Trey Anastasio - Trey Anastasio June 1, 2002 - Dallas Music Guide by Branden Snyder Album Review - Trey Anastasio All of the 'ideals' of the 1960's (what were those again?) may be, as people are so fond of pointing out, a thing of the past. But the music that is forever attached to those abstractions will, for better or worse, always be with us. Classic punk, funk, mod-rock, and rockabilly albums will undoubtedly go in and out of print according to the temper of the times, but most likely anyone who is interested will always be able to get a full collection of Canned Heat and Hot Tuna demos and b-sides, along with hours and house of aimless jams from hairy dudes available on the bootleg market. But for some dreadlocked stoners, nostalgic for a time that they never experienced, this will never be enough. Because, after all, this is music that has always put a high premium on the live experience, which evolved over the years to a communal traveling fair as well as a showcase for 'spontaneous' performance. So, with Jerry Garcia riding God's psychedelic VW bus off to that huge muddy field in the sky, and the rest of the bands his age unwilling to leave comfortable retirement to play a three hour show every other day for a bunch of dirty stoners, a niche market opened up for bands that could channel that Freedom Rock groove for the kids, day in and day out. For quite a few years, Vermont's Ben and Jerry approved beard farmers Phish filled that niche more or less perfectly. Performing a decidedly muso amalgam of stoner rock, folk jamboree, and hippy jazz fusion beefed up with interminable trance-inducing improvisations. While many of the bands that followed them to the jam band spotlight, like Widespread Panic and Blues Traveler, basically played bar band blooze rock with the solos extended, Phish never wanted to let you forget that they were music school dudes all the way who couldn't pass up a chance to write a 15 minute song on 23/27 time based on a theory by Charles Ives, or that they were serious Zappa fans who would write a whole song about dancing yaks in outer space. And then, at the height of their popularity, they went on 'hiatus', leaving thousands of guys stranded, depressed, and wondering of "Widespread Panic" would fit on the side of their bus. But no fear, guys. Two years later, Phish frontman Trey Anastasio returns with a solo album to chase away those blues. Mostly eschewing the rural, acoustic folk sound of their last album Farmhouse, Anastasio is more stoned on the up tempo mishmash that characterized earlier Phish. The eclecticism that was always hinted at on Phish's albums comes to the fore here more than ever. On "Alive Again", Anastasio imagines himself as a Tito Puente for the -festival circuit (or is that just Santana), grooving on punchy minor-key horns, Cuban percussion, some stabbing piano, and his own trademark jazz guitar. "Night Speaks to a Woman" starts as vaguely menacing white funk, before flitting up into a high toned chorus that says "like water on the breeze" and seems to mean it. The title of "Drifting" gives it away early, riding a loose New Orleans piano bounce straight into mellow station, where you can muse aimlessly about "the stars above" and that the "storm is lifting." On the other hand, the mostly instrumental "Push on 'Til the Day" really gets into the drifting business, although its gospel/Stax-Volt horn and organ groove plays well at keeping the sound fairly tight (at least for the first 4 minutes or so). Sonically, Anastasio makes a few subtle departures from Phish's sound. Every track is fitted with big voiced background singers, horn sections, and Hammond organs that all work rather nicely as an homage to classic soul music and 60s funk jazz. That said, it probably won't make converts of anyone not already in tune with Phish's style of mellow. But, chances are, if you own more than two knit beanies, three psychedelic bumper stickers, and a four foot bong, it might be right up your alley. Rating 6.5 out of 10