Farmhouse

Performer: Phish
Artist: Bela Fleck; Jerry Douglas
Engineer: John Siket
Producer: Trey Anastasio; Bryce Goggin
Distributor: WEA (Distributor)

Notes: Phish: Trey Anastasis, Page McConnell, Mike Gordon, Jon Fishman. Additional personnel: Bela Fleck (banjo); Jerry Douglas (dobro); David Gusakov, Laura Markowitz (violin); Roy Feldman (viola); John Dunlop (cello); Dave Grippo (saxophone); Jennifer Hartswick (trumpet); Andy Moroz, James Harvey (trombone). "First Tube" was nominated for the 2001 Grammy Award for Best Rock Instrumental Performance. Personnel: Trey Anastasio (guitar); Jerry Douglas (dobro); B�la Fleck (banjo); Laura Markowitz, David Gusakov (violin); John Dunlop (cello); Dave Grippo (saxophone); Jennifer Hartswick (trumpet); Andy Moroz, James Harvey (trombone); Page McConnell (piano). Audio Mixer: John Siket. Recording information: Bam, VT (10/1999-02/2000). Eleven albums into its career, Phish went back home to cut FARMHOUSE. Recorded in four months at guitarist Trey Anastasio's refurbished 150-year old barn near the band's hometown of Burlington, Vermont, these 12 tracks find Phish streamlining its jamming tendencies in an attempt at radio-friendliness. Among the more commercial numbers sure to attract non-Phish heads are the bouncy "Heavy Things," and the brassy, nonsensically named "Gotta Jibboo," both of which invoke the aura and spirit of the Grateful Dead. Elsewhere, Phish cleverly pays homage to Bob Marley's influence by sneaking a line in from "No Woman, No Cry" into the title track. Always known as one of the more musically adventurous groups the right-hand side of the pop music fence, the quartet's chops get a nice workout on two instrumentals--"First Tube," and "The Inlaw Josie Wales." On the former, Phish bounds along on an insistent groove that invokes the spirit of vintage '70s Santana, while the latter finds it creating shimmering acoustic magic with the help of bluegrass giants Jerry Douglas and Bela Fleck.

Spin (6/00, pp.147-8) - 7 out of 10 - "...Their best yet. Steeped in roots, it's [their] spacious, less cob-webbed vision of the Dead's 1970 post-hippie pastoral AMERICAN BEAUTY....the songs have never been as direct; their played never more restrained....revealing a humane face, grizzled as it is..." Entertainment Weekly (5/19/00, p.74) - "...A series of sunny, retro-ish pop songs....pleasant...like an expertly cooked slab of flounder..." - Rating: B Q (9/00, p.105) - 4 stars out of 5 - "...Their very own American Beauty....a selection of songs written by frontman Trey Anastasio, full of warmth, depth and simple beauty....this is understated, riddled with melody and gloriously uplifting." CMJ (6/00, p.70) - "...One band of jammers who believe in the relevance of studio recordings....The studio has afforded Phish an opportunity to present these songs in short form...minimalist versions where every note and noise counts and stands out..." CMJ (6/5/00, p.34) - "...Places greater emphasis on quality, traditional songwriting....in a style reminiscent of Little Feat and Grateful Dead. Savory roots-rock arrangements prevail..." Mojo (Publisher) (9/00, p.102) - "...[A] post-hippy and pleasantly competent...Santana/Allman Brothers crossbreed..."

Of all the jam bands to emerge in the late-1980s and early-'90s, Phish were widely regarded as the inheritors to the Grateful Dead's throne. While the group's jazzy, mercurial sound was more progressive and light-hearted than the Dead's, Phish's massive, adoring following modeled themselves after the vagabond Dead Heads, calling themselves "Phish Heads." After letting off steam through various side projects (Oysterhead, Vida Blue) and sabbaticals, Phish finally called it quits in 2004.

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