Mt. Rushmore: Light

Summary

Helping Friendly Podcast Episode Summary: "Mt. Rushmore: Light"

Release Date: March 27, 2025

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Introduction to Mount Rushmore: Light

In this episode of the Helping Friendly Podcast (HFPod), hosted by Osiris Media, the hosts delve deep into Phish's iconic song "Light," exploring its various live renditions to determine the "Mount Rushmore" of its performances. This segment marks a significant part of their ongoing series where they analyze and rank different versions of Phish songs, bringing the fan perspective to the forefront.

Listener Voicemails and Feedback

The episode begins with the hosts addressing voicemails from dedicated listeners. Notably, longtime listener Forbin provides insightful critique on the ongoing Mount Rushmore series:

"[00:55] Forbin: ...there seems to be a bit of a divide in Whether the Rushmore project is one of the greatest versions of a given song or those which represent each and every era of Phish...Mount Rushmore represents, if it means anything, those who have a significant impact on American history."

This feedback sparks a robust discussion among the hosts about the show's selection criteria and the balance between showcasing the best versions versus representing the song's evolution over time.

Criteria for Selecting Top Versions

The hosts debate the foundational principles of their selection process. Brian emphasizes the importance of seeking the best versions that showcase Phish's artistic capabilities, while Megan highlights the need to reflect the song's historical context and evolution.

"[09:21] Brian: ...we are trying to rationalize songs that have been played in a lot of cases across 30 or 40 years and how they have best represented Phish and how Phish has best represented the spirit of those songs."

In-Depth Discussion of Specific Versions

The core of the episode revolves around analyzing various live performances of "Light." The hosts meticulously discuss each version's uniqueness, jamming quality, and emotional impact.

1. August 7, 2010 – Greek Theater

   Megan praises this version for its dramatic build and emotional depth:

   "[28:20] Megan: ...the song is the second song in the second set, which is a great spot for Light, especially at this point in 3.0. This version takes on a really dramatic rise and fall...so keep up the good work."

   Brian echoes this sentiment, highlighting the synchronization of the band:

   "[31:26] Brian: ...this version was when they just discover really what's possible on kind of the other side of that atonal section. So, killer, killer stuff."

2. August 9, 2011 – Lake Tahoe

   Megan selects this version for its exploratory and risky jamming:

   "[34:17] Megan: ...the underlying drama of this jam is really what sticks with me...it's super exploratory and it's so risky."

   Brian adds that this version showcases Phish's willingness to take wild risks:

   "[35:31] Brian: ...this was one of the most outstanding jams where Fishman is having the time of his life."

3. December 30, 2018 – MSG

   Megan discusses this sophisticated jam, noting its seamless flow and emotional depth:

   "[51:45] Megan: ...this is a really sophisticated jam...there's a lot under the surface...it's really connected and tight."

   Brian praises the integration of this version into the broader scheme of the shows:

   "[54:46] Brian: ...this was a great way to cap off where we're at with Light at this point."

Finalizing the Top Four Selections

After extensive deliberation, the hosts finalize their top four versions of "Light" for the Mount Rushmore:

1. August 7, 2010 – Greek Theater
2. August 9, 2011 – Lake Tahoe
3. December 30, 2018 – MSG
4. December 30, 2016 – Superball Storage Jam

Each selection is justified based on its musical excellence, emotional resonance, and significance within Phish's performance history.

Notable Quotes with Attribution

• Megan on Greek Theater Version:

  "[12:34] Brian: ...if you go through and go step by step, like, you would hear a song that very quickly...I think you, RJ, built a very strong case in the Harry Hood episode for four versions."

• Forbin's Critique:

  "[05:20] Forbin: ...Mount Rushmore represents, if it means anything, those who have a significant impact on American history...Please, please don't do that."

• Brian on the Importance of Selected Versions:

  "[31:54] Brian: ...this version just blows me away every time...Fishman is having just like the time of his life."

Conclusion and Future Episodes

The episode wraps up with the hosts celebrating their meticulous selection process and expressing excitement for future Mount Rushmore assessments. They announce the next focus on "Rock and Roll" and preview upcoming episodes examining spring tours and West Coast performances.

"[73:13] Brian: ...rock and roll next, baby. Let's go."

They also engage with their audience, encouraging listeners to participate in voting and continue sending voicemails for ongoing feedback and suggestions.

Key Takeaways

• The Mount Rushmore: Light episode offers an in-depth analysis of Phish's "Light," showcasing the hosts' dedication to capturing the song's essence through its best live performances.

• Listener engagement plays a pivotal role in shaping the podcast's content, ensuring that fan perspectives are integral to the discussions.

• The episode underscores the complexity of ranking live performances, balancing technical excellence with emotional and historical significance.

For listeners who haven't tuned in, this episode provides a comprehensive exploration of one of Phish's most beloved songs, enriched by expert analysis and passionate fan insights.

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Notable Quotes with Timestamps:

• Forbin on Mount Rushmore Purpose [05:20]:

  "Mount Rushmore represents, if it means anything, those who have a significant impact on American history."

• Megan on Choosing Top Versions [23:59]:

  "I just had more time to listen to these versions, which was really hard for me."

• Brian on Greek Theater Jam [31:26]:

  "This version just blows me away every time. Fishman is having just like the time of his life."

• Megan on August 7, 2010 Version [28:20]:

  "It's one of the best shows of the year... it's really intense and then it melts into this really soft, sweet space."

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Join the Conversation

The Helping Friendly Podcast invites all listeners to participate by voting on upcoming Mount Rushmore selections and submitting their own favorite versions of Phish songs. Engage with the community and deepen your appreciation for Phish's musical journey.

Listen and Subscribe:

• Visit osirispod.com for more episodes and voting.
• Follow HFPod on social media to stay updated on the latest discussions and releases.

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This summary provides a comprehensive overview of the "Mt. Rushmore: Light" episode, capturing the essence of the hosts' discussions, listener interactions, and the meticulous selection process for ranking Phish's live performances.

Transcript

[RJ]

You don't wake up dreaming of McDonald's fries. You wake up dreaming of McDonald's hash browns. McDonald's breakfast comes first.

[Brian]

Ba ba ba ba ba. This episode is brought to you by State Farm.

[RJ]

You might say all kinds of stuff when things go wrong, but these are the words you really need to remember. Like a good neighbor, State Farm is there.

[Megan]

They've got options to fit your unique insurance needs, meaning you can talk to.

[RJ]

Your agent to choose the coverage you need.

[Brian]

Have coverage options to protect the things you value most.

[RJ]

File a claim right on the State Farm mobile app, and even reach a.

[Brian]

Real person when you need to talk to someone.

[Megan]

Like a good neighbor, State Farm is there.

[RJ]

Osiris. All right, wait. No longer. We're live. Brian. We're live. How you doing?

[Brian]

Good. I mean, I don't come to the east coast often enough for. For that to happen to me. So, you know, we'll just got. I gotta. I gotta make more trips back east and eat good pizza and meet people.

[RJ]

Well, I don't know certain people specifically. You have a lot of invites. It's an open. Open invite.

[Megan]

Yeah. Really open invite. Brian, it's on you. The ball's in your court.

[Brian]

It is.

[RJ]

This is true. If you didn't notice, you didn't recognize that that other voice is Megan. Hey, Megan.

[Megan]

Hey, rj. How are you?

[RJ]

Wonderful. Okay, so guys, we're back.

[Megan]

That didn't sound convincing. I have to tell you, I don't.

[Brian]

Believe RJ's light is not grind brighter right now. Apparently we're gonna have to fix this by the end of the episode, guys.

[Megan]

It' and light era. Come on. We got to bring the vibes today.

[RJ]

It really is. Okay, so we got a lot to cover. We gotta. We got a lot. I do. We do have to return to a voicemail from a listener who. Who. Who asked us to get going more quickly. So we're gonna. We're gonna listen to a voicemail from him first though, before we get into that, which is then before we get into the thing we're supposed to get into. So this is our pre, pre, pre game. What. What do we got to say, guys? We got reprises playing tonight in. In Killington, Vermont. Our friend VT to boot is on his way and somehow watching us on YouTube while he drives, which seems dangerous, but he's amazing. He's seen almost as many reprise shows as I have, and I just appreciate. Appreciate him.

[Megan]

That's awesome support. Thank you so much. That's awesome. I'm excited for some reprise shows coming up.

[RJ]

We got, we got, we got April shows at Nectar's. We got Broadbrook in Connecticut. We got Northampton at the Iron Horse. We have a bunch of shows that were just announced, which you can just check out repriseband.com. i think someone, I think someone told us that we talked too much about Reprise, but that's too bad. They're going to be doing a bunch of summer shows in, in Mattanuck, Rhode Island Lit. It's near here, Westcott Theater in Syracuse, Morristown, New Jersey. So there's a bunch of stuff coming there. There will be many, many more things announced. There's of course, the four show May Island Tour Recreation, May 1st at Garcia's, May 8th at Soundcheck in Pembroke, Mass. May 15th in Fairfield, Connecticut. And then May 22nd back at Garcia's. I think on the May 22nd show at Garcia's, Megan and I with Mike Greenhouse from Relics are going to do a pre show on stage podcast thing. So it's gonna be happening.

[Megan]

Yeah, that.

[RJ]

We said it out loud.

[Megan]

Okay.

[RJ]

It's gonna be fun. Do you guys have anything else or should I play voice Mouse?

[Megan]

I have one thing. I was just thinking the other day that people should follow us on Blue sky if they're on Blue sky, because I currently have more followers on Blue sky than HF Pod, which makes no fucking sense because everybody that follows me on Blue sky follows me because of HF Pod. So if you are on Blue sky, you should follow hfpod. That's my plug.

[Brian]

Noted.

[RJ]

Great plug. Great plug. Okay, so my kids are. Were, were annoying me. I spent two hours on the phone with TurboTax today. So I'm just, I'm in like a great. I'm in a great mood and I hope you guys can bring some love and light to this conversation. Get us back. Gonna get us back. Okay, we're gonna get us back.

[Megan]

Okay, we get us back here.

[RJ]

Here's our first caller. Second time caller calling back. Here you go, guys.

[Brian]

Hey there.

[Forbin]

This is a second time caller, longtime listener. I just wanted to thank you guys for doing your best to get to the actual Mount Rushmore selection sooner than minute 34. As noted, those of us who have jobs often don't have longer than me.

[Brian]

What the.

[Forbin]

At any given time to listen to the type of analysis you guys are providing. So you did shave two minutes off. You got to a hairy hood. Five minute 32. I appreciate that.

[RJ]

That's pretty good.

[Forbin]

One other note, aside from kind of expediency, there seems to be a bit of a divide in Whether the Rushmore project is one of the greatest versions of a given song or those which represent each and every era of Fish. So I just want to clarify that those are two different projects. And it struck me that the Harry Hood selections were much more aligned with the goal of representing the best displayed versions of Harryhood without the kind of added and in my view, unnecessary goal of trying to give a 30 plus year history of a song. Okay, one is Fish criticism. Here are the best versions of Acts. The other is Fish curation. Oh, are you new to this band called Fish? Listen to this old, not so old and brand new version, albeit much inferior, to introduce yourself to how they might play across a given amount of time. That's not really what we need. Mount Rushmore represents, if it means anything, those who have a significant impact on American history. Not, you know, but we're not going to take down Roosevelt to put up Trump because that, that's a better representation of where America is today. Please, please don't do that. Please. Likewise, don't feel compelled to include a mediocre version of Bathtub Gin because we want to get a 2.0 version of a bathtub gym in there. Because that's when I started seeing Fish and it's a special time for me as a person. No, no, no, no, no, no, no, no. Life is short.

[Megan]

Wow.

[Forbin]

Listen to the best music. Keep up the good work.

[RJ]

All right, Brian, we don't have to talk about the. The bats of Gin picks, but. But what, what is. How would you describe the goal? Because it is, it is interesting and I think we've like been kind of talking about this on and off.

[Brian]

Yeah, well, I think I don't totally understand the critique because I think we're all seeking the best versions. I think that yes, there is a. Just like Mount Rushmore represents American presidents stretched across over a century of our history, I think that it is fair that we are looking at the entire history of a song rather than just saying here are, in my opinion, because there's no way to quantify this. The four best versions that happen to fall in like a year and a half period in time. I think that you, rj, built a very strong case in the Harry Hood episode for four versions all wrapped around kind of a specific era where the song really peaked in terms of what it could do. I think that to defend my picks, part of what I looked for though is not simply Harry Hood at its quote unquote best, playing the three chords to a giant peak that rips your heart out. But what is the song done to showcase, you know, its artistic capabilities, its artistic ability to, like, express who Fish is at their peak periods. So, like, I think that that mixture of. What did he say? Curation and what was the other term he used?

[Megan]

I don't know, like exposure, introduction or something.

[Brian]

Well, yeah, like, I think he's. It's. It's a fair argument. We should not be like, hey, here is a entry level Fish 101 cassette tape. But I don't think that's what we're doing. I think that we are trying to rationalize songs that have been played in a lot of cases across 30 or 40 years and how they have best represented Fish and how Fish has best represented the spirit of those songs. Songs. As Forbin said, I think he probably just needs his own podcast. It seems like he's got a lot of thoughts, a lot of pent up anger as a white male with a lot of thoughts and a lot of pent up opinions that just have to get out somewhere, someplace. What would I do if I didn't have this. I was off this, this podcast for two weeks on vacation. I didn't know what to do with myself. I was just yelling at my son about 2004 fish and like, very specific moments. And he was like, dad, can I just watch the Simpsons? Like, I get it, bro. Just get own podcast. You know, I have a lot of.

[Megan]

Thoughts about that voice now. Can I just. First of all, I just feel like for someone that's has opinions about brevity, I don't know that he was supporting his opinions there, but I think it's interesting. I think it's a really interesting thing to think about, especially this week, because whenever you're making a list of something, there are lots of different ways to make lists. And with a catalog and 40 years of versions to choose from, choosing four is really, really hard. And you can choose them as the best four, in your opinion, that have ever been played. You can choose the best four that span the career and show the diversity and the evolution of the song. You can choose the most influential four that inspire the band or inspire their jamming. There's so many ways to look at this, and that's what actually makes this series interesting, is because you get to decide how you're going to curate that list based on what you think is the most important. In the same ways that we didn't just choose the top 25 best tours based musically, we also thought about context. You are thinking about that when you're choosing it. And I really struggled with that today for this week, thinking about the importance of context and the importance of weighing. Do I want to have the best, most influential versions, or do I want to show the scope and the evolution of the song? So I think that he is simplifying something that's more complex and also taking away the beauty of the curation, in my opinion.

[RJ]

Well, I just want to. I just want to say thank you to our listener for sending us voicemail. Just. Just as.

[Megan]

Yes, thank you.

[Brian]

We. We need these discussion points. How are we going to get to minute 33 without talking about Light?

[RJ]

I know. Okay, well, I have another voicemail. This one's mostly for Megan. Or. Or I think we'll. We'll. We'll make Megan happy because I think it reflects her feelings about drafts. It's. Well, we're gonna find out.

[Megan]

Already sweating about the next draft.

[RJ]

Just chill. Chill. It's chill. Brian.

[Brian]

Hey, H.F. pod.

[RJ]

I wanted to thank you guys for this Mount Rushmore series you're doing. I love the Harry Hood episode and just kind of reignited my love all over again for Harry Hood. And that same week, my wife took me to see Trey Acoustic in Columbus, and he ended the main set with Harry Hood. And it was just.

[Forbin]

It was just perfect.

[RJ]

It was so quiet. It was so beautiful.

[Forbin]

If you get a chance to listen.

[RJ]

To it on live Fish, it's just fantastic. As far as an acoustic Harry Hood goes, my wife, who is a not the biggest Fish fan in the world, also really loved it and then picked the alive one, Harry Hood, the very next morning on our way home. So it was a very, just, like, wonderful week of listening to Harry Hood all burst by HF Pod and also rediscovering that Kent one, which was just awesome as well. So keep up the good work.

[Brian]

Appreciate you guys.

[RJ]

And this is Brian birthday. So happy birthday, Brian. See, look at that. Love and light, guys.

[Megan]

Love and light. Brian, you did have a really big birthday last week. Did you get a gift for me and rj?

[Brian]

I did. It's at my house, so I can't show it here, but actually I'll show it during the next draft. I think I'll be online. It's very fitting, very funny. Made me feel very loved. I appreciate it very much.

[Megan]

Well, we don't know what we'd do without you. And your inspiration, your organization, and your drive is something that really brings so much to the POD and to our friendship. So happy birthday.

[Brian]

Thank you. It was also RJ's birthday. We should wish RJ a Happy birthday. Did you have a good birthday, rj?

[Megan]

How was it?

[RJ]

Yeah, it was great. It was great. I did, like, exactly what I wanted to do for one whole day. It was awesome.

[Megan]

Yes. That's the best. You deserve that, rj.

[RJ]

Thanks. Thanks. That's. That does seem to be the whole point. So at least at our age, you know, similar experience.

[Brian]

I get that.

[RJ]

Thank you. I did not. I'm waiting for. I don't think any gifts have arrived, but I'm waiting. I'll just keep checking the mail.

[Brian]

You're a couple years away from a gift worthy birthday. All right, Come on.

[Megan]

You only get those on special birthdays every 10 years.

[RJ]

My gift is doing this podcast. All right, that's nice.

[Megan]

I think I got you a book recently. Didn't I get you a book recently?

[RJ]

Yeah, it took me a while to.

[Megan]

Get it to you, but I did get you Orbital. So there. That was your birthday.

[RJ]

That's True. And Forbin. Forbin777 did give a meme, so we're good. I was just joking. I don't want anything. I just want to be here with you all and the listeners. Okay, Megan, you are picking the Mount Rushmore for Light today before we talk about Light. So actually, do you guys want to talk about the. The song and the history for people who don't know before we talk about, like, how we felt about this particular exercise compared to others? Or do you want to talk about that at the end? Because I have thoughts.

[Brian]

I. I almost feel like we can do both at once at the top because this is like, this is an interesting entry into the series. We've done two very classic fish songs to kick off the series with that. The Gin and Harry Hood. This is Obviously the first 3.0 song that we're doing, and I think that that changes the dynamic. So maybe. Rj, you have thoughts? Why don't you tell us what your thoughts were on, you know, approaching Light in this manner and then by way of that, we can talk about kind of how this song emerged, how it grew, what it meant.

[RJ]

Well, I just, I don't want to take away from the. From the awesome versions and picks, but I just, I feel like. Well, first of all, like, I think.

[Brian]

Very ominous tone there.

[Megan]

Let's go. Yeah, seriously.

[RJ]

Well, and we should say first, thank you to Megan for putting together a playlist, which I utilized because the. All the. All the versions are on live Fish. This. It's such a jarring song to start to me. Like, I think it's like, it's Not Kill Devil Falls Level, but it's like it's approaching that. It's a. It's approaching that. But I think. Megan, you described early 3.0 as creaky, and I feel like that was, like. As I was listening to these, I think you sent that note, like, after I'd gotten through the first four years of it or something. It just, like. It all felt like, even though there are these, like, monster versions, it all felt like a little thin to me overall. And I don't know if that's because there's no 2.0, 1.0 deep history with it, and there's not as much evolution, but it. It felt like. Like, I didn't like it as much as the others so far because it felt like. Also, I realized. And maybe this is not true, or maybe you guys disagree, but I felt like a lot of the gems, like, are almost the same in terms of structure of this song. Like, Bathtub Gin can do so many different things. I feel like light is like. There's like, a little kind of groove section, and then it either goes, like, into a really, you know, melodic major key thing, or it goes kind of spacey. But it's sort of like the structure is often the same. And I'm. I'm curious if you guys felt that. But, yeah, it was like. It was very different for me in that sense.

[Brian]

Yeah. I mean, so this is an interesting song. I. I agree and disagree with you. How about that? That's good for podcast. So I saw the debut version of this in Fenway, and if you listen back to that, that was not on our long list, but if you listen back to that, it emerges pretty seamlessly out of a really nice Tweezer jam. That sounds kind of like theme from the bottom. And I remember being at the show thinking it was just a new jam until Trey started to sing over it. And I think that. That it's slightly a shame that they have not figured out more ways to segue directly into Lyte, because it would benefit so much from, like, a slow chordal build. You're absolutely right. Like, there are some versions where, like, a jam would be fading down, and then I would just go into, like, especially the early 3.0 soundboards. Are you talk about thin? Like, I think you mentioned that more as, like, it doesn't have as deep of a history, but, like, the sound, it's very tinny. It's very thin. Trey's guitar doesn't have a ton of fat on it, and so you get through that and I would agree with you to an extent that the structure of the jams, especially early on, when they were much more conservative about wide open jamming, definitely feels like dissonant solo, as the band's kind of like just blazing out of the song portion and then it slows down and it either goes into kind of a rhythmic jam or a melodic jam and you kind of pick your poison. I think that following the Dicks version, though, in 2012, not to get too ahead of ourselves with versions here, but something did change that did seem to unlock something in the song. But what's interesting is like you have this kind of Gap from 2013 to 2018 where the song didn't really evolve and so you'd get good versions, but you didn't get that like next step forward in jamming in the way that you did in a song like Kill Devil Falls or a song like Fuego. Like these new songs that suddenly began to jam in the same sort of manner that 1.0 songs had. But since then, I think we've had some really interesting jamming that's come off of it. I think the last four to five years we've heard new ideas in Light in a song that was known at the early age, at the early stage of its career as kind of the most consistent jam vehicle, the most consistent new song, if it was played, it meant that you were most likely going to get some form of jamming once more. Songs started to evolve and started to jam and take on that type 2 kind of belt, if you will. Light started to fade a little bit, has grown, has. Has. Has become more of a interesting jam vehicle as we'll probably talk about at some point here in this episode. But it definitely took some time to evolve in a way that I don't think it would have if it had come out at any other point aside from the start of 3.0.

[RJ]

Megan, Megan, lest. Lest we discuss specific versions before too early, what do you. What do you think about all this?

[Brian]

There we go. Earlier than 33 minutes, but you had one version.

[Megan]

Don't worry, I'm not going to get into it yet. I have a soft spot for this song. I think that to me this is really the dawning of Love and light era. You know, this is the beginning, the birth of like Fish Dad Rock. Thinking about where this song came from. It was written by Trey and Tom, one of their first writing sessions post breakup. And the legend is that Trey gave Tom this Eckhart Tolle book called the Power of Now. Tom didn't really like the book, apparently, but the main idea of like someone's mind and their body and their person being a different thing inspired the lyrics from this song. And it's such a shift in topic and tone from like the songs we've been talking about so far. This is the ultimate 3.0 song, you know, it's about emerging from a dark period and feeling hopeful about what lies ahead. It's earnest, it flirts with so much cliche, and I think really represents the eternal optimism of Fish. I was listening to it and I was thinking about how you have to be somewhat of an optimist to listen to this band and love it. There has to be something about Fish that you feel you have to appreciate. Optimism and hopefulness. Even Harry Hood, you know, is. Is so about that. But this is the band's first attempts at speaking really directly and honestly about that. So I think it's cool and I think that it's, you know, debuts with Tab in August 2008 and then as Brian mentioned, debuts at Fenway in 09. And I think it's really important for. In the way that we know now, especially after 3.0, how so many songs become jam vehicles and push the band forward in their jamming. And my list is definitely going to reflect that when I think about when this song was really important to the band. And that's what I've kind of went for when I was choosing this list. But Fish has played this song 127 times, 35 jam chart entries. So a little bit more than a quarter of the times played it's end up on the chart. And Brian called or curated 14 versions for us that we chose from to pick our top four. So it's a little bit of a thinner list to pick from, which you would think would make it easier but actually made it harder because then I just had more time to listen to these versions, which was really hard for me.

[RJ]

Well, okay, that is. That's all good context. And I don't disagree about, you know, I don't like get angry when I hear this song, but I just think.

[Megan]

Like, you know, it's not. It's not the best. You know, I think it's like it's a song like more no Shade rj but that a lot of people are like, okay, you know, I love more too. But like they're very on the nose. They're very much like, here we are like, you know, like it's cheesy a little bit and you have to be into that or Be willing to, I don't know, be okay with that. And there's a fair amount of songs from early 3.0 that are like this.

[Brian]

Yeah, this feels a part of an era backwards on the line. Like, one of the most earnest songs. I'm literally writing a song about my best friend's birthday joy, like, as straightforward as it gets, even, like, 20 years later and stealing time from the faulty plan. These have, like, very spoiled, specific, descriptive moments of what Trey was feeling in the moment and what he's trying to say to you at this point in time as he's going through recovery. I always kind of thought that Light toed the line best between overt cheesiness and, like, still some mystery that connected within the music. Maybe it's the fact that if a song decides to jam, I'm instantly willing to give it that much more time of day. But it was, you know, it felt like a mantra for two, 2009. And, you know, while we didn't listen to Every version from 2009, if you were to go through and go step by step, like, you would hear a song that very quickly in its second version, became a jam vehicle at Bonnaroo and then successive versions throughout the remainder of the year. Totally understand it's not huge evolution. The band was really struggling in a lot of ways to jam at that point in time. Wasn't totally the point, but when Light would emerge in a show, it typically did something pretty significant from a jamming standpoint and really kind of gave people a lot of hope that, okay, it's going to take them a little while to really get back to being, like, all Caps Fish. But they have new songs that are pushing the way forward.

[RJ]

Yeah, that's all fair. I mean, I. The reason I love more is because it's so cheesy. It's like, it's. There's no. You know, there's no. It's not on the line. It's just like. It's ridiculous, but it's so great. Okay.

[Megan]

We just love to raise those hands and, you know, yell that you're, like, vibrating with love and light. It's okay. We all do. It's good vibes.

[RJ]

Something more than this. Okay, Megan, are you ready? Are you ready? Do you feel like you have your. I know that you were. It came down to the wire. So are you ready?

[Megan]

Yeah. It's a little embarrassing how much time I spent thinking about this. Honestly, I. I'm off work this week and last week, so I've had way more time than I Should have had to think about this. But, yeah, I'm ready. And I really struggled with my first one because. Well, the first one that I considered, I'm skipping over because it's from a year in Fish when I don't really have fond memories of that year. So I don't want a. A jam from 2009 on my Mount Rushmore. I just can't do it. I just won't do it. So I'm skipping over a version that I think is important, the gorge version, just because it's the third time played. I think it's. You know, it's. The end of that is really beautiful and special, and I love it, but I'm skipping over that. And my first version on Mount Rushmore is from August 7, 2010, at the Greek Theater. I think this one's important. It's one of the best shows of the year. The show has great flow, a fantastic second set, and I think the show is a really important stepping stone for them getting their mojo back in 3.0. And this song is the second song in the second set, which is a great spot for light, especially at this point in 3.0. This song, in this version takes on a really dramatic rise and fall and just kind of over and over again rises and falls. It's really intense. And then it melts into this really soft, sweet space that becomes really contemplative. It's delicate.

[Forbin]

It's.

[Megan]

It's lacy. Absolutely gorgeous. I love the last few minutes of this jam so much. Mike is delivering so hard. This jam crept up and beat out. The one after was on the top for weeks. And I listened to this one three times today, and it's incredible. It's a beautiful jam. So I wanted it on there.

[RJ]

I think I just. Brian, I'm sure you. I just wanted to say that something, like, changed at the end of 09. I think for me, it was like mostly the. The shows that I saw in Albany, the. The awesome Seven Below Ghost show. But it seems like that that was, like, represented by the 2010 versions. It seems like something sounded totally different. Mostly like that they're playing much more in sync. And Paige and Mike in this version, just playing and complimenting what Trey's doing, and there's like a quiet groove. I don't know. It feels like. Feels like something really changed. Even though for me, often I think about the change as being later. I mean, there's. I guess maybe there's many, but. Brian, what's your.

[Brian]

No, I think you're. I think you're 150. Spot on. You may not have been more spot on about anything than you are about this. Wow. That this does not get mentioned anymore in, like, Fish discourse, because why would it? So much has happened. But like that Greek run, I vividly remember webcasting those shows when they were still being, like, webcast on shitty iPhones that, like, were just grainy the whole time.

[Megan]

Yeah.

[Brian]

And I watched so many of them because, like, it was all we had. Something drastically changed that run. The Cities on night two. The simple on night two. But then really this second set all, like, all based around this light. It felt like a much more mature band, a much more capable band from a jamming standpoint. Like the riff that Trey finds when it cools down and the bands around him and Mike's playing that just beautiful effect and everyone quiets down. He finds this riff that, like, at that time he was not playing these, like, fully thought out, composed melodic sections on the fly. And he found it. And, like, I'm getting chills thinking about it because hearing it in the moment, I was going to see Fish a week later and, like, knew suddenly, like, okay, like, they've unlocked something. Something has been figured out here. I saw a bunch of shows in June that year which were very up and down. That August run is huge. And I think you are incredibly astute. Pick here, Meg, to take this as your first one.

[Megan]

Wow. Okay, good.

[Brian]

I think your reading of the August 7 version from 2009 is spot on. I will fight anyone to put that show in as the top a top five pre dicks 2012 3.0 show.

[Megan]

Yeah.

[Brian]

How many qualifiers do I have in there? But still, it's an amazing show, really, like, setlist wise, jamming wise. The Sneaking Sally, the Gin, this light. But I think ultimately the Light hints at where it's going. And you really, really see one year later, exactly at the Greek, they just discover really what's possible on kind of the other side of that atonal section. So. Killer, killer stuff.

[RJ]

Meg, Great job, Megan.

[Brian]

Fucking awesome.

[Megan]

Thank you.

[Brian]

Okay, stop being nervous and just go with your picks here. You know. You know how to. How to do this. Come on.

[Megan]

Yeah, no, I feel good about my list, but it was. It was not for lack of effort. Let's just say that the effort. Yeah, I know. I'm enjoying it. The. The next pick was tough because at first, until about 2pm today. I drove up to the mountains today and I was by myself and so I could listen to 400 versions of light. And until about 2pm today my list was very different. It had much more scope and much more. A lot longer in time frame. And I narrowed it down because I just couldn't get rid of these early versions that I felt like were really, really important. And the next version that I want to talk about is and put on my Mount Rushmore is August 9th from 2011 from Lake Tahoe. This is song two in a second set, once again of a very fine Fish show. But the underlying drama of this jam is really what sticks with me. And the reason I like this jam is because it's not as melodic as the others, but it's super exploratory and it's so risky. And I think that at this time, I don't think there was a lot of jamming like this. This is really like Storage Jam inspired. But I think it's probably the most type 2 version that exists and I want to reward that. I think anytime the band is taking wild risks and playing without a net, I think it deserves respect. And that agitated repeated riff that they find at the end, it's just so good. It just really gets dark and grinding and I love it. I think that the willingness to kind of just go where this takes them is something you don't hear a lot then. And I think it needed to be on here.

[Brian]

She did it again.

[RJ]

Wow.

[Brian]

My goodness. Well done.

[RJ]

Wow.

[Brian]

There. There was one I was. I was thinking you were gonna go with, which we'll talk about at some point. I think you ultimately do the right thing here. This is.

[RJ]

Wow.

[Brian]

Yeah. You. You got. After the Storage Gym, the song I Heard the Ocean sing from 7:3, the rock and roll from 8:5, this light, the second set from 8:15. And then the Piper from Dick's. And I may be missing something in here, but, like, those were the Storage Jam jams where like that experiment really spilled out into the actual stage. And while it kind of feels 15 years on, like more of an exercise that the band needed at the time, like this was the newest sound that they had discovered and this was, like you said, the most risk that they were taking. This version just blows me away every time. Mike sounds so incredible. Fishman is having just like the time of his life. I didn't webcast this show because I had to work an off site event at the restaurant I was at. I webcast the next show, which I don't recommend to anyone. This is the show.

[RJ]

There is like a very serious diversion here in terms of the approach from the other versions so far up to this point. Right?

[Megan]

Yeah.

[RJ]

And I think you got like, the Storage Jam is the. Is the best way to kind of summarize it. But yeah, it's. It's good. It's a good version. This is a. This is like, I think according to, you know, the fan vote, which we'll get into later, this would be a surprise, A surprise pick compared to the fan vote. So I think that's good. I think that's a good thing.

[Megan]

Yeah, it's interesting. I feel like it's potentially underrated.

[Brian]

Yes. Yeah. I don't think a lot of people think about August 2011 as much anymore, and I think that this version gets overlooked because of a couple more that are coming. But, rj, I'm curious. Like, the Storage Jam and like, talking about Light. This goes back to the last period that we didn't talk about Fish.

[RJ]

Yeah.

[Brian]

What did you think of Superball the Storage Jam? What came after? Did this give you hope? Did it feel like a gimmick? What was it for, like, for you?

[RJ]

I. I mean, I saw a bunch of shows before 2012, including, like, many. Way too many in 2009, but I didn't really pay that close of attention until the summer of 2012. So I feel like I'm still catching up on. On like 2011 specifically. I think 2010, I got pretty, like, well covered. But like, this show, for example, is like, not like, I don't remember listening to the show ever, but I'm sure I have, but I just feel like 2011 in general is like, under represented in my. In my listening.

[Brian]

I think a lot. Maybe it's that way.

[RJ]

Yeah, it's probably it. I mean, 2012, you know, like, there's just some. A lot more shit happened. Which we're going to talk about maybe. I mean, we definitely are going to talk about it. Okay.

[Brian]

I think we will. We'll see. She's on a roll right now.

[Megan]

Well, what. What's interesting too about the Tahoe one is that I had this on. On my list the whole time. But then when I was re. Listening to the Greek, I was like, do I have to lose the Tahoe for the Greek in an effort to expand the. The depth or the. The range of. Of songs. There's something really satisfying when you're thinking about the four of them, to have them span a great number of years. But I'm learning the more I do this that that doesn't matter necessarily. What matters more is having the versions that you feel like are the most important to have for. For potentially other reasons. So that's why I decided to keep those two on there. But it was the struggle. The struggle was real today. Trying to figure that out. But I'm glad that you think I made the right decision. That makes me feel good.

[Brian]

So far.

[Megan]

So.

[RJ]

So far we're gonna. This is just.

[Megan]

Are we gonna take a break before our next episode?

[RJ]

Yeah, we are. We gotta. We gotta take a break. It's just too. It's too much. Too much love and light and too much. Just too much victory so far. So we gotta. We gotta cool off a little bit. We'll be back in a minute. As live music fans and musicians, we're all at risk for permanent hearing damage. The standard options for ear protection are foam earplugs, which block everything out so you can't hear anything at all. And then there are custom musician earplugs, which are really expensive. Vibes High Fidelity Earplugs, as seen on Shark Tank, are affordable, reusable earplugs designed for live music fans and musicians. Instead of blocking out all sound, Vibes reduce the volume of loud live music to a safer and more comfortable level that prevents permanent hearing damage and ear pain while still allowing you to hear the music clearly whether you're a live music fan or a musician. Vibe's clear, low profile design make them virtually invisible in your ears so you can be discreet about wearing hearing protection in public. Each pair also includes a carrying case and three sizes of interchangeable ear tips to ensure a comfortable fit for any sized ear. Vibes are used by hundreds of thousands of live music fans and musicians around the world, and they're trusted by the country's top professional orchestras and college music programs who outfit their musicians with them. Go to vibesearplugs.com helping to learn more and to get yourself a pair of Vibes High Fidelity Earplugs for less than $30. That's vibesearplugs.com helping vibes high fidelity Earplugs are great for all live music fans and musicians, and they make a great holiday gift, so check them out. Protect your ears with Vibe.

[Megan]

Eczema isn't.

[RJ]

Always obvious, but it's real.

[Megan]

And so is the relief from EBGLIS. After an initial dosing phase of 16 weeks, about 4 in 10 people taking Eglis achieved itch relief and clear or almost clear skin. And most of those people maintain skin that's still more clear at one year with monthly dosing.

[RJ]

EBGLIS Lebricizumab LBKZ a 250 milligram per 2 milliliter injection is a prescription medicine used treat adults and children 12 years of age and older who weigh at least 88 pounds or 40 kilograms with moderate to severe eczema, also called atopic dermatitis, that is not well controlled with prescription therapies used on the skin or topicals or who cannot use topical therapies. EBGLIS can be used with or without topical corticosteroids. Don't use if you're allergic to Eglis. Allergic reactions can occur that can be severe. Eye problems can occur. Tell your doctor if you have new or worsening eye problems. You should not receive a live vaccine when treated with ebglis. Before starting ebglis, tell your doctor if you have a parasitic infection searching for real relief.

[Megan]

Ask your doctor about epis and visit.

[Brian]

Epis.Lily.Com or call 1-800-lilyrx or 1-800-545-5979.

[RJ]

All right, Megan, pick it. Pick it back up. What do you. What else do you. How do you want to transition here to the third?

[Megan]

Well, I want to transition to the best version of Light.

[RJ]

All right, look at that.

[Megan]

Okay, look at that. So this is the only one that never left my list that I didn't have any questions about. It is, of course, the September 1st, 2012 Dick's version. It's the third song in the second set. It's almost 24 minutes long. You know, it's very famous version in a killer show. And I think any criticism of this jam, I don't agree with it. You know, it's accused of being like meandering in the first half. I think it's enjoyable. I think it's a really great example of 3.0 jamming, especially early 3.0 where you're exploring a lot of ideas briefly and then moving on when necessary. Thinking about, like listening to all these versions of Light, you realize how efficient the band is now. But they were not efficient jammers in early 3.0. And so they did have to explore, they did have to go down avenues that may not lead them to where they want to be. And I think it has a similar feeling in the beginning of the jam to the Tahoe version. The jam kicks off. It's a little plinko, calypso, bebop, boo bop vibes, a little meandering and less connected. But then they find this riff inside of that and then it turns into that like incredible rhythmic section. It's so tight and groovy. And then there's that moment that Trey Finds that really sunny melodic line. It just makes huge smile on my face. It's such an uplifting moment. And then it kind of settles into that sunny, melodic driving groove. It builds with so much intensity and passion. And then it ends with that, like, kind of bluesy rock. It winds down in a really satisfying way. But the euphoria in this peak is kind of what I think all Light Peaks should be. Is that really passionate, pure, stunning, euphoric peak. It's my favorite version.

[Brian]

Yeah, yeah, yeah. You did it. This is the. Someone's gonna come at me about not seeing 1.0 fish shows. So whatever. This is the only time I've ever been to a Fish show where it felt like we won the World Series.

[Megan]

Yeah, yeah, yeah.

[Brian]

The audience roar during the peak because this was a journey. Like you're coming off of the biggest Fish show of the era. And I think everybody expected they would lay a dud on a Saturday night. Coming off, like, there was this, like, pattern in early fish 3.0 where like a great show would happen. And then you had like four stinkers in a row. And then they came out and they opened with Antelope for the first time since the late 80s. They played tweezer and Fluff Head early on. Fairly standard second quarter. And then they come out for the second set and you get a pretty nice, jammed out golden age, but didn't fully get there. A weird, evil, dark Prince Caspian. And you get light. And there's a moment you were referring to where it sounds like they're almost going to go into boogie on Reggae Woman. And they figure out a way through it. And from there, for the next like 17 minutes, the. The audience is just like, with them, nobody's talking, nobody's going to the bathroom, nobody's leaving. I'm sure some people were, but, you know, in my memory, everybody was locked in the same way that you are to like playoff baseball. And I think it's one of the biggest moments of their entire career. I don't know how long that list is, but, like, without a jam like this on their signature song of the era, this is like, you know, when they play a killer disease or a killer bathtub gin or a killer Harry hood like these. This is a big, big version of a big Fish song at the time. And it just, like there's a reason why it has its own T shirt. It's amazing.

[RJ]

Yeah, I think the 2013 kind of, you know, conversations when they started, that's when like a lot of the, you know, Internet stuff that we did. Brian was coming together and it was just sort of like a. This. This jam was a reference point for everything, you know.

[Brian]

Yeah. That's a great way to put it. Like, as they went along for even the next, like, probably like three years maybe until Magna Ball, you were still referencing. Have they played anything as great as the dick's light? Yeah. 12 years later. Is it as great as it was in the moment? I think it is a little. Parts are slightly straightforward, but it also does have that, you know, Whereas now they play with way more dissonance and weirdness. But, like, it does have that magical effect of. When you listen to this, you sound like. It sounds like 2012 fish, which was joyous, melodic, stretched out. They were taking chances while not getting too weird. It's a very sunny tour. It's a very, like, joyful tour because they were rediscovering how to jam while also playing in a manner that I think everyone who was there really enjoyed.

[RJ]

Yeah. I think the. In the peak is not like a traditional peak. It's like a. It's like a rock peak, you know?

[Brian]

Yeah.

[RJ]

Cool. It's really great after. Whatever that is. 24 minutes. Yeah.

[Brian]

Oh, great. So good.

[RJ]

We're in a. So, Megan, we are in a. But we're in like a two year.

[Megan]

I know. I struggled with that. I struggled with that.

[RJ]

You know, it is what it is. It would be like putting all the, you know, all the presidents in a row. All four. Four of them. First four. That's where we are with Light, which might make sense.

[Megan]

Yeah. To me, it's kind of. That's indicative of Light. It's.

[RJ]

Yeah.

[Megan]

This was the best era for it. Right. Or when it's important to the band.

[Brian]

Yeah, I think that's it. Well, I mean, I think it's both, I think.

[Megan]

Yeah.

[Brian]

Like, our long list jumps from here to 7. 2415. Shoreline. There's an argument to be made. I could and maybe should have put Merryweather 13, Worcester 13. But as I was putting this together, like, those always kind of felt like subversions to me. Like the next version that feels to me like the. It could be on Mount Rushmore is Shoreline. And so you have this gap of, like, even Atlantic City. Thirteen was pretty good. But, like, this most important song is going to suddenly get passed up by older songs that are going to figure out new ways of jamming. Like Chalk Dust Torture. Same run as the Dick's Light. You get the Dick's Chalk Dust Torture. That really brings that song back as a huge jam. Vehicle, plus new songs that are about to be debuted. So it kind goes through an evolution here.

[RJ]

All right, Meg, you got, you got, you got one more. Make it count.

[Megan]

Yeah. This is the next point of intense deliberation. There was a lot of AB testing of these last two. I would say last three, actually. And it came down to the wire for this one. I had to skip over a really important version. And the reason I skipped it over. I'm going to explain why I skipped it over first. And that is because one thing that's really important to me is or just meaningful to me is Trey's tone. And Trey's tone in the version that I had to skip over. It became distracting to me the more I listened to the jam. So I'm talking about the 83118 from Dick's. It's an incredible version because. And it was on my list until 2:00 today. And the reason it was on it is because it is the ultimate slow build to euphoria, which I think is what Light probably should be in a similar way. I think it's similar to Hood in that way. And when I first was listening to it, I was like, we have to have this on there. It's. It's perfect. It just slowly builds the entire time and peaks wildly. But then the more I listen to it, Trey has such a sharp tone. It's lacking warmth and roundness and it's really shrill. And it bothered me the more I listened to it because it didn't have that warmth that I want from him. And so even though the flow and the connectedness and fluidity of this jam is so great, I skipped over it. And my fourth jam is 12:30, 18 from MSG. Because I was at this show, I have major attendance bias. That's not the reason I chose it. But I am saying this show is one of the best shows I've ever seen live. And this is a fourth quarter kickoff deep in the second set, which is also a really great place if you are going to jam light. And this is a really sophisticated jam. And I felt like it was nice to have one later 3.0 slash early 4.0 jam on here. That shows what they can do when Trey's tone is in a better spot, which is funny because this is only a few months after August, but his tone is in a much different spot. The reason I love this jam is it peaks really early and then it has that amazing yards after catch situation where it kind of has that crunchy calypso jam briefly. Then it gets, like, contemplative, but it moves between sections really adeptly, and it has excellent flow. It's really intriguing. There's a lot under the surface. This is like a headphones jam. You have to, like, listen to this in headphones, but it's really connected and tight, and it feels like you're just on this train tracks this kind of gliding along effortlessly. There's a part that almost sounds like plasma, and Trey starts soloing over it, and Paige is on piano in this really emotional way. And Trey's just so emotional, and the trilling and the peak. And I'm a sucker for that spacey, melting soundscape ending. And they have that really well in this version. So it was between this, the dicks from 18 and the sphere, which is awesome. But I went with the 12, 30. 18.

[RJ]

I was also at the show. I just want to say that we were behind the stage and.

[Megan]

Wait, so was I really? Yeah.

[RJ]

I don't think you were part of, like, the group of four women right behind us, because right when Light. I think Brian knows this. That right when Light went into Velvet Sea, they just. These four people behind us just started talking, and my wife turned around and told them to shut up.

[Megan]

That's amazing.

[RJ]

And they got so mad, which was. But then they did stop talking. And that. That set ends with that crazy split up in a melt, too.

[Megan]

Oh, my God. I love this show so much.

[RJ]

Really good. Yeah, this is a good one. I mean, like, the. The build is really nice. I mean, I think that's one of the things that you can hear in the various versions of this is just how much better they get at jamming, you know, in 3.0. Just like.

[Megan]

Yeah, yeah.

[RJ]

So many more layers. There's so much more, like, sophistication, how they build, and. Yeah, there are others that I. I think we will talk about the others, because I had a couple different ones on my list. But this is. This is a good one. It's a really good one.

[Brian]

Yeah, this is a great one. Our first divergence. I considered this for a long time as well on my list. This was one of the regretful drops to the honorable mention, but. And I still sometimes think it should be on the list. It's. It's just an outstand jam. This was the first light since the Dick's version to cross 20 minutes. Can I make a. Can I take. Do a hot take here?

[RJ]

Yeah.

[Megan]

Yeah.

[RJ]

That's what we're here for.

[Megan]

Yeah.

[Brian]

I'm not even sure of this, because I've been Told so many times I'm wrong. But you know what? Sometimes. Sometimes you're not. You know, sometimes you are correct. Sometimes you have to take out attendance bias. And when that happens, you have to say things like, I think this is probably the best show of 3.0, surpassing the fuck your face show. I think it flows perfectly. It has a lot of the same elements that made the fuck your face show special of just like, holy shit, they're playing this song right now. That whole first set is just like one shock after another. You know, the glide two, the bliss, the no man in no man's land that goes into tube, that goes back, then goes into weapon, which was already played, which had like elements of crossout and painless and goes back in a tube. The second set itself is absolutely perfect. Cool amber mercury. This is. This is something that Fish has become very Adapted doing during 4.0, but it's kind of giving you that like set opening song. That's not a jam, but it's like a palate cleanser. And that song does it almost better than any. Like, I'm an advocate for Caswell Box. We know this on the podcast. This has been an issue in the past. Any Caswell Box song, the second set I'm here for. But that song has such a sultry groove. But then everything's right has one of my favorite trey riffs of 3.0 Plaza.

[Megan]

Oh, that jam was so killer.

[Brian]

So good. The light is just really, really outstanding. Deep jamming. It kind of gets into that. Like you mentioned this, but a very special four point or four fourth quarter jamming mindset where it's just like they're jamming on top of jamming. They already did in the show prior. And then as RJ mentioned, the split open and melt is unbelievable. A four song encore, like this show just has everything. And the light right there in the middle.

[Megan]

It almost feels it's the faceplant into rock melt, right? And they're like in the encore. Yeah, yeah, yeah.

[Brian]

Yes. Yeah. I mean, this light almost gets overshadowed by the show around it. And it's almost any other show, this light would be the jam of the show. And here it's just like a part of the show, which I don't think detracts from it as a Mount Rushmore version. It's just an interesting observation when you get like a 20 minute jam. That is not the first thing you mention when you talk about how great a show was. But I think this is a great call. I don't think you're Wrong. I ultimately had another one go in here, but this is a great way to kind of cap off where we're at with Light at this point.

[Megan]

Can I tell you guys a funny story about the show? It's slightly inappropriate, but I think it's funny.

[RJ]

Yeah, let's do it.

[Brian]

You're on a podcast. Tell a story.

[RJ]

Yeah, nobody's listening. It's fine.

[Megan]

I just started getting back into fish in 2017, and so I didn't have, like, a huge fish crew in 2018, and my girlfriend and I would just go. And my friends that I used to go to fish shows with from college, they did. They don't live in New York, so I didn't really have a lot of people that I went to shows with. And so my friends and I were always kind of like, trying to, like, see if people wanted to hang out with us or, like, you know, give us stuff that they had and. Or, like, take fun things. And so, like, I ended up talking to this person about Curveball, and. And she ended up giving me something so I could enjoy the evening. And then I felt bad, and so I, like, offered her money, and she took it. And then later, I was convinced that I was being, like, recorded and someone knew that I had done this and I was going to be, like, arrested in msg. And so then I was, like, very dramatically getting rid of things that I had while I was in the bathroom during set break. But the whole time, I just kept saying to my friend, is this show as good as it seems? I just. I can't tell if it's just because we're having a lot of fun or if this show is really that good. So I had an amazing time at the show and had to go home and listen to it again and confirm that it was that good. It's really good.

[RJ]

Wow.

[Megan]

Such a good show. I had so much fun at this show.

[RJ]

Wow.

[Brian]

This is when we were in the stretch of 1230, 16, used to rock 1230 17, 1230, 18, and 1230 19. Four years in a row. The absolute, like, best show of the year seemed to come on 1230. Maybe not the best show of the year in each year, but, like, highly ranked, great, epic shows. And Light was played in three or four of those.

[Megan]

Wow.

[Brian]

In really stunning spots.

[Megan]

Yeah.

[Brian]

When you have to ask a great show, I think that that usually ends up being a great show because I feel like I don't feel anyone who's listening to Fish as much as we are is asking that question, unless they're like, I don't want to say anything too crazy, but, like, this might be a good show. And then you get home and you're like, oh, my God. It was.

[Megan]

It was a good show. Oh, my God. Yeah. I mean, the opening was just like, oh, my God. People are so jazzed. But I remember my friend was, like, laughing at me, like, why are you so concerned? The woman that gave you that stuff was wearing, like, a giant Care Bear onesie. Like, you're not going to be arrested tonight. Like, do not worry about it. It. Yeah, that was a really fun show. Yeah. 12:30 RIP. What's happening? It needs a rehabilitation. Maybe this year 20 need a new Year's runoff.

[RJ]

Maybe they just need a. A New Year's runoff. You know, I think that was called Covid.

[Megan]

Stop. How dare you. I love you.

[Brian]

Remember when they announced on, like, December 23rd that because of Omicron, we won't have New Year's Eve this year?

[Megan]

Like, wait, like, that was the worst because I had been through HFPOD Bootcamp that month, and so I was very much looking forward to recording the entire.

[Brian]

All of the content was building up to msg.

[Megan]

Yeah. It was twice a week. Yeah. Oh, well. It was so.

[RJ]

Well, I just want to. I just want to note for our friends that we made it through all four versions of light in about 52 minutes. So. And that includes all of our stuff that we talk about. But now we have more. Now, Brian, do you want to share your list?

[Megan]

Yeah, I can't wait to hear everybody's lists.

[Brian]

Yeah. So the first three are the same. 8, 7, 10, 8, 9, 11, 9, 1, 12. I think that Meg nailed those where I diverged. And I think this kind of reflects the challenge of a song like Light, because I have my three honorable mentions. Could have all very easily taken this fourth spot here for me, but I ultimately went with 42124 from Sphere. I think it has a similar effect to the 1230, 18 version. I think I ultimately just. Which is more significant? Which is better? I don't know. I think I ultimately just like this 2020s fish sound and tray sound a little bit more, and the jamming feels a little bit more in depth. You know, you get a 22 minute light deep into a show when you already had a 35 minute down disease. That's kind of the type of thing that Fish just does in their sleep now. I think in 2018, it was a lot harder for them to execute a really long jam like this Light. So maybe that bumps that version up. I don't know. I definitely thought you were spot on with your critique of 8 31, 18. I was at that show. My memories of that are that it was one of the most transfixing. Trey slaying the Curveball Demons type of jam. And you go back and listen to it and his tone just really takes over everything. So 42124 was mine. I have a couple honorables that I'll mention in a second, but I think that you nailed it right out the gates. Three, three out of four. Just superb, amazing stuff.

[Megan]

Thanks, rj. What's your list?

[RJ]

Well, I'm putting it together now, but what I will be done soon.

[Megan]

That does not seem fair.

[RJ]

No, I just was. I was kind of like going back and forth on a bunch of stuff. I get it. I think that the. I guess the thing that I'm. That I would put on there probably is 12, 30, 16, which I think is really like so many. There's so many layers and the effects and the way that the. It was one of the first versions going chronologically where it like, felt like the. The effects layering and the kind of bliss jamming were like perfectly complementary. Like, it just builds perfectly with effects going in the same direction that they're going into. And it's just a really excellent jam. I really love that. So I would put. I. I would do 8, 7, 10, and. And the dick's version from 12 and then that one, and I do. I just. The soaring nature of the dicks 2018 one, it just. That was. Those were like my notes. It's just a soaring jam. I mean.

[Megan]

Yeah, it really.

[RJ]

I think. I think it was my most. It was the most fun version to listen to for me in this. In this couple days. And I listened to it a couple times, so I think I would put it on there. So I think I'm. I think I'm putting it up there. I want to say just quickly about the Sphere version. When you listen to that, it's almost like they're like playing along with a backdrop, which I guess they were, but it Almost like more than some of the jams at Sphere, I feel like this sounded like. Like Paige and Trey. There's so much going on between Paige and Trey, but it's almost like they're like. I think it's what you were saying, Brian, about the early, you know, the 23, 24 approach. But it's almost like they're just shifting the way they're playing along with like a. Maybe it's just too much in my head. That, like, the, the visuals are changing and they're, like, playing it, but it sounds like they're, like, responding to the visuals as opposed to playing.

[Megan]

No, I totally, I totally agree.

[RJ]

You know what I mean?

[Megan]

Yeah. Because, like, when I listen back to it, I love this version. It's one of my top versions of that whole run. One of my top jams from that run. But when I listen back, it doesn't have the, like, connectivity or the fluidity. Like, the sections aren't as effortless. Like, the segues between sections didn't feel as effortless, but the sections are better, if that makes sense. Like, the, I think this, the, the sections that they find that really contemplative section at the end and the section before the woos. I also don't like woos, but those two sections are really compelling and really gorgeous and, and really good. They're better than some of the stuff in the 1230, 18 version. But in between getting there, and maybe that's what you're talking, like, referencing rj, I felt like it didn't have that effortlessness that the 1230, 18 did, but it was tough for me to decide because that beautiful section at the end and how they slowly build out of that is so pretty. At the Sphere version, it's really pretty.

[Brian]

I think that what you're saying also speaks to, like, Sphere is almost like a festival in the sense that. Or like a New Year's Eve show. You kind of have to be that. Like, you have to, like, watch those. And I think you're right. Like, there is a bit more. It's going to be interesting whenever they go back there, because I think that they're going to not have the kind of Etch A Sketch, you know, like, build it as you're, like, creating this thing and, like, trying to figure out how to use it while you're building it. Like, it'll. I, I, I almost think that the next time they play will be similar to the difference between Dick's 2011 and Dick's 2012. Dick's 2011 was awesome. And when they went back, they were like, we have this gigantic soccer stadium that everyone just, just roaming around in. We're just going to give them, like, three nights of insanity. I almost think that when they go back to the Sphere, the jamming is going to have a little bit more experimentation because it sounds like they were able to, like, figure out a way to, like, have the music impact, the visuals and that, that relationship and that. So, like, I think you're right. There is A sense of almost. They're seeing the visuals and they're playing along to it. But I think to your point, Meg, like, within it, they're just a better band in 2024 than they were in 2018 from a jamming standpoint. But I definitely went back and forth between those two versions. Let me ask you, RJ, when you pick 12, 30, 16, do you include the party time or does it. Yes, cut off hard before party time? Because segues are not allowed.

[RJ]

Yeah, it has to cut off. That's it.

[Brian]

There you go.

[RJ]

Yeah, you can't. I think. I think 12, 30, 16 is so. It's like, it's fun, it's spacey, it's got that calypso style jam. I. I think it's just a really fun version. And you guys, I love that version.

[Megan]

I'm here for that. That was on my honorable mention. It's. It's also like super. It gets dark. It's really compelling parts. I. I love that jam. That was. That was definitely my honorable mentions. So was the 8709 Gorge, the 7, 8, 16 from Greatwoods. I think that one has to be on the honorable mentions. So fun. And then. Yeah, the 18 dicks and the sphere, those were my honorable mentions.

[Brian]

Something happened to me during the second set of 12, 30, 16. I've never been the same since then. That's one of my favorite sets I've ever seen my entire life. And that light, just like. Because the ghost goes to the wheel section and just like hits your heart. And then Light was the perfect song to come after. And then it goes into a crazy jam, figures out its way into party time. Amazing stuff. My. My honorable mentions were 10, 19, 10, which, if you want me to become a, like, really contradict myself here, I think the 8, 7, 10 is the right pick over 10, 19, 10. But 10, 19, 10 is my favorite jam of all of 2010.

[RJ]

Like.

[Brian]

Like bar None. Oh, interesting melody that Trey finds that like. And like the whole band is playing along with it and like, they gave him enough space. It's still blows my mind listening back to it. I love that jam. And then 7, 8, 16, as you mentioned, which is a really wild version. It gets into just like crazy, like, edm, weird breakbeat type of space of jamming. It's just like super. The sonic elements are super wild. Fishman's going crazy. Mike is going insane. And the jam was so good that the PA shut off.

[Megan]

Yeah, exactly.

[Brian]

One or two songs later and they had to completely restructure how the show was going to go, but, man, that. That version is just a wild jam. Comes out of a really cool ghost. And I remember at the time, summer 2016 is not a very promising tour. There's a lot of dead spots throughout that tour, and they played a great first set. Two killer jams coming out of it. People thought we were about to have the show of the year. And then the PA goes out.

[Megan]

So sad.

[Brian]

Some luck we had in 2016.

[RJ]

Yeah, I. I just. I don't know if I can reward the woos, you know, I hate.

[Megan]

I really hate the woos. That was like one of the big detraction from the sphere. I just like, we don't need to make music. They're doing it for us. Like, I don't.

[RJ]

Trey does it. Trey. Trey. Trey encourages it.

[Megan]

He likes it.

[Brian]

It's all Trey.

[Megan]

It's all Trey. Well, we know he's not that good at fish.

[Brian]

That first show after the Tahoe tweets, that first show for the Tahoe tweezer, like, every song he's, like figuring out. He's, like looking at the band like, okay, let's go into it now.

[RJ]

Yeah.

[Megan]

Oh, Trey.

[RJ]

All right, so the fan. The fans picked 8, 7, 10, 9, 1, 12, 12, 30, 18, and 4, 21, 24. So that was the overall.

[Megan]

Wait, I'm sorry, can you say that again? I was. I kind of was zoning out. Can you say it again? Sorry.

[RJ]

Happens when I start talking, Meg. 8, 8, 7, 10, 9, 1, 12, 12, 30, 18, and 4, 21, 24.

[Megan]

Okay, cool.

[RJ]

Yeah.

[Brian]

So they kind of combined our list, but left off 8, 9, 11, which is.

[Megan]

Yeah, kind of what we thought. Yeah, they're only two.

[RJ]

Yeah, there are only two votes for it for 8, 9, 11. So.

[Megan]

So maybe we're glad it's on there.

[RJ]

We're turning some people people onto that jam.

[Megan]

Yeah.

[RJ]

Just a couple individual submissions. Jake Cohen, who's a longtime listener and friend of the pod. He had 8,709 dicks. 12, 12, 30, 16, and 12, 30, 18. I think there's a lot of 1230 combos in. In some of the. In some of the fan votes forbin777. Who's watching? 8, 7, 10, 1 1, 16. Dick's 18 and 12, 30, 18. He also said Rushmore.

[Brian]

1, 1, 16.

[RJ]

Yeah, love that.

[Brian]

That's a great, great version. Very chill New Year's Day show. Good call on that, dude.

[RJ]

It was a good. That was a good run. Okay, so then one more branded. Carter said 9, 1, 12, 7, 24, 15, 12, 30, 18 and 4, 21, 24. He also said I wanted to put one more from 2010 in there to have an earlier representation. But but felt these four were the best. It was also interesting to see that the early ones always went into slave or 20 years later. Thanks for all the great content.

[Brian]

There are a bunch 72415 Shoreline, killer blaze on Killer Twist and then Light that goes into a. I know you Rider Jam.

[Megan]

Yeah, I know you Rider Jam is so good. It's such a far thee well summer like love that.

[Brian]

Yes. And night three of summer 15, that was like they played a really good show. Night two and Bend and then you have this just like amazing second set. It just started the whole tour was, was often, often running based on that.

[Megan]

Playing like a Grateful Dead call out at Shoreline is fucking awesome.

[Brian]

You're not doing that before you're asked to play in fairly well. I'll tell you what, you know, like that was a tray. Like I have finally arrived. You all respect me.

[RJ]

Speaking of respecting you, we respect you for thinking about us and sending us voicemails and also voting. Listen, we are, this is getting serious because we have our, our next Mount Rushmore already up for voting. It's going to happen next week. I guess Brian for this there's only like a couple versions that are going to be left off. But, but, but, but we have to do it. We have to cut a couple versions of Rock and Roll. That's where we're going next.

[Megan]

Yes.

[RJ]

Brian has curated this for us and so if you go to osirispod.com Rushmore it will take you to the rock and roll voting page and then you can enter your name and also send us comments and you should leave us a voicemail because we, we like hearing from you. It's 4844-16-0488. What else guys?

[Megan]

Cover. This is going to be so fun. And Brian, isn't this like your favorite cover or one of them?

[Brian]

It's my favorite cover. My favorite fish cover. This. This song says everything about the Fish experience when it's played. I wish it were jammed out more because we're going to talk about some killer, killer jammed out versions from the past. I feel ready. I'm excited. This is, this is just like when this song is played it is like fish channeling the spirit of, you know, the countercultural art form that created them. I love it so much. So yeah, that's next week and then we also have in two weeks time just so you all can get prepared our next draft. We are Going to be previewing. This is now becoming the. How do we preview upcoming, you know, upcoming fish runs? We are previewing the spring tour with a West coast fish draft. We've called the list down per Megan's request. She can only listen to 160 shows in two weeks time. She.

[Megan]

It was literally like 70. It was like 300 shows. It was so outrageous. It was so many shows.

[RJ]

I'm ready.

[Brian]

I'm all ready for this. I can't wait. There's so many options. West coast fish rules. I don't think anybody can go wrong. We've got an interesting line lineup here for this interesting way that we're going to structure it. But. So those are the next two weeks. It's. It's going to be a ton of fun. Rock and roll next, baby. Let's go.

[RJ]

I'm ready. Let's do the draft right now.

[Brian]

I'll put all of you want to do it. I'll do it.

[RJ]

Yeah, let's do it right now. Just do it.

[Megan]

All right, show offs. I'll put all of the. All of the versions of Light on the playlist and push that out again so people can get that.

[RJ]

And I'll put that in the show notes also, if I remember to do that, which I will remind myself to do right now by saying that. So thank you, Megan, for doing that.

[Brian]

Quickly because we have a question from incredible perp that I don't know if you guys have thoughts. Oh, yeah, we have not talked about this yet. I just keep getting snippets from this from my friends who are. Their only fish shows this summer are Forest Hills. Apparently there's a bunch of drama that they're going to shut down the venue before the summer. Do you guys have any thoughts? Are you guys going to go there regardless what's happening?

[RJ]

Oh, I'm going.

[Megan]

Hell, yeah. I'm going both nights. And I'm excited. And don't believe anything the New York Post fucking publishes. That's all you have to know.

[Brian]

There it is. From a proud New Yorker right there. Don't believe anything that New York. I have a friend who only sends me articles from the New York Post, so they're usually from, like, deep sections. We're not talking, like, political news because, like, man, you get some interesting, insane stories in the New York Post.

[Megan]

Yeah, it's a very interesting rag, but yeah, no money talks in New York. They're gonna have the shows.

[RJ]

It's a. It's the only show that I'm going to outside of Philly and I Just keep talking about how I'm definitely going. And then I saw that this week, and I was like, well, I'm still going. I'm going.

[Megan]

Hang out. I'll be there. So we'll hang out. Yeah.

[RJ]

Going no matter what. See you guys there. Okay.

[Brian]

I'm webcasting no matter what. I'll tell you what.

[Megan]

No matter what, Brian's gonna have that. Whether there's, you know, what New York doesn't want is a bunch of fish bands with nowhere to go. So let the concert happen. You can talk to them about Red Rocks 96, that. You don't want that to happen.

[Brian]

Why can't they just put it at Jones Beach? I know nobody likes Jones beach, but.

[Megan]

Like, the shows usually stop there. No, I'm just kidding.

[RJ]

I mean, I think that's why, though.

[Megan]

Best lot scene, though.

[RJ]

Yeah. It's just too hard. It's too hard. I don't want to do that. Let's not do that. Okay. Anything else, guys? I think we did it.

[Megan]

I think we did it. I'm done with my first one. I'm excited. Feel good about it.

[RJ]

Good job, everyone. Nice job, Megan. Good job, Brian.

[Brian]

Good job.

[RJ]

Good job, team Brian. That's a nice mic.

[Brian]

Thanks, bud. Thanks for the recommendation.

[RJ]

Well, right. Yeah, I think it's. It sounds great. You sound.

[Brian]

This is my shirt. What is this one? The MV7. Plus the podcast Micah plugs right into your computer. You don't have to have another additional piece. Great stuff, highly recommended. Sure. If you guys need. It's the same one Meg's got. If you guys need spokespeople. We kind of do a podcast and we reach people who may or may not have the right podcast equipment, even though they leave voicemails indicating that they want to start a podcast themselves. Hey, maybe. Maybe throw us on there from a sponsorship standpoint.

[RJ]

Good times. All right. All right, everybody. We're gonna see you next week. Thank you all. See you soon.

[Megan]

Bye, everyone.

[RJ]

Osiris.

[Megan]

Hi, I'm Daniella Clark. I'm Barbara Ann Wilde. And we are the Honest AF Show.

[RJ]

Our podcast is real, honest conversation with.

[Megan]

Our celebrity friends and pros covering our anything but average rock and roll lifestyles.

[RJ]

All while tackling the hell that is.

[Megan]

Aging and the battle of beauty. Oh, yeah. Nothing is off the table. The Honest AF show is available wherever you get your podcasts.

[Brian]

Hey, this is Steve Choi, host of the Musicians Guild Podcast, part of the Sound Talent Media Podcast Network. Within the four walls of the Musicians Guild, we'll be discussing the habits, idiosyncrasies experiences, and general psychology of my friends and peers all involved in with music in various capacities. Listen and subscribe at soundtalentmedia.

[RJ]

Com.