Episode 2 - Rift (1993)
Starting at midnight tonight, you'll be able to download or stream Episode 2 of Beast in the Maze, our first Phish discussion. Brian chose their fourth studio album, "Rift," a concept album from 1993. Many of the songs featured on the album are concert staples, and it's as good an entry point to their catalogue as any.
Join us as we discuss it track by track! If you have questions, comments, or suggestions, you can leave your comments below, email us, or find us on twitter at @beast_maze.
Thanks for listening, and we hope you enjoy it ✌🤘
Here are some must listens for Matt.ReplyDelete
Maze - 10/18/96 (just make sure to turn it off at the 11:57 second mark)
It's Ice - 7/23/17
Fast Enough for You- 8/17/93 simply beautiful.
The Wedge - 7/20/14 - Possibly one of the best pieces of music the band has created since reuniting in 2009.
The Horse > Silent in the Morning - Because I want you to realize you too can feel the love and light, and feel comfortable hearing happy music and lyrics simultaneously. Any version will do as they don't stray far form the original but there's a good version on youtube from 6/17/10 - Page sounds great. My favorite thing about this song is that Trey has said that he had always interpreted it sung from the point of view of his dog, with the last two lines being sung from Trey's point of view back to his dog. As a dog lover it pulls my heartstrings when I'm at a show imagining my dog at home missing me. Tom has said he doesn't know what Trey is talking about and never intended it to be about a dog, but I can't help but listen to the song and choose to hear Trey's interpretation. I think Tom's interpretation simply shows a man on the other side of a break up, not knowing if he did the right thing, and now dealing with his only-ness...does he go back or does he go forward alone...?
Thanks for the recommendations! I'll have to add these to the playlist.Delete
I'd never considered the dog angle before, I'll have to give it a re-listen with that in mind and see if the song lands differently for me. It's an interesting band dynamic that Tom Marshall comes up with a poem or set of lyrics and then just gives the band free license to put their own lens/filter on it even if he doesn't understand them. I'd be interested to know how often he is physically present for songwriting sessions, and what his level of input is in terms of melodies and the overall sound of the songs when they're first being conceptualized.
Anyway, thanks so much for listening and taking the time to comment. I Hope you continue to listen and enjoy, and don't hesitate to keep bringing the comments and suggestions.