Lawnboy - Phish cover with theerion on rythym and vocals and strat2caster improvising some acoustic lead...another Sunday at Strats Place
Phish was an American rock band noted for their extended jam sessions and musical improvisation. Formed at the University of Vermont in 1983, the band's four members performed together for the better part of 21 years until their breakup in August 2004. Their music had elements of a wide variety of genres[1], including, but not limited to, rock, jazz, and funk sounds. Each of their concerts was original in terms of the songs performed, the order in which they appeared, and the way in which they were performed. Although the group received little radio play or MTV exposure, Phish developed a large and dedicated following by word of mouth, via Phish.net (originally a mailing list, then a Usenet newsgroup, now a website), and the exchange of live recordings.
The beginning (1983-1992) Phish was formed at University of Vermont in 1983 by guitarists Trey Anastasio and Jeff Holdsworth, bassist Mike Gordon and drummer Jon Fishman. For their first gig, a Halloween dance in the basement of the ROTC dormitory, the band was billed as Blackwood Convention, a re
ference to a bidding convention in contract bridge. Their second gig — and their first billed as Phish — was November 3 in the basement of Slade Hall at UVM,[2] though another source gives the date as December 2.[3] The band was joined by percussionist Marc Daubert in the fall of 1984;[4] he lef
t the band early in 1985,[5] and Page McConnell joined on keyboards in September. Holdsworth left the group after graduation in 1986, solidifying the band's lineup of "Trey, Page, Mike, and Fish" — the lineup that would remain for the rest of the band's lifespan.[5] Following a prank at UVM with
his friend and former bandmate Steve Pollak — also known as "The Dude of Life" — Anastasio decided to leave the college. With the encouragement of McConnell (who received $50 for each transferee), Anastasio and Fishman relocated in mid-1986 to Goddard College, a small school in the hills of Plai
nfield, Vermont.[5] Phish distributed at least six different experimental self-titled cassettes during this era, including The White Tape.[6] This first studio recording was circulated in two variations: the first, mixed in a dorm room as late as 1985, received a higher distribution than the second
studio remix of the original four tracks, circa 1987. The older version was officially released as The White Tape in 1998.[7] By 1985, the group had encountered Burlington, Vermont, luthier Paul Languedoc, who would eventually design two guitars for Anastasio and two basses for Gordon. In October 1
986, he began working as their sound engineer. Since then, Languedoc built exclusively for the two, and his designs and traditional wood choices have given Phish a unique instrumental identity.[8] Recently, however, Languedoc has begun crafting guitars on custom order and, on a very limited basis, t
o the general public through local music shops. Phish in the fall of 1986.As his senior project, Anastasio penned The Man Who Stepped Into Yesterday, a nine-song concept album that would become their second studio experiment. Recorded between 1987 and 1988, it was submitted in July of that year, a
ccompanied by a written thesis. Elements of the story — known as Gamehendge — grew to include an additional eight songs. The band performed the suite in concert on five occasions: in 1988, 1991, 1993, and twice in 1994 without replicating the song list.[9] Beginning in the spring of 1988, the ba
nd began practicing in earnest, sometimes locking themselves in a room and jamming for hours on end. Dubbed "Okipa Ceremonies" (also spelled Oh Kee Pa), one such jam took place at Anastasio's apartment, and a second was at Paul Languedoc's house in August 1989.[10] The band attributes the sessions t
o Anastasio, who discovered the concept in the films A Man Called Horse and Modern Primitives.[11] As a result of this dedication, the band issued their first mass-released recording, a double album called Junta, later that year. On January 26, 1989, Phish played the Paradise Rock Club in Boston, M
assachusetts. The owners of the club had never heard of Phish and refused to book them, so the band rented the club for the night. The show sold out due to the caravan of fans that had traveled to see the band.[12] By late 1990, Phish's concerts were becoming more and more intricate, often making a
consistent effort to involve the audience in the performance. In a special "secret language,"[13] the audience would react in a certain manner based on a particular musical cue from the band. For instance, if Anastasio "teased" a motif from The Simpsons theme song, the audience would yell, "D'oh!"
in imitation of Homer Simpson. (help·info) In 1992, Phish introduced collaboration between audience and band called the "Big Ball Jam" in which each band member would throw a large beach ball into the audience and play a note each time his ball was hit. In so doing, the audience was helping to crea
te an original composition. In an experiment known as "The Rotation Jam", each member would switch instruments with the musician on his left. On occasion, a performance of "You Enjoy Myself" involved Gordon and Anastasio performing synchronized maneuvers on mini-trampolines while playing their inst
ruments.[14] Phish, along with Bob Dylan, The Grateful Dead, and The Beatles, was one of the first bands to have a Usenet newsgroup (rec.music.phish), which launched in 1991. Aware of the band's growing popularity, Elektra Records signed them that year. The following year A Picture of Nectar was co
mplete: their first major studio release, enjoying far more extensive production than either 1988's Junta or 1990s Lawn Boy. These albums were eventually re-released on Elektra, as well. The first annual H.O.R.D.E. festival in 1992 provided Phish with their first national tour of major amphitheater
s. The lineup, among others, included Phish, Blues Traveler, The Spin Doctors, and Widespread Panic. That summer, the band toured Europe with the Violent Femmes and later toured Europe and the U.S. with Carlos Santana. Rise in popularity (1993-1995) Phish began headlining major amphitheaters in th
e summer of 1993. That year, the group released Rift packaged as a concept album and with heavy promotion from Elektra. In 1994, the band released Hoist. To promote the album, the band made their only video for MTV, "Down With Disease", airing in June of that year. On Halloween of that year, the g
roup promised to don a fan-selected "musical costume" by playing an entire album from another band. After an extensive mail-based poll, Phish performed the 30-song, self-titled Beatles classic — better known as The White Album — as the second of their three sets at the Glens Falls Civic Center i
n upstate New York. Following the death of Grateful Dead frontman Jerry Garcia in the summer of 1995 and the appearance of "Down With Disease" on Beavis and Butthead, the band experienced a surge in the growth of their fan base and an increased awareness in popular culture. Poster for Phish's 1995
Halloween extravaganzaIn their tradition of playing a well-known album by another band for Halloween, Phish contracted a full horn section for their performance of The Who's Quadrophenia in 1995. Their first live album — A Live One — which was released during the summer of 1995 became Phish's f
irst RIAA certified gold album in November 1995.[15] During this fall tour, the band challenged their audience to two games of chess, with each show of the tour consisting of a pair of moves. The band made their move during the first set, and, during the break between sets, the audience members cou
ld vote on their collective move at the Greenpeace table. The audience conceded the first game at the November 15 show in Florida, and the band conceded the second at their New Year's Eve concert at Madison Square Garden. Having played only two games, the score remains tied at 1-1.[16] This year-end
concert would later be named as one of the greatest concerts of the 1990s by Rolling Stone magazine.[17] Cultural icons (1996-2000) Phish retreated to their Vermont recording studio and recorded hours and hours of improvisations, sometimes overlaying them on one another, and used those tracks as
a basis to write most of the songs on the second half of Billy Breathes, which they released in the fall of 1996. Alongside traditional rock-based crescendos, the album has more acoustic guitar than their previous records, and was regarded by the band and some fans[18] as their crowning studio achie
vement. That summer, they mounted their first two-day festival — The Clifford Ball — at a decommissioned Air Force base in Plattsburgh, New York. Between 70,000 and 80,000 people were in attendance; MTV was on-hand to document the experience. In Phish's own makeshift city, Great Northeast Produ
ctions created an amusement park, restaurants, a post office, playgrounds, arcades, and movie theaters, and for two days Plattsburg AFB was the ninth largest city in New York. Aside from six "traditional" sets, the band rode a flatbed truck through the campground, serenading the audience at 3 a.m.[1
9] The concert's production company went on to host six more Phish festivals. Jams were becoming so long that several 1997 sets contained only four songs; their improvisational ventures were developing into a new funk-inspired jamming style. Vermont-based ice cream conglomerate Ben & Jerry's launched "Phish Food" that year and proceeds from the flavor are donated to the Lake Champlain Initiative. Part of Phish's new non-profit foundation, The WaterWheel Foundation was also comprised of two other now-defunct branches: The Touring Branch and the Vermont Giving Program.[20]
The Great Went, Phish's second large-scale festival, was held that summer at Loring Air Force Base in Limestone, Maine, just miles from the Canadian border. The band drew 65,000 people, qualifying the festival to be the largest city in Maine.[21] Band and audience collaborated yet again in a colos
sal work of art: individual pieces of art by fans were connected to a large piece of art by the band. A giant matchstick was lit, burning the resultant tower to the ground.[22] The Story of the GhostPhish headlined Farm Aid in the summer of 1998, sharing the stage with Willie Nelson, Neil Young,
and Paul Shaffer. Again, altering their approach to studio releases, the band recorded hours of improvisational jams over a period of several days and took the highlights of those jams and wrote songs around them. The result was The Story of the Ghost and the instrumental The Siket Disc in 1999. Phi
sh returned to Limestone for the Lemonwheel festival, and 70,000 fans again made the event the largest city in Maine. On Halloween in Las Vegas, Nevada, the group performed Loaded by The Velvet Underground; two nights later they played Pink Floyd's The Dark Side of the Moon in its entirety to an aud
ience of 4,000 in Utah. The following year, the band decided to forego the annual summer festival to prepare for the New Year's Eve millennium celebration. However, at the eleventh hour, Camp Oswego was held in July in Volney, New York, with 65,000 in attendance. For the Millennium Celebration, Ph
ish traveled to the Big Cypress Indian Reservation in the Florida Everglades. Of the major New Years Eve concerts around the globe — Sting, Barbra Streisand, Billy Joel — at 85,000, Phish had the largest attendance of any paid concert event that night.[23] During ABC's millennium coverage, Peter
Jennings and World News Tonight reported on the massive audience and featured the band's performance of "Heavy Things". Called "Big Cypress", the enormous festival culminated with an extended seven-and-a-half hour set that began at midnight and ended at sunrise. 2000 saw no Halloween show, no summ
er festival and no new songs: May's Farmhouse contained material dating from 1997. That summer, the band announced that they would take their first "extended time-out" following their upcoming fall tour.[24] During the tour's last concert on October 7, 2000 at the Shoreline Amphitheater in Mountain
View, California, they played a regular show and left without saying a word as The Beatles' Let It Be played over the sound system. The hiatus allowed the members of Phish to explore more deeply their musical side projects. Anastasio continued the solo career he'd begun two years earlier, formed th
e group Oysterhead, and began conducting an orchestral composition with the Vermont Youth Orchestra. Gordon made an album with acoustic guitar legend Leo Kottke and two films before launching his own solo career. Fishman alternated between Jazz Mandolin Project and his band Pork Tornado, while McCon
nell formed the trio Vida Blue. One more time (2002-2004) Over two years after the hiatus began, Phish announced that they were getting back on the road with a New Year's Eve 2002 concert at Madison Square Garden. They also recorded Round Room in only three days. In their return concert, McConnell'
s brother was introduced as actor Tom Hanks. The doppelgänger sang a line of the song "Wilson", prompting several media outlets to report that the actor had "jammed with Phish." At the end of the 2003 summer tour, Phish held their first summer festival in four years, returning to Limestone for It.
The festival drew crowds of over 60,000 fans, once again making Limestone the most populous city in Maine. In December, the band celebrated its 20th anniversary with a 4 show mini-tour culminating at Boston's Fleet Center. During the Albany date on this tour, Phish invited founding member Jeff Hold
sworth onstage for the first time since 1986. In order to avoid the exhaustion and pitfalls of previous years' high-paced touring, Phish played sporadically after the reunion, with tours lasting about two weeks. After an April 2004 run of shows in Las Vegas, Anastasio announced on Phish.com that af
ter a small summer tour the band was breaking up. Their final album, Undermind, was released in late spring. The band jammed with rapper Jay-Z at their second Brooklyn show in the summer of 2004, and performed a seven-song set atop the marquee of the Ed Sullivan Theater during The Late Show with Da
vid Letterman to fans who had gathered on the street, a move reminiscent of The Beatles' final performance on the rooftop of the Apple building in London. Their final show was also the last Phish summer festival — Coventry — named for the town in Vermont that hosted the event. 100,000 people wer
e expected to attend, and it was simulcast to thousands more in movie theaters across America. Phish's final bow, August 15, 2004After a week of rain that prompted rumors of a sinking stage, Gordon announced on the local radio station that attendees should turn around, no more cars were being all
owed in. As only about 20,000 people had been admitted, many concert-goers abandoned their vehicles on highway roadsides, shoulders and medians and hiked to the site, some as far as thirty miles. With the amount of people that walked in, the crowd grew to an estimated 65,000 in attendance. The band
broke down crying onstage several times during the final concert, most notably when McConnell choked up during the ballad "Wading in the Velvet Sea" and elicited Anastasio to say a few words of farewell. Their final encore consisted of one song — "The Curtain" — which contains the now-meaningfu
l repeated line "Please, me, have no regrets." Coventry was an emotional goodbye for Phish and for its audience; an end to Phish's chapter in rock music. Without any help from radio, music television channels or album sales, Phish became one of the biggest live acts of all time. As Rolling Stone pu
t it:[25] " Given their sense of community, their ambition and their challenging, generous performances, Phish have become the most important band of the Nineties. "

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