type II cast

a type II podcast, broadcasting from the hose.

Episode 61: Select-A-YEM


Listen to Episode 61

You Enjoy Myself. The quintessential Phish tune. It has everything: great composition, improvisation, fun antics, sports equipment, and a vocal jam. You love this song and it’s probably on the CD you gave to your little brother when you tried to turn him on to Phish. Having been played more than any other song in the band’s repertoire, doing a history in an hour podcast would be impossible. So contained within is how we chose to tackle the topic. The cast discusses some best versions, our personal favorites, trends over the years, and ultimately builds a Frankenstein-like YEM for the outro. Included in this discussion are panelists Chris Glushko, Josh Korin, and guest Charlie Dirksen. As we mention in the episode, there is simply too much to choose from, but we hope you will enjoy the few clips we did pick. What other YEM’s should we have discussed? Let us know in the comments below.

Thanks for listening. See everyone at MSG.


Episode 61

Title: Select-A-YEM

Date: 12/04/2012

Host / Producer: Stephen Olker

Panel: Chris Glushko & Josh Korin

Guest: Charlie Dirksen

Run Time: 1:24:04

File Size: 135.4 mb

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Author: UNOlker

Host and Producer of TWoL and TypeII Podcasts.

9 thoughts on “Episode 61: Select-A-YEM

  1. Great podcast.

    I love T2C because two things are guaranteed to happen every show.

    1. At least one clip will be chosen that is the exact clip I would choose for a particular moment.

    — In this case, it was the full band jam from 6.11.94. And it was correctly stated that this is so good it almost sounds composed. That it happened third song into the show is just that much more amazing.

    2. There will be one statement made about one clip or another that I COMPLETELY disagree with.

    — In this case, it again was concerning 6.11.94 when it was stated that the D+B segment wasn’t standout. Mike may not have played anything wacky, but he dropped those octave lines like a champ, and the FM crispness really showcased Mike’s playing when so often he is washed out in the AUD mix from this era. I honestly can’t do without it when I spin this track.

    Keep up the great work fellas.

    • Thank you @deBebbler for the comment, but since I’m responsible for the statement re the 6/11/94 B&D that you “COMPLETELY disagree with,” in my defense:

      (1) I was sick and still am sick, and I did not mean to be so harsh about it as I came across, however,

      (2) compared with other versions of YEM I have heard, this B&D segment isn’t so far above average that it warranted podcast inclusion. (We heard it when we made the podcast, but Stephen faded it out for distribution as I’d recommended he do.) It’s still “great.” I just think if you’re a connoisseur of YEM or even simply B&D segments, there are quite a lot out there that are both longer and more spirited than 6/11/94.

      If you take a look at the YEM jam chart on Phish net, for example, which I compiled, there is a column for “Notes,” and any version whose B&D section is noted in that column (e.g., 4/30/93, 8/3/93, 6/29/95, etc) is most likely one that I’d sooner recommend than 6/11/94′s. You can also tell from the timings on that chart which B&D sections are long, and long B&D sections typically equate to more impressive B&D sections (though not always, of course)… and 6/11/94′s isn’t long. Still just my two cents of course, but I did want to contextualize them, in case my comment came across as COMPLETELY insane to you rather than simply opposed to your own view. Regards.

  2. I agree 3.0 YEMs have not stood out overall, but you all overlooked 11/20/09 Cincinnati which I think is stand out version in any era.

  3. Clips:
    1) 1993-03-28 – 02:00 > 05:15
    2) 1994-06-11 – 12:40 > 16:25
    3) 1999-07-15 – 16 > 19:30
    2) 1995-10-31 – 09:30 > 15
    4) 1995-12-09 – 0:30 > 33:10

    1993-02-07 – Pre Lyrics
    1997-11-28 – Tramps
    1995-11-18 – Jam
    1996-12-06 – Bass and Drums
    2012-08-31 – Vocal Jam
    23:34 total time

  4. I know I’m posting this rather late, but I’m new to the podcast (and a newly-minted loyal listener!)

    One of the speakers asked what Trey was teasing in the start of the 1995-10-31 clip (the big power chords). Those chords are big Pete-Townsend-style windmillers, and they are roughly the same as the chords from “The Real Me”, albeit in G instead of C (that is to say, the key of YEM). Specifically: G -> Bb -> F -> C. Even though Phish.net lists a “Real Me” tease in this version, I don’t hear it as such.

    Many of Pete Townsend’s riffs are based on a similar device (and Keith Richards, for that matter… c.f. “Loving Cup”‘s outro!). Namely, three note chords on the D, G, and B strings. Having just played “Quadrophenia” from top to bottom, I feel like Trey was pretty primed with “Townsendian” licks. I’m not surprised this popped out. You’ll notice that the segue in the “Real Gin” from 1995-12-29 sounds remarkably similar (except Gin’s jam is in C, just like “Real Me”, enabling the full transition!)

    I know it’s a little anticlimactic, but I hear this as a tease of Pete Townsend’s style moreso than any particular song.

    I’d love to be proven wrong, and have someone play me a track that matches Trey’s chords exactly, but I sincerely doubt it. I also wish I could prove that I know what I’m talking about, but the best I can tell you is that I have a music degree (on bass guitar), and am a high school music teacher. Hardly makes me Mr. Miner, but I hope it offers some help!

    • Thanks for the well thought out comment. This is definitely above my pay grade, I’ll pass this on to Glushko / Dirksen.

      Feedback is always welcome. Thanks for checking us out.

    • Matt, thank you for chiming in. You cannot be “proven wrong” on this because the tease of “Real Me” that Trey plays is not a musical quote, it’s a tease. He doesn’t “exactly” match “Real Me” — he teases it. And you’re right about Townsend’s riffs and the fact that what Trey plays is akin to a Townsend-esque or “Townsendian” lick or riff, no question about that. But in the context of 10/31/95 and Quadrophenia, it seems clear that Trey willfully teases “Real Me” in this YEM rather than the device that Townsend often employed. At the very least it seems you agree that Trey teases Townsend (lol) here. Also what other Quadrophenia song (other than “Real Me”) could Trey possibly be teasing with those riffs? It’s only “Real Me” imo. $0.02.

      • Lovely to hear back from you guys… I love the podcast!

        Having listened back again (and again), I think I agree with Charlie. The chords being played are: I, bIII, bVII, and IV in the key of G major. If they were played in C major, it would be the chorus progression from “The Real Me”. I still have a minor reservation due to the syncopation Trey employs (the bIII, bVII and IV chords all fall “off the beat,” as it were), but I suppose that I’m merely being pedantic. The similarities to “The Real Me” are unquestionable.

        On a personal note, it’s wonderful to be able to engage in these kinds of conversations with people who are so well known in the Phish community. Charlie, I’ve been reading your reviews for years, and I always felt like an outsider reading the case notes of a pro. It’s a lot of fun to take part. I think I’ll try to take a more active role on some of the message boards henceforth!

      • Matt, please participate more on message boards. There are many out there. Phish.net forum, PT, Miner’s PhishThoughts forum as well of course…

        There is a lot of argument over “teases” whenever the tease in question is anything but a perfect musical quote of a song’s theme or melody (same key, same rhythm/syncopation, etc). Everyone except for the Most Deaf can hear musical quotes, of course. There’s no debate from reasonable people with ears in such circumstances. But “teases” necessarily are not as obvious, given that a band member (usually Trey) might “tease” a song’s melody in an unusual key, or might only perform a few notes of its melody line, etc.

        As someone who played a number of instruments a long time ago, it is somewhat surprising to me that there is a lot of debate over particular teases that seem obvious to me (even though they’re not musical quotes). But that said, I sucked on all of those instruments, which is primarily why I don’t play any today. And I have missed plenty of “teases” over the years, and been schooled about them by others.

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