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theghostpinesmusic · 10 months ago

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Seeing as how I haven't done a music-related write-up for a bit and how it's currently 4:30pm and therefore too late in the day to start on another work-related project of actual substance...I'm going to tell you about this version of "Bathtub Gin" that I like!

As I said (threatened?) in my last Goose post, I'm consciously branching out a little between now and whenever the hell the next Goose show will be. In my own personal listening, "branching out" means I've been listening to a lot of stuff I've never heard before, both stuff that's totally new to me and stuff that's been sitting ignored on my "Try this!" list for a long time. In my blog writing, "branching out" apparently means "writing about the band I've listened to the most by an entire order of magnitude for the last twenty-five years."

Hey, if I can't be perfect I'm sure as hell going to stop trying.

I am not going to start this post with a primer on Phish because a) if you're reading this you either already know them or you don't know them and don't care, and b) there are literal books about this out there because these guys have been playing for forty years and every little thing they do is steeped in weird mythology and inside jokes and as much as I love all of it, I don't love it enough to write a hundred thousand words about it.

If you're somehow entirely new to the band and also feel an obsessive need to learn/dive in, my super idiosyncratic recommendation is to listen to their album A Live One a few times, and then buy and read through this very short book by Walter Holland, who in my humble opinion is sort of like the Hunter S. Thompson of writing about Phish jams.

I will henceforth only be writing in the micro- and macro-cosms about this particular version of Phish's "Bathtub Gin" and my reactions to it, despite not being the Hunter S. Thompson of writing about Phish jams.

Biologically speaking, I almost certainly, technically have THC in my bloodstream right now if that somehow makes you feel better.

So, Phish was one of the first places I turned at the beginning of this little Goose hiatus. For a lot of reasons, despite being the band that most immediately jumps to my mind when the phrase "favorite ever" is used in a variety of contexts, I haven't listened to Phish much over the last few years. I wrote a little bit about why in this previous post, and to keep my promise of staying focused and save myself some time typing, I won't say any more for the moment: suffice to say that I overdid it a little bit with The Phish and The Phish's Internet Fandom, which soured me on the band's music and left me sitting on the sidelines for years, wondering if it was the band that had come, over time, to suck ass, or whether it was just me.

Well, I'm relieved to report that it was, in fact, me who was doing the ass-sucking.

I learned this, in large part, by diving into the band's recent New Year's Eve (NYE) run at Madison Square Garden (MSG). I actually started my Goose Interregnum concert-viewing here only because the run had just ended and I'd seen online that the band had played all the way through its storied, elusive, and utterly dorky "Gamehendge" saga on 12/31, for the first time since 1994 (or maybe 1995, kill me in the comments Phish fans, I'm ready to die).

I wanted to see this, even if after the fact and from my couch, because back in my early Phish fan-Hood (see what I did there?) Gamehendge had been a big part of what drew me to the band, and I was excited by the prospect of being a grown-ass, middle-aged man bawling his eyes out on his basement couch because in a video another old man was on a stage singing a song about a bulldog and a cat fighting to the death while a comet crashed into Earth, bringing about the end times.

When you're a straight, white kid growing up in suburbia, you either become an absolute monster or your brain finds really fucking weird things to care a lot about. I like to think I fit into the second category.

Anyway, with a more-than-usual amount of spare time on my hands, I decided to try watching the entire MSG NYE run, starting with 12/28 instead of jumping straight to 12/31. I thought, maybe, I'd have a decently fun time and get a good sense of where Phish was at musically (an important thing to know when all the band members are sixty-ish years in age and you haven't heard or seen them play since 2021). Then I watched 12/28 and it destroyed me. Like, this band of aging dork-rockers literally lit the entire arena on fire with their instruments and it burned down around them while they just kept jamming. I'm not sure how anyone escaped MSG alive, let alone how there were concerts there for the next three nights.

12/29 was just as good, if not better, and 12/30 was an incredible show that only paled in comparison to the previous two. My reaction surprised me, and so that's why I cranked up the ol' typing machine, shoveled some fresh coal into the boiler, and sat down to write about...wait, what was I actually writing about, again?

Oh, yeah. "Bathtub Gin."

I'm not gonna give you a lengthy history of this song, for all the same reasons I cited above for not giving you a long history of Phish as a band. I will tell you it's a "classic" Phish song in that it was played live for the first time in 1989 and has been played three hundred and four more times in the one thousand, seven-hundred and fifty-one shows the band has played since. There also a studio recording of it on Lawn Boy, which I always forget because who the fuck listens to Lawn Boy?! The song is used frequently, but not always, as a jam vehicle, and I tend to enjoy hearing it live due to its quintessentially Phish-y sound: Phish writes and plays songs that sound a lot like many of their influences, but they also have songs that sound only like Phish, and this is one of them. Well, it sounds like Phish and Gerswhin, I suppose. "Bathtub Gin" is also my wife's favorite Phish song, but I'm not entirely sure if that's because she likes it or because she knows that liking "Waste" or "Shade" or "Farmhouse" more would put her firmly in the "Stereotypical Phish Wife" realm.

This 12/28 version of the tune is a great one for jamming, but as usual I'll (mostly) refrain from commenting until the point in the video where the composed portion of the song leaves off and the improvisation begins.

I do want to start by saying I love the retro feel of this year's "Live Phish" intro/logo sequence. Also, yes, Page's opening keyboard banging is supposed to sound like that. It's how he lets you know he's having fun! Gershwin tease at 2:26 if you're keeping track. Otherwise, this is a pretty straightforward reading of the composed part of the song. I absolutely love the sound mix here, as you can hear all four members' contributions to the song more or less equally. It blows the old days of tapes essentially mixed to make Trey's guitar 80% of the band's sound out of the water. It also leads to me basically just listening to Mike Gordon play bass for the entire show because if you can, why wouldn't you?!

It often sounds like the band might be singing actual, English lyrics during the outro portion of the song, but I don't think they ever are.

The jam starts at 4:50, and basically immediately Fishman is playing stuff on the drums that my simple brain can barely comprehend. This is perhaps one significant difference between Phish and the Goose jams I've been covering previously: the rhythm section of Phish is much more directly involved in the direction of the band's improvisation, whereas it often feels like the drums and bass of Goose are just laying a foundation for the melody players to improvise over. One is not inherently better than the other, but I do often feel like there's a lot more to listen to with Phish, despite them having fewer members.

Anyway, this first chunk of the jam feels a lot to me like being lost in a fuzzy, pleasant labyrinth: the tempo is slow and the playing is soft, but there's an undercurrent of tension there. By 5:30, things have started to straighten out a little, though the lights have gotten absolutely weird. Fishman starts playing a more straightforward beat, and the rest of the band falls into a rock-sounding jam that makes me think of what Goose might sound like if their fingers were thirty years older.

Trey starts to sit back a little bit at 6:45, and the jam mellows out in response. It feels a little bit like he can't figure out where he wants to go next here, but Mike and Page take some turns adding ideas to the mix in the meantime. Eventually, Trey joins back in the fun, but still in a restrained way. For awhile here, everyone's just sort of playing together, with no particular standout or soloist, which is great.

Whatever keyboard tone Page switches to at 8:58 is fantastic. He follows it up pretty quickly with some weirder synthesizer stuff, and at 9:40 this pushes the jam in a more sinister direction. At 10:20, Trey switches over to a very Portal To Robot Hell guitar effect, and now we're in full-on latter-day Evil Phish jamming territory. Fishman is, of course, keeping a beat here, but it's odd and off-kilter (not a drummer, sorry to be imprecise) and makes the whole thing feel like it's just barely hanging together in the best way.

This kind of "almost-falling-apart" sound is, paradoxically, when Phish often hits their stride in jamming. I think it's what makes them sort of a love/hate proposition even among people who listen to a lot of improvisatory rock music. It's not particularly fun or comfortable, but I've never come across another group of musicians that can improvise with each other consistently in this way.

Trey's playing finally comes a bit to the fore starting at 13:00, but even here this doesn't feel like a rote jam "peak": instead, the backbeat that Fishman is playing keeps things feeling a little out of sorts and not entirely resolved. Trey and Page playing off of each other at 14:15 is nice. I'm not sure what's going on with the lights at 14:30, but I do know these guys consistently have my favorite light show in show business. There's some almost Allman Bros-sounding playing from Trey at 15:15 as we reaching peak craziness...

...then some initial teasing of the "Bathtub Gin" theme at 16:30 or so, teasing a return to the song proper to wrap things up!

The video fades out on a segue into what would turn out to be an excellent version of "Ghost," for those keeping score at home.

Anyway, thanks for reading my first (at least lately) Phish write-up. I'm going to try to do a few more of these from the run, including (I think) two new songs: "Oblivion" from 12/29 and "Life Saving Gun" from 12/30. Should have those up soon!

#phish #jams #jam bands #music #videos #writing #live music #Youtube

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