Phish swims to mainstream October 11, 1996 - The Boston Globe By Steve Morse Album Review - Billy Breathes Despite selling concert tickets by the thousands, Phish is still looking for a blockbuster album. That may never happen for this word-of-mouth band, just as it never happened for the predecessors to whom they're often linked, the Grateful Dead. But Phish's new disc, "Billy Breathes," may finally dent that theory when it hits the stores Tuesday. The music retains the band's individualism, but still packs enough hooks to grab the ear of the mainstream. It's the most cohesive record the Vermont-based Phish has made, toning down the eccentricities and leaving the melodies front and center. It maintains some of the group's jam-band flavor but shows a heightened craftmanship. And, surprise, it's much more radio-friendly than past, sometimes overly cerebral, insider-ish efforts. The lead-off track "Free," which is getting air play everywhere, has a breezy vibe even as it suggests the mysticism of the Grateful Dead's "Terrapin" in the line, "In a minute I'll be free and splashing in the sea." It has a floating, trance-like feel and a celestial chorus. Songwriter-guitarist Trey Anastasio outdoes himself. Recorded and mixed in Bearsville, N.Y., the album was coproduced by Phish and Steve Lillywhite (of U2 fame). Lillywhite is known for framing bright, ringing guitar sounds, of which there are many on this inviting disc. There are ample electric guitar tracks, but also more-than-expected acoustic treats. The best is the chiming "Bliss," an instrumental that sounds like Michael Hedges meeting Leo Kottke. Likewise engaging is the childlike "Train Song" and the neo-hippie Phish-speak of "Talk," with acoustic guitar woven around a sinuous Page McConnell piano melody, topped by the Allen Ginsberg-like verse, "I can't talk my talk with you/Nothing's ever soaking through the filter that surrounds your thoughts." The album suggests that Phish could break out of its cult-status chains for good. The Neil Young-like "Prince Caspian," with distortion-rich guitar and high vocal harmonies, is a standout tune. So is "Theme from the Bottom," which builds to a crescendo evocative of the Grateful Dead. A personal favorite is "Waste," a loping number with tinkling banjo and shy, reflective lyrics: "Don't want to be a painter because everyone comes to look/Don't want to be anything where my life's an open book." Phish has had a reputation for jumpy rhythms and overplayed instrumentation, but that doesn't apply to "Billy Breathes." The Phish earnestness is still there, but this disc happily sacrifices individual virtuosity for the sake of better overall songs and - who knows? - maybe even better record sales this time. Article © 1996 Globe Newspaper Company