Phish was and still is an important band. They blended genres in a unique way, combining elements of funk, folk and rock. They carried the jam-band style made famous by the Grateful Dead into the 1990s and 2000s. Even after more than 30 years, they still have an enthusiastic following.
But listening to Phish can get exhausting. Their jam sessions often toe the line between compelling and overwhelming, stretching into eternity all too readily. Despite the virtuosity of each individual member, Phish’s music, at times, becomes so experimental that it loses cohesion.
Herein lies the virtue of Trey Anastasio’s solo work, which retains the quintessential Phish sound in a more digestible, cogent package. Anastasio, Phish’s guitarist and lead singer, has sporadically released solo albums since 1996. His most recent project, “Paper Wheels,” came out this week.
“Paper Wheels” echoes classic Phish more than Anastasio’s other solo work does. There are more rambling, cerebral guitar solos and more silly, nonsensical lyrics than in Anastasio’s previous individual efforts. The result is that, like Phish, some of the songs on “Paper Wheels” lack impetus. The general sound of the album is cheerful and vibrant, with plenty of tinkling piano and shimmery guitar phrases which come at the expense of the more traditional rock riffs that punctuated Anastasio’s earlier solo efforts.
“Come as Melody,” for example, off 2005’s “Shine,” features a heavy rock guitar riff in the chorus that drives the song and gives the listener something to hold on to. The same can be said for “Tuesday,” also from “Shine,” or “The Horseshoe Curve” from the album of the same name. “Paper Wheels” could use a little of this rock-and-roll propulsion.
The other weak spot on “Paper Wheels” is Anastasio’s voice. He has an interesting voice, but not necessarily a beautiful one. Songs, like “The Song,” put too much emphasis on his reedy singing and suffer as a result. Some of the most exciting parts of Anastasio’s solo work has been produced when he hands the mic over to someone else, like he does on “Clint Eastwood” from 2012’s “Traveler,” or on the cover of Led Zeppelin’s “Black Dog” performed on “TAB at the TAB.”
There is still much to recommend about “Paper Wheels.” Anastasio’s solo work has always smoothly incorporated jazz and a horn section, and that continues. There is a wonderfully subtle horn line on “Liquid Time,” and jazz and funk melodies can be heard echoing through Anastasio’s expert guitar playing.
Ultimately, it is Anastasio’s guitar playing that defines the album. He is a master, and the album gives him plenty of room to show off his chops. The melody of the album’s opening track and best song, “Sometime after Sunset,” is vibrant and memorable. The solos on “Cartwheels” and “Bounce” are complex and engaging. Like much of the work of Phish, and like Anastasio’s other solo albums, “Paper Wheels” has flaws. Still, Anastasio’s exceptional guitar playing covers up for a lot.
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