Can you visit it? Yes but only the exterior. Trey does so in the film Between Me and My Mind.
This is it. The little red house (now painted green.) Trey, Fish, and early fan Brian Long used to live in this house in Phish’s early days. Trey fondly remembers Fish sleeping in a pile of laundry instead of a bed and that his future wife Sue lived in the building to the left and he could see her balcony from his room. Across the street is the Hood plant, now condominiums, but at the time, it had a giant tank with H.P. Hood dairy mascot Harry Hood on it as pictured below inspiring the now famous lyrics. Phish played a kitchen party here. Garrett Mead later resident of this house, and member of Burlington band The Jones recalls Hood plant parking lot attendant Mr. Minor writing notes on cars stating “Thank You Mr. Minor.”
If you’re a Phish fan, you probably dreamed about Phish playing your backyard. Shows like The Ranch in 1987 and this one here are why people have that dream. Phish played probably in more backyards than we’ll ever know about because less ability for tapers to show up and the loss of the Del Martin tapes. At least with this show, we have a street address so we know exactly where it took place. 320 Spear Street is located on the small strip of Spear Street between UVM’s Redstone Campus and their Paul Miller research center, which is a working dairy farm and equine facility. It’s proximity to campus made it an ideal spot to have a party and also lead to some interesting show banter as Phish knew many of the people at this party.
We join the show in progress with a very solid “Harry Hood”. This “Hood” is fairly typical of 1989 but reaches its usual enjoyable peak with solid fills from Page and wonderful trills from Trey. Some banter about changing monitor levels or positions ensues with Trey asking about too much piano. Still forming the sound in these early days. Trey joking introduces the band as “Phish, from Burlington, Vermont” with a chuckle after hearing it from Mike before launching into “Foam”. The “Foam” is rough around the edges, especially Trey who messes up his part enough to deliver an “Aw Fuck” (not the secret language signal but actual words) midway through the intro. The band recovers fairly solidly but still working out the kinks. The song finishes and Trey informs them it’s about Mike McKnight’s like apparently. Mike then announces that all the cars on the road are going to be towed and they there’s a parking lot down the street. The parking lot is most likely that at Gutterson Field House, the UVM hockey rink. Spear Street is very narrow but often travelled road connecting Burlington to South Burlington and Shelburne and used as a substitute for the congested Shelburne Road. So clearly the city would want the road clear at all times. Fish says that it reminds him of a song and Mike and Trey concur, leading to a sublime performance of “Contact”. The “Contact” has “jump on it, son!” quotes from Mike but I have no idea what brought that…maybe a Jerry Reed reference? Trey tries to get the kids to sing the ending part. “Now that we’ve scared the 4 little kids away,” the band introduces the next song as being one they wrote that afternoon about Molly’s life. Trey asks to wear the hat and she declines. Trey then introduces “She No Are No Nice Gal” and someone brings the band a wallet that was found. Trey mentions “This is the kind of wallet I like, no identification, just cash.” Trey asks the crowd to bound joyously as they reach the trampoline section. After this long banter, they finally go into the song which is just “Mike’s Song”. The “Mike’s” gets super crunchy especially the 2:50 mark where Trey unleashes the first real true showing of his ability to sustain. He holds the note for almost a full minute while the rest of the band takes the opportunity. Fishman hits crazy fills and Page throws around organ riffs like it’s Dollar Draft Night at What Ales You. Tight little jam that I recommend. The Molly theme continues in the groove as Trey says “I Am Hydrogen” was written about Molly’s lighter side. It’s very nicely played except Trey botches the last note. The “Weekapaug” features a lot of fireworks from Trey but not a lot of movement; a lot of notes but no real development. “Split Open and Melt” is dedicated to the pig coming up at Ian McLean’s party on May 28th. We’ll have a lot more about that show soon. The “Melt” is still in its infancy and is nowhere near the heights the tune will reach. Trey attempts a “Mission: Impssible” tease but it doesn’t develop. Mike gets pretty loose with the bass line but seems to get out of step with Fishman at times. Page is barely audible. It’s very sloppy still. Trey notes he broke a B string during the jam. He meant to call someone to bring another one but forgot. Trey’s tone changes as I think he borrows a guitar from Alex. Trey uses this new overdriven tone to pound out the only known version of Led Zeppelin’s “Dazed and Confused” by Phish. It’s half serious/half joking but still worth a listen. They definitely captured the feel of the original. Page makes the announcement that cars are now actually being towed and it’s worth the walk to see if your car is being towed and that’s longer to walk to the Getty station on North Avenue that the car’s will be towed to. No doubt since North Ave. is the other side of town. A fan asks Trey about Tom Waits and Trey responds that he loves Rain Dogs, saying Fish has the bell for “Gun Street Girl” allegedly Trey’s favorite song from the album. They don’t play it though, busting into “You Enjoy Myself”. The “YEM” is a solid effort with odd tone from Trey’s borrowed guitar. The short bass and drums section is fun with solid work by Mike. The vocal jam becomes Zenzile, referencing the poet Phish played with back in 1986 and then evolves into Blue Oyster Cult’s “Godzilla”. Trey’s tone seems to return to normal for the rest of the set, indicating that someone did run home and get Trey’s B string in time for “Ya Mar”. The rest of the set is pretty standard. Apparently we also miss guest vocals by Chris Kuroda on “Alumni Blues” and “Possum”. That would have been very fun to hear. All in all, a fun afternoon on Spear Street with Phish.
Set 1: Wilson, Peaches en Regalia, Ya Mar, Mike’s Song > I Am Hydrogen > Weekapaug Groove, The Sloth, Possum, Divided Sky
Set 2: You Enjoy Myself, La Grange, If I Don’t Be There By Morning, Slave to the Traffic Light > Esther > Run Like an Antelope, I Didn’t Know > Nowhere Fast -> I’ve Turned Bad > I Didn’t Know, The Lizards, Bold As Love, Harpua, Whipping Post
 First known Phish performance.
 Fish on trombone.
 First known performance; Sofi Dillof and “Joe” on vocals.
If you’ve ever been in a rock band, the record release show is usually a big deal. You pester all your friends and acquaintances to show up so that it feels like a big deal and also in hopes that they buy a copy of your album. You also flyer the whole town, putting out the word that your band was focused enough to record the music you’ve been playing. This doesn’t feel like that. Sure Chris Kuroda and friend of the band Kiki Colgan spent the afternoon stuffing j-cards into cassette boxes to make sure they had enough copies on hand but, announcements aside, it doesn’t seem too different from any other night at The Front. Probably because Phish knows they have the fanbase who’ll pick up the new cassette handily.
The show kicks off with the “Wilson>Peaches” combo. Helpfully Trey shakes it soon because it’s starting to become stale. Trey takes the audience to the Bahamas, eliciting a single woo from the crowd, and Phish launches into “Ya Mar”. It’s a solid version. Trey then borrows a bit from 5/6/89 saying now “let’s take it away from the Bahamas and take it to Rhode Island!” launching into the “Mike’s>Groove”. The “Mike’s” is short but builds to a nice frenzy structured by Page’s organ layering. They like it so much that they play the ending chords twice with a real nice sustain by Trey in the middle. The “Weekapaug Groove” is excellent though with great bass work by Mike and very fluid playing from Trey ending with solid machine gunning. After the “Weekpaug”, Trey finally plugs the tape that you can now buy at the soundboard and Mike adds that “Junta has no meaning in Nicaraguan.” The “Sloth”/”Possum” combo is fun if not outstanding. The set closes with “The Divided Sky”, which is another solid whole band effort.
“Self!,” Trey calls out to start set two, calling for “You Enjoy Myself”. “This song’s from our first album! This next’s one’s from our first album, available at the soundboard,” says the band. “FOR FREE!,” replies an audience member jokingly. Trey also comments it’s Mike’s birthday, an audience member not Mike Gordon and then Page says later we’ll play something for Chris’ birthday. Trey counts it off and “YEM” begins. It’s solid but highlights are when Trey gets shred at 12:30 before the bass and drums section and a sucking a bone (?) vocal jam and ends with a Fishman bass drum solo brought on by fan and Trey’s encouragement. Mike also teases “Moby Dick” in a nod to Fishman’s drum solo, starting a trend that will last a career. A ripping “La Grange” follows. We get an odd cut and dump right into “Slave to the Traffic Light” in progress and with some quality issues, missing the Bob Dylan cover “If I Don’t Be There By Morning”. “Slave” isn’t very good and doesn’t peak. The non-reaction of the crowd is fitting. “Esther” comes next and has some interesting woodblock coloring from Fishman, keeping time with Page’s organ riff. This “Esther” also is played at a faster tempo than usual and hilarious ends with the rest of the band ending the song early on Trey who’s still soloing. A solid yet average “Antelope” comes next. Antics come to the front in “I Didn’t Know”. Out of Fishman’s trombone solo, he calls “Sing with me Sofi!” Brining Sofi Dillof, Page’s future first wife, and “Joe” who is believed to be a member of Ninja Custodian up to play two Ninja Custodian songs “Nowhere Fast” and “I’ve Turned Bad”. A little punk rock break in the middle? Why not. Phish brings the tempo back down with a nice slow closing reprise of “I Didn’t Know” I didn’t know that I was that far gone takes on new meaning. Chris finally gets his birthday song in the form of “The Lizards” and it’s a solid version, again played at a faster tempo than usual, especially in the “If I Were a Dog” section. That section is also preceded by a tape cut and leads off with just Trey and Fish, which adds to the beauty. “Bold as Love” has Trey shredding but not over the top. It’s a very tasteful version with some hot licks. The well-loved story of “Harpua” follows. Trey begins the story and when introducing Harpua, Mike goes “Tell ’em about the ass.” recalling 4/20/89 when the band jammed on “non-shot ass”, and the band plays the defending riff that used for that version during Trey’s story. This time Harpua has the “twice shot ass”. The fight is underplayed by a jam on the Spencer Davis Group’s “Gimmie Some Lovin'” ironically. It’s a good version but nowhere near as amazing as 4/20/89. The show closes with a meandering “Whipping Post”. For a show with some history, there’s not much here that’s historical but a solid effort.
Today I want to talk about two important shows that we don’t have much of a setlist or any recordings from. I know what you’re thinking, “How can you write up shows that you don’t know much about?” The fact is these two shows were extremely important in the history of Phish that our lack of first-hand accounts can’t be reason alone to skip them.
Much of the mythos of the Phish story is Phish rose to be the kings of live music without radio, MTV, or album sales. While on a national front this is true, at home, Phish was all supported by local radio stations. Most notably here at the Rock Rumble at the Front. WIZN was a major player in the Vermont radio scene alongside WNCS out of Montpelier, a station we’ll cover later in this series. Starting out in 1983 in Vergennes, the same year as Phish, with Arty LaVigne as general manager, the station would become a champion of local radio with a popular local morning show, Corm and the Coach, and a focus on Vermont artists. The station would become the predominant rock and roll radio station for the town until 1997 when it added 99.9 The Buzz as its “younger-focused” sister station. As a kid, I used to listen to these three stations ad-nauseum. I still remember listening to Rich Haskell and Arty LaVigne riding down Shelburne Road with my parents in the summer, usually talking about some promotions at the Chickenbone Cafe. On all these stations, around 1992-94, there was always room for Phish between Led Zeppelin and Eric Clapton. I probably heard Phish over the airwaves long before I knew exactly who they were. Also, a WIZN DJ gave me a copy of Hoist in June 1994, my first conscious moment with the band and one that clearly changed my life forever.
Part of that was these two shows. The shows were hosted by WIZN’s own Arty LaVigne, who had just bought that station outright in June 1988. Nighttime drive DJ Mike Luoma was also believed to be a judge that evening. The only known fact is Phish pulled out the theatrical stops, climaxing their one set on April 21st by lowering Fishman naked from the rafters for his “I Didn’t Know” vacuum solo. The vacuum, however, was not plugged in. Fish did play a naked trombone solo though. The band also played Contact. Mike’s lone notes from the show are they played “loud and hard”. The band obviously brought it enough to be named a finalist. All the finalists performed with Phish winning the whole thing on April 22nd. Phish used the Archer Studios time won to record “Split Open and Melt” and “Bathtub Gin” for the forthcoming Lawn Boy. Phish were now officially the kings of Burlington’s music scene. Now on the radar of local radio, the band could continue to grow outside of the city of Burlington and college scenes.
Set 1: Mike’s Song > I Am Hydrogen > Weekapaug Groove, Esther > You Enjoy Myself > Wilson, Peaches en Regalia, On Your Way Down > Alumni Blues > Letter to Jimmy Page> Alumni Blues, I Didn’t Know, McGrupp and the Watchful Hosemasters > Foam, David Bowie
Set 2: Funky Bitch, Golgi Apparatus > Slave to the Traffic Light, The Mango Song, Divided Sky, Split Open and Melt, Suzy Greenberg > Fluffhead > Good Times Bad Times
 Additional lyrics.
 Fish on trombone; with sound effects from an electronic drum machine.
 With sound effects from an electronic drum machine.
 With drum solo.
Unlike the gig at Johnson State, this surprisingly would not be the band’s last gig at the University of Vermont. There are a few more left to document. It’s more interesting that the band wasn’t playing a larger space at UVM yet. Back in the cozy confines of the Billings Student Center, the band turns in a fine performance all for the benefit of VPIRG, the Vermont Public Interest Research Group. Set 1 is excellent audio quality. It’s interesting that we have the soundcheck in tact, more than likely the student center was just open and people could come in during the soundcheck. “Time Loves a Hero” continued to get better and better and it’s interesting it wasn’t played again until 1998 when it would have been a great cover staple. The opening “Mike’s Groove” is very tasty with Mike finally not straining on his vocal on “Mike’s” and “Weekapaug” played at the regular faster pace. It sounds gorgeous. The band welcomes the crowd to the VPIRG benefit and then Trey informs that someone lost their birth control pills at Johnson State and then band brought them to the next gig. A hilarious banter moment. “Esther” gets a much needed redemption after the previous night’s closer and here we get a near-perfect version. “You Enjoy Myself” is quite nice with Trey bringing the jam to a blistering peak before the bass and drums section. The “Wilson->Peaches” blat-boom transition returns nicely. After “Peaches”, we get some very nice banter from Page, again reinforcing why probably Page delivers so much of the banter now. He advises people to buy some cider and lemonade in the back and then plug their upcoming Pearl Street gig on May 1st. He says that if they sell enough tickets, they’ll move from the basement space to the main hall. We’ll see soon if that happened! They play “On Your Way Down” but I really think “Times Loves a Hero” is the better Little Feat cover for the band. Page does a nice job though. The song’s just too heavy for my taste I guess. We get a lightning fast “Alumni>Letter>Alumni” triplet. “I Didn’t Know” has the really odd mixture of Fish playing trombone and a new electronic drum machine on the tune, adding weird sound effects to the acapella lines. I hope the drum machine is NOT a permanent fixture. Yikes. Fish does add some nice woodblock textures to the opening of “McGrupp”. “Foam” is interesting because Trey tries to segue directly in it and you hear him picking out the notes solo and it takes a good couple of rounds before the rest of the band catches up. I like it because it shows there’s more work to do on some of these tunes and room for improvement; taking risks. The “Foam” itself is starting move at its signature tempo and meshing nicely. We get part of “David Bowie” but nothing noteworthy.
Set 2’s tape is less clean than set 1. It’s very rough in places so proceed at your own risk. The set kicks off with a dirty “Funky Bitch” though, setting the tone. “Golgi” and “Slave” offer some varied playing by Trey but otherwise have nothing outstanding. After “Slave”, there’s a fun bit of banter with Trey saying they’l play their newest number next. Trey then says Page will use a new synthesizer on the song but the synthesizer is broken already on its first time out. Trey then says Fish will use his new woodblocks and advises Fish to play the song he just learned. This pans into a “Name That Tune” bit where Fish plays the “Charge” riff on them and an audience member wins a date with Fish. Trey also says there’s a special way to dance to the next song with only your hips and body, keeping your head still. Trey also says that Paul puts feedback pack in the monitors and takes it out to trick the band in thinking he’s a great soundman. The band then busts into “The Mango Song”, playing a much-more polished version and follows it up with a strong “Divided Sky”. Then, we get our first recorded “Split Open and Melt” and I’m excited for this only to be let down. The song is played a little slower than most fans are used to, probably because of its infant stage, the band is not up to speed on the intricacy of its dissonance. In the middle before the “Steam Dream” breakdown, there’s a long drum solo by Fishman at just feels wrong. The jam also isn’t much but Trey wailing on sustain. There’s potential but I don’t see it yet here. The show ends in typical 1989 fashion with “Suzy”, “Fluffhead”, and “Good Times Bad Times”. All fun show for the UVM kids overall. At the end of “Fluffhead”, Trey plugs a couple of gigs, the all-ages gig in Northampton again (but with the wrong date of 4/15), Johnny B. Fishman Jazz Ensemble with Russell Remington at Noonie’s Deli on Mondays, and the Rock Rumble at the Front this weekend! Will Phish win the Rock Rumble? Find out on future installments of the Phishsonian.
Set 1: Bold As Love, McGrupp and the Watchful Hosemasters > Divided Sky, The Price of Love, On Your Way Down, Ya Mar, Fluffhead, Run Like an Antelope
Set 2: The Mango Song, Mike’s Song > I Am Hydrogen > Weekapaug Groove, You Enjoy Myself, Undun, La Grange, Golgi Apparatus
Set 3: Peaches en Regalia > Foam, AC/DC Bag > Big Black Furry Creature from Mars, Satin Doll, Rocky Top
Encore: Makisupa Policeman
 First known Phish performance.
 First known performance.
We finally get another full show after some segments and what a beauty we have to go over today! This is the best show of 1989 so far and not just because we get to hear everything. It starts off with a solid “Bold as Love” which Trey has dropped the horrible flanger effect he played at the end. “McGrupp” builds to a soaring dissonant peak in the jam. “Divided Sky” is played with such fire. Phish slays local colleagues’ Ninja Custodian’s “The Price of Love”. A fiery “On Your Way Down” with delicious Page vocals goes nicely with “Ya Mar” to bring the mood up. “Fluffhead” has some very nice licks by Trey to accompany the composition. “Antelope” is the best yet with whole band movement during the jams and a fun dissonant undercurrent to the Marco Esquandolas section.
Set 2 we get the first recording of “The Mango Song”. The song is not the powerhouse it will e like most early Phish versions but it does have really tight licks from Trey and the general feel is there. “Mike’s Groove” is pretty good. The “Mike’s” is very short but hot, the “Hydrogen” is perfect, and the “Weekapaug” is the fastest yet but unfortunately gets cuts short. “You Enjoy Myself” is also quite nice with great interplay between Trey and Page and an awesome drop into a tease of Linda Ronstadt’s “You’re No Good” and hen working it around the “Wash Uffizi Drive Me to Firenze” of the vocal jam. The Guess Who’s “Undun” here is a Fishman song and continues what began with “If I Only Had A Brain” but this time has less theatrics and is more a fun romp through the song. No longer just singing with his head down and mumbling Syd Barrett, here he duets with Page and puts some real emotion in the song. Well done Fish! A ripping “La Grange” follows and then “Golgi” closes the set.
Set 3 kicks off with the always strong “Peaches”. “Foam” continues to be a strong showcase piece for all 4 members of Phish with Page and Trey trading licks, Mike playing inventive bass lines, and Fishman playing a strong underlying rhythm. “AC/DC” is good but nothing special. “BBFCFM” is fun as usual. “Satin Doll” has excellent solos by both Mike and Fish, demonstrating their abilities at the time. Trey tries to explain the band at the end by introducing them as “The Phish Fusion Hardcore Jazz and Bluegrass Band”. Little hard to fit on a marquee. The band then rips into “Rocky Top” to end the set. An encore of “Makisupa Policemen” with a solid Mike-heavy reggae jam ends the show.
This show would not only be noted for the music but it was also Chris Kuroda’s first night on Phish’s crew as a simple roadie, lugging gear. Apparently, Trey asked Chris he if he knew anyone bring their guitar lesson and Chris responded by suggesting himself. This is why 2/7/89 might be CK5’s favorite show as it was one of his last as a common fan.
Set 1: The Curtain > Ya Mar, Mike’s Song > I Am Hydrogen > Weekapaug Groove, Fluffhead, Contact, AC/DC Bag > Wilson, You Enjoy Myself, Harpua, Foam
Set 2: Wilson, Fluffhead
Set 3: Fire, Sneakin’ Sally Through the Alley, Alumni Blues, The Lizards, La Grange, You Enjoy Myself, Good Times Bad Times
Encore: Halley’s Comet
(Setlist may be incorrect)
Aside from the Paradise show, no indicator of how fast things were moving for Phish in 1989 is greater than the end of the Nectar’s era. This was the incubator. No one can honestly say that Phish would have done much without the safe space of their weekly gig there. Any place that’ll let you debut a rock opera after a Frank Zappa show deserves some applause. Nectar’s is fortunately celebrating its 40th anniversary. The ownership may be new and they may have renovated the place but that vibe of music above everything else remains. I wish I could say that we had the whole affair and it was glorious and moving but alas, time has not been kind. We have a conflicting setlist and a 1st set that seems patched together. It even has “Harpua” as the last song but conflicting reports says it is not so. I like to think that Nectar’s went out with one more story from Trey myself, so in my mind, it did. The circulating recording says Set 1 but with “Harpua” being introduced as “the last song”, I think it’s safe to say that’s incorrect. Others think the recording may have come from another show but I don’t think a show with this much weight would have been mislabeled. We’ll never know the real answer.
What we do have is a nice set of club Phish. “Paul? You ready to go?”, asks Trey to kick things off. The band kicks into a vivid “Curtain”. “Ya Mar” happily follows it up and it’s clear from the tracks we have that this will be a grooving night. Also, this is the 1st “Ya Mar” on record since 1988, about 74 total shows, the second longest gap for the song. The “Mike’s Groove” here is really taste. Played very tightly and doesn’t wander too much. The “Weekapaug” is really slow though but makes a nice dance tune here. “Fluffhead” is strong as usual. “Contact” gets cut in the middle adding to my though that this tape is pieced together. We get a Gamehendge two-fer of “AC/DC” and “Wilson” that’s good. “You Enjoy Myself” never goes out there but again is super tight. The level of interplay is getting closer to what made the band legendary. The highlight here is “Harpua”. Trey tries to get the whole crowd into the intro, teaching them the oom-pa-pa and hand gestures. The song is a classic Harpua, with the perfect storytelling from Trey about Harpua’s search for raw flesh and finding Jimmy’s cat named, the cat whose name is, the cat who was known as…POSTER NUTBAG! The fight ensues and as always, Poster is dead. Real passion in this version that makes it fun. There’s a “Foam” tacked on the end but I think that that is filler from another show and not an encore.
Phish would continue to have a stage in Burlington until 1992, taking residence at the larger Front, eventually playing more gigs there than Nectar’s but Nectar’s importance in the first 5 years of the band will never be understated. Unlike the Front, which was Phish polished, Nectar’s allowed the band to find their sound and style in a way that is not usually how the industry works. The band said it best in the liner notes of their 1992 album A Picture of Nectar:
“Eight and a half years ago, we played our first bar gig at Nectar’s in Burlginton. Nectar Rorris, the proprietor, was happy to give us a gig despite out lack of experience, organization, or a song list long enough to last two sets. The night went well enough and soon we were playing a series of monthly three night stands – three sets a night on Sunday, Monday and Tuesday. Like countless other bands in Burlington’s diverse music scene, those nights at Nectar’s taught us how to play. We dedicate this album to Nectar Rorris for 16 years of bringing Burlington live music every night of the week with no cover and the best fries this side of…France.”
Thanks to Nectar and new owner Chris, and former owner Damon for being the cornerstone of Burlington’s music scene. Here’s to 40 years of Nectar’s and hopefully 40 more!
Part of what’s weird about history is what survives the years. Sometimes it’s the obvious things like the Rosetta Stone or The Magna Carta. Sometimes it’s President Harding’s pajamas or an ancient chamberpot. It is in the evidence of these stunning finds that we are presented with what we have from this show at Nectar’s on March 12, 1989. It doesn’t have any standout jams or even real bustouts. It has one theatrical debut that some might say is the ‘real” beginning of the Fishman song tradition and then it has probably one of the oddest moments of Phish history on tape. We get a well-played but boring Mike’s Groove, though it was enough for Fish to allegedly break his snare drum. This evolves into a cover of “If I Only Had A Brain” as the delay and song choice is due to his error. Such a setup for a cover. These Fishman theatrics continue today, most recently with the “Dem Bones” cover setting up the “Suck to Blow” New Year’s gag. Rather than just have Fishman come out to do another Syd Barrett cover, this one has a script attached. A good precursor to the “Hold Your Head Up” tradition.
Then, we get “Alumni Blues” with the alternate lyrics. “Letter to Jimmy Page” goes off the rails when Phish has Eyeburn take the stage and perform one of their own “punk rock” songs that sounds like a terrible CBGB-era band. Just awful and complete time warp. This might have been popular in 1981 but 8 years later and you’re still doing that schtick, yikes. I don’t know who in Phish let this go down, let alone bug their show at the Front 5 days later, let alone that they could get a gig at the Front. Maybe they had a better songs in the catalog but that would not have gotten me to the Front that weekend. No other information about Eyeburn could be found online, the only links were to this show. It’d be interesting to know more about them and how they appeared this night. Also, how their performance survives 26 years later on a Phish tape. The rest of the set has no real highlights. This show can be important though because it would be the 1st show of the last 3-night stand at Nectar’s. The 2nd show remains uncirculated but we’ll have part of the last Nectar’s show next.
Set 1: The Man Who Stepped Into Yesterday > Avenu Malkenu > The Man Who Stepped Into Yesterday, The Curtain > Foam, Colonel Forbin’s Ascent > Fly Famous Mockingbird > Run Like an Antelope > Golgi Apparatus, Possum
Set 2: On Your Way Down > AC/DC Bag, You Enjoy Myself -> Camel Walk
· Jean Pierre tease in You Enjoy Myself
Are you starting to see the pattern of the Front being a home base for the band during their early touring years? They still had that weekly gig, 3 nights a week to ground the band as their world got crazier and crazier. This is the second of three nights, the other two do not have recordings, and what we get is just good solid Phish. The problem here is the quality of the recording. This is most likely a later generation tape and that’s why the dubbing is incorrect. Because of the poor dubbing, we get everything a half step higher then it originally was played. Historically, it’s great we have anything at all but it’s a little hard to judge the playing because everything’s sped up. Did Phish really have crazy chops like that earlier on? Most likely yes and we can tell from other tapes but here’s other factors that we’ll see in following Phish’s history that are impacted by the quality of tapes we have access to. One of the benefits of early Phish is tapers had access to patch directly in to the soundboard. That means they could take their rig and plug it in for a direct recording of the soundboard. Starting in the early 90s, we’ll see a transition as many of the shows reviewed will become audience recordings as Phish cut off access to the soundboard. For more on the history of tape trading, check out this article by David Steinberg aka zzyzx.
It’s also important to note that some of the recordings on PhishTracks or Phish.in are probably 3rd or 4th generation tapes. I’m still grateful for what we have though. There’s no way an undertaking like this could have been done until at least the mid-2000s and even then it would have been difficult due to space constraints. Everything, even the bad shows, would have had to been downloaded to a hard drive. Those hard drives still exist but streaming the show makes it easy to listen anywhere and that is a timesaver. As for the show itself, it’s a solid night. Excellent to see “The Man Who Stepped Into Yesterday” back on a recording. The highlight is the “YEM->Camel Walk”. The “YEM” is the first time you really hear Phish’s signature tension and release jamming as the jam builds and builds until it hits that right moment to come down and then they effortlessly transition into “Camel Walk”. It’s really a great early highlight despite being presented a half-step up.
P.S. Happy 6th Anniversary 3.0! I’m so glad I’m writing about living history instead of just history! Thanks Phish!
Set 1: Esther > McGrupp and the Watchful Hosemasters > Foam, The Sloth -> Possum, Mike’s Song > I Am Hydrogen > Weekapaug Groove, Golgi Apparatus
Set 2: Makisupa Policeman, Dinner and a Movie, AC/DC Bag > The Lizards, Timber (Jerry), Contact, Alumni Blues > Letter to Jimmy Page > Alumni Blues, Fee > Run Like an Antelope
Set 3: Sanity, Fluffhead, Suzy Greenberg > Slave to the Traffic Light, Bike > Whipping Post
 Fish on trombone.
 Additional lyrics.
 Fast version.
 First known Fish vocals.
While we don’t know what happened the first night of this three night stand, I can easily say that this is the better show between the two that we do have. With a more varied setlist than the shows that became before it, it gives that band a chance to work on some lower tier tunes. The Phish catalog is very interesting in that it’s very clearly layered. You have the top tier of compositions. In this layer, you’d find “You Enjoy Myself”, “Fluffhead”, “Divided Sky”, “Mike’s”, “Weekapaug”, “Harry Hood”, among a few others. However, there’s another stellar layer but not considered essential by the amount of times played by the band. I would put in this level “McGrupp”, “Esther”, “The Lizards”, “Fee”. This is still an amazing bunch but if you were making the essential Phish, they might not make it. When they string a bunch of these together, it always makes for a more interesting show. This night at The Front, we get a whole bunch of this tier of Phish and it makes for a fun night and breaks up what had become a fairly monotonous run of important shows. The band was just getting into more varied setlist as their repertoire grew and it’s here on this night that you get that feeling of changing the sets every night that would become a Phish trademark. It also important to note that this is lighting director Chris Kuroda’s favorite show, as mentioned in an interview with JamBase. He said if he ever got to pick some live shows for release, this show would be number 1. It’s a curious pick but I think it’ll become very evident why it might be one of his favorites in upcoming shows…
We get a really interesting open in the form of “Esther”. The song is presented here with its updated and current lyrics, where the mob attacks Esther instead of the old man at the end of the song. I also like how it opens with the omnious circus music and I don’t get what the audience member yells but Trey’s reaction of “Damn Right”, kind of hits the determination of the band in a way that makes me laugh. This is also interesting because this will be the only “Esther” opener in the band’s history. I guess a story and menacing circus music isn’t a great show opener outside a Tuesday night in Vermont. Another thought while listening to “Esther” is you hear the organ coming out a lot more. I have to believe it was some time in ’88 that Page augmented that Yamaha CP-70 piano with his Hammond M-100 and that enabled him to play more organ parts, a signature that would only continue to develop. “McGrupp” follows continuing the theme of lesser-known compositions. “McGrupp” is very beautifully played and subdued. Almost a downer but why not start the night off easy? “Foam” continues the trend as it seems to be taking the spotlight in the ramp up to Junta. These three songs are also very Page heavy tunes. An odd trio to kick off the set but that makes it interesting. A lovely pairing of “The Sloth->Possum” seems to really signify the start of the evening, at least for Trey. “Possum” itself has a really nice lead and gets nice and quite before ramping back up for the ending. The “Mike’s Groove” in my opinion is the highlight of the set. It starts of timid. Mike’s vocals are a still little shaky with the existing melody just a hair out of his range. But around the 4-minute mark, the jam begins to build and led by Trey, the intensity picks up. It’s as if a tiny whirlwind is now a tornado. The 4-headed monster build and builds. Trey even continues to play licks, despite cues from his band members that the end is coming. A fan would get the feeling this would have a second jam if the year was 1994 or 1995. However, it drifts off to a very slick “Hydrogen” before dropping down into “Weekapaug” for a nice danceable jam.
More rarities second set. We get a fun “Makisupa” to set the scene and then “Dinner and A Movie” gets a welcome return to rotation. After that, the show loses its uniqueness and we get a lot of the same things we’ve been hearing throughout 1988. There’s a hilarious “Timber (Jerry)” where Trey doesn’t seem hooked up with the band at all and keeps missing the rhythm of the lyrics. Despite the train-wreck, it has a hot fiery jam. “Alumni” has the story lyrics as opposed to the regular lyrics. “Antelope” is very nice as always. The fast version of “Sanity” kicks off Set 3 and is still a lot of fun to hear. The set ends with a fun double dose of Fishman singing not only Syd Barrett’s “Bike” but also doing a tortured version of “Whipping Post”, which is a nice deviation from the previous night’s “straight” version. All-in-all a fun night at The Front. With its unique setlist and antics, it’s easy to see why Kuroda would enjoy this one so much.