat of the evening.  With the Last Tube climaxing the first three songs of the set, the crowd responded enthusiastically to the twisting adventure that their guitar hero had led them through.

All Points West

All Points West

The second half of the set got very interesting with some first appearances of the tour and another debut. Arguably the jam of the night, Alive Again saw Trey improvising ferociously in a seemingly sub-conscious state.  With the apropos refrain of “The time has come for you to be alive again!”, this rendition in Phish’s hometown took on significant meaning, and everyone seemed to understand.  Following up the fierce jam, was the welcome return of the slow funky intsrumental Tube Top Flop.  In past years, always paired with Push On Til the Day, its welcome breeze of slow grooves cooled down the fired up room.

As the set continued to mellow out with Windora Bug, Trey led the band in a segue into the debut of “Ruby Waves.”  With a classic Anastaio pop sensibility and with lush beautiful melodies, this song could be a preview of something to come in the near and not so near future.  As Trey was about to finish his set, he instead took a request of Moesha, a song the band hadn’t played “in five years,”  or 148 TAB shows.  The fun old school treat gave way to a rocking set ending Dragonfly.

All Points West

All Points West

The emotional encore combined A Case of Ice and Snow and First Tube.  Throughout the first four nights of, First Tube has transformed into a piece where Trey no longer simply plays screeching walls of sound, but improvises consistently in what now can truly be called a jam at the end of the song.  With each being distinct, no longer just set ending fire, but a piece that can be looked to for diversity.  The night ended far later than normal due to a later 9:20 start and a longer than usual second set, but everyone went off into the brisk Burlington darkness not wishing they had been anywhere else.

Check out Seven Below Arts Intiatiative website and think about donating even a little to Trey’s personal mission, as he has given so much to ours.



10.19.08 Higher Ground, Burlington, VT < SENDSPACE LINK