1999 - Phil Lesh Returns to the Stage for the First Phil & Friends Show Ever Joined By Some Phriends Phrom Phish

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Phil Lesh's Triumphant Return: A Musical Journey 25 Years Ago Today

Larry Mishkin provides a retrospective analysis of a significant musical event from April 15th, 1999, focusing on Phil Lesh's return to the stage after surgery, marking the first Phil and Friends show. He discusses the lineup, including Trey Anastasio and Paige McConnell from Phish, and highlights their performance of various songs, notably "Viola Lee Blues" and "Hello Old Friend." The discussion also touches on recent music news, including the cancellation of the Skull and Roses festival and a tribute event for Jimmy Buffett featuring Paul McCartney and the Eagles. Additionally, it anticipates Fish's upcoming performances at the Las Vegas Sphere venue.

Phil Lesh & Friends

April 15, 1999 (25 years ago)

Warfield Theater, S.F.

Phil Lesh and Friends Live at Warfield Theater on 1999-04-15 : Free Download, Borrow, and Streaming : Internet Archive

Lineup:
Phil Lesh - Bass
Steve Kimock - Guitars
John Molo - Drums
Trey Anastasio - Guitar
Page McConnell – Keys

INTRO: Hello Old Friend

Track # 1

0:10 – 1:47

25 years ago, Phil Lesh & Friends featuring guitarist Trey Anastasio and keyboardist Page McConnell of Phish kicked off their landmark three-night run at The Warfield in San Francisco on this date in 1999. Guitarist Steve Kimock and drummer John Molo rounded out the lineup of one of the most memorable collaborations the jam world has seen.

This was the first ever performance of Phil & Friends and quite a memorable group of Friends to be playing with at a storied S.F. music venue.

The shows also marked Lesh’s return after undergoing liver transplant surgery at the age of 58 due to chronic hepatitis C infection. The April 15 concert kicked off with Phil and his sons Brian (??) And Grahame Lesh (12), backed by guitarist Steve Kimmock, in front of the curtain, performing Eric Clapton’s “Hello Old Friend” as a fitting first song back for Phil. Both boys are strong musicians and Grahame, who graduated from Stanford in 2010 with a music degree, is a regular touring member of Phil and Friends in addition to playing with his own band, Midnight North.

Phil Lesh’s surgery took place at the Mayo Clinic in Jacksonville, Florida on December 17, 1998, barely 4 months earlier. Lesh, who was 58 at the time, had been suffering from internal bleeding caused by hepatitis C, which he was diagnosed with in 1992. He received the liver of a young man named Cody and his since started encores of his concerts by preaching the importance of becoming an organ donor.

"Hello Old Friend" is a country rock song, written and recorded by the British rock musician Eric Clapton. The track was released in October 1976 as the first of two singles from Clapton's 1976 studio album entitled No Reason to Cry.

the AllMusic critic William Ruhlmann notes, "Hello Old Friend" is the best pop/rock song on the album. He goes on describe the title as a "identifiable" Clapton piece of music.[2]Rolling Stone journalist Dave Marsh called the song "a whimsical and silly slice of attempted innocence".[3]Billboard said that it has a reggae feel similar to that of "I Shot the Sheriff."[4]Record World called it "a midtempo number constructed around a network of acoustic and slide guitars.”

The Grateful Dead never played the song in concert.

The five-piece then showed off its firepower with a 34-minute “Viola Lee Blues.”

SHOW No. 1: Viola Lee Blues

Track # 2

31:30 – 33:01

In a 1999 interview with Jambands.com, Lesh revealed that it was Anastasio’s idea to do “Viola Lee” and talked about how he started listening to Phish and also how the collaboration came about. Read an excerpt below:

“[Phish’s music]…was absolutely entrancing, it was just gorgeous…but I couldn’t hear the piano well on the live tapes, so I went back to the CD’s and started listening to Page and what he was doing, and so I said “Well…” and my wife said “Come on, Come on, give them a call.” Somehow I got their phone numbers, and I gave them both a call. We talked about it, and they said we’d love to do it, and so we set a date, and we started calling back and forth, and like I said earlier they brought in a dozen Grateful Dead tunes I never would have thought of doing, but they wanted to [do] them. And we got together at rehearsal and the first thing we did together was “Viola Lee Blues,” and from there on out it was like now let’s do this one, and let’s do this one. It was real rehearsal in the sense that the Grateful Dead rarely was. Grateful Dead rehearsals were kind of comical. We believed in public rehearsals.”

A long time favorite of Phil’s, he picked it as one of the live tunes for the GD album, Fallout From The Phil Zone – a collection of some of Phil’s favorite live tracks of various Dead tunes released on June 17, 1997. In the liner notes he said this of the song: “The definitive early Grateful Dead jammin’ tune, the first one we ever really stretched out beyond all recognition, by using what we called then “shifting gears” – which is really nothing but a twenty minute accelerando, influenced by the North Indian music that we were listening to a lot at that time.”

Played only 44 times by the Band

First: March 19, 1966 at Carthay Studios, Los Angeles, CA,

Last: October 31, 1970 at Stony Brook Gymnasium in Stony Brook, NY

Also played June 27, 2015 at Levi's Stadium, Santa Clara, CA, USA 50th Anniversary shows

MUSIC NEWS:

• Skull and Roses called off, no refunds

After the exploratory, bar-setting, “Viola Lee,” the quintet would run through more material from the Dead canon with Trey and Page harmonizing on “Big Railroad Blues,” Phil singing “Jack-a-Roe” and Phil, Trey and Page harmonizing on “Cosmic Charley”

SHOW No. 2: Cosmic Charlie

Track #5

3:25 – 5:12

Old Time Music and Hope Barnett:

Grateful Dead was known for their unique and poetic songwriting style, and “Cosmic Charlie” is no exception. Released in 1969 on their album “Aoxomoxoa,” this song has captivated fans for decades with its enigmatic lyrics and psychedelic sound. Exploring themes of spirituality, love, and the human experience, “Cosmic Charlie” takes listeners on a sonic journey unlike any other.

The meaning behind “Cosmic Charlie” is open to interpretation, as with many of the band’s songs. Some believe it was inspired by the vision of a fictional character named Cosmic Charlie, who travels through different dimensions, spreading joy and love. Others see it as a metaphor for the human longing for connection and transcendence. The lyrics, although cryptic at times, convey a sense of wonder and mystery that invites listeners to delve deeper into their own consciousness.

The overall message of “Cosmic Charlie” seems to be one of embracing the cosmic and spiritual aspects of life. It encourages listeners to let go of their inhibitions, explore the unknown, and seek connection with the universe. The song invites individuals to tap into their inner selves and discover the hidden realms of existence.

While “Cosmic Charlie” was never released as a single and did not enjoy mainstream success, it holds a special place in the Grateful Dead’s discography and the hearts of their fans. Its eclectic and unique style showcased the band’s experimental tendencies and cemented their reputation as pioneers of the psychedelic rock genre.

Love hearing Trey and Page singing along on this old timey Dead gem.

Played 45 times by the Dead (38 in 1969 and 1970, 1 in 1971 and, inexplicably, 6 in 1976.

First: January 17, 1969 at Robertson Gymnasium, University of California Santa Barbara Campus, CA, USA

Last: September 25, 1976 at Capital Centre, Landover, MD, USA

1984 Deadheads would pass around a petition asking the band to play the song again and also pass out cards before the show with the lyrics just in case they played it.

Finally, for the Phish fans in the crowded Warfield, the first Phish tune of the run (and only one that night), “Wolfman’s Brother.”

SHOW No. 3: Wolfman’s Brother

Track # 6

1:30 – 2:58

On this one, writing credit goes to the entire band plus long time Phish lyricist, Tom Marshall.

Released on Hoist (stylized as (HOIST)) is the fifth studio album by the American rock band Phish, released on March 29, 1994, by Elektra Records. At the time of its release, Hoist was Phish's best selling album to date, peaking at No. 34 on the Billboard 200 albums chart. The album was certified gold by the RIAA on August 19, 1996, and remains the band's best-selling studio release, outsold in their discography only by the platinum-certified A Live One.

Old Time Music: Mike Wells

Music has a unique way of connecting with our emotions, memories, and experiences. It has the power to transport us to a different time and place, evoking feelings we may have long forgotten. One song that has always resonated deeply with me is “Wolfman’s Brother” by Phish. This track, featured in their 1994 album “Hoist,” holds a special meaning and significance for both the band and their dedicated fanbase.

the lyrics of “Wolfman’s Brother” have a universal appeal. They invite listeners to reflect upon their own encounters with enigmatic figures or forces that have left a lasting impact. It encourages us to confront the demons that haunt us and search for understanding and resolution.

Listening to “Wolfman’s Brother” live is an entirely different experience. The band’s extended jams and improvisations add a new layer of depth and intensity to the song. It becomes a collective experience, with the audience joining in as the lyrics are chanted by thousands of voices.

Phil spoke with Jambands.com about wadding into the Phish catalog:

I had thought maybe we would do this tune or that tune, and in the end, we only ended up doing one tune that I thought we would do, and that was “Prince Caspian,” and then they brought up those other three, “Wolfman’s Brother,” which I had never heard, and “Down With Disease” and “Chalkdust Torture,” which I hadn’t heard either until we played them at the rehearsal, and then I went and got the CD’s and checked them out. But then I started listening to their other stuff, their other stuff is real interesting, but you can tell by listening to that that they need their forty hour weeks, because they really need to get that shit down.

Never played by the Dead.

MJ NEWS – One Toke Over The Line!!!

STRAINS:

Strawberry Shortcake – a wonderful nighttime indica strain that that has a tart strawberry taste and leaves you with a good face melt and some couch lock. Wait until you get home before diving in. No great if you are with a group of people who are looking for your active participation in whatever they are doing! But wonderful to relax and get ready for a good night’s sleep.

Blue Dream – every now and then I swing back to one of the all time greats. Nice for daytime and early evening use. Just have to be sure that whatever they are calling Blue Dream is really Blue Dream. It does have a fairly distinctive taste and smell so if you are familiar with the strain, you should be able to tell if you have the real stuff.

Tang – a wonderful sativa that is energetic without providing the standard “sativa crash” as it wears off. Also nice because of it’s ability to “cut through” any buzz you may already have and provide a new uplifting effect.

After a first set-closing “Uncle John’s Band,” the second frame got underway with Lesh leading on “Alabama Getaway” and “Sugaree,” the latter of which featured the band taking things out again and stretching the song to over 20 minutes. Phil once again stepped to the mic for a cover of the Bob Dylan classic “Like A Rolling Stone” that saw Trey and Page joining him on the chorus – I love that tune, the first Phil & Friends show I ever saw, featuring the Quintet, at the Riviera Theater in Chicago with good buddy Jimmy they opened with a 15 minute version of this tune into a 30 minutes cover of Low Spark of High Heeled Boys, just too many other good tunes from this show - and led into a spirited “I Know You Rider.” Anastasio then fronted the quintet on a sweet version of “Row Jimmy”

SHOW No. 4: Row Jimmy

Track #12

2:10 – 3:55

Garcia/Huner tune, Wake of the Flood is the sixth studio album (and tenth album overall) by the rock band the Grateful Dead. Released on October 15, 1973, it was the first album on the band's own Grateful Dead Recordslabel. Their first studio album in nearly three years, it was also the first without founding member Ron "Pigpen" McKernan, who had recently died. His absence and keyboardist Keith Godchaux's penchants for bebop and modal jazz (rather than McKernan's tendencies toward the blues and rhythm and blues) contributed to the band's musical evolution. Godchaux's wife, vocalist Donna Jean Godchaux, also joined the group and appears on the album.[8]

The release fared better on the pop charts than their previous studio album (1970's American Beauty), reaching No. 18.

After three live albums in a row, the Grateful Dead wanted to record studio versions of songs written since Keith Godchaux had joined the band. At the time of recording, five of the songs on the album (and part of a 6th) had been in live rotation for up to a year and a half, as arrangements were road-tested and finalized. Referring to this period, bassist Phil Lesh explained, "We'd learned to break in the material at shows (under fire, as it were), rather than try to work it out at rehearsals, or in the studio at tremendous expense."

Describing Godchaux's influence, drummer Bill Kreutzmann characterized the album as "Keith's coming out party." Remarking on the evolution in style, he remembered:

Jerry brought "Row Jimmy" into us one day, and it was really difficult to get a grip on it at first. It has a slow tempo, which makes it seem like it would be easy, but it calls for a slight reggae groove layered over a ballad. Rhythmically, the lengths aren't traditional. They're not just twos and fours. It's deceiving. Basically, you have to play the song in half-time with a double-time bounce on top. It's trickier than it sounds. But once I locked into it, "Row Jimmy" became one of the best songs in our repertoire.

Played 274 times

First: February 9, 1973 at Maples Pavilion, Stanford University, Stanford, CA, USA, a show we featured earlier this year.

Last: June 21, 1991 at Knickerbocker Arena in Albany

Cannot say enough about Trey’s strong vocals on this tune. This is 16 years before the 50th reunion shows where Trey would play lead guitar for all five shows (2 in Santa Clara and 3 at Soldier Field). And at this point, Phish had only covered one Dead tune in concert: Terraping Station on August 9, 1998 at the Virginia Beach Amphitheater on the third anniversary of Jerry’s death. Since that point, it is still the only time Phish has covered a Dead tune in concert. Why only that one? Who knows. Trey is certainly more than qualified to cover any Dead tune and the other guys have all played with various Dead members from time to time. One of the great mysteries of the Phish world (at least for me).

This was followed by a crowd-pleasing “Shakedown Street” which saw the band stretching their legs once again for a nearly 20-minute excursion. Next, “The Wheel” led into a 15 minute version of the classic closer “Not Fadeaway” to bring set two to a conclusion. After Phil’s donor rap and band intros, Phil & Phriends closed out Night One of the run with Phil singing lead Dylan’s “Mr. Tambourine Man,” which they did in the style of The Byrds.

OUTRO: Mr. Tambourine Man

Track #18

0:00 – 1:28

Leave you with one of my favorite Bob Dylan tunes.

"Mr. Tambourine Man" is a song written by Bob Dylan, released as the first track of the acoustic side of his March 1965 album Bringing It All Back Home. The song's popularity led to Dylan recording it live many times, and it has been included in multiple compilation albums. It has been translated into other languages and has been used or referenced in television shows, films, and books.

The song has been performed and recorded by many artists, including the Byrds, Judy Collins, Melanie, Odetta, and Stevie Wonder among others. The Byrds' version was released in April 1965 as their first single on Columbia Records, reaching number 1 on both the Billboard Hot 100 chart and the UK Singles Chart, as well as being the title track of their debut album, Mr. Tambourine Man. The Byrds' recording of the song was influential in popularizing the musical subgenres of folk rock and jangle pop, leading many contemporary bands to mimic its fusion of jangly guitars and intellectual lyrics in the wake of the single's success. Dylan himself was partly influenced to record with electric instrumentation after hearing the Byrds' reworking of his song.

The song has been in Dylan's live concert repertoire since it was written,[10] usually as a solo acoustic song, and live performances have appeared on various concert albums and DVDs. An early performance, perhaps the song's live debut, recorded at London's Royal Festival Hall on May 17, 1964.

Great version, again with Trey and Page joining in. I think Phil surprised them with pace of the tune right at the start, but everyone catches up and it’s a fun song to hear in concert. Great way to close out night 1 of this 3 night return to the stage run for Phil. Best part is that 25 years later he is still going strong at 84!

Phil and Friends have covered it 6 times

First: at this show!

Most recent: October 5, 2000 at Orpheum Theatre, Boston, MA, USA (doesn’t seem correct to me because I’m fairly certain I’ve seen Phil perform this live since 2000, but so far cannot seem to come up with the place, date or folks he was playing with. Happens sometimes!

Finally, this show marks the first instance of Phil’s famed “Donor Rap” that precedes the encores of all of his shows

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