PHISH

The live setting is the Hampton Coliseum in Hampton, Virginia and contains 2 full concerts recorded on November 20 and 21, 1998. Many bootlegs of complete Phish shows were circulating, but this was the first time full shows were available officially as the other two previous live albums were taken from different and partial shows. For the person that is interested in getting into Phish's live discography, it is a great entry point and captures the excitement and fun of a Phish concert (without all of the smoke of course).

There are 44 tracks spread across this album, 20 of which are covers, some pretty good, others hilarious attempts which demonstrates the band's fearlessness to make fools of themselves to please their fans. This collection contains "Rock and Roll, pt 2" to open the set up, Ween's "Roses Are Free", Hendrix's "Bold as Love", Will Smith's "Getting' Jiggy Wit It" and ending it all with the kooky version of "Tubthumping" from Chumbawunba, all of the covers sung by drummer Jon Fishman. Most of the other tracks are sung by guitarist Trey Anastasio.

Among the Phish classics are excellent versions of "Guelah Papyrus", long and sweet jammy versions of "Split Open and Melt", "Bathtub Gin" and "The Divided Sky", a catchy rendition of "The Mango Song" and a rousing version of "Free". Some of the classics are also faithful renditions that are quite similar to the studio versions, while others like "Roggae" and "Meat" are quite a bit different from the studio cuts. The best part, however, are the less familiar tracks which were previously not available in a recorded official format, especially the excellent "Possum", the experimental "Big Black Furry Creature from Mars", and the concert favorite "Harry Hood".

Though it might not be the best of their live albums, it is quite an excellent collection perfect for those somewhat familiar with their music, but still haven't had a chance to hear them in concert yet, whether in person or live recordings. Some of the edits are obvious, but they all come only between the numbers, so a lot of the audience participation and cheering is cut out as the set concentrates on the music of the concert, and that is quite okay. This is definitely a worthwhile live set to have, and the production is very good, much better than the bootlegs and some of the other live albums.

Phish released an excellent smorgasbord of songs in their 7th studio album which boasts a large variety of tasty tracks. This time was when the band was at their creative best. During the recording sessions for that album, the band recorded a lot of improvised material that didn't get put on the album. But there was a lot of material that was quite good that just couldn't get locked into the Phish vaults to probably never be heard of again. So, the band released bits and pieces of these sessions and made them available for download in July of 1999, and then released them commercially on Elektra Records in November of 2000. This strange collection ended up becoming an album unlike any of their studio albums and became known as "The Siket Disc", named after John Siket, the engineer who helped to clean up the sound to make it all into some level of cohesiveness.

The main problem here, that doesn't translate well into a studio album, is that when in concert, the band can use their familiar songs to formulate a framework to build an improvisation off of. In this case, these are all new improvisations, and, unless you are a firmly dedicated Phish head who has attended many a concert, this music probably won't sink into your soul quite as easily. Around the time of the release of this album, Phish had announced that they were going on an indefinite hiatus, and so the studio was willing to keep the Phish phans occupied by releasing whatever they could.

The improvisations ended up generating 9 tracks that could be put together into this album, but only ended up giving the listener 35 minutes of music. The music is a bit spacey, ambient and unstructured, most of the tracks only lasting under 5 minutes. "Me Left Toe", the opening track, will give you an idea of what to expect. It is a meandering song based off of a simple foundation, with wandering guitar and piano chords and notes and some wordless vocalizations. There is a bit of a build up here as it continues, but not much else, and it sounds almost psychedelic and post-rock-ish. "The Name is Slick" however, has a solider foundation in the funky exchange between Anastasio's guitar and Gordon's bass. As usual, McConnell and Fishman receptively bring in their keys and drums to match the subtle sound that still manages to find a groove which gives it some life.

The longest track is the 3rd on the track list, the 11+ minute "What's the Use?" It comes soaring in on the airplane-like drone, bringing in a slow, bluesy style, and we get to hear some really great atmospheric tortured guitar which is wonderfully enhanced and played upon by the keyboards. A sinister bass pulls the entire thing along as the drums do a slow beat, and this becomes quite an excellent jam, mixed with squealing and echoing psychedelia and experimentation. As it continues, Anastasio manages to manipulate the sound to become almost jazz-like melody while retaining the slow, hard blues beat. After 8 minutes, though, it sort of peters out, and is left to some softly wandering guitar and keyboard atmospherics while the beat taps slowly on.

There are then two short jam snippets that follow; "Fish Bass" which is mostly instrument generated noise, and "Quadrophonic Toppling" which has Gordon repeating the name of the track over and over as bass guitar and tapping percussion meander along with some light guitar notes and sustained, almost undiscernable keys. The next track "The Happy Whip and Dung Song" manages to make it over 5 minutes. It's a dark and heavy track with a moderate beat. There is quite a bit of grumpy sounding guitar that acts like it might have a statement, but a motif mostly just repeats while interesting layers of heavy sound continue. A bit of brightness comes out in the synthesizer, but it never really catches a hold, and the track just goes on sounding like it is going to form into something interesting, but never does. It's a jam that accomplishes nothing.

Three rather short tracks follow; "Insects" is a bunch of looped warbling and clackety clack percussion that drones on for 3 minutes; "Title Track" that bleeps along while manipulated voices say "The Siket Disc", and other interesting sounds; and "Albert" which is just some meandering guitar and bass.

Being a Phish fan, even I can't really get into this album, and I don't play it that often. There might have been some ideas here that could have developed into something, but that is all this becomes is a collection of ideas that don't amount to anything. Only two tracks are worth much, and that is "The Name is Slick" and the first 8 minutes of "What's the Use?". The rest is not even jamming as much as it is goofing around and never reaching any point. Surely there is much better unreleased improvisational Phish material than this. There really wasn't much of a point to it. It all ends up being something that only the completionists or most die-hard Phish fans should have. Don't let this be your introduction to Phish, because there is much better stuff out there.

'The Story of the Ghost' was Phish's 7th studio album, released after 'Billy Breathes' and before 'Farmhouse'. It marks a turning point for the overall sound of their studio output, and actually contains great examples of the different styles apparent on the albums it falls in between. The album was created differently than their other studio albums, in that this time, the songs were only put on the album if all of the band agreed to them. This socialistic approach to the album was the reason that Anastasio thought that the album could have been better, because some of their best output during that time, according to him, was left off the album in place of some weaker tracks. At first, Anastasio felt this was a weaker album because of this, but has later admitted that he is now happy with the album and the way that it came out.

The music was culled together from different jam sessions. They took the best parts of the jam sessions and turned them into song-like structures, though using the same unconventionality that they used in their music. Another thing that was different about this album was the fact that there are no instrumental tracks at all, they all have vocals, which is fairly odd for Phish. Most of the tracks are more standard size, except for 'Guyute' at over 8 minutes, which is also one of their most progressive tracks. The other tracks, even though they are more around a standard rock song size, are actually quite varied, probably one of Phish's most versatile albums, which is also why it is one of my favorites.

A move to the more laid back sound of later Phish albums actually started with the 2nd side of 'Billy Breathes', and that continues in the lead off to this album 'Ghost'. The style is more of the laid-back groove that we would be hearing more from them in their later albums, and also tended to approach the jam style of their concerts, rather than the high energy sound of earlier albums. Starting with a atmospheric intro, the song quickly slips into the slinky funk of the track, with contrasting vocal layers, and a slight psychedelic feel. Later, a higher energy from the guitar joins in after a short pause, and the song fades out, leaving an unfinished feel, because the theme will return towards the end of the album. This is followed by the single 'Birds of a Feather' which still retains a nice funky sound, but with a more upbeat rhythm and more rock oriented. During the 2nd chorus and after, the music builds to a rocking and blistering guitar solo for a nice payoff and the music continues to swell as the repetitive chorus returns. 'Meat' takes a more reggae vibed funk and vocals that definitely contradict each other, and a deep voice effect that sounds like someone speaking through one of those devices that smokers have to speak through.

The 8 minute 'Guyute' comes next, and is an example of Phish at their proggiest. The beat is tricky, and changes from a moderate, somewhat rambling song to one that is much faster and full of energy when it reaches the 3 minute mark. After that, it goes into that instrumental interplay that the best Phish studio tracks are known for, and then on top of that it goes through several rhythmic and style changes, while taking on odd rhythms and start/stop patterns. The boiling guitar section in the middle has a build up that is unlike anything they have put on disc before, as tension builds in a hurricane of instrumental chaos that culminates in a completely fulfilling return to the main theme. But then it goes totally atmospheric with an odd strumming out of tune guitar and meandering vocals, then everything connects together again for a satisfying ending. This is Phish at their inventive best.

'Fikus' goes off on a completely different direction with goofy percussion and nutty vocal lines, sounding like something from Robert Wyatt, a clanging bell that sounds like one of those gas station bells. It's a strange one, but showcases Phish's weird sense of humor. 'Shafty' is more of that minimal, goofy sound. There are again several lines of vocals, but the brevity of these two last track make them feel a bit meandering and unfinished, but they both make more sense as the 2nd half of the album comes around. 'Limb By Limb' starts off minimally as the last two, but quickly builds to a cool bass and percussion, and then you hear the real Phish return, silly lyrics and a sudden burst of energy as the song continues. The song develops a nice solid backbeat, and the lesser vocal lines are just as interesting as the main theme, making this one that gives you a good outcome no matter which vocal phrase you decide to listen to as the call and response style goes on. A sudden guitar solo kicks in and takes this into high energy territory again. Another great payoff.

'Frankie Says' backs off a bit, but not much, and more goofy lyrics ensue, but in a laid back style which is still quite interesting. 'Brian and Robert' sees Phish doing some Beach Boys style harmonization with simple keys and soft percussion backing it up. It's a nice peaceful sound similar to something that could have come from Pet Sounds. 'Water in the Sky' goes for the lunatic cow jazz sound, with their crazy brand of country that sounds like it is hysterically becoming unhinged. 'Roggae' features a slight reggae edge with steel guitar twanging along while they sing about the circus of life. This melts into the next track, the textured and beautifully smooth 'Wading in the Velvet Sea' with the lovely guitar solo at the end. From there we do the funky 'The Moma Dance' which proves white guys can groove, and then it ends much like it begins with 'End of Session', which finishes off the unfinished business started with the first track 'Ghost'.

Except for a few weaker tracks in the middle, this is a perfect album. Some would doubt that it is progressive, except for 'Guyute' which is so obviously progressive, but in my eyes it's perfect. For the archives purposes, however, I have to resort to giving it 4 stars, but a very strong one. This is one of Phish's best and a favorite of mine, and it would easily be awarded five stars on a non-progressive site.

On this album, as on the other two albums released in this period, there are a few great tracks, but things aren't consistently good, and the carefree spirit that they once had is missing. The title track on this album is a great starter in that it gives a feeling that maybe this album could be better, as it has a nice up tempo feel and a funky attitude, but the following track 'The Connection' starts to show that weaker feeling of the last two albums again. 'A Song I Heard the Ocean Sing' starts to follow in that same pattern, but at least it is a longer track, so it begins to flesh out and actually has an excellent, and even somewhat heavier, instrumental section, which saves the track as one of the better selections on the album. The excitement generated from the extended instrumental section follows into the bluesy 'Army of One' which has an excellent piano/guitar solo.

Things falter again on 'Crowd Control', which could have been a good track, but it seems underdeveloped and rushed. 'Maggie's Revenge' is the only instrumental on the album, and it is short and strange with some bizarre guitar effects. 'Nothing' attempts to be a more pop style song, but comes across as being weak, and that is the same problem with the next track 'Two Versions of Me' with an even bigger drawback, even the melody isn't memorable this time. 'Access Me' is a humorous track, but is still underwhelming.

The trend continues with 'Scents and Subtle Sounds' which I actually find quite annoying. 'Tomorrow's Song' is a short 2 minute track which is just filler, mostly repeated lyrics sung a cappella except for some percussion. 'Secret Smile' is the only redeeming track on the last half of the album. It is a mellow Beatle-esque track with Trey's vocals and a nice string section, along with an atmospheric guitar and piano. 'Grind' ends the album with a very short track sung in barber-shop style harmony, no instruments, about grinding teeth. Dumb.

So, even though I consider myself a Phish Phan, I don't like this album much and can only pull 4 (out of 14) worthwhile songs off of it. The rest of the album just feels weak and almost like their hearts just weren't in it. Thank goodness they went on hiatus for a while after this, because they would return much stronger. But many phans had lost hope in the band after 3 mediocre albums.

This is a pretty good Phish album, though not their best, it still has some great music on it. It starts out with the very popular 'Free' and continues in the upbeat, rocking vein with the next track 'Character Zero'. Both songs are quite straightforward rock tunes, and are enjoyable, but not really progressive. Following this is 'Waste' which is a slower and more acoustic track, with that unique Phish-Folk feel. The song does build to a strong chorus and bridge, but remains driven by acoustic piano and guitar throughout. From that, we move to the next song that rhymes with the previous. 'Taste' starts out with a quick piano riff and a clacking cowbell. This one is more complex with an almost tropical feel as it builds as it goes along until it reaches a great climactic instrumental ending.

'Cars Trucks and Buses' is an instrumental that has quite a sly organ riff/melody and an infectious beat. The intermediate section is a great improvised jazzy piano solo supported by the rest of the band which ends the song. 'Talk' ends the first half of the album with another mostly acoustic tune that once again hints at Phish's version of prog-folk.

The 2nd half of the album is more of an experimental feel. It starts off with one of my favorite Phish tracks 'Theme from the Bottom'. It is the most upbeat song on this side of the album and probably most accessible, but it has the vibe of the best Phish classics like 'Chalk Dust Torture' or 'Maze' It is more progressive, slightly, and is much better developed. It starts off quiet and builds in intensity to the chorus, then follows an alternating pattern until the last half where it gets heavier and remains intense to the ending. The last half of this track gives you a good idea how tight this band is, especially in their concerts, where they act as a single unit to create amazing improvised music unlike any other band out there. Then suddenly, near the end, all of the music drops off as the band harmonizes together in a ridiculous, but catchy vocal riff.

After this, the album turns quite soft and mellow. Next is 'Train Song' written and sung by Mike Gordon. It is a solo guitar and vocals, with Trey doing some harmonies, but the lyrics are silly and complex at the same time. Later, a xylophone joins the guitar. This song sounds simple, but is strangely complex. 'Bliss' is another short track which features a solo processed acoustic guitar with a nice echoing effect. Next comes a very complex and progressive 'Billy Breathes'. Remaining in the soft, acoustic vein, two vocal melodies start to form, sometimes contrasting and sometimes coming together. Again, we get that folk-ish feel in a more progressive context. Soon a weird horn (?) joins with a banjo as more vocal layers harmonize and contrast with each other. Halfway through, piano, bass and electric guitar compliment each other in an atmospheric and lovely instrumental section.

Two very short tracks follow. 'Swept Away' is strummed acoustic guitar and Trey's vocals with a little harmony. 'Steep' moves from this quiet song to a more dischordant track which is a little unsettling, and two vocal melodies work against each other. Strange, processed noises ensue as things get psychedelic. Eventually, this all flows into the closer 'Prince Caspian'. A strummed electric guitar and piano takes us out of the noise mode into a more peaceful feel. Things flow for a little while, then vocals start again, this time with a more conventional sounding melody. Drums join in and things meld together nicely as intensity increases. The melody is nice here, but the lyrics are a little too repetitive. Nevertheless, it is a nice closer that seals that album together.

Again, this wasn't their best album, but it was better than the previous album, as it pulled the band back to their original feel. Overall, you get a good mix of straightforward rock and progressive folk with a little bit of an experimental and psychedelic feel. It is not so much of a jamming record, and is a little light on the progressive side, but it is still challenging enough to keep the progressive listener interested, yet accessible enough to not be over indulgent. Great album.

Phish, like any other band, has a formula. This formula goes something like this: 3-4 bouncy, eclectic tracks, 2-3 rock n' roll and/or hard rockers, 1 (maybe 2) 10 minute + epic, and throw in a few slow ballads for good measure. Over the years I've found myself very comfortable with this formula, as Phish is able to follow it without replicating previous creative choices to an insulting degree. It's obvious there's a difference between these set tracks on each album- 'Down with Disease' is different from 'Character Zero', 'Sample in a Jar' is different from 'Theme From the Bottom', etc. But this time around, of all times, Phish decided to turn the tables (at least slightly), presumably to turn down the tedium. There is a few more funk rock tunes on here than were present on Fuego (which really condensed them into the bombshell that was '555'), but most of them are pretty good. 'Friends' was an absolute anomaly for me on the first listen, because it actually had sole vocals and songwriting attributed to drummer Jon Fishman of all people (this doesn't happen too often if I'm correct). It serves as sort of the theme for the album, and rightly so. It's a loud, thundering song that sets an adventurous mood quite well for the rest of the experience. 'Home' is a McConnell track, and unfortunately not his best work. Balanced between bland, linear pop rock and overwrought noise, it's a tough listen even for what should be an easy listening song. The only notable fast-paced track is 'I Always Wanted It This Way', another McConnell one, but this time a strange Foster The People-esque indie rock song with a synth-pop beat. It's really so strange for Phish that I'm not sure exactly how I feel about it, but it's not too horrible (definitely not among the band's worst).

The slower/bouncier songs are where I believe Phish shines and always have shined. I've already talked about 'Breath & Burning' in my review for the promo single, but I do stand by my opinion that it is rather good. 'Tide Turns' is one of my favorites, with a confident horn and brass section parroted by Fishman's powerful drumming. The pseudo-epic 'Miss You' is very similar to Billy Breathes (1996)' 'Waste', albeit stretched out for two or so more minutes. I prefer Waste's quiet atmosphere to this, but it rings true of Phish's talent for writing good cheesy songs. The only truly quiet ballad is none other than 'Running Out Of Time', a wonderful ditty that takes some elements of CSN&Y to create a wonderful song worthy of some of Phish's best.

Now for something a bit closer to home for some of you reading this. Phish has created a variety of epics and suites over the years- some 25 minutes ('Union Federal'), some 10 ('Demand'). They contain some of Phish's most prolific work: their most creative atmospheres, best musicianship, best lyricism, best everything. As Phish progressed these epics became less of jams and more substantial, moving pieces of art. I believe this transition might have hit it's peak in 2002, where the band included four different epics, all with their different qualities and attributes. After Phish reconvened subsequent to their hiatus, they compressed all of their talent into one specific song. This was none other than 'Time Turns Elastic', a suite written by Anastasio that was originally 29:38 but was compressed down to 13 for Joy (2009). It was a crowning achievement for the band, with each movement shining in their respective ways and bringing out all different kinds of emotions. I've been hard pressed to find an epic that surpasses it in quality (except 'The Divided Sky', personal-taste wise in that regard however)- the title track for Fuego didn't, so all that's left to this date is whatever's on Big Boat. For that, we have 'Petrichor', a song I've been eagerly waiting to hear since the track-list for Big Boat was announced in September. And I must say, it comes close. Veeeeerry close. But not quite.

'Petrichor' has a much floatier atmosphere than the dark-tinged 'Time Turns Elastic', but has the advantage of a full- blown brass and string section to accompany it. It gives off a strong film-score vibe than many of Phish's previous works, which depending on your feelings towards that certain genre, could appeal to you in different ways. The quadruple-edged blade that is the full-band vocals of Phish adds brilliantly to the almost Floydian-like atmosphere, the latter which makes itself loudly and proudly pronounced specifically towards the second half. Like I say with great epics, I believe personal experience is the only way to truly get a feel for it. Sorry if that's a cop-out.

Another quick note: The production is fantastic, as usual. Bob Ezrin made a point to have this album be as if not more crisp and clean than Fuego, making this interesting divide between the quasi-amateurish Fuego and Big Boat. He is truly fantastic and I wish him more luck in the future with his endeavors.

After all this fanboy jargon, I think a TL;DR is necessary. Big Boat is a mature, billowing album that delivers Phish in a satisfying and new way. If this happened to be Phish's last effort, I'd be completely fine with that. But I know that's not the case, because Phish aren't ones to give up in the long-run. Here's to many more phases of phun, boys.

It´s no news that live performances of Anastasio and his comrades in the nineties have been legendary, and NYE 1995 is an excellent example, perhaps along with Hampton - Winston / Salem 1997, Hampton Comes Alive, A Live One, between others. While it´s true that there are a lot of live events and is difficult to hear and thresh them all. It is also true that the songs performed here are part of the best stage of the band.

I'm usually somewhat skeptical about improvisation, except for King Crimson, Phish, and some more. Here is a group of excellent musicians in very good shape, fully inspired, with great coordination, good production and clear sound. Of course McConnel´s keyboards and Anastasio´s guitars, excels, and Squirming Coil, Runaway Jim, Mike's Song, You Enjoy Myself, Weekapaug Grove prove.

Not much more to add, 216 minutes almost no waste. Maybe at times it becomes a bit monotonous the progressive ear, like in Maze or Weekapaug Grove, so 4 stars seems appropriate. Without losing sight that there are very good perfomances more recently, as Atlantic City 2013, to give an example. Sorry for my poor English

If this rings true for Breath & Burning, then this is a good sign for what's to come. This song is more in the vein of early 90's Phish (counting Junta), with it's doodling pop rock sensibilities, except incorporating the more clean-cut lyrical and musical quality of the current style of the band. McConnell's soft bluesy keyboards coincide well with the more receded drumming of Fishman, the two band members who I've noticed have changed the most throughout the years. Gordon's thumping bass and Anastasio's acoustic sound very similar as to how they always have, so comforting territory there. As for vocals, Anastasio holds up, however on my wishlist is more acapella from the band- one of their many quirks I've grown fond of over the years.

Well signified by it's artsy cover with clouds and baby blue sky, this track can be described with such emotional adjectives like free and floating. This is definitely more in the territory of innocent, Fuego Phish than of the acid-fueled nonsensical band they were known to be two decades ago. Whether this is good or not completely depends on your feelings of the different eras the band has gone through. If their more recent stuff is to you liking, this definitely will be too.

Breath & Burning is a good sign of what's to come on this new album. I'd say for Phans or just easy listeners, keep your ears up. There might be some good stuff ahead.

Hark! The palindrome year of 2002 rolled around in the form of the spherical Round Room. Like Farmhouse there was many of the same typical rock songs for your casual ears, but something was different this time a"round". The album featured many new epics that are much more intricate than what would be expected. These songs are structured very similarly- with a slow, almost minimalist first half and a raucous second half-, yet are unique in all of their own ways. It's hard to place a finger on it but it's almost as if these songs, mainly 'Pebbles and Marbles', 'Seven Below', 'Walls of the Cave', and 'Waves', feature more depth and meaning than those of any prior Phish album. A controversial opinion maybe, but just a listen to the aforementioned 'Walls of the Cave', with it's creative rhythm patterns set up by drummer god Jon Fishman, and beautiful yet simplistic lyrical abilities of Anastasio and Page McConnell, it is hard for me to deny it to myself. Of course, the shorter songs are good too; like I said they are indeed callbacks to Farmhouse, ranging from slow ballads to jazz-funking, puffed up powerhouses. A noteworthy mention is the track 'Mock Song', which as a fan of the band I felt was a fun poke at their past work, mainly the meaninglessness of their lyrics and such.

Round Room is something that eases you in. It doesn't take multiple listens to enjoy- just let go of any prior notions and sink in. By that time that path of enjoyment has already paved subconsciously for you. And the neatest thing of all: you did it all yourself.

Hoist is mainly a skip-able work of Phish. It has an overall sense of clunkiness and doesn't have the best flow as an album itself. As for individual tracks, there are some definite keepers that not only I found interesting but were indeed added to the vast Phish live repertoire. Mediocre? A bit. But I still suggest that it deserves at least a try, no matter if you are a 'phan' or a prog-enthusiast or simply a fan of rock.