Here comes Carini, he's gonna getcha, arghhhh!

Phish Songs
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#1

There aren’t enough words in the language to explain to anyone who wasn’t at 4/3/98 the shear energy at this moment inside Nassau Coliseum when Fishman undertoned these words at the top of the intro break of the Carini’s Gonna Getcha Antelope. I was listening to it yet again this morning on the way to work, and it still brings chills of excitement.

It was absolutely one of those unique emotional surges that permeates Phish “pholklore”, like the moment of recognition that the band was beginning to play Terrapin St in the encore of 8/9/98; or when Dark Side of the Moon evolved within the Harpua at Salt Lake City right after Halloween that same year.

Some believe, I for one, that the strength of that Antelope was a result of Tigger running across the stage toward the end of the preceeding Loving Cup. I connected with this guy just before the 2/38/03 show at Nassau and hung with he and his gf during setbreak talking about that night in '98. It was like so many curious adventures that seem to happen to people at Phish shows, part of the magic that sometimes existed between the band and the audience and between individuals within the audience.

It’s always hard to talk about this stuff, because there was always this “power” or, Yoda forgive me, “force” that permeated Phish shows. Fortunately, most recordings of 4/3/98 capture this power during this version of Antelope, still one of my top five all time concert moments, wedged behind Pink Floyd rising out of the floor at RCMH in a cloud of smoke in 1973, and in front of Simon and Garfunkel, two voices, one guitar in a small gymnasium at SUNY New Paltz in 1968.

Yes, Mr. Sebastian, I do believe in magic.

#2

^ You are a professional writer, aren’t you? Your post are certainly excellent and well thought out! I enjoy reading them.

#3

^ Thanks.
Yeah, I get paid big bucks for writing technical reports on the exchange of digital messages between interfaced weapons systems.

Thinking and feeling Phish’s music is what taught me how to write. The old rmp gave me the electronic forum to practice in. I’ve got a ton of fun posts from the 97-99 timeframe.

#4

I was actually watching this show on DVD yesterday. That ‘Roses are Free’ -> ‘Piper’ is amazing as well.

#5

Possibly the best set of the entire run.

4-5 I and 4-2 II are exceptionally close behind.

#6

I really love 4/4 II…I have listened to that more than any other set from the tour…That BOAF is amazing…best ever in my opinion…Brother! Best Brother ever…2001…let me think…best 2001 ever…pure space funk excitement…Ghost…okay not the best ever, but definately a scary ghost…Lizards! C’mon…Lizards! Why can’t I think of what’s next? Anyways the Hood is something to feel pretty good about as well…I think the 4/3 II is the most groundbreakingly experimental, but I can’t listen to it over and over like I can 4/4 II…maybe it’s just because I only have it on DVD and not c.d. that I haven’t listened to 4/3 as much, but I really love 4/4 the best.

#7

^
“Brother,” “2001,” and “Lizards” are definitely above-average versions. “2001” especially. However, the “Ghost” is just average, and the “Blues Brothers Theme” jamming is awkward and forced. “Hood” is average, too. I thought about including this set, but couldn’t b/c of the “Ghost” and “Hood.”

But anyone can probably make strong cases for ANY set of this 4-show run…! It just depends on if you like experimentation, heavy funk, seques, composed beauty, ballads, etc. A little bit of everything.

#8

I was there too fone…one of my faves as well. Sadly though, the livephish release of this show doesn’t pick up the roar of the crowd during Loving Cup when that guy ran across stage. My old Maxell copy had it and always made me grin ear to ear whenever I heard it.

#9

The first set from 4/4 is the worst of the run.
Anyway, I was just listening to this Carini earlier today…weird.

#10

An average Hood will make your day! It sure made my day several times. What about the funky Cavern? I could listen to that song 100 times in a row and still :slight_smile: Speaking of Hood… The acoustic Hood Trey did on 11/19 is GREAT! (Now available at livephish.com)

#11

I dunno…4/2 I is pretty blah. “Stash” is the ONLY highlight.

#12

Yeah, 4/2 didn’t blow my mind or anything. The music could have definetely been more inspiring.

#13

I have to go listen to this show now… such is the power of your writing… write on man, write on

#14

I’ve only seen 3 Phish shows at Nassau Coliseum, 4/3/98, 10/7/99, and 2/28/03. Interestingly enough, my seats for each show were pretty much in the same location, varying no more than 15 rows and one or two sections at most, and directly opposite the stage. I thought the Coliseum catered to Phish’s sound pretty decently, and it was one of my favorite venues to see the band in.

In April of 98 I had just turned 50, and was about to see my 5th and 6th Phish shows. I was pretty excited about going to 4/3 and 4/4 because I was going to be meeting and hanging out with some of the Phish folk that I had begun to connect with on the rec.music.phish newsgroup, the rmp whackos.

Actually, I had made my ticket arrangements with this guy who was the son of a college friend and fraternity brother that I used to attend Dead, Floyd, and Santana concerts with in the late sixties and early seventies. Matt was one of the first of many kind pholks to help me establish a tape collection od shows.

So throughout much of the night of 4/3, I found myself interfacing with Matt about the music in much the same way I did with his father thrity years earlier. In the strobing lights of the darkened arena, at times I would glance Matt’s way and have to struggle not to believe I had morphed suddenly back in time, the resemblences were so remarkable. The night was permeated with underriding reminiscent tone, something warm, something familiar in a place that could have been somewhat threatening for a fifty year old at a rock concert.

But that’s just what’s been so amazing about being into Phish. I’ve had amazing luck, or serendipity, or general good fortune when it came to Phish shows. Recognition of that, as early as my fifth show (and in reality, even earlier with my first show), is what convinced me that I had no choice but to follow what this band was up to and all about.

There’s a little more about this “luck” at Nassau, but I’ve got to get back to the work they pay me for around here. Maybe later.

bill

#15

You are an excellent writer.

#16

i agree with the first post…i was not there, but listening to the cd does give me chills…when fish says here comes carini, he’s gonna get ya…arrrrrrrghhhhhh, the place erupts and then trey erupts into the upbeat part of the jam

#17

^ Right after this, as the jam starts out, you can hear Trey say the word “Toph”, which is a signal to Kuroda to turn the house lights off. The audience of course reacted to this with a cheer and proceded to launch a major glow stick war.

#18

What also made this one of their best Antelope performances is that all three sections of the song demonstrated top notch playing, innovativeness and playfulness. All four of them were totally into this song from start to finish.

And what’s even more amazing is they came back for the encore with the same energy and attitude. They had to have agreed to the Carini->Halleys->reverse order Tweeprise before they came out because the whole thing just moved so flawlessly together.

One of, if not THE best, encore I’ve ever heard.

#19

Agree with everything said. Unbelievable show and antelope. It’s so funny to hear page and trey realize what fish is doing early in the song. Every section of this antelope is genious, especially the endddd!!! I love it!!

#20

^ Fish was absolutely the inspiration behind everything that the band did with this song. He was still screaming “Carini” at the tension/release points in the hottest part of the jam. Freaking incredible performance.

Fish is so often the first one to verbally express something when the band is really cooking. Normally it’s a “yeah” or something like that.

The Fishman/Trey relationship within the way Phish songs progressed was always so important. Maybe because they were the oldest friends in the group, or because Trey first played the drums, or maybe because they just related better than any other pair within the group.