A Study in Reba

This morning, I typed "Phish Reba" into my iTunes and selected a classic - 12/31/95. This is my favorite Reba ever because, to me, it embodies everything that a Reba should and could be. The composed section is played without flaw. Towards the dark part, Page really takes ownership of the crescendo, with Trey stepping back, waiting in the wings. Then, right on cue, Trey comes screaming back in, as both of them dance around the scales in perfect unison. While the composed portion is top notch, the true beauty comes with the jam. Trey begins with a soft riff, which Mike quickly picks up and mimics. And then Trey begins his long, epically triumphant ascent towards the jam's peak. The word that first came to mind was "precise" - a true craftsman, choosing each note with the utmost thought and care. Everyone knows Trey can shred, but his deliberate and delicate playing truly portray this song as it was meant to be - as an emotionally cathartic masterpiece of musicianship. The rest of the band is just as emotional - I can just picture them, eyes closed, playing one of the most beautiful pieces of music ever. Page still pounding down on his keys, Fishman with his perfect fills and Mike keeping it all together. And then, the peak - Trey the shredder returns, but it's not fast and furious. He soars - and the rest of the band glides along with him. I have no idea how he even thinks these riffs up, no less plays them with such passion. Trey finds his ultimate peak, and then, just at its most emotional moment - the slam of Fishman's drum: "Bah!" The song ends without the vocal reprise at the end - no need to add anything else to this masterpiece.

The next track was another Reba: 10/1/89, the first Reba ever. I just had to listen. The first thing that struck me - after hearing them start the song with the composed jam instead of the verse - was that the song had a different tempo - much more on the beat than it is currently played. When the verse comes in, Fishman is much more straightforward, and Trey plays the chords on the downbeat. The band also seems to have a real affinity for the line "bag it, tag it, sell it to the butcher in the store," laughing while they sing it over and over. Then the band breaks it down - the "bag it, tag it jam," if you will. Funky rock and roll right here, folks. Then right into another part of the composed section. Then, the first ever Reba jam, with Mike repeatedly singing "bag it" in falsetto. Trey finds a cool little lick to play and settles in, playing around with its notes, the last one soaring - "bah-dah-beeeeeeeeeoooooo." Overall, the band plays well, but has trouble finding the emotion that made 12/31/95 so incredible. It's understandable - this was their first time playing the song live. But still, it's Reba - and it's easy to see the spark of something remarkable here. Then, the band finishes with a YEM-style "bag it, tag it" vocal jam, a nice way to end the song. After, Trey announces to the crowd, "That, by the way, with a little fine tuning is a new song that you were the first people ever to hear."

"A little fine tuning" - the difference between the first and the best Rebas ever.

Downloads: Reba, 10/1/89 and 12/31/95