Walls of the Cave
Vocals: Trey (lead), Fish, Mike, Page (backing)
Albums: Round Room
Historian: Martin Acaster (Doctor_Smarty)
Last Update: 2013-09-07
Plato suggests in his Allegory of the Cave that what mankind sees as reality is actually a collection of shadows cast on the walls of the cave in which we are imprisoned. Enlightenment comes when an individual grasps the idea that there is truth beyond sense. The light at the end of the tunnel isn’t always a freight train heading your way. Sometimes, that light is freedom and salvation. Upon realizing this higher knowledge, we become involved in the process of evolution. We are inclined to return to the darkness of the cave with the good word of the world beyond. We risk the ridicule and rejection of our fellow prisoners in hope that others may be aroused out of the regrettable state of slavery and illusion. Rather than force the information down the throats (or in the ears) of our former peers, we, the newly illuminated, choose to leave subtle messages inscribed upon the walls of our common prison of conventional reality.
”Walls of the Cave” – 1/1/11, New York,NY
In the lyrics of “Walls of the Cave,” Phish have left behind such a trace fossil, a subtle reminder of a singularity in time and space that marks the transition of our existence from one reality to another. In that moment, thousands of lives and the financial center of our world were traded for a mountain of rubble and an illusory war on Terra. As the second plane hit, stunned silence was the only answer to the previously inconceivable question. As the twin towers fell, our hearts followed in a downward spiral of unfathomable loss. There were just so many names that could not be saved by the valiant men and women of the NYFD. With the passing of time restored, the mountain of rubble in lower Manhattan became a hill. As this horrific pile was flattened, an undisclosed number of mountains, caves and their inhabitants in distant Afghanistan suffered the same fate. Therein lays the shadow of darkness and illusion that clouds our new reality.
Musically, “Walls of the Cave” sounds like what it is: two shorter songs (presumably “Walls of the Cave” and “Listen to the Silent Trees”) that were fused into a longer hybrid, united by the moment of silence commemorating our paradigm shift. The “Walls of the Cave” segment opens with a somber piano eulogy. Interrupting this respectful moment of mourning is the industrious and insistent beat of the jackhammer against the pile of rubble. Out of tragedy leaps forth the hope of a better future on the heels of an encouraging yet delicate fanfare for the uncommon man. We can overcome the adversity. We can rebuild it. But if we build it, will they come again? Beyond the moment of silence, the “Listen to the Silent Trees” segment is a fiery amalgamation of The Beatles’ “Tomorrow Never Knows” and Blondie’s “One Way or Another” (I’m gonna get you!) that disintegrates into an explosive conflagration of daisy cutters and bunker busters that is reminiscent of the Phish adaptation of the Velvet Underground’s “Rock and Roll,” in both the Round Room version and many of the live performances of the song to date. This firestorm of jam typically leads back to a reprise of the “Silent Trees” theme and a final plea for the Ents to be heard.
The debut performance was as a third set closer in the triumphant end to the hiatus (12/31/02) a few short miles north of Ground Zero. During the winter 2003 tour, “Walls of the Cave” was played frequently, often as a first set closer. Standout versions from this tour included performances in the Los Angeles (2/14/03), Cincinnati (2/22/03), and Long Island (2/28/03). The summer 2003 tour found the silent trees to be sparser, with two of the three summer versions played as solid second set closers and the third a seeming afterthought to the big, black, and monstrous Utah “Mr. Completely” (7/15/03). The final walk through the silent trees of 2003 came on 11/28/03 during the first half of the “Two by Four” run.
The "Walls of the Cave" were visited four times during the bleak days of Summer 2004, when it appeared the final words of Phish were being etched into the millstone they had placed upon their own necks. Most notable of these appearances was the (much like the band at the time) epically "Diseased" version that closed the second set of the last time pre-Coventry Phish would appear at Deer Creek (6/24/04).
Unlike the band, the song remained an allegory of a former time since serving as the opening song for Coventry (8/14/04) by staying in the deep recesses of its cave for the entirety of 2009. After a 76-show absence, “Walls” emerged from its slumber on 8/13/10 at Deer Creek, and has since etched itself into the brilliant stories told on 10/26/10 (Manchester, NH), 1/1/11 (MSG) and 6/19/11 (Portsmouth, VA, a special birthday request).
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"This one holds a great deal of significance for Trey and myself. It was a dark period in both our lives. It was a dark period for the country. I wrote this poem for my son...it read almost like an epitaph for my own grave. It was depressing. Trey and I also (due to my work situation which was dire) were holed up in a dark, miserable NJ hotel right near Newark airport. But one thing we knew how to do was write and record songs. Trey liked these lyrics, and with me essentially on the sidelines, he created this entire song...piece by piece. The most impressive to me was his piano intro. He's quite a good pianist, and he uses it as a compositional tool very effectively. Those chords just kept building and building...heck, the song has FOUR intros if you count them like I do...until finally a bed for the lyrics appeared. And he sang them...I didn't get involved, he was on a mission from god. I just handed the lyrics to the song-machine and my job was done. Later I found that people thought this was a tribute to the World Trade Center...WTC = Walls of The Cave=World Trade Center. So is it? Trey says yes. I say probably...but unintentionally on purpose."