Hey Now! The Rolling Rider here....

October 12, 1999 - Warfield Wrap-Up

Returned from San Francisco this morning, ahh what a treat to be back in 
the Bay Area.  When I had last been there, it was miserable cold and foggy. 
But this weekend it was as if Phil had invoked the 'ol "Weather Maker" for 
us.  Cranking Bay temperatures up into the 80's with lots of sun and Blue 
Angels to boot!  One of the best things about brother Phil back on the 
road, is it lets the community come together again, joining up with new and 
old friends.  After three nights to ponder the beginning of the upcoming 
Phall Phil and Friends tour, the Rider needed to recoup a little.  But, 
enough time wasted...let's wrap up the Warfield!  First night was like a 
stick of dynamite went off, second and third  - gems just as well!

Friday's show was as if the Zen "Jazzters" came to town - opening with the 
Miles Davis classic "Milestones", the vibe was immediately different than 
Thursday, much more mellower - as if an entirely new audience was dropped 
into the Warfield seats. With much less tension in the air, I was left 
wishing I had a martini in my hands for the jazz music which was made this 
evening.  The "Milestones" featured Molo banging out solo's like he was Art 
Blakey weaving in and out of Strickland's sax shots. I could have sworn 
Phil had an upright on stage the way he pounded along Miles' complex 
rhythms.  It was an A+ night for Steve, pushing his melodious superfluous 
mixolodian leads to the max. Right after the Milestones we were treated to 
a quick "Kissing the BooBoo" style intro to "Uncle John's Band".  This had 
been developed during the 1998 Other Ones tour, yet Steve, Phil, and John 
continue to exercise this calypso-style jam into the beginning and end of 
the Uncle John's.  Soon the Uncle John's wound down to its signature 
changes, which the Dead had begun to make a song of unto it's own. It is 
these changes and riffs which make a GD song so familiar and powerful and 
are now becoming significant pieces within the P&F sets.

The Rider sure does appreciate Phil letting Steve show off some of his own 
instrumental masterpieces as well.  This was apparent as Uncle John's 
melted down (as if Miles or Ornette were sitting in!) into another Kimrock 
classic "Tangled Hangers".  This was the first tune I'd ever heard Kimock 
perform (with Zero) back in 1995 at a Philadelphia show with Taj Mahal. 
Seeing Phil provide the backbone to this tune 4 years later is definitely 
a trip.  The arrangement is much different than the Zero versions with an 
uptempo more Latin jazz style.  It fits right into the new P&F repertoire.

The set closed out in true GD regalia with "Cold Rain and Snow", "Foolish 
Heart" and "Box of Rain". 2 big Jerry's and one big PHIL!  The Cold Rain 
has been coming along very nicely, with Phil pumping out the lyrics as hard 
as the bass line.  Steve and Jeff traded some pretty amazing leads during 
the Cold Rain, bringing the jam to a fevor right before the end refrain 
(...run me out in the cold rain and snow!).  The trick of the first set was 
the bust of the "Foolish Heart".  When this song started I had no idea what 
it was until my friend leaned over and filled me in. But, I tell you, if Phil hadn't
sung those infamous lyrics (..do everything that's in you, you feel to be a part..)
I would have never called it.   It had a very different arrangement than we've been accustomed too, actually, it kept the feel of the Latin jazz vibes created during the BooBoo and Tangled Hangers with Molo's snappy shuffle pushing the rhythm along.  Throw in Rob's piano and Bobby's sax, and we're headed back to the early 90's rendition's which came to life with Bruce and Vince.  Kimock sounded like a babbling sunny brook streaming into a waterfall with the band rocking his flow.  It was great foreshadowing for the second set "Eyes of the World".

The second set brought us the "Cosmic Charlie" which was teased the night 
before. Rob's big piano chops gave this version the old time feel of the 
70's, but Bobby's sax helped remind us it is 1999.  Next, Steve led the 
band through another Kimock instrumental "Sup 2 U" with Phil and Molo 
throwing the rhythm back and forth in the most playful way. It didn't take 
long for this mellow jam to explode into chaos and then return to the 
beautiful opening riff  which then quietly molded itself into a Zen 
favorite - "New Potato Caboose". The jam here was more bluesy then the 
first time P&F brought this psychedelic classic to the Warfield, rocking it 
right into the next song.  Yes, it was time now for our new phriends to 
step forward with a Zen original - "Arise".  This song was a great one to 
demonstrate Rob and Jeff's solid harmonies and song style, funky, down and 
dirty!  Also, nothing beats the sound the P&F bands take on when they play 
the featured phriend's material and this time was no different, especially 
with Bobby Strickland blowing like a mad man!

"Eyes of the World" began immediately after with each musician set off and 
running. Honestly, after seeing the Eyes back in 1990 at Nassau with 
Branford and then listening closely all through the 90's to hear how this 
song developed more as GD jazz, this was the night indeed to let this song 
flourish.  Each musician churning out note for note and Phil again 
delivering us these beautiful lyrics.  Abit of a suprise followed, as the 
Eye's jam turned to a quick riff from Santana's "Jingo" and then ultimately 
to Dylan's "Watchtower", sung by Rob Barraco.  After both Friday and 
Saturday's run at Dylan tunes, it is obvious these boys are prepping the 
songs they may share the stage with Mr. Dylan.  They closed the show with 
another Zen trick - Scarlet, with no Fire...only to leave us wondering 
about Barton Hall.  The encore, "Tomorrow Never Knows", was a great way for 
these experimentalists to close the show.  Steve really "played" his guitar 
for this number!  He worked the feedback so fiercely from his amps, it was 
quite a pleasure to behold.  Ripping at his strings and waving the guitar 
out in the air for the entire song - it was a performance that would have 
Hendrix smiling and Neil Young admiring!

Two nights down and it's time to listen to the river sing sweet songs to 
rock the Warfield.  What a delight to hear "Brokedown Palace" open Saturday 
night's show, with the sweetest harmonies and Bobby Strickland's fitting 
saxophone touch.  The band immediately launched into a jam packed with 
teases (including Saint of Circumstance, Tangled Hangers (again), and Viola 
Lee)  - jams like this prove that Phil and Friends is one of the top 
jambands out there.  Soon enough, it was apparent the boys wanted to remain 
in jam mode and launched back into an instrumental Dark Star which then 
also explored the regions outside of it's own stellar structure.  Rumours 
had been flying that we would be graced with a visit from Mr. Bob Dylan 
this night, but instead, yet another Zen trick - Mr. Tambourine 
Man...without Dylan.  Again, we catch a glimpse of what will truly be 
spectacular when the tour gets started and finds the stage shared by these 
two colossal acts.  The Tambourine Man began with a Byrds style accapella 
and then picked up full instrumentation.  Following this happy song was our 
dear "PHriend of the Devil" which indeed is one of the P&F anthems. This 
was very nicely played with each member taking a short solo.

So far the set was very jammy and mellow, but never think you've figured 
out a trickster!  Viola Lee Blues came rip roaring out of the mellow tones 
to close the first set.  This monstrous 24 minute version may be one of the 
best yet.  With the help of the veteran Tricksters, this version was most 
true to the classic 1966 style, including a monumentous "Caution" jam.  It 
was during this jam when my eyes started to twitter, sweat poured down my 
brow, and the entire Warfield began reeling and rocking.  I had never 
experienced such a propelling jam - remember, "CAUTION: DO NO STOP ON 
TRACKS"!    It's these same tracks that the Mighty Casey ripped through 2 
nights earlier.   A very nice trick was slipped into this jam as well, when 
Steve and Jeff pulled a "Lonely Avenue" riff that molded that jam briefly. 
Very sweet!  The first of the Jerry solo pulls.

The second set was stellar.  A beautiful instrumental "Stella Blue" to get 
started, ahh yes, another Zen trick.  Closed the first set with a blazing 
rocker, but open the second set with such a quiet beauty. Steve was 
marvelous, playing pedal steel of course.  It was he and Vince who first 
brought to life this version of the Stella, during the first incarnations 
of the Missing Man Formation.  << on a side note, I must point out - with 
Vince MIA during the post-transplant P&F shows, it was interesting to see 
Vince side-man B.Strickland along for these shows. hopefully, it isn't long 
before Vince is a phriend...>>  Well, you don't get Stella Blue these days 
without a "Wish You Were Here" to follow.  This combo speaks volumes about 
set list language.  Did they get you to trade?  We all wish Jer were here. 
Again, this was "one of  the best versions" of this tune, incredibly 
moving and very strong.  Then the set switched gears and tricked up a 
"Wolfman's Brother".  This song, the Viola, and the Jump?  Looks like 
Shoreline had just as much as an impact on Phil then it had on us phans! 
 Now, things get tricky again...following the Wolfman's was quite a mystery 
to even the most accurate of the tapers!  "Some Day My Prince May Come"...a 
showtune? Beautiful!  Still, it was one of the Rider's own posse who made 
the call.  Could be from Cinderella or Snow White, or perhaps another great 
jazz classic?  Either way, it was delightful and soon followed the deep 
space exploration of Dark Star yet again, a recurrent theme through the 
three night run.  However, this instrumental jam soon spawn the grand 
finale:  "Terrapin Station >> Mountains of the Moon >> Franklin's Tower"!

The Rider must admit, the beginning of the Terrapin was the first point I 
found myself questioning anyones performance per se, yet Rob Barraco seemed 
to be a little too anxious to play Terrapin at first, slightly overstepping 
the tempo and muddying the vocals during the first verses.  However, as 
soon as the changes kicked in, the song took full flight with everyone on 
and playing the song to the max.  All of the changes were exquisite (like 
the Uncle John's ending, Terrapin has spawned some of the best music from 
it's ending jams) with a great segue into the "Mountains of the Moon", yet 
another P&F classic now, growing strong from its rebirth at the first 
"official"  Phil and Friends show in February 1998 (when Ratdog was the 
line up).  Phil again takes on a new persona through his singing of this 
song, with the Tricksters alongside, this Zen tale must be told.  And if 
its more than laurel you may sow, it may be wind that you harvest!  Roll 
away the dew. You better roll away the dew!  The "Franklin's Tower" had us 
all back on our feet again, stomping down until the floor was rolling too. 
 As Molo pounded away, Phil thumped the notes loud and plenty propelling a 
jam frenzy that had us all giving each other that familiar "wink" of 
acknowledgement.  Acknowledging that yet again, Phil did it.  He and his 
best phriends just took us for yet another grandiose ride for three nights 
of musical phun and phamily!  How humorous when Phil returned to the stage 
and commented on electing an audience spokesperson to make "your wishes 
known".  Then, Phil stepped up to say "How about - Let Steve sing!"  Well, 
Steve assured us that although he  appreciated our enjoyment of the music, 
he'd rather not un-nerve anyone!  (Hey now, the Rider did catch the one, if 
not ONLY, time Steve did sing.  He sang a rasta song "Rock It WIth I" at a 
MMF show once)  It is only appropriate that the encore was "Like a Rolling 
Stone".  The big hat tip to the upcoming P&F / Bob Dylan tour.  When the 
two share the stage for this tune, the Rider will be all ears.

On October 21, 22, and 23 Phil Lesh and Friends hit the new Phillmore in 
Denver.  I'll be there, will you? Until then....

yours truly,
Rolling Rider

Friday October 8, 1999

Q: What is a “zen trick”? 

A: An Om chant>>JUMP (with surprise guest Bobby Strickland)

Let me begin by saying, this was obviously the hottest “Jump” that the Rolling Rider has ever heard. You may ask…”Jump…hmmmm, that is a Van Halen song isn’t it?”, well folks – this is where things get tricky….

The Maestro has done it yet again, by teaming up with some genuine tricksters, and of course by being an ‘ol Bolo himself, we were treated to a superb evening of tricks and teases and surprises only our dear Phriends can whip up. First, the Rolling Rider wasn’t the only one surprised, when Bobby “Strickster” Strickland appeared on stage (when his name had escaped the Rumour Mill so elusively). What better time than to throw us such a curve ball. What, after all, is a band without saxophone?

We had a feeling earlier, when reviewing the ZT setlists , that we may be in for some treats, but how did we forget the value of a trick? (Oh, to be in Chicago on Halloween with our new phriends. Will it be “tricks” or “treats”? After reading last night’s set list, I think we know that answer.) 

This show set the pick for the entire tour that is about to go down. And what is the “pick”? 
A: Big Time set lists.

The Rider, being a veteran of almost every post-dead Phil excursion, was yet again turned onto to a “new” sound. Here we have yet another beautiful entry into the logs of phildom. Just where can we take this new sound too? The trip only gets stranger! 

Of all the phriends who have joined Phil, the Tricksters are the first who have made a living being a Dead cover band. They have been given the gold ring now, and folks, they will make it shine. With only one show under their belt, it is painfully obvious, that this was a phriendship waiting to happen. Cosmically, it was inevitable. Some great friends and players have been brought together to help Phil take Grateful Dead music to the next frontier, but most of these players who have been inducted into the family, have had varied musical careers; none, in short, have been from a full-time “dead cover band”.

Isn’t this fact what had raised some concerns amongst the community? The notions of what a “dead cover band” could bring, the negative labeling, etc. But, here we have the Tricksters, who have breathed their own breath into these wonderful songs of GD, are now on stage with the finest GD symphony of all, and the players know the music. They know it well. 

Again, the Rider must remind those who have just tuned in, that Phil was inspired to bring to us this new frontier of music, only after hearing his music played by a dead cover band in Berkeley, namely David Gans and the Broken Angels. It excited Phil so much, to hear this music being played with understanding musicians, who loved the music and loved the adventure of still "going for it" that when Phil sat in with these folks, it wasn’t long after that Phil and Friends exploded onto the scene. 

Phil saw the scene that had come to life in the community around us. A jam culture that the Grateful Dead have helped inspire. He knew there was talent out there that could help provide the vehicle for this new voice. By first pulling in the talent of the decade’s best “jambands”, now we see him go right for the core. A classic, deadicated, DEAD coverjam band. What can be better ingredients for GD mastery? Well, folks, I don’t know that you may find one. That is why a year packed with such exhilarating exciting rebirth, can only close out the year with its vision come almost full circle. And yes, for things to come full circle – you can call upon a trickster, to lead the way.

1998 was a year for Phil to get his chops back, to get reacquainted with the songs. 1999 is the year of musical rebirth. Since Phil’s successful surgery and historical April shows , we have watched this new vision evolve exponentially. Phil has brought back to us the Grateful Dead prize, the very essence of what drove the machine for over 30 years. The element of surprise. This is what has always kept us coming back. The feeling that something so “big time” was going to happen while the Dead played, that you simply could not miss even one show!!! Because…the dreaded could happen…you might miss the “big one”.

And, of course, where did that element of surprise lurk? Tucked into the setlists, the scriptures that kept the story moving forward. And, now Phil has evolved into a setlist wizard, preaching from the helm of the Pulpit, and sculpting setlists of such divinity, that each set of shows with Phil and Friends has historical significance. We know the Maestro is composing the greatest interpretation of GD music yet (Keys to the Rain) with full symphony scores of GD music, but it is with these new Phriendly faces – that we get the REAL orchestral movement.

Each time the Rider hits the scene, I’ve noticed many things about the crowd vibes and the music process. With Phil and Friends, you need more than one night, you need big 2 hour sets to help force the DOORS open, you need to give Señior Kimock at least 350 bars of breathing room before a P&F jam gets to the “point”. But, with the right synergy, it doesn’t take these boys too long..(maybe only 20-40 mins for an opener just to get our feet wet!) 

Regardless, the first night, the second night and the third night are exponentially set apart, as is each set of songs and jams. The crowd vibe last night at the Warfield was definitely much different then the previous P&F shows. Things felt a little tense, as with our new friends and tour expectations, maybe a mix of coastal vibes hitting Market Street? My point, is the first night brings with it heavy anticipation, new Phriends and faces and familiar family. The material is blown open, and the flight begins. The phriends feel each other out, set grooves, the audience evolves as the music pushes forward, bringing amazing energy to the jams that are unfolding.

Last night revealed certain caveats of this new phriendship that will surely blow our minds right until the New Year. It was the first time the Rider noticed the art of the “tease” in the set lists, how teases are just as important as songs, and all part of the One. Phil, Steve, Molo, and the Tricksters can now weave that “orchestral piece” that brings new and old songs together, weaving our phavorite hooks in out of songs and jams, creating the greatest tapestry of all. 

Let me quickly review the show, to help frame the chapters to follow. 

We were immediately introduced to the art of a Zen Trick, when the curtains pushed open, there were our phriends chanting the OM in perfect unison, invoking the muse of the hallowed Warfield hall, and then, but of course, the trick, the surprise – GO AHEAD AND JUMP! Phil, you might as well JUMP, you did with Phish just a few weeks ago! Don't think that this wasn't an answer to those questioning Phil for having Phun on a Trampoline recently. Anyone who is still taking themselves and this whole party too seriously, the time is NOW to lighten up.

What followed was the new Wheel, the most unique Wheel to date. Of course it was delivered in the most familiar way, with our favorite melody turning forward, yet, they dropped the tempo in between refrains, singing in new harmonies, with new direction, morphing back into the familiar hook of the song uptempo again. Brilliant. Next, the big COSMIC tease, still tipping the hat to the Nelson connection and foreshadowing the PRIDE. Instead of launching into the Charlie, Phil busts the first Staggerlee (which the Rider guarantees is the first of many of the BUSTS we predicted). After this delightful GD classic, the tease again came upon us…could it be Comes a Time….Lost Sailor? No, not yet, let’s get right into the Dark Star universe.

Well, here’s one for the “gipper”, because the Rolling Rider was basking in all my glory for the Dark> >Rider> >Dark>>Pride> >OM chant>>Jump. It was the Rider jam, where the first “happening” occurred. Where our new phriends on stage were also turned onto what we the crowd have been following so closely; the core band of Molo, Kimock and Phil! I noticed a triangle glow of energy between the core, and during the Rider, they did what they do best – GET THERE!!!!!!! 

The second set opens with another familiar tune for the GD community – and the message is still the same – No Our Love Will Not Fade Away. I used to think when the Dead performed this song, it was especially to deliver that line. It still has the same impact. With the Not Fade jam melding into Crazy Fingers, it was apparent very quickly, that this second set was going to be Big Time. What…could it be? Another Phil classic so soon in the run? The Crazy Unbroken. That crazy crazy Unbroken. This was one of the finest in History. Steve, Phil and John have been perfecting this song over and over, the changes becoming so exquisite – last night’s was indeed the finest. Nothing is more rewarding than seeing the musicians faces acknowledging when perfection is achieved, to see Steve smile and get loose, walking to the front of the Warfield stage with confidence, positioning himself in perfect CHI formation, facing Phil directly, and to see Phil exercise his legs in his trademark “acceptance dance”. 

It should also be stated that, in terms of vocal performances, we are now going to be treated to the best. With the Tricksters great harmonic skills, Phil has taken a new role with his vocal style. I noticed him dropping several octaves below the harmonies, with perfect tone, and achieving harmonic qualities that were the strongest yet. This new “octave dropping” singing style is a perfect example of Phil’s desire to stretch all boundaries around himself as a player. 

Back to the setlist…Unbroken Chain became My Phavorite Things once again. A Phil and Friends gem, at this point, which keeps amazing the Rider with each incarnation. Less jazzy than the Santa Barbara version, and much more exploratory in terms of “hook” placement. When the Phantom Ships of Days Between drifted into our view, a serious silence bestowed the magical walls of the Warfield, with each line delivered from Phils now epic voice – we were bathed in GD mythology and nostalgia. Funny, how one of the Dead’s newest songs beckons such nostalgia, almost more than the classics do. 

The jam that followed Days between, was massive. I found myself in that infamous new questioning mind….is this still Days?? The quiet somber sounds of the Phantom Ship turned to stormy seas, with the fiercest turning tide of the Other One. To date, Ladies and Gentlemen, I don’t know that I’ve seen a more ferocious jam fest as this one. Steve took the jam, and our riff, into space beyond, and the Tricksters, Bobby S., Molo, and of course, Phil, churned out the slamingnest Other One of all. Each time Phil sings this song now, he sounds increasingly more like the essence of Anthem of the Sun, but now we are left wondering where the Cryptical will fit in? The Other day we waited….

GDTRFB, came racing out of the confines of the Other territory, with perfect harmonies, it was true GD glee, nothing finer than hearing this song played with the correct ending, the beautiful Bid U riff. 

Ahhh, but we can not end such a night without one more trick…..just when you thought you never missed a Casey, this ‘ol engine makes it on time. Make sure you leave the station tonight folks at the appropriate time…because, this train is moving fast. 

They tricked this jam up something good, the end jam sped up to incomprehensible speeds rocking the Warfield like the Mighty Case was out of control. Jeff Matson’s singing on this song was awesome, his voice reminiscent of the Zen tale tellers of Old. When the encore delivered the full We Bid you Goodnight, the Rolling Rider experienced something that was most moving. A true Zen Trick in its finest - vocal harmonies sung in such a way – that Jerry Garcia’s voice for the first time was reproduced in perfect tonal quality, therefore channeling the Great Jerry OverSoul through the distant reaches of the Astral Plane into the ‘ol wizard’s home pulpit. 

~ walking in Jerusalem just like Jer ~

I wait now, in bliss for tonights’s epic delivery. Everyone watching knows, last nights show had all of the Big Phil tunes, making you wonder – what else can they possibly pull??? Well, here we go again……until tomorrow,

Yours truly, Rolling Rider

"…Thursday came and Friday, with fires tall and bright, Mason's children cooked the stew and cleaned up when the feast was through…" R. HUNTER

October 5, 1999 - The rolling rider back at you with a short one before the feast of Fall Phil.  The crew and I have been turning over the tapes from July 2-3 featuring David Nelson's Band. The Cosmic>Pride>Kick>Dark is such a gem.  Soon after these magnificent shows, David Nelson and his band hit the Oregon County Fair, where they shared the bill with the Zen Tricksters, as well as the String Cheese Incident and Zero.  This Phriend Phair, I assume, is where Nelson turned either Phil onto the Tricksters or the Tricksters onto Phil.  After a real down-home set on 7/10 where Barry Sless sat in on Pedal Steel, Jeff Mattson joined the DNB for their entire set ta-boot, with phriend Rob Barraco joining them all for a smoking Cumberland. Things got serious during the next day's Tricksters set when our good phriend Michael Kang added his exquisite notes to a beautiful performance featuring Dark Star, New Potato, and Eyes of the World. 

The moment ends, though I feel winds…

September 17, Mountain View, CA. Well, well, well. Who would have thought…. As my loyal compatriot said best, Tonight, "these guys took 'taking it to the point' to the point". Those not already familiar with the set list should now get out and just take in all the twists and turns there, before you try to digest the scope of the music that was played. For starters, last night's Phish show and tonight's are right away the two most incredible phish-stravaganzas I've heard to date, but that was probably a given knowing the lesh storm that was soon to come. Phish played a first set that was one of the finest moments in musical history. Each jam seemed tainted with just a little of the previous song's jams, and so forth. Almost like a meta-jam, this cloudy figure, perhaps this ghost was around some every corner n the songs, able to be accessed from other points.. it was strange, twisted, beautiful. At many points, slipknot-ey, poised, crouching, serpentine, at times light, benevolent, all-knowing. During "Piper" , this persevering Buddha-thing with the arms was screaming through as the lights ripped colors not unlike Candace's finest moments… 

And what to do faced with all of this in our faces?? If, as Robert Hunter once said, the proper response (to it) is art, well I cannot eloquently dance to you the beauty of what took place during the David Bowie, the Roggae. I wasn't surprised at all when I heard from Steve Silberman that the late Dick Latvala thought that these guys were the shit. Ah, but then we get to the Lesh. 

Right off, you could take this meeting to a lot of different "points" if you will. We all heard just how fantastic the combination of Anastasio-Lesh has been in the past, for those of you new, refer to my last column, but many feared that the simple logistics of having two bass players on stage would render a lesh sit-in impossible. True, though many in the jam-band scene wanted this second meeting to happen in return in a political sense, being the right thing to do sort of sit in, there was the issue of just how would double bass come through in a song in a mechanical fashion. Then, of course, there were those of us who hoped for a little more than just a "mechanical" success, who realized the musical potential "…if, just if… " they could all come together for a groove. 

Well, I'm here to tell you folks, that they pulled it off. Big Time. In talking to a sparkle eyed pixie after the show, she remarked " Phil's just not afraid to put himself out there, outside of any musical safety zone, and just play, and he always comes out of it even better than before" Phil doesn't just walk out, he gets on the fucking trampolines with trey and mike during the deepest end-zone of the You Enjoy Myself. Phil gets up to the mike and sings the "Shirley Temple" for the 45 minute Wolfman's brother that at we were just inquiring about. (not actual time) Oh, and in Spades, by the way. Oh, and did I mention the cold rain and snow? I mean, the VIOLA LEE BLUES?!?!?!? 

But I get ahead of myself. The feeling of "big time" was apparent as soon as the house lights went down for the start of set two. During the "Piper" some of the heavies came out with the stacks, and some confusion arose, someone I was with thought that Lesh was onstage, but the "stack in the back" was a sign of some sheer excellence to follow. Sure enough, Phil was there hearing what we were all hearing - Phish create some of the best music made this or any year, …and then during the throes of a raging version of the Phish crowd-favorite "You Enjoy Myself", Phil appears bouncing up and down with bass on a trampoline…as if he dropped into one of the best jam moments of the year, and then helped sculpt the story 

He laid low at first, finding his groove, facing his cabinet, then fell into place along side Mike Gordon, Phish bassist extraordinaire, and before you know it, the band came to silence, with only the precious sound of two basses pulsating into the night time skies…the skies of shoreline, for some reason which have helped channel the most special of "happenings"…. the solo was like everything you thought it couldn't be - because Phil has never "really did it" with another bass player, but here Mike was willing to let Phil sit in with his band…now it was his turn to play with the maestro, and Trey and Page knew back in April that this day would come…..they must have waited gleefully, we all did. 

Phil and Mike tried each other's groove's on for size, and those same doors that were cracked open in April were now immediate portals into this "new sound". The best way I found myself describing it at the time was "parallel processing", remembering vaguely about hearing something about how the speed of computer servers exponentially increase as you add another processor. I don't know, but the "many as one" theme, when it finally took hold, let them take us right to the fucking point. Who else? What did we really expect? The ending of that song was a bit of a blur. 

When we heard Page hit the opening chords of the Wolfman's Brother, we knew we were in for a treat. The first verse was actually a little tenuous, I caught myself smirking, and trying to think of the last time I remember wishing that they would throw another guitar in the mix. Those of you at recent Furthur Festivals can smirk along with me, but thankfully Trey, musical genius that he is, found a way to glide in and out of each of the bass player's notes, weaving the threads together into thick rope, as this six-pointed shimmering star formed by the lights organically morphed into shapes yet unseen. The sounds Phil and Mike made, did what trey and Steve at Round One (a/k/a the April Warfield shows), managed to do. They engulfed each other, becoming one BASS…one gigantic line of thunder…chasing each other dancing around each note…. perfect harmony. 

And then they land on planet Cold Rain and Snow. One visited often by Starship Shoreline, the hills themselves seemed like they joined the many deadheads in the crowd tonight singing along during the chorus. And Phil sung the lead, not Trey or Page, and for those of you who don't like Phil's singing, sorry, but when he belts one out, well, I am reminded of the "Touch Of Grey" video skeleton-Lesh, it just sounds THAT MUCH like the Grateful Dead. So he doesn't sound like Eddie Vedder. Believe me, we all can't. But he can do these songs justice, if not grace. 

That song, that jam, was gigantic in its own right. Tapers, quick, get out your 5 best versions of the Cold Rain And Snow, because they'll have to earn their place again alongside this gem. Words truly fail. When the last ringing note of the final reverberation of the Cold Rain silenced, a truly grateful cheer arose from the crowd, signaling that yet again, a momentous occasion was allowed to be witnessed, dare enjoyed by those so ready and willing to revisit ecstasy. Immediately thoughts turned to the encore; if Mountain View had their way, I'm sure the concert would have already been over, but do the boys let a moment like this end just yet? 

….

"THE JUDGE DECREED IT! THE CLERK HE WROTE IT DOWN!!!!

Fresh from last night's too-short encore, Warren Haynes joined up with Phil and his new "best phriends" and they proceeded to rip open another Viola Lee Blues. This one was everything that Aprils was not. Where April's was jazzy, introspective and melodic, this was angular and screaming distortion loops of fury, but always soooo Grateful Dead, and oh how Jerry would have loved it. Waves upon waves of sound, another peak and another, I was beginning to get a little seasick, to tell you the truth, but then they pull it back in for one more rousing Viola Lee Coda, and we all were thinking the same thing when they sang "I've got a friend somewhere. " 

Ah, but as any epic show must, this one two comes to a close after 34545 minutes (approx) of beautiful precision-cut cast-in-digital-stone sickness, but it leaves many questions shimmering for the near future. With Phil not yet stating what his new years plans are, The Rolling Rider would not blame you if you headed on out to the Seminole lands of Big Cypress Florida to ring in the new with the Phishy Vermont boys. Hell, our crew was considering packing it all in to follow Phish after tonight, but we too have treats in store for us this fall, with GDTS announcing Phall Phil Tour for REAL this time. With Bob and Mickey around the Bay Area for Y2K, you can't count Phil staying close-to-home out. And isn't that the beauty of it all folks? There's more Phil to follow… 

Until then,
Yours Truly,
 The Rolling Rider

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