Phish fans have long admired the compositions of guitarist and front man Trey Anastasio. Since the earliest days of the band, it has been his intricate compositions scored for rock quartet that have formed the backbone of their repertoire. In 1999, Anastasio started touring solo and experimenting with arrangements other than the standard rock four-piece. The first tour was a straight-up power trio, but then he began to add horns and various layers until it stabilized with the current ten-piece band (who will headline their second Bonnaroo this June). No matter the lineup, it has always seemed he had a full orchestra playing in his head. On his new release, Seis De Mayo, which hits stores on April 6th, we finally get to hear some of these songs the way he had always envisioned them.
The first thing you need to know is that this is definitely not a rock and roll record; it is a serious classical work, and the only reason for record stores to stock it in the rock section is for accessibility. Make no mistake about it: this is an album that you could give to your grandmother. While that may sound like an insult, it most certainly is not. The familiarity of the tunes is like an inside secret for Phish fans, but it is certainly not required to enjoy Seis. The compositions sound completely natural the way they are scored here.
A prime example is
