Mikes review - 12/30/99 Big Cypress Campground, Big Cypress, Florida

Date: Fri, 23 Jun 2000 21:38:27 -0700
From: Charles Dirksen [email protected]
Subject: 12/30/99 Cypress Mike's Groove in Review.. 
 
12/30/99 Big Cypress Campground, Big Cypress, Florida
 
Mike's Song opens up well. "Tramps" jam segment at 2:52. You know it's going
to be a badass version when, within only a few measures of the opening of the
jam segment, Trey starts chording heavily in a Zepplin, IMMIGRANT SONG fashion
(3:30).  Trey briefly teases Immigrant Song's main riff around 4:05.  He then
quotes it around 4:25. This Mike's Song is -- in Samuel L. Jackson's finest
tone -- one BAD MOTHERFUCKER.
 
Around 5:40, as if to say "KISS MY ASS," Trey starts creating (I hesitate to
say "playing") this sinister, wretched combination of sounds -- overtop a very
powerful, thick groove laid down by Mike, Fish and Page.  I'm told on good
authority that the lights and fog were *unbelievably cool* and even
*awe-inspiring* at the show during this jam.  I'm imagining the most
incredible Phish fog and light show I've ever seen as the backdrop of this
jam, so I can easily understand why this Mike's Song really fucked with
people.  Nevertheless, that sound I mentioned Trey creating back at 5:40 or
so?  Well, Trey's still doing it around 8:30.  Just repeating this erie,
bizarre, never-heard-before-in-any-jam noise/sound.  It's not quite a "chord."
 
Anyway, Trey just sustains some dissonant noises around 9:15 or so.. There's
nothing melodic about this jam at all.  Which perhaps explains why some people
thought it sucked (but was undoubtedly very cool to behold at the show given
Kuroda's prowess on lightboard).  In fact, by 10:51, there's an almost
Immigrant Song-like underpinning to what is basically "a bunch of noisy shit"
from Trey.  Mike starts riffing ominously around 11:30, and Fish starts
cranking out the jam -- picks up the rhythm into something extremely upbeat
for Mike's Song.
 
I can't recall the last time that Mike's featured a rhythm like this!! =^]
THIS IS FRIGGIN' INSANE, PEOPLE!!!  I'd swear that Trey creates some whinnying
noises in here!  (12:30)  Page is chording heavily, too, adding to the wall of
sound with the rest of them.  Around 13 minutes the jam starts sounding kinda
like Mike's Song again -- only like a really fucked up, dark and twisted,
Mike's Song!!  =^] =^] Trey returns from Dissonant Hell and starts soloing
hard and spiritedly -- but it's not "mellifluous" by any stretch!  It's ROCK
STAR TREY, BABY, and he's KICKING ASS along with Mike, Fish and Page! =^]
There's no "climax" to speak of in this version.  It just jams HARD.  At 15
the jam drops back into a lighter, kinder, friendlier Mike's Song, and at
15:08 they play the Mike's Song tramps segment closing chords.  At 15:25
Simple starts up.
 
Simple is quite a contrast to the Mike's Song -- as you probably already
guessed.  It's happy and light and nice.  Dare I say "gay." It's fine.  It
dies out, and Fish starts up Hydrogen's rhythm long before the others start
playing its composition. Hydrogen is played well, albeit a bit slowly.  An
early morning Hydrogen...  It isn't as perfectly played as it has been in the
past, but so what. It's pretty.
 
Weekapaug kicks out at 27:20.  Mike's opening lead rips well, but lasts for
only a few measures (as usual) before Trey and Page come in.  Jam segment
begins at 28:50, and Trey takes off melodically soloing right away.  He starts
playing Auld Lang Syne after only a couple of measures (and plays it for about
30 seconds).  Fish's drumming in here is FANTASTIC, fwiw.  Fish is noticeably
more upbeat than usual for Weekapaug.  He's exceptionally vigorous on his kit!
After playing Auld Lang Syne, Trey returns to typically melodic 'paug soloing.  
Mike and Page accompany quite well.
 
At 31:11 the jam drops back a bit.  Trey starts playing rhythm guitar as Mike
and Page become more prominent (Page is on the grand).  But the jam doesn't go
anywhere in particular.  Just coasts along -- but beautifully.  They are
clearly listening well to each other.  I love Page's piano playing in this
'paug! =^] Trey starts leading again around 32:30, and the jam takes on more
spirit and energy as a result.
 
At 33:10 or so, the jam once more breaks down into another "segment" of sorts.  
Page plays a bit on the moog!! (33:40) =^] I wish he hit the moog more often.
Trey just plays rhythm guitar.  At 33:57, with not much going on, Trey starts
speaking into the mic.  (should have seen this coming)  He thanks the
audience.  At 34:34 they launch back into traditional 'paug jamming.  There's
a decent (but far from climactic) closing jam, which begins around 35:30, and
lasts until 35:52 or so, when they break into the closing 'paug chords.  
Sharing in the groove. They finish the 'paug normally, and then end with a
Grand, Extended Closing Chord. Total time: 37:12.
 
As you might have been able to tell from the above, this Weekapaug really
isn't all that impressive in light of the Mike's Song.  But it's still
above-average, IMO.  It just didn't have the punch that many Weekapaugs from
the last few years -- even show closing versions -- have had.  The Mike's
Song, though, **RAGED** and is definitely "hear at all costs."  It contains
some very nasty, repetitive, arguably dull jamming, to be sure.  But it also
contains several minutes of thrilling, mesmerizingly intense jamming!  It's
easily an "A-range" version of Mike's Song, IMO.  You want to hear this
version.  The 'paug was an easy "B+" above-average/great Phish version of
'paug, IMO... that is, nothing transcendent or must-hear, but definitely above
the "average-great" norm.  Given the power of the Mike's Song, I've got to
give this whole groove an A- "must hear" rating -- lest I lose any more
credibility than I already have.
 
two cents,
charlie


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