Set 1: Walk Away, Funky Bitch, You Enjoy Myself, Flat Fee, McGrupp and the Watchful Hosemasters > Wilson > Peaches en Regalia, Good Times Bad Times
Set 2: Ride Captain Ride, Boogie On Reggae Woman, Cities > Dave’s Energy Guide > Cities, Run Like an Antelope, Fluffhead
Set 3: Jam, Andy’s Chest -> Big Black Furry Creature from Mars -> Dave’s Energy Guide -> Big Black Furry Creature from Mars, Sanity -> Jam, Fire
 First known Phish performance.
 Fish on vacuum; first known public occurrence of Fish playing the vacuum.
Night 2 at Sam’s Tavern and what a night for history. The only problem is we don’t have the tapes. We only have the first two sets minus the “Good Times, Bad Times”. This is a total bummer. I wonder if it was another case where the taper had to leave early or if it was the tape was destroyed or lost. We may never know or maybe Phish Inc. is sitting on it waiting for a historic reveal. Only one man knows and I unfortunately am not that man…yet. Let’s focus on what we do have and end with what we don’t have. Phish.com lists Set 1 and 2 as one long get where Phish.net breaks it up. It is unclear not he recording as “Peaches” seems to go right into “Ride Captain Ride” but that might just be due to the loss of “GTBT”. The first set is pretty “Smokin’!” as Trey said at Mont Alto. Two opening rippers int he for of “Walk Away” and “Peaches”. A “You Enjoy Myself” almost played at half-speed. I can’t tell if this is them learning it in anticipation of recording it (for Junta) or a tape imperfection causing playback at a slower speed. Might even be both. It’s definitely a candidate for slowest “YEM” yet. A quick spin through “Flat Fee”. This is interesting because it will be the last performance of “Flat Fee” until the Giant Country Horns tour of 1991. It may be a short jazz tune but it is dearly missed and I can’t wait for it’s return. This “McGrupp” forms a wonderful early showpiece for the stylings of Page McConnell almost taking on a modern “Squirming Coil” feel. The 1st set highlight though is the pairing of “Wilson” and “Peaches”. Right when Trey would normally break in to the “Boom Blat” lyric, he instead yells out the drum into to “Peaches” and it’s a beautiful early segue.
Set 2 kicks off with a trio of covers. First, we get a “Ride Captain Ride” that’s well played but has botched lyrics. The only performance of 1988. Then after a request of “Aborigine Women?” per Trey, he deciphers it for Stevie Wonder’s “Boogie On Reggae Woman.” This is not a very good version and the band rightfully shelved the tune afterwards. While common today and a huge fan favorite, this would be the last performance of the song until 12/7/97 in Dayton, OH. Hopefully, they’ll hit it better after almost 10 years of practice, right? Another nice performance of the “Cites>DEG>Cities” combo but nothing outstanding. We get the first “Run Like An Antelope” since Colorado. This is important because it’s a 19-show gap for the song, the 3rd longest. We’ll have one more long one in 1992, so fortunately for me I like the song and can’t wait to see where it goes. This version gets very jazzy during the build-up and Fishman’s drumming seems a little more erratic, which is fun to listen to. “Fluffhead” ends the recording and gets cut off before it can finish.
Now let’s talk about what’s missing. We’re missing an untitled jam that would have been cool to see unstructured jamming from 1988 before songs could go “Type II”. We’re missing the only known version of Lou Reed’s “Andy’s Chest”. This is the last song by Reed performed by the band until 1995, taking the Velvet Underground influence away until formally acknowledging it in 1998 with Loaded. We’re missing an I’m-sure-wild performance of “BBFCFM>DEG>BBFCFM”. Some real punk rock potential there. The big missing puzzle piece here is the jam out of “Sanity”, which is the first known performance on the vacuum by Fishman. Fish playing the vacuum has become such a huge piece of lore that it has it’s own line of Phan art. Crosswalk signs with him pulling the vacuum would become seen everywhere. It won them the battle of the bands at the Front later.It was the centerpiece of this past New Year’s gag. It would be amazing to hear what that first solo sounded like or the crowd’s reaction to such a wild idea. Again, I’m not sure if we’ll ever know what it was like and that makes this historian a little sad. This however does earn 167 Main St. a place on the Phish history map.
UPDATE: So, I told Kevin Shapiro about an error on the 9/13/88 setlist page of Phish.com. It listed “Ride Captain Ride” as “Mystery Train”, two totally different songs. Not only did he fix that but confirmed “Ride Captain Ride” as the Set 2 opener. I’m gonna leave my original test as is but it has been updated on Phish.com.
Set 1: Shaggy Dog, Take the ‘A’ Train, Fee, Bold As Love
Set 2: Timber (Jerry), Satin Doll > The Lizards, The Man Who Stepped Into Yesterday > Avenu Malkenu > Bundle of Joy > Camel Walk, The Practical Song, Harry Hood, Esther
 First known performance.
As with early shows, you’re going to get some real rough tapes that are either late generations or perhaps were not recorded that well. This show is unfortunately one of those tapes. It’s got tape clicks and poor balances but what survives has some interesting moments. No real banter here just solid playing back at the smaller Sam’s Tavern. “Fee is performed with the megaphone. “The Lizards” unfortunately has the “If I Were A Dog” outro cut. Avenue Malkenu has a “Chag Sameach” greeting from Mike on the occasion of Rosh Hashanah, the Jewish New Year that had begun the night before and segues effortlessly into a rare “Bundle of Joy” outside of Fluffhead”. Trey tries to milk time by debuting “The Practical Song”, a song about stocking up on peanut butter. A solid “Harry Hood” is ruined by the poor quality of the tape. The set closes with what probably make this show have any significance. This is the first known performance of “Esther” and it also has different lyrics. This version has more detail about the puppet and ends with the people chasing the old man and not Esther. Without the change, maybe Esther wouldn’t have died in Vegas…but that’s for a much later day. The only must listen is the early version of “Esther” but even then, the quality is poor enough to advise anyone to just skip this one.
Set 1: Peaches en Regalia > Walk Away, Slave to the Traffic Light, Wild Child, AC/DC Bag, Colonel Forbin’s Ascent > Fly Famous Mockingbird, Bold As Love
Set 2: Possum, You Enjoy Myself, Cities -> Dave’s Energy Guide > Cities, Good Times Bad Times, On Your Way Down > Whipping Post
Another week, another gig at the Front. As it’s still the top played venue in Phish history, we’re gonna have a lot of these. Not a lot to talk about with this show. It’s solidly played top to bottom. Phish t-shirts had clearly been around before this gig as they’re seen in photos from the Colorado road trip and there’s the legend that at the March 12, 1988 Frank Zappa show at Burlington’s Memorial Auditorium, he hung one on the clothesline on stage after a fan handed it to him. Much in the grand tradition of Phish Dry Goods, Trey doesn’t hesitate to tell the crowd they have new t-shirts available at the soundboard after a hot “Slave to the Traffic Light”. More things change, the more they stay the same. I wonder if it was just logo shirts or some unique design. Unless someone out there has one sitting in mothballs, we’ll never know. After this announcement, we get the last every played “Wild Child”. This Lou Reed tune was last played in 1985, making it a very early “bustout”. You can really hear the band on the verge of breaking in “Bold as Love”. It’s just fantastic and on par with any other version, clearly its band had the chops for something. After “Bold”, Trey announces home movies coming up.
Set 2 kicks off with a raging “Possum” and then it’s movie time. Trey, about to tell Paul a suggestion, decides to tell Paul “You know what you’re supposed to do.” It’d be interesting to find these movies and sync it up. I wonder if it was the band or actual old home movies or if they found random home movies. The most notable thing about this is shows the band was experimenting with making their live show more of a spectacle. The inkling that would fuel their holiday shows and festivals was a glimmer in the band’s eye from the very beginning. “Cities->DEG->Cities” is a combo that we’ll see a lot of over the next month. Very interesting that the band’s repertoire is growing but Set 2 closes with 4 covers in a row. Maybe trying to harness them for a growing fan base? We’ll see but they’re played well. This show had a Set 3 but apparently the taper had to catch his ride home! Too bad, might have been historic! I would have opted to sleep in my car that night instead. I know you can get away with it on Pine St. around the corner, pretty easily, at least 15 years later…
Set 1: Satin Doll, You Enjoy Myself > Funky Bitch, Walk Away, Fluffhead, Mike’s Song, Take the ‘A’ Train, Golgi Apparatus, Tela, Poor Heart, Good Times Bad Times
 Extended intro.
Some shows you listen to for the jams. Some shows you listen to for the bustouts and one-timers. Others you listen to strictly for the banter. This is one of those shows. Phish fans definitely are in love with Trey Anastasio’s banter. There’s even a Twitter account @trey_talks that keeps track of the band’s banter for each tour. Trey has had some great stage banter over the years with lots of jokes and stories. Here for the amusement of the very small audience, the band takes it to 11.
This show was played at the Penn State Mont Alto campus. For those thinking a giant football stadium and amazing ice cream, you’re not correct at all. Mont Alto is a small town between Chambersburg and Gettysburg. How they booked Phish or had any idea to do so is beyond me because this school is so in the middle of nowhere and cut off from the band’s home base of Vermont that it amazes me. According to Phish.com, there were 3 people in attendance at the show, again making me wonder how the band was hired by this school. But they showed up and played at the Millstream Cafe. This gig has long been billed as the food court and the Millstream Cafe is a main eatery but before you imagine Phish playing amongst a SBarro and Taco Bell, the description makes it seem it’s more of a central dining hall than your typical food court. They also played on the performance space, which is outside. This location will play into the show’s banter later on.
The show starts off innocent enough with a rendition of the jazz standard “Satin Doll” with Page’s “Lawn Boy” persona shining through on smooth vocals. Trey starts “You Enjoy Myself” with his usual joke, “This next song is called You Enjoy Myself. We hope you enjoy ourselves.” The “YEM” is fairly standard 1980s YEM, not quite as fiery as the tune would become but still a very complex, competent rendition with excellent organ work by Page in the middle section. It remains unfinished and does not have any of the songs’ lyrics instead transition the jam into “Funky Bitch”. It’s a solid “Bitch” if nothing explosive. Playing off the empty crowd, Mike yells after the song, “Thank you! Thanks a lot! We’re Phish! We’re still Phish!” as if there’s a crowd of 60,000 people out there. This empty crowd theme makes the rest of the show hilarious.
Trey yells, again as if the crowd is huge,
“OK! Hey you guys up in the dorms there! Cool! How y’all feeling back there?” Groovy? We’re feeling groovy down here too! Looks like the whole basement is feeling groovy! The whole valley. Well we think this is a good time to play a song! How about you? We feel like ROCKIN’ and ROLLIN’! Fluffhead? We’ll play that one next! First, we’re gonna do some rockin’ and rollin’! Let me hear you say *choking sound*,”
going into the intro chords for the James Gang’s “Walk Away”.
The song doesn’t have the same energy as later versions and feels incomplete even though they play the whole tune. Rockstar Mike yells “THANK YOU. THANKS A LOT!” Rockstar Trey comes back full force, “WAS THAT SMOKIN’ OR WHAT? Ladies and gentleman the long wait is over! We can start playing now because Becky has arrived! Let’s hear it for her! (long pause) We’re gonna play Fluffhead now! This is dedicated to the people at the top of the mountain. We’re giving it to you from the bottom of the valley! I think you should stay there! Or come on down, the party is just beginning! Here it comes now! Fluffhead. Becky is here and she wants to hear Fluff-head.”
This version of “Fluffhead” is pretty unremarkable from earlier versions except for one tiny request from Trey. At the 6:06 mark of the song, Trey says “Let me hear you say Woo!” Again, trying to play up that fact that they’re rockstars for only 3 people but it’s odd that he asked for the woos. As fans know today, they would finally get the message after all these years with the stop/start jam of the now legendary Tahoe Tweezer. Every since then, Trey and Fish have been asking for the Woo in many jams, even for those who dismay it. Time really is a flat circle. Maybe we’re all just the band’s crazy dreams in a storage shed…but I digress.
This version of “Mike’s” is probably the highlight of the set as the band really throws down an excellent early version here. It sounds really focused with a nice jam section. The rest of the show musically is solid as well with a very light “A Train”, a “Golgi” with an extended intro, and a solid “Tela” with a very odd vocal jam section in the middle, which Trey prematurely introduced before Golgi by saying “This song is called Tela and you’re very lucky because we hardly ever play it.” A sentiment that unfortunately remains today and bolstered by the fact that this was the last known “Tela” of 1988. The recording leaves off “Poor Heart” and “Good Times Bad Times” unfortunately. Especially “GTBT” because I’m sure Trey was in full rockstar mode for that one and the closing banter would have been prices.
During the pause between “A Train” and “Golgi”, there’s more great banter, including a fun fact. You can also very clearly hear Paul banging on something to fix it before Trey introduces him as “Dan Tana” The last nugget from this show is it actually is the true end of Phish 1.0. Trey has the play-by-play as he says “It’s an interesting thing we’ve got going on stage right now. Page just presented an ultimatum to the band. Fish left, quit. Mike is quitting because he’s pissed at Fish for quitting. We’re all back and this is the Phish reunion right now!” So, in actuality, Phish broke up twice in the past and we’re in Phish 4.0. School some jaded vets with that one.
Set 1: Peaches en Regalia, AC/DC Bag, Take the ‘A’ Train, Colonel Forbin’s Ascent>Fly Famous Mockingbird, Light Up or Leave Me Alone, Suzy Greenberg>Alumni Blues>Letter to Jimmy Page>Alumni Blues, Fire
Set 2: Wilson, Divided Sky, Jesus Just Left Chicago, Possum, Harry Hood, Corinna>Whipping Post
The band found their way back to Vermont, riding the beautiful high of a successful trip West. But the band also not only was expanding nationally, the band was also expanding locally and by now had outgrown Nectar’s to move permanently to The Front. This recording comes from night 3 of the band’s first 3-night run at the venue. The Front would be very important to the band, in some ways even more important than Nectar’s. While Nectar’s had been an incubator for the band and their ideas early on, The Front would give them the professional polish that would propel them to stardom. These residencies would also ground the band with a home base while their national touring presence ascended over the next three years.
As for this recording itself, you would think that the energy of Colorado would carry over the band and here it does but not in the way you would think. Especially during “Fly Famous Mockingbird”, I really thought, “Man, the band is flying through this tune but the band’s vocals are a little high.” It was more obvious when Page’s voice seemed a little strained during “Light Up or Leave Me Alone”. The big reveal is during “Suzy Greenberg” when you can hear the tape slow down at the 4:18-4:20 mark (cue getting high and the world slowing down joke here). With this imperfection, I can only suggest listening to it if you’re a completist but there’s not much you’re missing here.
(Click on the photo to purchase Colorado ’88 at LivePhish.com)
I’m back at last! I went to Vegas and it made me think hard about this blog. I almost pulled the plug on it. Halloween was such a historic moment for the band that you really can believe there is still a lot of history to write about Phish. It was a career game-changer. That’s how important I thought it was. Let’s back up a few steps though. Prior to this, I decided to try a new feature called PhishNow, where I’d review the current tour. I got one entry in and it felt wrong. It felt like a “cash in” move. If you follow the blog, feel free to write in if you think I should move forward with the PhishNow feature. But the reason was that I was dedicating the time I would listen to the next show to listening to the show from last night instead! That was one reason why I almost called it quits.
The second reason is Halloween. When you’re writing a history blog about a living subject, it’s daunting how much more there will be to write about. Even more daunting is when the subject creates a new historical moment that lives up to everything they’ve done in the past. In my mind, Halloween was one of those moments. At the same time, they both honored tradition and threw it out the window. It made me think, how many more shows like this can the band have in them? They’ve already peaked so much that I thought it’d be a nice burnout to the last gig. Phish is playing for all-time now. To take one of the most exciting nights of the year and play an album that’s really just a thinly veiled set of new instrumental music is unprecented. What Phish did on Halloween is something music hasn’t seen since the days of the Beatles and Pink Floyd. To take sound effects and create music on top of them is not only risky, but very avant-garde and old school. It completely adds to Phish’s mythos and make what I’m doing seem impossible. If they intend to play for another 30 years, the potential is limitless. No band, 30 years into their career, plays a mind-blowing set of NEW music like that. It was astounding. I didn’t think about the blog since then really. It sat in cobwebs, waiting for my next move. I started to get notices of a few fans and then I checked the stats that people are finding this in searches and actually enjoying the content. So, I’m back; trying to be one of Phish’s unofficial historians.
Today we’re hitting a subject that has been well covered, the band’s 1988 trip to Colorado. The problem with writing this after 2006 is that many of the tapes that circulate have been released officially as Colorado’88. The album itself is a wonderful look at a very important turn in the band’s career. The problem arises in now those tapes are an official release and the shows as they stand were forced to be taken out of circulation, leaving me with a lot of odds and ends. I’m going to focus this part on the official release as it does some to contain the best of the best. Phish played a total of 6 shows in Telluride, Colorado: 5 at The Roma on July 28, 29, 30, August 4, and 5, and 1 across the street at the Fly Me to The Moon Saloon on August 3. There’s also a listed August 6th show at the Aspen Mining Company but no further info. Tapes of that show seem to just be a mislabeled August 5th show.
Mike Gordon describes it best with his retelling of the circumstances in The Phish Book. He says that his fiancé Cilla Foster made the shows happen. She was a waitress in a bar owned by local magnate Warren Stickley in Telluride. After some back and forth, Stickney promised a cross-country tour to take a month between Vermont and Colorado. Six months passed and with a week before the start of the tour, Stickley told the band it all had fallen through but that could still play shows at his place for $1000 dollars. They took a vote after a show at Nectar’s and loaded into a windowless box truck for the journey west. “We didn’t even stop at a rest area for forty hours, so the truck got pretty disgusting,” said Mike.
Apparently Stickney had a reputation around Telluride as not paying workers or taxes. Posters were up around town with Stickney’s picture saying “Baby Huey go home”. Phish, in turn, would try to use this to their advantage with their own flyers stating “New England’s Most Naive Rock & Roll Band. We drove 2,000 miles because Warren Stickney promised us a thousand bucks!”. Mike maintains that the band got their $1000 anyway. Stickney’s reputation would however affect this gigs. Attendance at the Roma shows were poor. One night, according to Jon Fishman, a patron approached the band and asked why don’t you play a gig at Fly Me to the Moon saloon? Everyone wants to see you and we’re not boycotting it.” So on the band’s lone day off, they lugged the equipment across Main street and played to packed house. The night was so successful the bar ran out of alcohol. Sticky would land the band a gig in Aspen on August 6th. That night, the band had their money stolen but other than that, Phish had secured themselves a Colorado fan base.
As for the music, if you’ve been following along, it’s similar to what has come before but definitely has a fresh edge. You can hear Trey’s excitement for “fresh meat”. Nowhere has this been emphasized then how this compilation starts with Trey asking the audience like a proud Philadelphian, “Do you want with or without?”. Trey is not however ordering cheesesteaks but introducing the all important “The Curtain” and in this case, the crowd wisely chooses “The Curtain With”. Also of note is this was the last “Curtain With” for 12 years. It’s the perfect into because you can hear the tightness that all the practicing is paying off. It’s maddening that it was dropped as it was just hitting the right gear. It’s clear also that having just graduated from Goddard, Gamehendge is still fresh to the band. We get 4 tracks in a row from the project. The highlight of these being an extremely delicate “Fly Famous Mockingbird” that shows how much Page and Trey were being to almost move as one.
One of the stories adding to the Colorado shows lore was that on July 30th, the 3rd night, Fishman decided to take acid and go hiking. They got a little lost on the way down and got stuck high above a 1,000 foot cliff. As a result of having to backtrack and descend, Fish would miss the first two sets. In order to continue to play, Trey would use his childhood drumming skills to back Page and Mike on “Jazz Odyssey”, playing jazz standards as a trio. The lone taste of this is a take on Herbie Hancock’s “Maiden Voyage” and gives a glimpse of an alternate Phish universe. I love it and wish that more of these jazz standards would have made the set if the master cassette still exists. Fishman does return, still on a headful of acid and still lays down a fine beat. This is most apparent on “Run Like An Antelope”, which also has a fun interlude where Trey pokes fun at his drummer’s predicament. Page turns in another solid version of Traffic’s “Light Up or Leave Me Alone”. The band also turns in one of the top early “Lizards”. “Camel Walk” goes for a tight walk that does the other way of the Phish pendulum, showing Mike and Trey almost moving as one unit.
My favorite song on the album is “No Dogs Allowed” and it might be my favorite Phish song of all-time. Granted, it’s mostly because the majority of it would end up in “The Divided Sky” but I like the “No Dogs” intro better. It also has it’s own composed solo section before the now famous “Sky” outro. Trey clearly had played the tune in private a lot by this time as he nails all the sections perfectly, even better than 7/23/88. We get a nice early Mike’s Groove. Nothing earth-shattering but forming nicely. We then get a very nice combo from 8/5 with “YEM>Cities->Dave’s Energy Guide->Cities”. This is of note because “Cities->DEG->Cities” would be a staple for the rest of the year. The set ends with a lovely thank you to two crew members who tagged along, sound engineer Paul Languedoc and lighting director Tim Rogers.
The CD set ends their but LivePhish.com has offered up a few bonus tracks. The bonus tracks are not as polished but still shine brightly. A very subdued “Sanity” despite the excited intro. A fun romp through “Dog Log”, which Trey amusingly calls an “old Phish song”. Interestingly enough, this would be the band’s only performance of the song in 1988. A very good “Slave to the Traffic Light” and “Harry Hood”, which amazes me that they left both those epics off the final cut. The bonus tracks end with a wild take on “Tela” that’s unlike any version I’ve heard yet.
The impact of the Colorado shows would be sudden as we’ll see in the rest of 1988. While they didn’t establish the band nationally from an industry standpoint, it did ultimately confirm to the band that what they were doing was culturally significant and could be successful. Interestingly enough, while these tapes would circulate heavily in Colorado, to the point where the band would return to larger crowds in ensuing years, they didn’t make their way out of years. The Colorado trip would make the band’s history in most write-ups but a look at Volumes 2-4 of The Pharmers’ Almanac (years 1996-1998) shows that the only shows with known setlists are August 3rd and August 5th. The July 30th show began being listed in The Pharmers’ Almanac Volume 5 and even then it had a snowflake rating indicating that it was very rare to obtain. So, while we know how important the shows were to the band, Colorado ’88 was a huge milestone for letting fans finally hear a large portion of the master tapes from that tour. An interesting note from Ernie Greene in The Pharmers’ Almanac reads “I sometimes hear that a few Telluride fans have this entire week’s worth of shows on tape. If the few sets in circulation-plus the “Jazz Odyssey” comments made during set two on 3/17/91-are any indication, this is a treasure worth uncovering! (I’ve also heard that soundboard masters were stolen from a house in Telluride sometime around 1990, so we may never hear these lost shows. Damn.)” Well Ernie, luckily they were not lost and you were right. They are a treasure work uncovering.
Set 3: Skin It Back, Harpua, Big Black Furry Creature from Mars, Sanity
Encore: Icculus, Camel Walk
“We’d like to do a little Jimmy Buffett now.” A short show today as Set 3 is all that exists of this one. However, it’s still an important show in fact for some fans this show contains the first live tracks they might have ever heard. The set opens with a nice “Skin It Back”. The band’s really grooving here. Page lays down a real nice bed of Hammond organ and then Trey and Mike push and pull on top of it in a deep groove. We then get “Harpua” dedicated to Paul Languedoc. Trey changes Jimmy to Paul in a playful way. Mike also gets Page to riff on alternatives to goldfish such as crawfish and halibut. This “Harpua” is also played at a much slower than usual pace adding odd tension to the song. “Big Black Furry Creature for Mars” comes next and it has Mike really having fun with the audience. “TAKE IT RIGHT AROUND!”, Mike yells and Trey drops into a punk rock “Theme from the Flintstones” as he yells “KEEP TAKING IT AROUND! PICK IT UP! PICK IT UP!” Never heard Mike so animated during this song as he’s a but more demure on current versions. After another verse, he turns his energy on the crowd yelling “HERE’S YOUR TURN TO SING ALONG! I CAN’T HEAR YOU!” Mike’s shenanigans continue introducing “Sanity” as a Jimmy Buffett tune as quoted above. This is the version of “Sanity” that appears as bonus tracks on the Elektra CD re-release of Junta that most people know so well. This might have even been your introduction to live Phish. It’s a fairly straight forward version of Sanity but with a seat rumbling trombone solo from Fishman that’s quite impressive. “Thank you good night! How’s everybody doing tonight? We’re Jimmy Buffett, good night!”, Mike yells as the audience claps for more. Make me wonder what got into Mike that night. They come back on stage and Mike informs everyone that “We’re gonna lighten it up a bit” and we get the second track that appeared on the Elektra version of Junta, “Icculus”. “This is a special song, this is an important song,” starts off Trey. “This is a dance song,” interjects Mike, over clearly a beat to slow to dance to. “THIS IS RED ROCKS! THIS IS THE EDGE!,” continues Trey, riffing on U2. Mike throws in one last “Diarrhea” over the top. Icculus continues its build to the name of the author of the Helping Friendly Book, the book which could save your life like it did for the band, the great, and powerful, the one, the only, the man who wrote the FUCKING HELPING FRIENDLY BOOK, THE ONE WHO WROTE THE BOOK! ICCULUS! But I digress, it’s probably the definitive “Icculus” for most people as the song is extremely rare. The set closes with Mike’s “dance song” finally in “Camel Walk”. It’s a little sloppy but fun. Mike plays a lot of notes. Page thanks the crowd. Mike reminds people to tip their waiters and waitresses. Trey reminds people that Ninja Custodian will be playing there tomorrow night. The band then loaded the van and headed west on a great adventure. All in all, a very silly set from Phish before hitting the road. Probably, trying to get some of it out of their system before a long drive. We’ve got some big shows coming up. Due to the release of Colorado ’88, I will do my best to piece together the most accurate shows but it may prove difficult. It also may delay the next few posts. Thanks for reading.