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7 of 7 people found the following review helpful:
4.0 out of 5 stars
Phish's Swan Songs, June 15, 2004
It is no accident that the album cover for Phish's twelfth and final studio album looks similar to another Fab Four's final album: The Beatles, Let It Be. And like Let It Be, Undermind feels like a collection of songs documenting the different phases of the band throughout their history bringing it up to the present. While there has been many articles both critiquing and praising what Phil Spector did to the songs of the Beatles, most of what will be written about producer, Tchad Blake's involvement should be positive.Mr. Blake who is known for his creative production work with Peter Gabriel, Tom Waits, Los Lobos and Soul Coughing, is coming in to work with Phish for the first time and brings a discipline (that was sorely lacking on their self-produced Round Round) while also letting the band try new ideas. The highlights of this album are not in the places you might expect to find them. There are no epic jams or flat out rockers. It's the songs not penned by guitarist, Trey Anastasio and lyricist, Tom Marshall, which are the most enjoyable. Page McConnell's "Army Of One" sounds more than anything like a band that has been calling Vermont home for over 20 years. "Access Me" by bassist, Mike Gordon, is a bouncing, catchy tune that reflects his recent experiences playing as a duo with Leo Kottke. And just under two minutes, Jon Fishman's "Tomorrow Song" is an optimistic chant that would be at home in the streets of New Orleans. The other songs on the album fall a bit more flat and don't seem to go anywhere the band hasn't already been. "The Connection" is the band's single and but doesn't feel very inspired. "Crowd Control" tells the listener "the time has come for changes, do something or I will." A little more direction should be expect from a band that has been able to mobilize over 80,000 fans to attend its concerts in the middle of nowhere. "Scent and Subtle Sounds" reaches back to the era of Phish when lengthy and tight song composition was their primary focus in songwriting. And the album closer "Grind" has the band singing together in the barbershop quartet style that they often have done at their live concerts. It's a solid final offering from the band but certainly not their greatest achievement. More than anything it hints at the interesting possibilities these four will achieve on their own after their last show as Phish is played in August.
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6 of 6 people found the following review helpful:
3.0 out of 5 stars
A going away present for keepsakes, January 20, 2005
Phish left us with this 50 minute document of music. I am not sure how much better they could have drafted it. Sure, it isn't incredible or especially creative but it is listenable and that all one could really ask for.
It is for this reason that this is as good as it gets at this point in time. Phish has long since been stumbling down from their highest peak. As phans we all must share in the enormouse achievments Phish has made throughout its 21 years of existance. This is it and we need to love it.
From a critical standpoint, this is definatly short of brilliance. Despite the wonderful work of Tchad Blake, the music itself simply isn't what we have come to expect. It is far less creative than it was even ten years ago. It is far less catchy than it was on Farmhouse. It is instead much more relaxed and laidback. Almost too perfectly performed. The solos dont go anywhere unexpected and the words are too cliche. At least in the olden days Phish could get by with bad lyrics because the soul layed within the musicainship. Now that the music is simpler, the words standout. Just as they did on Farmhouse and even more so on Round Room, the words from Tom and the rest are just words. Not really inspired atall. That is by far my biggest problem with the record. My second biggest complaint lies within the sound of the songs. I agree to some extent with those who say that this doesn't sound like Phish. It sounds more like The Trey Anastasio band featuring Page, Mike and Jon. I mean to say that each song sorta sounds like each one's solo stuff being reworked to conform to Phish. There seems to be considerably less sparks flying and magic in the air. Though there are exceptions, this style of song development kills the magic.
With the magic gone, you must say "how does one actually like the record?" That is simple. The brilliant minds of Phish make this an enjoyable listen. Unlike any of their other records, it can be listened to nearly all the time because works in so many moods because it is without a mood of its own. It is pop.
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5 of 5 people found the following review helpful:
4.0 out of 5 stars
to all the phans who may have doubts, October 24, 2004
Okay, so it's been about 4 months and I can now stomach to listen to this album. The trick is not to think of phish when you listen to it. I've read most of the reviews below and some were pretty harsh. This "Jon Won" guy below me is an idiot, though. I don't know why he even reviewed the cd. I don't think he has ever heard it. Don't waste your time reading that review. I think that most people don't realize that a band can't stay the same forever. I celebrate the phish catalogue almost every day and I am not entirely disappointed by this album. I wished they had gone out with something more, but you take what you can get. Anyway, bands change over time and it just so happens that this album was a drastic change. but you can't count it out right away. It gets better with time, trust me. Obviously, it's no Billy Breathes, but I didn't expect them to top that. Just as Round Room took some getting used to, so will this one. It will never be the phirst pick for my cd player, but it will come back to entertain me at certain times.
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