Over the last several years, Phish has emerged as rock's most surprising success story, building a massive grass-roots following and becoming one of the nation's top-grossing touring bands; the two-day "Phish Phest" (officially titled the Clifford Ball) held last August in Plattsburgh, New York, yielded $3.3 million all by itself. The band's growth has been almost completely self-managed, with Phish firmly in control of everything from album cover art to merchandising, from ticket sales to Web site design s. And they've done it all without the benefit of a hit single, a popular video or even a gold album. "Our success has been totally about live performance," says Anastasio. "Our live shows have driven everything."
All that changes with Billy Breathes. The new release is, even in the band's view, light years better than any of their previous studio efforts, which too often sounded claustrophobic, mechanical and overly cerebral. An extended song suite, Billy Breathes marks the first time Phish has captured in the studio the spontaneous fun of their concerts. The bands moves effortlessly from the Cream-style single "Free" to the prog-rocking "Theme From the Bottom" to the epic, "Layla"-esque title track, and climaxes with the oceanic "Prince Caspian." Echoes of the Beatles, Allman Brothers, Grateful Dead, Derek and the Dominos, Rush, Genesis, Frank Zappa and much more can be heard throughout the album, all of it synthesized into an organic, thoroughly original brew.