https://forum.phish.net/forum/permalink/1378194249

"Within the band, there was a sense of 'Why would we want to compromise anything when we can make a good living doing exactly what we want to do?' Of course, that was the best decision they ever could've made, because people are attracted to something pure. I've always been a big believer that intent is so fundamental in the people's visceral response to any art form - particularly music, since it's just a direct experience. There's no mistaking [the band's] intent. There was joy and purity in what they were doing. You might not like it, but you certainly couldn't deny it." - John Paluska (band manager 1989-2004), Phish: The Biography, p. 86

The word "purity" signifies an aspect of Phish that I feel is widely appreciated but under-recognized. It is remarkable that the band has had such a successful career, but even more so considering how they had forged their own path. Phish didn't necessarily want to be loved by everybody everywhere; they believed that if they remained true to their artistic instincts, their audience would find them and enjoy what they do.

After consistently gigging throughout the first half of the year, Phish had taken the Summer of 1990 off, but they continued to write songs individually to bring back to the band in the Fall. Page presumably traveled back to South Carolina to stay with his parents and composed "Magilla"; Fishman likewise hiked back to Western New York to stay with his parents, writing the lyrics to "Tube" and "Gumbo" on the way; Mike joined Chris Kuroda and his friends on Grateful Dead tour, inspiring him to write "Destiny Unbound". Trey stayed back in Vermont with his housemate and band Road Manager Paul Languedoc, composing instrumental tunes inspired by his favorite jazz artists as well as his studies with composer Ernie Stires.

The band's two-man management company, Dionysian Productions, spent the Summer booking gigs for the band's Fall tour, and preparing press kits for the band's first release on a record label. When Phish appeared at the Somerville Theater for an all-ages two-night stand over the Autumnal Equinox of 1990, it was to celebrate the imminent (though ill-fated) release of their album "Lawn Boy" on Absolute-a-Go-Go Records. Although the album release party was on the second night (9/21/90), the first night is the better show; I'll even say that this is their best show of 1990, better than any from the Colorado run of 10/30-11/4. Every song is impeccably performed, and although Tweezer is the only song that can be considered "Type 2", the Buried Alive sandwich is a surprise that demonstrates how quickly the band could change course within one song during this era. McGrupp is also a noteworthy performance, presumable dedicated to "Looks Too Much Like" Dave Abrahams. Trey's guitar has the same tone as on Lawn Boy, and he is clearly excited to introduce songs from "our new album".