4/3/98 Mikes -- Nassau Coliseum, Uniondale, NY
Date: Sun, 06 Feb 2000 15:09:03 -0800
From: Charles Dirksen [email protected]
To: Daniel W. Schar
Subject: Updated 4/3/98 mike's review
4/3/98 Nassau Coliseum, Uniondale, NY
Bryan Gilstein recommended that I review this. I really enjoy these
April 1998 gigs, and think they still hold up, even after all of the
great music played in 1998 (most notably, 10/31/98, 11/2/98, 12/31/98,
and misc. Europe and summer US 1998 shows, imo). I really love the
4/2 and 4/3 second sets (though I disagree that they are either
overrated or underrated.. they are rated just fine.. :).
Opening segment of this Mike's Song -- which opened this show -- is
quite standard, maybe a little slower than usual, with the "tramps
jam" not beginning until 2:45. The jam opens with Trey releasing a
digital delay loop that spirals its way through the groove laid down
by Mike, Fish, and Page.
Around 3:47 Trey starts rhythmically chording along, creating a cushy
funky groove. He starts noodling after 30 seconds, though not that
melodically at first. The groove coasts along for several minutes,
and features some pleasant soloing from Trey, as well as active,
equally melodic work from Mike. This jam doesn't really go that far,
generally speaking. Trey picks things up around 7 mins, though, with
more fiery (and less plaintive) soloing. Page's supporting chords are
quite good in here, though I wish they held a more prominent place in
the mix. Page needs, imo, to step out more when the funk gets thick
(that's just an aside; this ain't no funky jam). The closing chords
to the Mike's Song opening segment finally begin at 8:52, and at 9:08,
Trey nails The Note that starts the "post-tramps segment" of Mike's,
and often leads into Simple.
No Simple in here. Instead, a magical groove evolves, with Trey
soloing darkly (yet melodically and repetitively) in the lower
octaves. Fish continues to rip out that plodding, thrilling, Mike's
Groove rhythm! Phat accompaniment from Mike and Page in here, too
(10:30), as Trey begins repeating a lick in raucous fashion! The
jamming at this point (11 mins), sounds much like 1994-1995 Phish, and
not the open, funky, minimalistic improvisations permeating the
1997-1998 shows. Trey lets loose quick, fiery licks -- similar to
ones in the 10/30 Vegas Tweezer -- around 12 mins, as the jam loses
some wind, progressively getting spacey & mellow.
At 13:38, there's a great, real ->segue into MOHP, out of the somewhat
spacey, melodic fog that ended this good, but definitely not stellar,
Mike's Song opener.
Weekapaug Groove begins > after a *great* MOHP, at 17:32. Mike's
opening solo section is snappy & quick, as usual, and lasts 30 or so
seconds before Page and Trey enter with Weekapaug's theme/chords. At
19:16 the jam begins in typically Weekapaugian fashion, with Trey
immediately soloing mellifluously about Weekapaug's traditional
theme. The first minute of this solo reminds me of many old
Weekapaugs, actually. It isn't unusually inspired. Just the usual,
*awesome* fare we've come to expect in Weekapaug. This is still one
of my favorite Phish songs! I can't name a version of Weekapaug that
I didn't at least somewhat enjoy. :)
Trey climbs the frets brilliantly around 21:20, and there's a nice
roar of approval from the crowd. He starts Tearing It Up around 22
minutes, though, increasing the intensity of this 'Groove tenfold in
the process. The jam plateaus a bit, though, and at 22:50 or
thereabouts, Trey starts chording rhythmically, and PAGE takes off on
the Clavinet. =^] Burts of genius from Page. Unusually melodic,
simple chords from Trey around 23:50 (I don't think I've ever heard
him do this in a Weekapaug.. seriously). Only lasts for two or so
measures, though, before he takes off grooving along again. [Editor's
Note: I'm told by Jesse Jarnow that this is a quote of "Free Thought."]
Mike repeats a rich bass riff over and over again, in the midst of
Page and Trey's casual chords. Fish continues to pound out an
intricate, yet nevertheless traditionally 'paugian, beat! Niiiiice!
(25:40)
Then there's a dead stop at 25:55 or so. Trey continues to repeat
some funky chords rhythmically in the "space," for a measure or two,
before Page, Mike, and Fish blast back in! Page is definitely
stepping out in THIS funky jam. I just wish he were higher in the
mix!! At 27:22, Fish starts "Ouuuuu"ing, probably along with Trey.
The similarities between this groove and "Crosseyed & Painless" are
obvious. I think it'd even be reasonable to call this a "C&P Jam" on
setlists. [Editor's Note: Jesse Jarnow hears Page quote the theme
from the movie "Brazil" in this section.]
Trey finally steps out soloing melodically around 28:20, and god damn
is it beautiful! Very soulful, Santana-esque melody. It sounds to me
like a play on C&P's theme, even though it isn't a note for note
quote. "Tease" would be appropriate here, I suppose. Trey's dancing
around C&P's melody line.
At 29:44, there's a dramatic key change, and WHAM!! =^] Weekapaug
comes back in, and the crowd (once again) roars with approval! Trey's
soloing in these final minutes is *excellent*! A very climactic
close!! Like many recent versions, they even pick up the beat,
dramatically! Fish is such an incredible drummer.. what a pace! =^]
Strong chording from Trey, and MAYHEM basically ensues!! What a
MONSTROUS ending to this Weekapaug! No closing lyrics segment!!
One hell of an ending. The chords Trey was playing sounded
familiar. This wasn't a "Can't You Hear Me Knockin'" (Stones) ending,
of course, but something else. I'm pretty sure I've heard a classic
rock song that ends in a manner quite similar to the way this Paug
ended. Oh well. I can't remember what it's called.
Overall, this Mike's Groove is an easy B+. The Weekapaug *smoked* in
the final ten minutes, but the Mike's Song was avg. great B/B- fare at
best, imo, even in light of the last few years.
two cents
charlie
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