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Product Description
Amazon.co.uk Review
Filled with pretty melodies, delicate strumming and concise, focused, melodic tunes, Phish's eighth studio record marks a bit of a departure from the norm, but not as much of a departure as many might think. For one thing, 1996's Billy Breathes moved in a similar direction--to the delight of casual fans and the dismay of many Phish fanatics. For another, even at their most frenetic and far-reaching, the band has always shown a keen pop sensibility, even if it was merely a chance to catch their breath. Make no mistake: most of the songs on Farmhouse are wonderfully, irresistibly catchy--and often quite lovely. This was clearly singer and guitarist Trey Anastasio's baby from the start, and he fills the album with some of his most appealing compositions. And as usual, there's a diverse range of styles, from straight pop to country soul to easy funk to gentle balladry. That said, fans used to hearing these songs live will most likely be disappointed by Farmhouse. Too often, you find yourself waiting for the explosive jam that never happens, and when it does, as on "Piper", it seems oddly out of place. Ironically, the final song, the cunning instrumental "First Tube", has what's been missing all along--bite. In the long run, this is not the album that Phish will be remembered for, as it plays away from what makes them unique. --Marc Greilsamer
CD Description
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 theaura 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 acousticmagic with the help of bluegrass giants Jerry Douglas and Bela Fleck.
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 theaura 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 acousticmagic with the help of bluegrass giants Jerry Douglas and Bela Fleck.
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