Date:    Wed, 11 Feb 1998 05:58:38 GMT
From:    Charlie Dirksen 
Subject: 11/2/96 Crosseyed&Painless DEG

Feces Pond wrote:

}For some reason it seems that there is some question about Dave's Energy
}Guide (DEG).  Apparently most sources say that it hasn't been played
}since 1988.  Others would say "what about the Tweezer from Jones Beach
}'95" or "Mike's Song from NYE '95?"  Still I'm here to say what about
}Crosseyed and Painless from Coral Sky Amphitheater in West Palm Beach,
}FL (11-2-96).  There is definitely a DEG in there.  There is also a DEG
}in the Possum from Greatwoods on 6-30-95. And finally there is a DEG in
}the Bowie from 12-30-93.  If you don't believe it go get the tapes. I
}don't understand what all the confusion is about.  Anytime there is the
}slightest tease of some song somewhere it gets attention on setlists.
}Why is there not such attention for a DEG that lasts for 2 or 3 minutes?

I haven't listened to the 6/30/95 Possum or the 12/30/93 Bowie recently.  I
don't recall any substantial DEG in either of those versions, but there may
have been a tease.

Have you checked out the jam out of Twist Around from Phoenix 7/29/97 yet?
The most substantial DEG-like-jam I've heard from 1997 is in there, in the
background.  Trey started it up -- it isn't a typical "Digital Delay Loop
Jam";  it is instead this incredibly DEG-like loop.. definitely a DEG-tease
I would say.. It is subtle in that it is in the background while everyone
jams.. but it is OBVIOUS in that it lasts for at least a minute or two, if
not several minutes (I didn't time it).

Anyway, that said, here's a repost.  I haven't reposted anything in awhile.
(and Dan, you might find this of use for the hypertexted HFB)

**POSTED ORIGINALLY AROUND A YEAR AGO OR SO, I THINK**

11/2/96  West Palm Beach, Florida

Crosseyed & Painless breaks open the second set.  If you haven't heard this
Talking Heads tune, read no further and listen to 10/31/96-2 (where
Phish covers it, and jams on it a little bit), and/or also pick up
"Remain in Light" by the Talking Heads.  You are bound to really enjoy
some of the tunes on that CD, if not all of them.  I listened to a
tape of RiL constantly when I was in high school (for about a year..
around the same period that I listened to U2 and the the Smiths.. this
was strangely shortly after my Extreme Metal Stage -- in which I
basically listened only to Judas Priest, Iron Maiden, Kiss, Sabbath,
Def Leppard, and AC/DC -- and before my Classic Rock Stage began (I'm
now in the Jamming Music Stage, having evolved out of merely the Dead
Stage and Jazz Stage)).

C&P opens up with Fish on drums and Perazzo on Trey's minikit (you
know, his little percussion outfit).  At least, this is what it sounds
like.  Maybe Perazzo had his own little minikit in addition to the
tablas, I don't know.  I wasn't at this show.  I'm hoping that someone
who was at this show and has the tapes can correct me when I'm wrong
in this review.

After they play the opening lyrics of the tune, the jam segment kicks
in, predictably, after around 5-6 minutes.  Trey begins soloing
melodiously low on the 'doc, and around 8 minutes you can hear "Still
waitin.." from Fish and Trey, reasonably softly.  At about 8:30 or
something, Page breaks out soloing PASSIONATELY on the clavinet (I
believe).  Page has this warbly effect turned ON (this effect was used
a lot in 1996, actually.. it isn't the clean clavinet sound that he
uses in the Gainesville Tweezer, I think). Trey appears to let out
some effects on the 'doc, and sustain those, before moving to
percussion it sounds like (about the time that Page begins soloing).

For those who haven't heard C&P, it is EXTREMELY UPBEAT.  Someone
beautifully described the song "Trainsong" recently as being one that
accurately captures the feeling of riding a train, with the clicking
of the train tracks and so forth (his post was far more articulate
than my feeble reference here).  I mention it because C&P, to me,
conveys a feeling of Intense Activity -- of life in the city, or at
least Life as things-in-motion or as BEING-In-MOTION (OVERLOAD is the
natural conclusion of the events that RiL (atoms in motion?)).  I
mean, one can walk around a busy downtown area listening to this
groove and have a very envigorating experience (***WE CAN STAGE OUR
OWN MTV VIDEO***).

I'm sure at least some of you have listened to a great Maze (see
12/28/96; I apologize for calling it a "typically great second set
Maze" (I'm sorry Squirrel, Craig, Phishnet, etc.) -- it isn't "typical"
but contains some excellent work from Page and what I believe is a
somewhat extended effort from Trey (I'm not really fond of his work
here but...) thanks for the tapes Gordon Paleosharpless) um, I'm sure
at least some of you have listened to a great Maze with your walkman
on while walking around campus between classes or something.  Right?
Well.  This Crosseyed would make for fun listening in the midst of
lots of Activity (it is fun listening ANYWAY, of course, though..).

For several minutes the jam proceeds hastily in a semi-spacey (thanks
to Trey's 'doc effects) yet thoroughly percussion-driven groove, that
is mellifluously charmed by Page.  The thrillingly active Crosseyed
rhythm is continuously pounding with a distinctly mechanical accuracy,
carrying a captivating & enchanting jam, a Heideggerian joy of DASEIN,
a Husserlian PRESENCE that enshrouds the entire Advanced Western
Post-Industrialized Capitalist system in a Habermasian legitimation
crisis (or something).  TOO MUCH MOTION!?!??!??  AND YOU MAY SAY TO
YOURSELF

MY GOD

     WHAT
                        HAVE
I

DONE????!?!?!?!?!?!?!?!!!!!??????


By around 15 minutes Page is in the Piano's low octaves, and is
chording repetitively, revealing what almost seems to be **RAGE** in
here!!!  Fish starts getting very active on the drums (16 minutes),
and Trey and Karl are still apparently slapping the percussion
(meanwhile, btw, the trademark perpetual cowbell-thwacking of C&P is
still going strong! I guess Karl is handling this, because Fish is
going off the deep end in here).

Around 16:40 or so Trey picks up the 'doc again.  Mike, btw, for the
last ten minutes, has been very laid back, basically providing a solid
bottom to the groove, kicking it out with Karl (no crazy soloing from
what I can hear, but he isn't that prominent in this daud).  Trey
isn't doing that much on the 'doc (just strumming a little in the
lower octaves).  He starts throwing out some effects again afer a
minute or so.  He lets out a digital delay loop lick or two.. he
strums away rhythmically.  18:40.  Page is still on the paino,
behaving repetitively with chords.

Really a WALL OF SOUND is being churned out at 19 minutes, but then,
somewhat shockingly, Trey begins playing the primary Crimson
Disciplinesque "Dave's Energy Guide" lick using an intensely queer
effect at 19:10.  Trey plays these repetitive, OBVIOUS Dave's Energy
Guide licks for quite some time, but everyone else fails to join him
to create a serious DEG.  At 19:50 Trey stops playing DEG licks and
returns to strumming texturally in the low octaves of his 'doc.

At 20 minutes there's a little Santana-like (Gypsy-Queen-esque) rush
for about ten seconds, and then the jam quiets a little.  The beat has
NOT, repeat NOT, slowed down yet.  Fish and Trey start spacily
singing/saying "Still waiting" over and over again, and the jam gets
spacey in here, with soft light chords from Page, and wistful eerie
spacey effects from Trey.  Mike is primarily sustaining a low note on
the bass.  But at 21:30 or so, Karl and Fish and everyone start a
massive crescendo of the groove, acompanied by "Still waiting" vocals
from Fish and Trey (NOT in unison, btw).

At 22:10 or so PAGE starts repeating Dave Energy Guide's licks, and
does so for about 12 seconds, but sparingly (he doesn't let loose with
DEG or anything).  Meanwhile the beat just STOPS, and eerie, spacey
"Still waiting" vocals and occasional shots at miscellaneous pieces of
percussion and sustained-out Vibration of Life-like BASS from Mike and
effects (with sustain) from Trey pervade the venue.  C&P concludes
painlesly with a vibrating wall of sound that is as peaceful as
settling dust.. very pleasant ending, that is actually reminiscent of
the segue into Overload out of Listening Wind from 10/31/96. [Note
that the 10/31/96 C&P, with Karl's closing solo, is about 9:50.]

At 23:50, Antelope lightly segues in (Trey starts playing the opening
licks) out of the soft-roar that is the aforementioned fuzzy wall of
sound.  I'll let Victor review this Antelope.  I think it is
awe-inspiring, but hey, I really loved the New Year's version, too,
so.  The jam segment of this Antelope ends at 34:44, which basically
means that the jam segment was as long as many of the older versions
of Antelope.  The concluding segment is great given the exciting
percussion, but this Antelope isn't as hell-bent and incredible as,
say, 10/24/95, in my opinion.

Total time of this Crosseyed -> Antelope is 37:24, or thereabouts.
Fish lets out a "KARL PERAZZO" and a "NeeYAAAAH!!"  Waste is honestly
the **PERFECT** breather after that monster of a jam.  Aaaaahhhhhhh.

I certainly haven't heard as much of 1996 as I will have heard in
about a month, but I don't think I'll regret making the claim that
this is one of the best sets of Phish in 1996.  I would give this set
a 9.0 for height and a 5 for width (it does have Day in the Life and
Adeline).  Even the Waste has a spectacular amount of sweeet (but
repetitive) soloing from Trey, and is perhaps the kindest version of
this song that I've heard to date.  But to put my rating of this set
in perspective, I imagine many of you have heard the 8/17/96 Ball show
(the second show).  I'd give that show about a 4 in height and a 7 in
width (lots of songs that were reasonably well-played, after all).
Does this mean that I'd rather have the West Palm second set in my
collection than the entire 8/17/96 three set Ball show?  Yes, it most
certainly does (and really, to be more accurate, simply the first 45
minutes of the second set).  Check this set out!


two cents
charlie

------------------------------





------------------------------
From: Victor Szalvay
Subject: Antelope in Review Pt.24 11/2/96
Greetings once again!!

This is an emergency broadcast of AIR that simply cannot wait any longer.
Today I plan to review to reknown West Palm Beach (11/2/96) version of Run
Like an Antelope, in an effort to seize the day and discuss this
monumentous version before it is long lost and buried under the heap which
is the 1996 touring year.  As I said before, this is a HUGE and wonderful
version, if you like the song and you like AIR, then I highly recommend
this version to you, at all costs.  The positioning of the Antelope in the
second set is a bit unorthodox-- the second song.  However, this set is
pretty interesting as it opens with a Cross Eyed and Painless (Talking
Heads tune, Remain in the Light was played on Ween just a few nights
earlier) and after a mighty jam, soars into this heart-wrenching Antelope.
Therefore, I will review both the Crosseyed and the Antelope... forever
henceforth to be known as the *Crosseyed Antelope* of West Palm Beach.
A key instigator of this jam (as I know of no other Crosseyed Antelope) is
the guest for the evening- Karl Perazzo, percussionist with Santana and
other reknown ensembles.  He fills in for drums and Fishman takes over
Trey’s mini-kit (at least this is my understanding).  So, since Karl was
there for 10/31 II, he is back to do another Crosseyed... it is
interesting to note also that he stays and plays for the entire show, a
rarity for guests of Phish. 
Sorry for the long-winded intro, but it is vital info for those that are
unfamiliar with this one.  One quick note as to the addition of the new
drummer.  Karl adds a feel to Phish that I have never heard before... they
sound MONSTROUS!  Just huge and mamouth in a way that reminds me of the
Dead live.  The power and majestic grace combine to deliver a thundering
performance that was luckily captured on tape (thank God for the guy who
brought his Microtech MG300s to this gig, the only outdoor show of the
tour to this point).   

Shall we get to it?  Well, then fasten your seat-belts because this one is
just absolutely wild!  =-)  

SET II:  Crosseyed and Painless:  Since no real precidence has been set as
to what is standard or not (well, just 10/31) I guess I will just report
what I hear.  It starts off innocently enough... they burst into it and
Karl is all over the scene, as is Trey with the standard riffs.  Sounds
like Fishman is on vocals (?) sound decent though.  The mechanical
sounding drum pattern is pushing the tempo... pretty solid all the way,
Mike is quiet and Page is not really noticeable yet.  The first few verses
pass without any solos... they Trey rips into it.  First a couple of nice
feedback/effect passes (2:00), but the solo dissolves as the [Still
Waitings] start.  Cool tune for those of you who havent’ heard much Heads.
Fishman matches the vocals pretty well, sounding goofy as ever.  The beat
is just pumping along and I sure the whole place is dancing like mad!
Fishman hits the rap near 4:20 or so... :-)  They really groove along as
Page chimes in with that top keyboard effect.  [Still Waiting] chorus
resounds... Trey cuts into the first real solo at this point (5:00 or so)
His first few notes are long and drawn out... the sleepy solo evolves and
swishes back and forth a few times... Pretty smooth though and focused in
a strange way.... He climbs and then drops abruptly, you can tell this
solo is just kind of filling space and so at this point you may be
wondering if this jam is going anywhere... oh it is, just be patient.  
(~6:20) Trey gets on the ball and starts developing the solo more.  The
drummers collaborate to add some nice cymbal work, and Page is chugging
along with his B-3 stuff as usual.  [Still Waiting, Still Waiting] ....
EXACTLY!!! What is Trey doing???  Can we get this thing together...?  He
feeds back and fades away as Page adds some cool licks on the Makisupa
sound.  Trey is completely gone and Page is grooving it up... what a
sweeeet laid back groove... there is Trey, he is returning from the
feedback loop that is reminescent of a DWD opening.  The drums are really
kicking in now... this is turning into a Page jam session as Trey has
taken a step back... Mike is there laying it down and getting a tad funky
now at around 9:45.  The whole jam is relaxed, but at least it is not a
Trey dominated solo session, right?  PAge is getting SO funky, I can’t
stand it!!  Yeah... the chording starts to drift but then returns.  The
cowbell, the backbone of this song, is just hammering away!!  Trey is
still effecting away and nothing is happening on the jam front... pretty
spacey, pretty solid though (thanks Karl!).  These guys are totally out of
it and the rhythm is the only driving force now... The drums fire up and
fill the space with some nice runs (11:00).  Trey getting strange again,
but I really am disappointed as his lack of solos, I mean, to step back is
one thing, but this is getting ridiculous.  The dissonance builds and the
structure starts losing form.  For those of you who fail to find any
experimental jamming this tour, check into this show... plenty to go
around.  Mike kicks in a little exporatory run some where near 16
minutes... But I don’t understand Trey, is he trying to start up a 2001 or
something.  NOW!  (16:30) Page opens up a new soloing line in the
background on the piano... Trey is using the wah-wah to get things funky
and Mike is still off in his own world.  The amount of listening here is
tremendous, they are all working together to melt this one out... A
bizzare type of jam, but cool and different nonetheless.  Around 18:00,
Trey and the drums start this ragged-dark jamming rythmic thing that
pulsates for several minutes.  Trey starts jamming out this weird
note/effect structure that really doesn’t lead to anything coherrent, but
this is very different that is for sure, plenty exploratory for me.  Page
strikes up some punching chords along with the drums, but this fades into
nice Page line....  [Still Waiting] ressume at around 20:00 or so... so
are WE??  This is cool, but we want some down-home jamming to sink our
teeth into...  The [Still Waiting]s echo back and forth as the jam turns
even darker and more mysterious.... ooooowww!!!  How spooky!  Trey is
virtually lost in Neil Young heaven...  [Still Waiting!!]  Some keen
drumming fills the echoing madness and the drum-beat itself has faded
away...  This is uncharted territory, that’s for sure, but still no solos
presay.  Most everything fades out and loses volume... the sounds don’t
stop all the way before ->  

Antelope!! -- Intro: (~24:00)  Trey is taking a position??  He seemed to
bring this one on, but Page is there backing the chords all along in the
intro.  No drums/bass for a while... Until that first chord change (to A,
I think).  Really laid back coming out of that Crosseyed.  
Opening theme: (~26:30)  OK, here we go!!!!  The place just erupts as we
rip into this one!  The power is all there and the riffs are solid, but it
is not abnormally out of control, if anything, it is a bit tame.
RakE!:  Well, done, man!
Key Change to Em:  Let’s get wild!  Trey heads south as usual and gets a
little dark... someone tosses up a little cheer and they are off.  Page is
relaxed, ready for anything, as it Trey.  A few little sharp chords and
bends to follow to really rally the troups... going smoothly, and Trey is
really aware at this point.  They are such masters of this tune by now and
the controlled jam is just getting started.  Trey opens up a little at
29:00 and Page fills some gaps with some nice work, as usual.  Trey start
spiraling in a circle for a few bars, but we still are far from the
explosion... The dual drums really creating a monsterous backing that is
thundering away.  Trey hits a repetative pattern (30:00) and continues on
it until it turns a little dissonant.  He starts tweaking the jam in a
strange direction that is usually the case in this song during the jam.
He opens up a bit more, but then closes back up... still holding out on
the wild stuff.  PAge is really ready to roll as he is confidently
pounding down some outrageous chordings.  Trey is hanging back listening
to whole band in hopes of direction... they train is rolling in a bizarre
pattern as Trey bust out with a nice peak, not quite gearshift quality,
but really solid.  The Drums are pounding down that rhythm and both

Second Gear: 32:00  A nice, sweet shift that really raises the stakes for
the rest of the jam.  Trey starts spiralling out of control and takes the
jam higher and higher heading straight for  a massive, massive!!!!!
-->>>>>

Third gear: (33:00)  HOLY@@@!!  What  a gear-grinder... immediately into
another -->>>>
Fourth gear: WOW!!!  Keeps it coming all the way up and up, spiraling like
a mad speed-racer into >>
Fifth gear!!!!  Holy! the jam is out of control and the tempo is so
eratic, they tumble all over and finally fall into:

Pre-Marco-Groove: 35:00 Nice... some cool drum fills to spice up the latin
feel of this one.   They all settle into this vast change of pace so
smoothly, so cool....
Ry, Ry, Rocco!!
 Norton Charleston Heston:
Been you to have any spike, man?

High Gear Theme: 36:00  Nice transitions all around even with the new
guy!!  Trey pretty triumphant as he fires up the high gear of his soul ->
End:  Standard all the way from the high gear theme, pounding at end to
close at 37:00... a couple of yelps from the band and a salute to Karl to
accompany.  Pretty standard length (12-13 min).
So what comes next?  How about Waste to cool it down... nice choice so as
not to push it too much.  Not to worry, they come back with a great Harry
after that... really something.  

So there you have it!!! The long awaited Crosseyed Antelope.  So how does
it compare to other versions?  Well, I have to say that it is not my
favorite (see 8/14/93)... but it is probably top ten.  The main reason is
that there was really not all that great jamming in the beginning of the
Em theme.  Actually, at one point it seemed like there was really no
direction and Trey needed Pages help to put it all back together.  Here is
what I would give it on the Victor scale:  8.0

My timings are general because I have this on DAT and so I couldn’t do the
math that perfectly and write simultaneously.
Let me know what you think and please respond publicly, this one is worth
discussing...  Take it easy everyone,

                                        Victor Szalvay