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4/16/1992Link to show
Ahh, where to begin? April ’92 is definitely one of my favorite months of Phish. Particularly the run up the west coast. I had tapes of a few sets from this run early in my Phish career, and the frantic, zany energy epitomized in this run played a large part in defining the band for me.
I should point out that I was never an avid tape trader or collector, and only did the b+p thing a couple times, tops. Practically my whole collection was spun and traded in person, hanging out listening. And having a not-huge circle of phish-friends at that time, we were all in a beggars-can’t-be-choosers kind of position. Less than optimal sound quality, questionable date/location, weird breaks, incomplete sets, odd filler? We didn’t really care. Any new phish we could get our hands and ears on was welcome.
The two points of the above being:
1. We’d end up with different shows from different sources and very different mixes, to the point that you could barely tell it was the same band. But that was great because you could hear the different band members more prominently on different tapes, and get a more full picture of what was going on. It was a much more diverse and curious listening experience than one would get from a pile of LP mixes. What you’ll hear in this mix is a ton of Mike, but you’ll barely pick up Page except for his featured spots. (apologies to @Mrs_Chairman_of_the_Boards)
2. And I’ve mentioned this before in threads, but the fact that I ended up with this and many other great shows is far more a testament to the ability of the fans and tape traders at large to recognize and distribute great shows, than my acumen at seeking out and acquiring winners. I specifically chose this show for Sanity Saturday in hopes of
a.) piquing the memories of some older fans, maybe who also wore out this tape as part of their early collection, and
b.) to point some newer or younger fans to exactly what it was that grabbed a bunch of us in the early and mid-90s, before we had the cow funk, space funk, porn funk, meatball, festivals, 40 minute jams, storage, staccato, etc. etc. etc. Remember that the most explosive growth in the bands history (small clubs and theaters to MSG in less than 2 years) came before all this stuff that defines the band currently, and arguably for the past almost-15 years.
So, without further ado, and before I go into all-out outline form (though I do love a good outline) here are some high points and things to listen for. I’m not gonna do a full song-by-song, we’ll leave ample room for discovery for you, Dear Listener.
Tones and Textures - particularly in the vocals and Trey’s guitar. They used echo effects on the mics much more to create variety in a lot of the songs. Sometimes a little, sometimes a lot, sometimes not at all. But the vocal reverb was definitely consciously used to transport the audience (and maybe the band) into certain songs – to create a richer experience of being in the music.
And Trey’s tone was all over the place, in a good way. From a hard crusty crunch (Melt) to an ethereal airyness (Weekapaug), there is a tremendous range of tones.
Jazz sensibility – in Possum for example, it sounds less like they are playing the song, than the four of them are playing themes around the song. Only through the four parts coming together does it become Possum. Isolate any of the four, and it might be tough to pick out what they are playing. This was common in the earlier years (and maybe easier in tiny venues), and led to great variety from version to version. This bass-heavy mix in particular really highlights this.
Musical onomatopoeia – the band playing background music to paint the picture of the song. Much like the Big Ball Jam sensibility, check it out, for example, in the lighthearted Antelope intro and especially the Forbin’s narration. Which leads me to…
Trey the Storyteller – his voice, enthusiasm, cadence…he is a natural storyteller, and so easy to listen to. This narration is one of my favorites, from his acknowledgment that this was their first time on the West Coast, to lifting the roof off and transporting everyone to Gamehendge, to the story. Vintage stuff. Was so so glad to get another taste of that ease and enthusiasm at Superball. It was truly a spiritually uplifting moment to recognize that is still there.
The Cheese – By some estimations, one might say that the show fizzled towards the end, but by listening to the crowd, it seems like they were doing exactly what was right for the room at that time with the Terrapin, a capella mini-set (honestly, they could sing pretty well even back then) and Fishman introductions.
I could go on and on. Well, I guess I already have. So just a couple specific highlights:
Buried Alive – staight, crisp, fiery opener
Possum – extended intro with secret language signals
Ice – listen to Mike in isolation, then almost a call and response in the middle of the song in the jam
Bouncin – ORLY? YARLY! I know I’m a Bouncin’ fluffer, but this is why. A little more up-tempo and with sincere energy. Some neat textures. I still love this song.
Fee cuts into Maze. Interesting…
Melt – brings heat. Similar crunch to the Ice jam.
Forbins/Mockingbird Narration – pure awesomeness
‘Lope – playful ~2 min intro, and gets feisty. Again, listen to Trey announce set break. Fun with effects…
Set II – Continued excellence and energy, but I’ll just say pay special attention to the Weekapaug. Around 14:32 (the digital version I have tracks Mikes/H2/Weekapaug as one track) Trey hits a quick series of chords with texture reminiscent of Pretty Little Ditty by RHCP. This leads into several minutes of Fish, Mike, and Page holding down the groove and him playing these haunting, ethereal, experimental textures. It seriously makes me wish I had Mr. Miner’s vocabulary to describe this stuff. But just listen. Its not quite hose, I don’t think, but its astounding. You can see the Trey-face just by listening, this is clearly one of those times where he is not playing notes, he is a conduit of energy. You’ll also notice that the crowd, rowdy and noticeable throughout the show, falls dead silent. One could only imagine what that sounded like in the room.
Enjoy.
Score: 16
/tl;drCheck the reviews of the show posted on the show page, too. They definitely help frame the show.
Score: 2
For the visually oriented - What old tapes of Spring '92 might look like:
Score: 9
This show and 10-31-90 were the first 2 tapes I had. The circulation of this show turned a lot of people on to the Phish. Thanks for posting! gonna rage to it now
Score: 1
Great show and a great write up. i listened to set 2 on my way to work this morning, as i may have had a heads up on this show of the week.im one of those people that wore out this tape so many years ago. This mikes groove is my favorite of the early 90's, and is solely responsible for starting my 17 year obsession with phish. its absolutely stellar. a raging mikes > flawless H20 > one of the most beautiful weekapaugs that you will ever hear. to me, treys solo sounds a lot like part of his solo from the Island tour twist. In both jams, treys notes seem to almost melt into one another, making the solo sound like one really long, continuous note. its as euphoric of a jam as ive ever heard. a must hear......absolutely.
one other thing ive oftened wondered, and you brought it up, is about the sound quality of my tape (and subsequent mp3's). they sound so unlike any other recording of phish that i have ever heard. Mikes bass is loud and clear as day, trey has a lot of echo in his guitar and in his voice. it also kind of sounds like treys voice has been manipulated. the best way i can describe it is to imagine what treys voice would sound like if it were sped up just the slightest bit. its a little higher pitched, a little smoother. truth be told, since day one of hearing this show on tape, my perception of the recording is that it has been doctored.
anyway, great great show. i hope everyone downloads and enjoys it as much as i have.....especially you younger fans. this is where it all started!
Score: 2
Like everyone stated, Gordon OS loud during this show starting with It's Ice. I love the shred solo by Trey during Rift with Gordon slamming the bass behind him. When Paug for to that awesome section, I unconsciously stopped what I was doing and someday in on the jam.
Score: 1
@Slothberries said: truth be told, since day one of hearing this show on tape, my perception of the recording is that it has been doctored.:::totes Keanu face:::
Never considered this. Interesting.
Score: 0
i have some great stories that center around the tapes of this show. i "got it" for the first time while listening to the mikes groove. on another night, i played the same Mikes groove for my buddy while we were high on ecstasy pills. watching it have the same effect on him that it had on me is something that i will never forget. we sat in almost darkness, lit up a J and listened to the nearly 20 minute groove in silence. at the end he turned to me and said one word......"Wow". he was hooked, just like mememories
Score: 5
@_________________________ said: Like everyone stated, Gordon OS loud during this show starting with It's Ice. I love the shred solo by Trey during Rift with Gordon slamming the bass behind him. When Paug for to that awesome section, I unconsciously stopped what I was doing and someday in on the jam./speaking in tongues?
Score: 2
Two comments to pass along: 1. Kevin Shapiro played the Forbin's-> Icculus-> Mockingbird on the Big Cypress Archives show, and apologized beforehand for playing a selection that had been heard already by so many. However, listening to the expression in his voice when he says "Oh God, what a night", says a lot about what this show meant to him personally.
2. The Pharmer's Almanac is IMO inferior to the Phish Companion, but I've always appreciated the comment the Almanac published from one Justin Weiss in reference to the Anaconda Theater show: "... a great choice for those who have never heard Phish live - it hooks them every time!"
4/16/92 was also my first full show on tape, either my second or third tape ever. Johnnyd's description of acquiring cassette dubs back in the day was very much my experience as well. I was glad to see love given to this version of Weekapaug; I can't think of another version which features a similar section to what was described. I wish I could give the post a million +1s!
Score: 2
I'm hoping to give this a listen tonight. A buddy had this tape but I never had a copy for some reason. I love looking at the track times. Antelope and Possum are the longest tunes, at 12:26 and 11:17 respectively. I am sure no body back then complained! Nice write up by the way @johnnyd.
Score: 1
Score: 0
woot! thanks @johnnyd!
Score: 0
So, "Roll-away Brad" is Brad Sands, right? Anybody know of a story behind that one? (or care to make one up?)
Score: 0
i downloaded this show last spring. loved it! great choice.
Score: 1
@johnnyd said: @Slothberries said:The Roxy bizarre has the same vocal effect during the second half of the first set of the "ill" show from the runtruth be told, since day one of hearing this show on tape, my perception of the recording is that it has been doctored.:::totes Keanu face:::
Never considered this. Interesting.
Score: 0
@_________________________ said: @johnnyd said:im gonna have to check that out.@Slothberries said:The Roxy bizarre has the same vocal effect during the second half of the first set of the "ill" show from the runtruth be told, since day one of hearing this show on tape, my perception of the recording is that it has been doctored.:::totes Keanu face:::
Never considered this. Interesting.
Score: 0
Great writeup, @johnnyd!!These tapes were never far from the deck in my car. Started my obsession with Buried Alive and Trey's narration and banter. The Mike's Groove is the quintessential early 90's version. And I had forgotten that Fee forgoes the last chorus and goes straight into Maze. Such a great show!!
Score: 2
Awesome writeup @johnnydI honestly don't know the last time I listened to this show...it's possible I might not have listened to it since the late 90's...thanks for the great recommendation...
Score: 2
Bump for the weekday crowd...
Score: 1
So, does anyone hear the island tour twist in this weekapaug? Anyone?
Score: 0
I'll go back and listen to that Twist in the near future, let you know what I think.I've heard that a good handful of times, but not well enough to instantly associate it...
Score: 0
The similarities in the jams are here....9:10-11:00 on the island tour twist
3:30-5:10 on the santa barbara weekapaug
same euphoric jam. its funny that both are about 2 minutes. i wonder if there are any other instances of this type of playing by trey
Score: 0
does anyone wanna do the write up for this week or any other weeks in the future?
Score: 0
ill do it if i can change the name from sanity saturday to something, i dont know, less dumb?
Score: 0
if someone else wants to go that hasnt, then by all means go aheadill take it if you cant find anyone.
Score: 0
@Slothberries said: ill do it if i can change the name from sanity saturday to something, i dont know, less dumb?
It has to stay sanity saturday! That's the perfect name!
Score: 0
@Slothberries said: The similarities in the jams are here....Just getting around to listening to the Twist. Yup. The way he's bending or molding the notes from one to another, just like you describe above. Definitely hear the similarity. Its very atmospheric.
9:10-11:00 on the island tour twist
3:30-5:10 on the santa barbara weekapaug
same euphoric jam. its funny that both are about 2 minutes. i wonder if there are any other instances of this type of playing by trey
I daresay its almost like a less distorted, less intrusive version of the whale call.
Score: 0
good read.
Score: 1
@johnnyd said:
@Slothberries said:I think he's messing with the volume to get that atmospheric kind of tone. It almost sounds like a slide.The similarities in the jams are here....Just getting around to listening to the Twist. Yup. The way he's bending or molding the notes from one to another, just like you describe above. Definitely hear the similarity. Its very atmospheric.
9:10-11:00 on the island tour twist
3:30-5:10 on the santa barbara weekapaug
same euphoric jam. its funny that both are about 2 minutes. i wonder if there are any other instances of this type of playing by trey
I daresay its almost like a less distorted, less intrusive version of the whale call.
Score: 0
@kipmat said: So, "Roll-away Brad" is Brad Sands, right? Anybody know of a story behind that one? (or care to make one up?)He started out with phish by loading the gear before and after shows, so probably because of his prowess with rolling out amps and also he was very good at doing this sort of thing with shopping carts in the super market
Score: 1
Actually its because Frankin's Tower is his favorite song.At least that's what @Robert_Zimmerman told me...
Score: 1
@johnnyd said: Actually its because Frankin's Tower is his favorite song.
At least that's what @Robert_Zimmerman told me...
EH?!??!
Score: 0
Best vacumm solo ever.
Score: 0
One of the best threads ever. Yes i need to listen to right now.
Score: 1
Just listened to this for the first time. Great show. Everything was played to perfection, great jams all around. Ice, Melt, Maze, Mike's Groove, especially Paug, Trey was HOT!! Forbin's Icculus Mockingbird was great as well with some good narration and background from Mike. Mike was great in this show. That is all.
Score: 1
Oh forgot to mention the little groove Fishman does th introductions over. f***ing sick. Slap da bass mon!!
Score: 1
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