Phish.net is a non-commercial project run by Phish fans and for Phish fans under the auspices of the all-volunteer, non-profit Mockingbird Foundation.
This project serves to compile, preserve, and protect encyclopedic information about Phish and their music.
Credits | Terms Of Use | Legal | DMCA
The Mockingbird Foundation is a non-profit organization founded by Phish fans in 1996 to generate charitable proceeds from the Phish community.
And since we're entirely volunteer – with no office, salaries, or paid staff – administrative costs are less than 2% of revenues! So far, we've distributed over $2 million to support music education for children – hundreds of grants in all 50 states, with more on the way.
its jam is right in the band's wheelhouse, trey's/fish's especially, but in order to get there, you have to close your eyes and tiptoe past maybe the most effective momentum-killing song trey has ever written. it's so listless, lifeless, directionless, and *pointless* that it's like it was purpose-built to destroy the flow of a set...but if you can switch off *that* awareness, survive the unbearably stupid first verse, and just float on the lights and the images of expanse and gentle movement that begin the second verse, the remainder of the song functions like a more hesitant/ambivalent treatment of Prince Caspian, without that song's complexly beautiful surprise ending.
i'll never understand trey's insistence on pairing hood and bug (maybe the biter irony of ending the former with 'you can feel good' and the latter with 'it doesn't matter'?), but he likes the song, and as long as the band digs into it and fish does his 20YL-style magic on the kit, it always ends up covering its costs.
now, to hear garcia singing a much-slowed-down version of Show of Life...god, to hear that...