2011

Longtime Phish fan Andy Silver has been seeing the band perform since 1992 and recently spent some time preparing a list that we think will be of interest to our readers. Take it away, Andy…

Trying to get a handle on the evolution of Phish can be a daunting task. For new fans and seasoned vets alike, surfing through nearly 25 years of performances may seem like an exercise in futility. Each of us has special language, tour short-hand, inside jokes, personal preferences and individual memories that shape our perspective on the band, its history and our place within it.

[Photo by Regan Teti Marscher]

Many of us have spent hours arguing the merits of 1992 versus 1995, or the cow funk of 1997 versus the juke box tour of summer 1998. Personally, I find these debates entertaining, albeit somewhat pointless, as beauty is always in the eye (or in this case, the ear) of the beholder. After all, what I choose to put on my iPod may be very different from what you consider to be “must listen material.”

Given this context, I set out to compile a list of shows (and multi-night stands) that roughly document the various stages of Phish, their sound and their emergence as a cultural phenomenon. It should be noted that the list is not intended to be a “best of.” Rather, it’s a guide for those that love the band and want to revisit key moments in Phistory.

READ ON for Andy’s list of 200 Essential Phish Shows…

moe. @ Ogden Theater, Denver CO – February 5th

Words: Jonathan Kosakow
Images: Jason Woodside

I’ve always wondered why moe., of all the bands in the jam scene, has never caught hold of a larger mainstream audience. Their songs are easy on the ears, and the group’s sing-along choruses are nearly always high energy. But Saturday’s show at Denver’s Ogden Theater finally gave me my answer. At times we were spoonfed slow, low-energy ambience, at others we were caught in the middle of an old-fashioned cafeteria food fight. By the end of the night, it was hard to tell which way was up.

[All photos by Jason Woodside]

It was about 9:30 by the time the band took the stage. Following a spicy set of pre-show music that included everything from Van Halen’s Hot for Teacher to Michael Jackson’s Billie Jean, the first notes of live music we heard were those first lingering tones of Mexico. It was absolutely the way to start it off, an old favorite to remind us why we came. Al Schnier’s noodling guitar was helped along by Chuck Garvey’s, and the two worked off each other’s riffs until they settled into a steady groove for Day Dreaming.

Set One: Mexico > Day Dreaming, Blue Jeans Pizza, Good Trip, Opium > 32 Things*

Set Two : Haze > Dr. Graffenberg, One Life, Billy Goat > Understand, Kyle’s Song > Moth

Encore: Mar-DeMa, Spine Of A Dog

* – w/ Allie Kral of Cornmeal on Fiddle

[Setlist via PT moe.]

Soon though, somewhere between the high notes of Rob Derhak’s vocal on Blue Jeans Pizza and the joke-along “Don’t Die’s” of Good Trip, something started to fade. Perhaps the band, at the end of a tour and about to take a quick stint in Japan, was a bit road-weary, but it definitely showed in the general lack of collective energy throughout the room.

Their jams, though note-tight, dragged a little too long, and the foot-shuffling slowed throughout the audience. Soon, though, the familiar drone of Opium sunk into our brains and swallowed us whole. The slow, powerful train that is this song gained speed steadily until it found its (in)sanity in the bright lights of Derhak’s bellowing chorus. The outro of Opium saw the introduction of Cornmeal’s Allie Kral who joined the band for 32 Things, ending the set with a three-way guitar-guitar-fiddle duel that was powerful enough to leave Schnier with both jaw and hands dropped nearly to the floor in stupefaction. “Leave it to Allie” was the word throughout the room during setbreak. READ ON for more on moe. in Denver…

Widespread Panic returns to the town in which the band was formed – Athens, GA – tomorrow and Friday to kick off a celebration of the group’s 25th Anniversary at

In this week’s column, featured columnist Brian Bavosa takes a look at the The Dead’s legendary Europe ’72 tour, along with the impending 60+ CD release…assuming you were lucky enough to snag one.

The old saying goes: There is nothing like a Grateful Dead concert. If that’s the case, what can one say about an entire tour? Especially one as special, and as much of a landmark as the famed 22-show, Spring run of 1972? Often lauded as one of The Dead’s high-water marks, Europe ’72, as it is commonly referred to, is quite simply an extremely important time in the band’s history.

[Europe ’72 artwork by Kelley/Mouse]

So, when the announcement came that The Grateful Dead would officially be releasing the entire tour in a 7,200-copy pressing, $450, limited edition boxed-set, even the most die-hard of Deadheads were at least slightly taken aback. However, within four days of the pre-sale, the allotment was sold-out, leaving many who wanted to purchase this historic piece of history out of luck.

The band quickly decided they would still release more units – at the same price tag of $450 – but without the commemorative packaging, something that simply doesn’t sit right with me and a number of others.  Today’s column will focus not only on the magical time of the Spring of ’72 in Western Europe, but also allow me to chime in -and ask your opinion through PFPS’s 2nd ever poll  – about what The Dead should have done after the initial sets sold out.

READ ON for more of this week’s Postcards From Page Side…

Brooklyn’s Food Will Win the War got into the holiday spirit this winter and filmed their latest music video at SantaCon 2010 amidst the legions of blotto Santas and Elves.