Thursday, February 10, 2011

Ghosts excerpt

The following is an excerpt from my forthcoming third novel, Ghosts. It's an adaptation of Henrik Ibsen's classic tragedy, updated from 19th century Norway to dawn-of-the-2oth century Pennsylvania.
It'll be available for purchase in the next few months.


The fire wasn’t his fault.

Even if it was, there was no way it could be proven. Although Jacob Engstrand, one of the carpenters working on the nearly completed orphanage, had been accused on more than one occasion of being careless with matches, the official story was that a pile of sawdust in the carpenters’ shop caught fire. Luckily no one was hurt and there was no damage other than a few scorched timbers. No one had seen Engstrand with a match in his hand, so nothing could be pinned on him.

He had also been accused on more than one occasion of overindulging in alcohol, but that didn’t seem to hurt anyone but himself. Engstrand was a taciturn man, prone to fits of silent contemplation while he worked. The foreman and Engstrand’s peers respected his diligence and thoroughness as a carpenter, but there was something odd about him that they couldn’t quite place. It was as if he lacked some gene that everyone else possessed, a deficiency that caused him to remove himself from most conversation and social interaction—that is, until he had a few drinks, and then you couldn’t shut him up. He’d ramble on about anything and everything until someone shepherded him home, where he’d collapse into bed fully dressed. He’d often wake the next morning and head straight to work, which accounted for the tattered nature of his clothes.

He’d lived in Erie his entire life. Born in the fall of 1864, just as William Sherman was leading confederate troops on the infamous march to the sea some 800 miles south, Engstrand had been apprenticed to a master carpenter as a teenager, and learned his craft well: before he turned 20 he helped build Hamot Hospital at the foot of State Street; later, he participated in the construction of Saint Peter’s Cathedral on West 10th and Sassafras. His grandfather was part of the shipbuilding crew that James Madison tasked with constructing a naval fleet in order to wrest control of Lake Erie from the British during the War of 1812. Engstrand’s father had worked the railroads, which flourished in the Erie area in the mid-nineteenth century, but after the Gauge War and standardization, he decided that his son Jacob should follow in his grandfather’s footsteps and learn carpentry.

Jacob met Joanna in 1885 and loved her from the moment he saw her; while it took her some time to warm to him, once Joanna became pregnant in 1889 they were married shortly thereafter. He’d done everything in his power to raise their daughter Regina as a proper lady, but she’d learned everything she needed to know about manners and society from her mother, who worked as a maid for the Alvings, Erie’s most prominent family. When Regina was just a child, Joanna carted her along to the Alving house and Mrs. Alving welcomed Regina like one of her own. By the time of Joanna’s passing five years ago, Regina had already taken over her mother’s duties; she was now maid to Mrs. Alving and lived with her in the big house on West Sixth Street.

It was up to that very house that Engstrand trudged, through the pouring rain, the day after the sawdust-pile fire. The storm had forfeited his afternoon work for the day, and he had important things to discuss with Regina. The girl had all but disowned him and his drinking had forced him into his own personal exile. He walked with a barely noticeable limp, dragging his battered left leg slightly behind him. It hampered his gait, but Engstrand hardly even noticed it anymore. He didn’t even know when he’d injured it—one day his left leg simply didn’t work as efficiently as his right. Like most things, Jacob Engstrand took his disability in stride, even when the fellows at the Plymouth tavern teased him, suggesting that he’d hollowed out his own leg so he’d have a place to stash a fifth of whiskey.

Engstrand approached the front door of the enormous house, one of the oldest in Erie County. It had always intimidated him—it stood as a bastion of wealth and status that he’d simply never acquire or even fully understand. At the same time, the giant brick dwelling also held a special place in his heart, for it was where Joanna had worked all those years, and where Regina worked now. Knowing that he could shuffle up the walk and lift the heavy brass knocker and Regina would be summoned to his presence bolstered his heart and his resolve, giving him hope and reassurance. He swore that one day soon he’d quit drinking for good, clean himself up, start his own business. She’d have to come home then.

With those grand schemes in mind, Jacob Engstrand lifted the brass fist and let it clang against the door; it resounded with an echo like a distant rifle shot. He slid the worn leather hat from his head, holding it to his breast as a gentleman does when he enters a fine house, even as the splattering rain beat down on his graying hair, matting it to his skull. On his walk up to the door he’d seen a few lights burning in the windows; even if Mrs. Alving wasn’t home, Regina was certain to be there. He heard footsteps approaching the front door, and even if he hadn’t been in the house dozens of times previously, he could name the wood from the sound alone—the house’s atrium had been laid in red oak, harvested from an old-growth forest in central Pennsylvania, just northwest of Williamsport.

The footsteps ceased just on the other side of the heavy door, and Jacob found himself holding his breath. He gasped as the door swung inwards, revealing Regina, bathed from behind in soft yellow light. She wore a simple dark cotton dress and white apron, and her brown hair was tied back atop her head in a loose bun. She was 20 years old, radiant, and a spitting image of her mother. Engstrand wanted to reach out, hold her close, and let her know that everything was going to be all right—or perhaps he hoped she’d tell him the same.

Friday, October 15, 2010

Six Weeks to 60: Episode VI

#60: 10/15/10 North Charleston Coliseum, North Charleston, SC

Looking at Friday night’s Charleston show on paper, it’s difficult to ascertain why it isn’t an Instant Classic (and who knows, maybe it will be the next 2.28.03). How can a show with such consistent heavy hitters as “Bathtub Gin”, “Stash”, “Run Like an Antelope”, “Down with Disease”, “Mike’s Groove” and “Slave to the Traffic Light” not be high in the running for Best Ever status?

Don’t get me wrong—tonight was good, and at times, great. The first set’s “Gin” (which might be the strongest Phish 3.0 version I’ve seen) and “Antelope” both exuded remarkable energy and execution; the first four songs of the second set: “Disease > Prince Caspian > Twist” and “Roses are Free” combined for an extremely strong opening to the second frame. All were well played and extremely well received by a boisterous South Carolina crowd.

The knock on last night’s show—and the knock against a number of 3.0 songs and shows—was the lack of jamming and the seeming reluctance to open the floodgates of Phish’s improvisational potential. Instead of the “Let’s see how many songs we can play” mentality, I’d like to see the band members re-hone their group interplay skills, transforming the mantra to “Let’s see how many songs we can play well.” Why bother playing “Tube” if it’s going to be truncated to three-and-a-half minutes? And yes, “Weekapaug Groove” should bookend “Mike’s Song”, but a five-minute “Weekapaug” so they can squeeze in played-out jokes like “Mexican Cousin”? I don’t get it.

Short can be OK, though, as evidenced by the mid-first set “Backwards Down the Number Line”. Reeling the song in from some of the second-set workouts it received last summer, this “Number Line” was smooth and sturdy from start to finish, clocking in near eight minutes and showcasing tight, focused playing. It was perfect.

At multiple points throughout the second set, however, it was clear that Trey’s patience seems to have dissipated from tenuous to non-existent. I understand and wholeheartedly applaud his enthusiasm—it’s great to see him hopping around and grinning wildly—but when he starts a song before the previous song has even finished, it feels forced and the dissonance grates. This eagerness showed most glaringly when he launched into the “Character Zero” encore before Mike had even strapped his bass on. What’s the rush?

I know I’m complaining a lot here (and I do have some legitimate gripes), but overall Friday’s show was better than many; while the highlights were indeed high, the lowlights weren’t really that bad—I’d still rather witness Phish run through a castrated “Tube” than hear most other bands play just about anything. I’ll take the safe, easy peaks of “Possum”, “Suzy Greenberg” and “Slave” over the best Nickelback show any day of the week. Phish still moves me, and when the band stops moving me, it’s when I’ll retire from seeing shows (which isn't happening anytime soon).

Not to belabor the point, but I feel that the beginning of the second set serves as excellent evidence of what happens when Phish—Trey, really—eases off the throttle. A healthy “Disease” ended with a beautiful, harmonious wash of ambience before leading into “Caspian”. At the point in “Caspian” where the song dips into quiet before the coda kicks in, Trey led the band smoothly into “Twist”, which featured marvelous groupthink interaction.

And so my 60th show is in the books. While it was definitely worth the trip, I’m hoping for a little more patience—and a “Harpua”—tomorrow night. Too much to ask?


Setlist:


I: Punch You in the Eye, Possum, Bathtub Gin, Bill Bailey Won’t You Please Come Home, Boogie On Reggae Woman, Destiny Unbound, Backwards Down the Number Line, Bouncing Around the Room, Stash, Joy, Buffalo Bill, Dog Faced Boy, Run Like an Antelope


II: Down with Disease > Prince Caspian > Twist, Roses are Free, My Friend My Friend, My Problem Right There, Tube, Mike’s Song > The Horse > Silent in the Morning, Mexican Cousin, Weekapaug Groove, Suzy Greenberg, Slave to the Traffic Light


E: Character Zero

Thursday, October 14, 2010

Six Weeks to #60: By the Numbers

As my 60th Phish show approaches in Charleston tonight, I decided to conclude my six-week odyssey of reviewing the five “milestones” in my show-going career by listing 60 pertinent Phish facts. Unfortunately, I only came up with 34 (well, 39, if you count the ones on which I doubled up).

Most of these statistics are only worthwhile to me (and perhaps a handful of others whose fanaticism often rivals my own), but I hope you enjoy the fruits of my labors.

60: After tonight, the total number of times I’ve seen my favorite band, Phish.

57: Longest gap (in shows) for any Phish song from the first time I saw the band play it until now; the last time I saw Phish play “Crossroads” and “Dogs Stole Things” was 8.9.97 (show #2)

54: Length (in minutes) of the “Ambient Jam” that Phish played the first night of 1998's Lemonwheel (show #8), still one of my most memorable Phish experiences.

53: Number of Phish debuts I’ve seen. Ween's “Roses are Free” (12.11.97, show #4) and Prince's “1999” (12.31.98, show #14) are among my favorites.

52: Number of times I saw moe. (of my 71 moe. shows) while Phish was either on hiatus (22 shows from 2000 to ’02) or “broken up” (30 shows from ’04 to ’09)

50: Percentage of times I’ve seen Phish play Led Zeppelin’s “Misty Mountain Hop,” two of the four times its been played (7.20.99, show #17; and 10.10.99, show #25)

45: Number of shows between seeing The Beatles’ “A Day in the Life” (8.10.96, show #1, and 3.7.09, show #45)

42: Number of shows I’ve seen in the Eastern time zone (the most in any time zone by far)

38: Number of songs I’ve seen the only time they were played (including two Halloween shows). Favorites? Bob Marley’s “Trenchtown Rock” (8.11.98, show #6) and The Police's "So Lonely" (11.14.98, show #12)

37: Number of shows I attended before Phish’s 2000 hiatus

35: Length (in minutes) of the longest Phish song I’ve witnessed, a loose, rambling “Runaway Jim” (8.11.98, show #6)

34: Stretch (in months) between 9.15.00 (my last pre-hiatus show, #37) and 7.29.03 (my first post-hiatus show, #38)

33: Number of hours (approximate) it took to drive from Camden, New Jersey to Coventry, Vermont for Phish’s “farewell” festival in 2004. We even skipped out on Camden’s “Frankenstein” encore but still missed the first two sets on 8.14.04!

32: Most shows I’ve seen with my longtime tour buddy Rick (the most of any one person)

AND

Number of shows before I saw “The Lizards” (the Phish song I “chased” the most) on 7.14.00 (show #31)

30: My 30th show was 7.11.00, the infamous “Moby Dick” show at Deer Creek

25: Number of cities in which I’ve seen Phish
22: Number of shows I’ve seen since Phish's 2000-2002 hiatus

21: Average number of songs played per show (20.6) in the 59 I’ve attended

19: Percentage of shows (11 of 59) I’ve attended that have opened with either “Punch You in the Eye” or “Chalkdust Torture”

18: Times I’ve seen “Character Zero”, “Down with Disease”, “Ghost” and “Piper” (the four songs I’ve seen the most)

17: My age when I attended my first Phish show (8.10.96)

15: My age when my high school friend Matt gave me my first Phish tape (10.19.91)

AND

Number of shows (not counting the coming weekend) I’ve seen since the band’s 2009 reunion.

14: Number of shows I’ve seen in New York (the most of any state)

12: The most Phish shows I’ve seen in a calendar year (1999)

11: Times I’ve seen “Tweezer Reprise” as an encore (no complaints!)

10: Three-set shows I’ve attended

8: The first show I owned on CD-R, my eighth (8.15.98 Lemonwheel)

7: Times I’ve seen “Down with Disease” open a second set

AND

Number of Trey solo shows I attended while Phish was either on hiatus or broken up

6: Number of shows I’ve seen at Alpine Valley and Deer Creek (six each)

5: Number of venues where I’ve seen every Phish show (Empire Polo Club, Newport State Airport, Oswego County Airport, BlueCross Arena, Vernon Downs)

AND

Number of songs in my favorite set (12.30.98 Set II, show #13)

4: My favorite show (still) is my fourth (12.11.97)

AND

Number of Phish festivals I’ve attended (Lemonwheel, Oswego, Coventry, 8)

3: Number of t-shirts I bought at my first show (8.10.96): official tour shirt, bootleg tour shirt, Cat in the Hat shirt

2: Number of times I’ve slept in my own bed after a show (11.13.98, show #11; and 7.1.10, show #55)

1: Show I had a ticket for and didn’t attend (10.19.96); at the last minute my mom decided that at 17 years old I shouldn’t be spending the night in Buffalo.

I was aided greatly during my quest by those who witnessed most of the moments above by my side (in no particular order): Rick Mattison, Ben Althof, Matt Miehl, Jeff Miller, Alex Rose, Liam Gooley, Dave Simon and Bernard Levin.

Also, huge thanks to David “ZZYZX” Steinberg’s
Phish Stats site.

Thursday, October 7, 2010

Six Weeks to #60: Episode V

As my 60th Phish show approaches in Charleston next Friday, 10/15/10, I've decided to take a look back at the five other “milestone” shows I’ve seen over the last 14 years. Some were stellar, others were lacking, but they’re all a part of my history with the band.

Every Friday for the past five weeks, I’ve posted an essay/review of shows #10, 20, 30, 40 and 50. This is the penultimate entry, from Summer 2009.

#50: 6/21/09 Alpine Valley Music Theatre, East Troy, WI

When Phish announced the 2009 summer tour, choosing which shows I’d attend was a no-brainer—with 47 shows under my belt at that point, I couldn’t resist returning to two of my favorite venues: Deer Creek for #48 and Alpine Valley for #49 and #50. Considering the fact that I saw shows #1 and #2 (as well as #20 and #28) at Alpine, a sentimentality washed over me as I submitted my ticket requests.


12 years earlier, my cousins Peter and Sarah accompanied me to Alpine for my second show. I’d been listening to Phish non-stop for nearly three years at that point, and thought I knew everything there was to know about the band. On that August night in 1997, I realized how little I actually knew (“The Landlady” in the middle of “Punch You in the Eye”? No way!), but it only whet my appetite for more Phish.

47 shows later, I met Peter and three of his buddies from the University of Wisconsin in Lake Geneva for the two-night weekend stand. Saturday night featured a stellar “Maze” (good enough for inclusion as one of six tracks on the band’s Summer 2009 Sampler), and a “Makisupa Policeman” which saw Trey explicitly reference his 2006 arrest for the first time on stage (“Woke up this morning / Pissing in Jah cup / Woke up in the afternoon / Called my probation officer”).

Phish opened Sunday’s Father Day show (the last on the first leg of the tour) with the appropriate one-two familial combination of “Brother” and “Wolfman’s Brother”; the first “Brother” since 2003 featured all seven of the band member’s children frolicking in a huge metal tub at the front of the stage.



After “Wolfman’s”, Trey acknowledged a fan who’d been holding a sign all Friday night, and the first “Funky Bitch” of Phish 3.0 preceded a run of songs that fit the 3.0 mold—concise, not-so-jammy material like “Joy”, “Taste” and “Back on the Train”. My second “The Man Who Stepped Into Yesterday > Avenu Malkenu > The Man Who Stepped Into Yesterday” suite (the first was also at Alpine in 1999) was just as messy as the first.

The sweeping (and much-maligned) “Time Turns Elastic” finished the first frame, and while there’s a vocal group of fans who absolutely loathe Trey’s multi-segmented epic, citing its many movements as a momentum killer, I’m kinda partial to it and think it functions best as a first-set closer. Trey seems to have heard the criticism—Phish played “Elastic” at 25% of its shows in 2009 (12 of 47), the song has only appeared at 3% of 2010 shows (3 of 29). If it survives this fall, I’d like to see Phish tinker with its placement, perhaps as the middle of a “Mike’s Song > Time Turns Elastic > Weekapaug Groove” sandwich.

Although the first set started with a full head of steam, it lost focus relatively early and simply couldn’t regain it. The second set was a different animal completely, showcasing both originals and covers played with high energy in near-perfect placement. I’m not the only one who holds this opinion, though—when I interviewed Page for a Festival 8 preview two months after Alpine, he referenced this set specifically as a highlight of the tour.

While researching this essay, I was surprised to learn that Phish has covered the Talking Heads’ “Crosseyed & Painless” only 14 times since its Halloween 1996 debut. This “Crosseyed” spiraled around Trey’s fiery leads (which Page matched skillfully on the piano) before downshifting into a lush collage of sounds. These synth-heavy feedback symphonies became the norm for ending big jams in 2009, but the focus in 2010 has been an impatient Trey leaping into another song before the current song has wound its way down (often leaving his bandmates playing something contrary). I'd be more than content to see Phish return to the '09 endings
as I've always loved the band's cool, ethereal work.

The end of the “Crosseyed” jam blended beautifully into the slippery, aquatic intro to “Down with Disease” (one of Phish’s heaviest hitters, played at 25% of shows since the comeback—only “Possum” has made more appearances). As “Disease” peaked around the 7:00 mark, Page hopped from the piano to clavinet to organ, escorting his bandmates into a beautiful few minutes of music as this jam also veered into a lush, mellow section before gliding into “Bug”.

Say what you will about Phish’s ballads (I love ‘em), but when they’re artfully placed in a set—as was the case here—they function just as well as “Harry Hood” or “David Bowie”. As much as fans may claim they clamor for them, neither band nor audience could withstand a full set of barnstorming epics.

After “Bug”, a feisty “Piper” contained Phish’s fallback two-chord chop-jam (it’s all over Summer 2009 and goes as far back as Summer 2004) that gives Mike plenty of room to showcase his chops; he didn’t disappoint here, switching on a flanger effect as Fish toyed with every different type of drum fill in his arsenal. A discordant jam reminiscent of more than one “Tweezer” from the mid-90s followed and segued into another poignant ballad, “Wading in the Velvet Sea”.

(I’ll admit that I wept along with Page during the “Velvet” at Coventry. This song has held a special place in my heart since its inclusion on The Story of the Ghost, and was pleased to hear another of my favorite of Phish’s slower numbers.)

The opening notes of Stevie Wonder’s “Boogie on Reggae Woman” drew enthusiastic applause although it didn’t stray very far from its traditional structure. “Slave to the Traffic Light” ended the set in ho-hum fashion—while I’ll never tire of hearing the song, it lacks the punch it once had. This was a good “Slave” (certainly better than no “Slave at all!), but the song’s true return to form wouldn’t come until the end of the tour’s second leg in Hartford a month later.

Even though the set clocked in at 75 minutes, for some reason I expected (hoped?) it would have been longer—I held out hope for a “Mike’s Groove” after “Slave”, but it was not to be. Instead, the band stepped toward the edge of the stage and delivered the jokey acapella “Grind”, then upped the comedy ante with a well-worn cover of Edgar Winter’s “Frankenstein”. Since Phish’s return to touring in March 2009, when “Frankenstein” rears its head Page dons an old-school Keytar, reportedly purchased from James Brown (no doubt on his least funky night). Tonight, Mike strapped on a flame-covered bass and Trey an over-the-top ridiculous five-necked guitar.



“Frankenstein” wasn’t the tightest it’s ever been, but the humor value was there, and we laughed all the way back to the car. Show #50 was in the books, and while it was uneven in spots, I was thankful that I took the opportunity to return to familiar ground (with familiar faces) for an ultimately memorable event. I was glad I made the trip (as I always am).


Setlist:

I: Brother, Wolfman's Brother, Funky Bitch, The Divided Sky, Joy, Back On The Train, Taste, Poor Heart, The Horse > Silent in the Morning, The Man Who Stepped Into Yesterday > Avenu Malkenu > The Man Who Stepped Into Yesterday, Time Turns Elastic

II: Crosseyed and Painless > Down with Disease > Bug, Piper > Wading in the Velvet Sea, Boogie On Reggae Woman, Slave to the Traffic Light


E: Grind, Frankenstein


Next time: 60 shows by the numbers


Wednesday, September 29, 2010

Six Weeks to #60: Episode IV

As my 60th Phish show approaches on in Charleston on Friday, 10/15/10, I've decided to take a look back at the five other “milestone” shows I’ve seen over the last 14 years. Some were stellar, others were lacking, but they’re all a part of my history with the band.

Every Friday for the next six weeks, I’ll post an essay/review of shows #10, 20, 30, 40 and 50. This is the fourth entry, from the ill-fated Vegas run in April of 2004.

#40: 4/16/04 Thomas and Mack Center, Las Vegas, NV


As the crown jewel in what’s otherwise a mostly-unlistenable run (like winning the 100-meter dash when your opponents are castoffs from The Biggest Loser), my 40th show wasn’t exactly on par with #10 or #30. It'll definitely give #20 a run for its money as the least impressive of the "milestone" shows that comprise this project.

Some call this three-night stand “The Death of Phish”. It’s a tough argument to disprove, seeing as 37 days after these shows, Trey issued his “We’re done” announcement, ending the all-too-short return from hiatus and effectively breaking up the band (for the time being). The rumors of rampant drug use, overdoses and hospitalizations ran wild this weekend, with everything from “Kuroda’s in rehab” (the lighting director missed his first shows in 15 years) to “Trey’s on coke” (his voice grew weaker and scratchier each night) making their way around the arena, hotels and casinos.

For me, the spring of 2004 whirled by quickly—it was my first two-week spring break from teaching, and I zipped from San Antonio for the Final Four to Puerto Vallarta for vacation to Vegas for Phish. The drive from Los Angeles to Vegas was always one of my favorite parts of the trip; in fact, I never once flew to Sin City in my seven years of living in L.A. From the must-have arm-length burrito at Baja Taco in Victorville, California to the World’s Largest Thermometer in Baker (below), the drive was always worthwhile and memorable. (Even when the CD player in Alex’s Explorer broke we were forced to listen to the entire Weird Al catalog on cassette or the radio on “scan”.)

Seeing as the Continental Club Hotel & Casino was no more, we installed our group at the San Remo, about a mile from UNLV’s Thomas & Mack Center. We figured we’d walk to and from the venue nightly, but we forgot that we’d also be seeing moe. at the House of Blues after each Phish show; after trying to wrangle cabs the first night, we wound up driving the next two.

Thursday night’s setlist looks marvelous on paper, but it just didn’t have any guts—a run of “46 Days > Drowned > 2001 > Down with Disease > Free” in the second set should have any Phish fan licking his or her chops, but instead it was sloppy, uninspired and poorly executed. When my friend Liam (who was in town for a conference but couldn’t make the shows) called Thursday night post-show, he expected a glowing report from cloud nine; instead, I expressed my underwhelmed thoughts as I cabbed it to Mandalay Bay to see moe. blow Phish out of the proverbial water. (Pun intended.)

On Friday night Phish was infinitely better. The first set featured a rare first-set "Rock and Roll", a why haven’t they ever done that before? segue from “Back on the Train” to “Possum”; a graceful “Strange Design” (by far my favorite Phish ballad); and a storming “Taste” to close.

The opening of the second set defined the run, featuring the strongest versions of “Gotta Jibboo” and “Twist” that Phish 2.0 performed. The "Twist" is remarkable mostly because it's dark and dirty, mostly owing to the gritty tone that Trey preferred in the post-hiatus years. I’ll even stack this “Twist” against any other version out there, including 4/2/98 (funky, groove-heavy) and 6/14/00 (ambient, spacey). While there’s some discordant wanking about halfway through, by the 17:00 minute mark the jam kicks over into “Disease”-sounding territory, leading to Trey firing off peak after peak in a furious ascenion of notes before settling back down to the “Twist” ending. It just smokes.

Download the “Twist” jam and hear for yourself.

The other notable portion of the second set was the appearance of Fish’s “Sonic Dress”, which was crated by conceptual artist Alyce Santoro and made of old cassette tapes from the drummer’s collection . During “Love You”, he donned a garment similar to his orange-circle muumuu and special tape-head gloves and “played” the dress in lieu of a vacuum solo. It didn’t really sound like much of anything, and some in attendance swore it was all a hoax—they thought Fish was simply playing his washboard underneath the dress.



After the “musical suit” made its one-and-only onstage appearance, “Waves” melted into the delicate “Lifeboy” (my first), which featured some precise interplay among all the band members. It always amazes me how quiet an arena gets during intimate Phish moments such as this—at most rock shows, there’s always someone blabbing on a cell phone or woo-hooing at the top of his lungs, but the pin-drop hush that fell during “Lifeboy” was truly breathtaking. Perhaps our collective subconscious could feel the end of Phish dawning, and wanted to savor every moment. Perhaps everyone was just high on Vegas. Perhaps everyone was asleep. (All are viable options.)

Standard versions of “The Horse > Silent in the Morning,” “Loving Cup” and “Harry Hood” finished out the night, and as we fled to the parking lot, the car, and the House of Blues, I couldn’t help but be somewhat impressed that even in the midst of a less-than-stellar run of shows, the highlights were still pretty high. In fact, I still listen to the “Twist” quite often; it’s on a playlist of Phish songs to which I run when I’m doing distance.

The next night—the last of Phish’s Vegas shows for the foreseeable future—was a blast, but hit-and-miss musically. My longtime show-going partner Jeff managed to coerce 18,000 or so fans to partake in the “Meatstick” dance at setbreak, prompting Trey to insert “Meatstick” references into most of the songs in the second set. (This was also often referenced as one of the knives in the band’s gut before Trey was busted for drugs in 2006; Jeff took a decent amount of unfair flak for provoking the night’s antics.)

If and when Phish returns to the Thomas & Mack, I’ll do everything in my power to make it. Given the advertised clean-and-sober vibe of the reunion tours, I’d say more Vegas shows are less than likely, but I also believed that the band broke up in August 2004. Until then, I’ll cross my fingers and keep arguing the merits of that “Twist”.


Setlist:


I: Seven Below, Rock and Roll, Boogie On Reggae Woman, Back on the Train > Possum, Strange Design, Gumbo, Brian and Robert, Taste


II: Gotta Jibboo, Twist, Camel Walk, Wilson, Hold Your Head Up > Love You > Hold Your Head Up, Waves > Lifeboy, The Horse >
Silent in the Morning, Loving Cup


E: Harry Hood



Next week: I return to the scene of the crime!

Thursday, September 23, 2010

Six Weeks to #60: Episode III

As my 60th Phish show approaches on in Charleston on Friday, 10/15/10, I decided to take a look back at the five other “milestone” shows I’ve seen over the last 14 years. Some were stellar, others were lacking, but they’re all a part of my history with the band.

Every Friday for the next six weeks, I’ll post an essay/review of shows #10, 20, 30, 40 and 50. This is the third entry, the "Moby Dick" show from Deer Creek in the summer of 2000.

#30: 7/11/00 Deer Creek, Noblesville, IN

Trust me, folks: this one is as good as advertised.

The mid-week Deer Creek run in summer 2000 was my first three-night stand at the same venue (I’d also eventually see Vegas ’04, Hampton ’09, Festival 8 and the Greek ’10 runs). Because of the precedent set this night, I’ve always held fast to the belief that the middle night of a three-night stand is the best (also proven by the Vegas, 8 and Greek runs).

Listen to the entire Deer Creek 2000 run.


Five of my closest friends banded together and crowded into a Ford Explorer for what would be our last tour as a group—Phish went on its first hiatus later that year and we graduated from college the following spring—then came jobs, weddings, and children (not necessarily in that order) and most of us couldn’t see as many shows (at least in a row) as we used to.

We started our seven-show mini-tour at our homebase of Starlake, about a half-hour west of Pittsburgh. From there, we stayed in luxury in Lake Geneva after the Alpine show the next night, and thankfully we didn’t need to make another hurried drive to Indiana (as we did a year earlier).

The shift from our own beds and showers in Wisconsin to rustic camping in Indiana was a bit jarring, especially in the July humidity. We “showered” in the bathrooms at Wal-Mart and killed time during the day at the nearby public swimming pool (with a 10-meter board).

Following a very solid Monday night show (with an excellent “Bathtub Gin” and a marvelously spacey “Fee > What’s the Use?”), we hiked through the cornfields that used to surround Deer Creek. (Imagine my surprise when I returned to the venue in 2009 to see it surrounded by strip malls and housing developments!)

We parked our posse about halfway up the lawn, just slightly Page-side of center, and with tortillas, balloons and marshmallows soaring back and forth like tracers, Phish trotted out its cover of The Mustangs’ “Ya Mar”, which might be the band’s best opener for a steamy summer show.

After “The Moma Dance” and my first “Uncle Pen” came a rare first-set “Drowned” (the song has been played 33 times since its Halloween ’95 debut; only seven of those have been in first sets) that served as a springboard for one of the most memorable (and admittedly bizarre) musical excursions of Phish’s career. Leaving behind The Who’s song about ten minutes in, the band found itself locked into a tight stop-and-start groove that had the audience exchanging what song is this? glances—it was that familiar.

Now, I don’t know how or why a copy of 12.10.94 (from the Santa Monica Civic Auditorium) ever wound up in my tape collection, but there are two songs from that show that I distinctly remember—the short-but-sweet version of “Simple” that made it onto A Live One and the first encore, a striated, less tongue-in-cheek-angsty take on “Chalkdust Torture” during which Trey introduced each member of the crew. It became known as “Chalkdust Torture Reprise” because they’d played "Chalkdust" proper to close the first set of that show in ’94, and it became a running gag among my tour buddies—we’d sneak up on each other and, mimicking Trey, yell “GREENPEACE MIKE!” at the top of our lungs. (At 21 years old, this was hilarious. At 31... yeah, it's still hilarious.)

When the what song is this? looks were being exchanged, I couldn’t help but thinking that we were witnessing the second coming of “Chalkdust Reprise”. Sure enough, the jam came to a halt, kicked in again in a different key, and history was made. “Torture… torture… torture… Chalkdust Torture!” echoed the refrain over the raucous, appreciative cheering of the 24,000 in attendance. It was one of those perfectly Phishy moments—playful yet musically engaging, a callback to bygone days and a winking reminder that the band still had it.

Unsurprisingly, a blazing, straight-ahead “Chalkdust Torture” preceded “Theme From the Bottom” and “Cavern”, leaving us to a setbreak filled with a combination of stupefied “What the hell was that?” and ecstatic “How amazing was that?” The “Chalkdust” antics only whet our appetites for more music and more mayhem, both of which Phish would deliver in spades in the second set.

I will never, ever argue with the combination of “2001” and “Down With Disease” to open a second set. Ever. I would’ve loved to see Phish in the summer of 1993, when nearly every second set opened with “2001” (although in hindsight, I prefer the late ‘90s funkfests to the truncated early four-minute versions). “Disease” is, quite simply, my favorite Phish song, one that I could witness every night and not tire of hearing.

About a half hour into the set (and 13 or so minutes into a fierce “Disease” jam), Trey began teasing Led Zeppelin’s “Moby Dick” (which Phish had played once before, as an encore of the 11.29.97 Worcester show with the historic hour-long “Runaway Jim”); Page caught on first, aping the signature riff on the organ. What sounded like just that—a tease—mellowed into a jam akin to the “Chalkdust Reprise” from the first set before Mike and Fish locked into the “Moby Dick” rhythm, and lo and behold, Phish was playing “Moby Dick” for the second time (but definitely not the last).

After storming through the end of “Disease” after “Moby Dick”, we got a tasteful “Runaway Jim” that flowed smoothly into another “Moby Dick”. What next? “Back on the Train > Moby Dick > Back on the Train” after which Trey jokingly asked, “You guys like ‘Moby Dick’?”

I thought the comedic portion of the show had ended when “Harry Hood” began, but with more “Moby Dick” teases from each band member, it was clear that Phish hadn’t had their fill of this particular gag yet. The “Hood” was absolutely sublime however, and is still one of my favorite versions that I’ve seen. Elsewhere in the lawn someone juggled fire during the customary glowstick war, the band was firing on all cylinders, and I was as ecstatically joyful as I’ve ever been at a show. It was one of those perfect “you had to be there” moments that I dare not try to put into words for fear that the magic of the memory might be tarnished. (Sorry.)

I genuinely thought that “Hood” would end the set, but Fishman (introduced by Trey as “fresh from his starring role in Gladiator—Mr. Russell Crowe!) strutted to the front of the stage to sing “Terrapin” and run laps around the stage while the rest of the band vamped on—what else?—“Moby Dick”!

What could they possibly play for an encore that could effectively cap off such a night? Appropriately enough was the peak-laden “First Tube” (being played for only the second time as an encore), which dropped directly into the final “Moby Dick” of the evening before Phish settled back into “Chalkdust Reprise”, during which Trey introduced the crew, then effusively thanked the crowd “for coming to the concert” and encouraged us to “buy the book and see the movie! The Phish! From Vermont!”

Watch every "Moby Dick" tease and the "Chalkdust Reprise" encore:



As the house lights sparked to life, the same how amazing was that? look spread over the countenances of thousands of attendees. There was a palpable buzz in the air; we all knew we’d just witnessed something incredibly special and monumental, a show that would go down in the books as one of the most unique—if not best—that Phish had ever played. Trudging back to the campground, we encountered ear-to-ear grins everywhere we looked; not only were we members of the not-so-secret fraternity of Phishheads, but we’d just been privy to the stuff of legends, and we knew it.

Within the past few years, a soundboard/audience matrix of this show has surfaced, but I honestly haven’t listened to the entire show more than a half-dozen times in the last ten years. I’ll admit that it doesn’t hold up as well on tape as some other “epic” shows, but that’s OK—as much as I’d love a pristine, remastered archival release, I’m content to let the magic remain in the summer of 2000, drifting above cornfields and campgrounds and the mystique of Deer Creek.


Setlist:


I: Ya Mar, The Moma Dance, Uncle Pen, Drowned > Chalkdust Torture Reprise > Chalkdust Torture, Theme from the Bottom, Cavern


II: 2001 > Down With Disease > Moby Dick > Down With Disease, Runaway Jim > Moby Dick, Back On The Train > Moby Dick > Back On The Train, Harry Hood > Moby Dick, Hold Your Head Up > Terrapin > Hold Your Head Up > Moby Dick > Hold Your Head Up, Character Zero


E: First Tube > Moby Dick > Chalkdust Torture Reprise


Next week: Vegas, baby, Vegas.


Thursday, September 16, 2010

Six Weeks to #60: Episode II

As my 60th Phish show approaches on in Charleston on Friday, 10/15/10, I decided to take a look back at the five other “milestone” shows I’ve seen over the last 14 years. Some were stellar, others were lacking, but they’re all a part of my history with the band.

Every Friday for the next six weeks, I’ll post an essay/review of shows #10, 20, 30, 40 and 50. This is the second entry, from Summer 1999.

#20: 7/24/99 Alpine Valley Music Theatre, East Troy, WI


Anyone who was there will tell you: while on paper this show looks like a steaming pile of (Happy Whip and) Dung, it had a few redeeming moments—not many of them, but it did have them.

After the great deluge that fell during the encores the previous night in Columbus, my two touring companions and I stuffed our soggy clothes in the cooler and began the all-night drive to Wisconsin. Having seen my first and second shows (in 1996 and ’97, respectively) at Alpine, I was extremely excited to return, having missed Phish’s stop there in ’98.


11 years later the details are hazy, but I distinctly remember sitting in dead-stop traffic on the Chicago Skyway sometime that Saturday afternoon, baking in my ’89 Chevy Celebrity. Since the car had no air conditioning, we tried to drive at night to avoid the mid-July Midwest swelter, but for some reason, there we were—windows rolled down, Matt handing out the remaining ice cubes from the cooler, heat rising off the asphalt in waves—it was torture.

I recall making it to Alpine just barely in time, and as we negotiated our way down the sloping lawn toward the pavilion, there were rumors circulating that Phish had been stuck in the same snarling Chicago traffic that had ensnared us hours earlier. Someone in the seats near us claimed that the stage crew soundchecked in place of the band. With such a weird vibe hanging in the air, logic dictated that a completely unbalanced show would follow.

After a well-received “Guyute” opener, Phish unreeled the longest “Fluffhead” ever played, a 33-minute odyssey that featured 15 minutes of jamming after the song’s traditional structure. (Keep in mind that this show was before the band’s first hiatus, when “Fluffhead” still appeared roughly once a week in the summer of ’99.)

After leaving behind “Fluffhead” proper, the jam thrashed around for a bit, then settled into a loopy, Mike Gordon-led groove. As Trey Anastasio began soloing in a higher register, Page McConnell moved to the clavinet and the jam changed gears, from a major-key “Boogie On” jam to a darker, “Sand”-esque sound. Anastasio squiggled on his keyboard, then experimented with some backwards-sounding guitar effects before finding a repeating phrase (copied by Gordon) that pushed the jam to its peak.

The remainder of the set is painfully standard and woefully sloppy, unfortunately foreshadowing an even messier second set. “Fluffhead” slid awkwardly into my first “The Man Who Stepped into Yesterday > Avenu Malkenu > The Man Who Stepped Into Yesterday” (which I wouldn’t see again for another 30 shows, remarkably back at Alpine) and was followed by “The Wedge” and “Character Zero”, neither of which were remarkable nor memorable.

Highlights of the second set are unfortunately few. What should’ve been a special treat (the quirky “Catapult”, which was part of an erratic-yet-ecstatic third set at Camp Oswego a week earlier) was disastrously sung over top of “Tweezer”. “The Happy Whip and Dung Song”, a portion of a studio jam from The Siket Disc, combined with the ballad “Waste” (which I usually love), dragged the set’s momentum to a sludgy halt. Phish attempted to recover its fire during “Chalkdust Torture”, during which Anastasio attempted ridiculous rock-star backwards somersaults and theatrics (around the 8:00 mark of the video below), but it wasn’t quite enough to savlage an ailing show.



By the encore break, many people were already shuffling towards the exits, preparing for the daring climb up the second-steepest lawn in the United States (I felt like I needed ski poles and crampons to negotiate the mini-lawn at Berkeley's Greek Theater this past August). Thinking about the 250-mile drive to Deer Creek and the mediocre-at-best show we’d just witnessed, my friends and I seriously contemplated bolting; instead, we braced ourselves for what (we hoped) would be a redeeming encore.

The four songs Phish would play as encores that night confirmed why I’ve devoted so many hours and dollars to seeing their shows, buying their albums and merchandise, and generally being a hardcore fan.



Beginning with
“Glide” (which was being played about once a year in the late ‘90s) and continuing through “Camel Walk” (played for only the fifth time since its 1997 revival), the super-rare “Alumni Blues” (last played in 1994, with 426 shows since its last appearance... you can hear the appropriate roar of applause during the first 10 seconds of the video above) and “Tweezer Reprise”, the four-pack of encores felt as though the band was saying, “Hey guys, we’re sorry we blew this one. Here are some kick-ass songs that we don’t play very often. Thanks for sticking with us!”

It was an affirmation, pure and simple, and I’m damn glad I stayed. Did the encores make up for what was otherwise a lackluster show? Perhaps. Before sitting down to write this piece, those four songs (and the “Fluffhead” jam) were all I remembered from this night; I haven’t gone back to re-listen since the show. Honestly, I probably won’t listen to it again, but the memories are there.

Oh, and that 250-mile drive to Indiana that we undertook that night? It ended roughly 30 miles from Alpine in Janesville, Wisconsin. Not five minutes after leaving the venue, my brakes cut out and my Celebrity jumped the median; we drove the wrong way on the highway for nearly a mile, then somehow found our way to the Farm & Fleet, where we slept on (not in) the car and got the brakes fixed the following afternoon, just in time for a beat-the-clock race to Deer Creek for what turned out to be the show of the summer (perhaps the entire year), the polar opposite of Alpine’s Jekyll-and-Hyde session.


Setlist:


I: Guyute, Fluffhead > The Man Who Stepped Into Yesterday > Avenu Malkenu > The Man Who Stepped Into Yesterday > The Wedge, Character Zero


II: Tweezer > Catapult > Tweezer, The Mango Song, The Happy Whip and Dung Song, Waste, Chalkdust Torture


E: Glide, Camel Walk, Alumni Blues, Tweezer Reprise



Next week: the White Whale (Reprise) in an Indiana cornfield