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Hampton Comes Alive

1999 live album by Phish

Manuscripts, fine bindings, an engraving plate and preserved performance ephemera
Arts and lettersInterpretive dossier study · Crown Archives visual atlas
Record originEnglish Wikipedia
Text licenseCC BY-SA 4.0
Source revisionSep 7, 2026
Entity authorityQ5646178
Source-derived summary

Hampton Comes Alive is a six-disc live album by the American rock band Phish, released on November 23, 1999, by Elektra Records. It is the band's third live album and the first time complete live Phish concerts were released in their entirety (though fan recordings of most Phish shows are widely circulated). Hampton Comes Alive consists of two full concerts recorded on November 20 and 21, 1998, at the Hampton Coliseum in Hampton, Virginia. The album title is a play on Peter Frampton's classic live album Frampton Comes Alive!.

Twenty of the album's forty-five tracks are covers or other songs from the band's large catalog that do not appear on any previous Phish album. The album's many cover songs include: "Rock and Roll, Pt. 2" by Gary Glitter, "Quinn the Eskimo (The Mighty Quinn)" by Bob Dylan, "Funky Bitch" by Son Seals, "Roses Are Free" by Ween, "Gettin' Jiggy Wit It" by Will Smith, "Cry Baby Cry" by The Beatles, "Boogie On Reggae Woman" by Stevie Wonder, "Nellie Kane" by Hot Rize, "Bold as Love" by The Jimi Hendrix Experience, "Sabotage" by Beastie Boys and "Tubthumping" by Chumbawamba. As usual with covers sung by Jon Fishman, the band (as a trio with Trey Anastasio on drums) also performs a brief instrumental version of "Hold Your Head Up" by Argent before and after "Gettin' Jiggy Wit It." The album marked the first time that the songs "Tube", "Driver", "Axilla I", "Possum", "Piper", "Farmhouse", "Big Black Furry Creature from Mars", "NICU", "Dogs Stole Things" and "Ha Ha Ha" had appeared on an official Phish release. "Piper" and "Farmhouse" later appeared on the band's 2000 album Farmhouse.

Each CD is packaged in its own sleeve and collected together in an innovative box.

Editorial summary

Begin with the source’s own compact description: “Hampton Comes Alive” is 1999 live album by Phish. The dossier treats that line as a proposition to test through Hampton, Comes and Alive, not as a finished interpretation.

Editorial reviewA productive route into publication, performance and collection histories when the underlying object or edition remains clearly identified. The current lead gives the account dated anchors—1999, 1998, 2000—that can be checked directly. The linked authority record independently contributes the date 1999-01-01. For this dossier, Hampton, Comes and Alive is the immediate research focus.
Editorial analysis

Why this record matters

The phrase “1999 live album by Phish” supplies a clear boundary for inquiry. It also exposes the unanswered questions: who defined that boundary, when it became stable and which sources sit outside it.

Evidence profile

Object files, edition statements, performance records and contemporary criticism preserve different stages of the work’s history. The source revision retrieved here is dated Sep 7, 2026. The linked authority identifier is Q5646178. 1 of 1 selected statements include explicit references; 0 carry qualifiers and 0 use preferred rank. The first chronological checks are 1999, 1998 and 2000.

Critical limits

Rights, attribution and provenance may remain disputed even when a general reference summary presents a stable account. The lead is largely declarative, so disagreement and counter-evidence require a deliberate search beyond the opening account. Authority statements aid reconciliation but still require their own references, qualifiers and ranks to be checked.

How to read it

Separate the work, its editions or performances, and its later reception. Catalogue records, publication histories and object files often preserve different parts of that story.

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The original object or edition, catalogue raisonné, performance record, rights file and holding institution.

Three-step research path

  1. Establish the record: confirm the title “Hampton Comes Alive”, its source revision and the description used here.
  2. Expand the search: follow Hampton Comes Alive primary sources, Hampton Comes Alive archive and Hampton research across catalogues and specialist indexes.
  3. Test the account: compare the strongest cited source with the responsible institution’s current record and note any disagreement.

Questions for further research

  1. Which source most directly establishes the central claim about “Hampton Comes Alive”?
  2. Which edition, object, performance or recording is being described?
  3. Where is authorship, date or provenance documented?
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Source & attribution

This entry incorporates text from Hampton Comes Alive” on English Wikipedia. Contributors are listed in the page history. Text is available under the Creative Commons Attribution-ShareAlike 4.0 License. Selected authority identifiers and statements are retrieved from Wikidata under CC0; their references and qualifiers remain part of the verification path.