Phish - Round Room March 29, 2003 - The Courier-Journal (Louisville, KY) By Bob Bahr Album Review - Round Room 2 1/2 Stars Accomplished instrumentalists such as guitarist Trey Anastasio add to the wonder of Phish. While slight and silly cuts like "Mexican Cousin" seem thrown together, many of the songs on "Round Room" make it hard to believe that Phish put this album together in less than two weeks, as has been reported in the music press. But this is the wonder of Phish: The band has such seasoned musicians that a tossed-off studio album seems more like chamber jam music than a record made on the run. In fact, only a deeply resistant curmudgeon or an enemy of classic rock could dislike the title track and the mutating, exploratory "Pebbles and Marbles." Little touches like the trembling keyboard at the start and close of the latter make these tunes worth repeated listens. More Allman Brothers than Traffic, Phish jams out with the ease of accomplished instrumentalists. The band has never been noted for its lyrics, and "Round Room" stays that weary course, forcing the listener to focus on the music. That's where the attention belongs, as cuts like "Mock Song," "Seven Below" and "Thunderheard" sound great, and are certainly less filling, if messages matter. Old habits die hard, and they're not limited to uninspired lyrics. The ghost of the Grateful Dead returns, as it does on every Phish album, this time most substantially on "46 Days," with vocals that sound more than slightly like Bob Weir's (even if the guitar licks sound pinched from Keith Richards). There's really nothing wrong with this quickly composed record. It's a jam-friendly album from a jam band that involves the listener within its instrumental explorations. Phish's members are top practitioners in this genre, and that's all that can be said about them. Copyright © 2003 The Courier-Journal