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New Sealed Round Room - Phish Never Opened CD
Round Room - Phish
This is a new CD, and it is still sealed, never been opened! This CD would make a great addition to your collection! Please take a look at the picture for a better look at the condition. Thanks! Check out our other auctions for more CD. We Can Combine Items for shipping. Shipping is $3.00 in US and international shipping varies by location. Please contact us for shipping prices to your international location. Thanks!
Barnes & Noble As anyone would know from listening to this jamming juggernaut over the years, Phish are unique in their zest for blending far-reaching influences into their pastiche without shaking its foundation. The two-year hiatus the members used to explore other musical avenues has only heightened that sense of adventure. More important, it's given the band a rare chance to start over -- if not from square one, at least from a square other than the one the members occupied prior to the break. Round Room gives ample evidence of that renewal, and also addresses the band's internal combustion, particularly on the brooding "Friday" and the ethereal, headphone-perfect "All of These Dreams." More significant, the band -- perhaps caught up in the whirl of a non-stop, four-day recording session -- manages to capture a good deal of the "X-Factor" that's made their live performances so legendary. No fewer than five of Round Room's tunes stretch into improvisational exercises -- whether designed to work out the brain cells ("Pebbles and Marbles") or tug at the heart strings ("Walls of the Cave") -- wrapping the listener as closely as a mom would swaddle her babe. Both comforting and venturesome, Round Room lives up to its titular implication that Phish won't allow themselves to be cornered into any one musical genre. David Sprague All Music Guide Phish reunited unexpectedly late in the summer of 2002. It was a bit of a shock, since their announced hiatus of 2000 seemed at least semi-permanent, yet this didn't have the vibe of a cash-in, even if their respective solo projects of the early 2000s didn't make many waves. The impromptu reunion felt spontaneous, as if the band simply felt like playing again. Certainly, the resulting album, Round Room, feels ramshackle, laid-back, and haphazard. Released mere months after its recording, it doesn't so much sound haphazard as it does unfinished, as if you're eavesdropping on a band rehearsal or even a writing session. Apart from the lovely, understated Farmhouse, Phish albums always meander, so it's nothing new that the focus is fuzzy on Round Room. What's weird is that there's very little shape to the songs. Often, only a bare sketch of a song is discernible, and even those are never played as if that sketch is final. Which all makes for kind of a murky listen and certainly not the cash-in crossover that a publicized reunion of a cult favorite could have been. Unfortunately, it's not particularly interesting, either, since it lacks the spirit of their live improvisations or, say, the layered ambitions of Trey Anastasio's excellent solo album of 2002. It is intermittently fascinating, particularly because this is as unvarnished as any album by a major artist, but instead of revealing a new side of Phish, it just sounds incomplete. Although this is kind of a disappointment, it's also kind of admirable because the band isn't afraid to work out the kinks in public, and it has enough intriguing ideas scattered throughout to suggest that now that this is out of their system, they have a better album ahead of them. Stephen Thomas Erlewine Rolling Stone You can hear why they made these rehearsals the album: Virtually everything on these seventy-eight minutes breathes with an anxious, edge-of-the-seat intensity that's missing from their previous studio efforts. Tom Moon Blender [Round Room] has... a loose, off-the-cuff feel. J.D. Considine