Phish - Billy Breathes

You're either a believer or you're not when it comes to this hugely popular live band. Well, the lines get blurred here, just as they did a quarter century ago on the Grateful Dead's American Beauty. As he did with the Dave Matthews Band, producer Steve Lillywhite puts a crisp stamp on 13 likable, easy-going songs and instrumentals. --Jeff Bateman Amazon.com

Phish moves more toward a Progressive Rock Sound - and still shines

By 1995, Phish had proven themselves a band that produces some of the most innovative music anywhere on the music scene.. Phish has long had the reputation by putting on some of the most incredible live performances anywhere. As a result, many consider Phish to be a stronger live act than a studio act. My feeling is that in order to become a powerful live act, the music performed has to come from somewhere. In this case, much of the music comes from Phish's outstanding library of music they released. In 1994, Phish released what I felt was their strongest effort to date - "Hoist". Their follow-up would be 1996's "Billy Breathes" continues to show Phish's creativity, but this time moving toward a Progressive Rock sound.

Phish is commonly called a "jam" band. However I tend to subscribe to the theory that "jam music" is one component of what Phish is all about. My feeling is that Phish is really an improvisational band - and they might just be one of the greatest improvisational bands of all time. They put a mix of Folk, Rock, Jazz, and Country into their music. In other words, improvisational music allows them to do whatever they want. In their live performances, Phish is most famous for "doing whatever they want". While "Billy Breathes" moves more toward a Progressive Rock sound, Phish will continue "do whatever they want in their music".

While "Billy Breathes" does have a Progressive Rock sound, there aren't going to be the long epic tracks that are found on their previous albums. In fact the longest song clocks in at 6:22. I would also say that this is a more "serious" album by Phish. It doesn't have the humor that is prevalent on other Phish albums. However, I consider all of these differences a positive as it shows Phish will continue to do things their own way.

Many have said that "Billy Breathes" has a greater acoustic guitar influence. I would subscribe to that, but I would also say that Page McConnell's keyboards are going to have an equal influence to all of the guitar work by Trey Anastasio. This duo combined with the right supplements from Mike Gordon's bass and Jon Fishman's drums provide some great instrumentals.

Here is a song by song breakdown of "Billy Breathes":

"Free": Great opening track by Phish. The instrumentals definitely demonstrate a progressive rock sound. This is almost textbook balance to McConnell's keyboards balancing with Anastasio's guitar work. The chorus is very catchy.

"Character Zero": The song has an acoustic kickoff, but it is going to be the mantra-like chorus that is the highlight of this song with the lyrics "I ought to see the man Mulcahy". These lyrics, while I'm not sure I get them are all part of the improvisational package of Phish. The song will transgress to a harder rock sound. Listen to how McConnell's keyboards provide more balance to Anastasio's heavier guitar sound.

"Waste": This song also has an acoustic kickoff, but slowly builds up. As the song builds up, listen to how McConnell's keyboards really take a dominant role. This song also has a mantra-feel with the chorus, "Come waste your time with me".

"Taste": This song has an acoustic-folk sound to it. This time it will be McConnell's keyboard working with Fishman's percussions that will give this song a good feel. There is a nice jam in the last minute. While a short song by Phish standards at 4:07, you can see how they could take this song and make a long jam from it.

"Cars Trucks Buses": This is a terrific instrumental. This has more of a jazzy feel as compared to the other songs on this collection. Again you can see how they would construct a jam from this.

"Talk": This song also has an acoustic kickoff to it, but once again strong keyboards by McConnell provide the right balance. This is one of the softer songs on the collection.

"Theme From the Bottom": Instrumentally and vocally, is one of the best songs ever done by Phish. This is another complete effort by all four members. This is the longest track and like "Taste" you can see the beginnings of a great jam. Great improvisational work as you hear "barber shop quartet" like vocals 5+ minutes into the song.

"Train Song": This song has the most acoustic and soft feel to all of the songs. It has a storytelling aspect to it similar to the feel found on Phish's 1988 "Junta" album.

"Bliss": This is an instrumental that showcases Anastasio's guitars. It has a segue into the title track, "Billy Breathes".

"Billy Breathes": A song worthy of a title track. Like "Theme From the Bottom", instrumentally and vocally this is another showcase for all four members of the band. More great balance in guitar and keyboards by Anastasio and McConnell respectively. Another good example of where a jam could be constructed.

The last three songs all segue into each other.

"Swept Away": This song kicks off the 3 song sequence. A short song at 1:17, this song has a soft-acoustic feel. The chorus has that mantra feel with the harmonies of "finally swept away".

"Steep": This is the second of the three song sequence. In this song we hear more of a progressive soft-rock sound. The sounds make this the most improvisational sounding song on "Billy Breathes". This song clocks in pretty short too at 1:38.

"Prince Caspain": This is the highlight of the three song sequence. This is another classic sounding Phish song. This is another complete effort by the band that also has a mantra-like chorus and the makings of a great jam.

This album doesn't contain the lyrics (except for a portion of "Theme from a Bottom"). Overall, Phish might have changed things up from "Hoist", but they prove they were able to maintain their creative apex. This album is worthy of being called a Phish classic. Highly recommended. August 23, 2007

Peak Hour

I've listened to most of Phish's albums, and this really was their big moment. Finally their songs are arranged for the music listener, not just for some kid strung out on acid, dancing in one spot for 16 hours (not that there's anything WRONG with that). From the first notes of 'Free', you can tell this is going to be a traditional ROCK album, album openers like 'Rift' sounded like some wigged-out bluegrass band. Their formidable musical chops are held in tight rein here, and the songs themselves emerge. And what songs! Shimmering harmonies, plaintive melodies, and even a Beatleish ditty in the title track. The sound is very stripped down, with the vocals and drums up front, and a minimum of hyperactive rhythm arrangements.

I feel a lot of what held Phish back from big album success was their lyrics, like Frank Zappa, very difficult to take seriously. Lyrics have to walk a fine line, but Phish just never bothered. Yes, they're not filling the airwaves with rants about anarchy or "I wuv woo", but on the other side, there's seldom any lyrical depth to anything, just silly songs about dolls and weasels, bouncing around the room. On this album the lyrics are toned down and simplified, and some pleasant Americana emerges. "Theme from the Bottom" seems to be from Trey to his fans, but most of the lyrics are oblique enough to refer to whatever you want.

You can hear traces of the experimental Phish era in the multiple simultaneous time signatures in 'Taste', alternating vocals in 'Theme', jamming in 'Cars Trucks Buses'. There's also the introduction of serious rock solos (the end of Billy Breathes), dynamics (Free), simple singalong harmonies (Waste), and a real injection of personality into all of these tracks. The title track is indeed a unique moment for Phish - a McCartneyish chord progression and melody, atmospheric synth/brass solo, layers of harmonies in the chorus, and a solo at the end that has some REAL emotion (at last!). Character Zero has an odd bass riff and a catchy, yet inane chorus.

I remember when this album came out, I had been hearing Phish music for a few years but suddenly it seemed everything came into focus. I also remember getting the album that followed this (Ghost), expecting for more of the same. While it incorporates a lot of the lessons learned here, the songs are not near as strong. If you're a Phish Phanatic, this won't necessarily be your favorite album, but odds are most everyone else will find this the easiest Phish album to enjoy.
February 11, 2007

:) Not quite

I freakin love Phish, and have all their albums. This was my first purchase, and overall a nice disc. I feel though that while a good album in general, it was a weaker effort for Phish, also - the album did not flow very well from start to finish. Train song, charachter zero, and waste are the highlight tracks from this album. If I were recommending Phish material to people- this would be about middle- to end of my list. March 14, 2006

Seafood Deluxe

I was introduced to Phish with this album way back in '96 when I was 17 by an older ex-boyfriend. "Waste" was our song. Yes that's cringe-worthy, but it's a beautiful song, no?
This album is seriously one of the most wonderfully crafted, beautifully played and produced albums I have ever had the extreme pleasure of listening to. There is something for everyone in this album and it is a little more accessible than some of their other work. I remember buying "Lawn Boy" after "Billy Breathes" and I was very confused. I loved it just as much, but it was so different! It's nice to hear Trey's lovely voice whispering to you and Lillywhite, as always, incorporates his unique layered production to an already talented sound. Great stuff. March 3, 2006

I can't get into this

This music sounds like it would be great live or on a stereo or something. But I usually listen to music whenver just by myself on my comp or ipod. Just know this that they ARE a jam band and as a reviewer said THE jam band. It just screams hippie too and reminds me of the hippie jam fest episode of South Park. If you listen to rap 24 seven and pop music this will probably most definately not be for you. I find Oysterhead which has member from primus and phish in it to be more accessible to both thier main bands. Primus and Phish arent stuff you hear on the radio or everyday and takes a special appreciation so dont even go here if pop music is all you know. I really got sick of 50 cent and his empire of medicoreness and after reading mike jones lyrics i was absolutely appalled at the complete lack of talent. The whole flavor of the week songs thing turned me away too. I quickly retreated back to old favorites like NOFX, sublime, and radiohead. Now the closet ill venture to pop music is Weezer. So if you too are sick of rap phish is like the complete opposite. January 5, 2006

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