The Island Run: Providence

Exiting the Coliseum at Nassau and preparing for our trip north, spirits could not have been higher.  We were smack dab in the middle of some crazy-ass Phish, and we just left one of the most transcendent musical experiences of our lives.  The drive through the night to Rhode Island was fun and refreshing, trying to replay the nights events in our mind.  As The Beatles once sang, “It [was] all too much.”  The entire community was juiced after the first two episodes of The Island Run, and they brought every ounce of that juice up to New England.

4.4.98

phish-providence-4-4-98There was quite the scene outside the Civic Center on Saturday night, as fans congregated in the streets and lots surrounding the venue.  The hardest ticket of the four, many sought out extras to get themselves into what would surely be another outlandish event.  Never were you so sure that a show would blow up than this one on 4.4.98.  Following Nassau, everyone knew Phish were knee deep in IT, effortlessly creating masterful music.  Everyone wanted in, and those who found their way through the threshold were treated to a show they would never forget.

As many fans predicted from Nassau’s closing “Reprise,” the band opened up the Providence weekend with “Tweezer.”  But this was no standard “set-opening” jam, rather a deep exploration into the groove-based ethos of the song.  Complete with multiple improvisational segments, much like the Nassau “Mike’s” did, this “Tweezer” gave us the impression we were far into the show already.  Phish didn’t need to warm up  for these nights, they were feeling IT, they were living IT, they were IT.  As soon as the jam dropped, Mike led the band out of the gate in a patient opening before the band dove in earnestly.  What came out was a near twenty-minute groove-fest that sparked the Providence crowd, catching them up to what went down in Long Island.

Trey stepped in, providing guiding rhythm guitar patterns that framed the jam flawlessly.  This was one of those moments that I couldn’t help letting out a somewhat maniacal laugh while raging, just pondering the sheer absurdity of this colossal opener.  This jam existed as a measure of how balanced the band’s playing was at this time, with no one member dominating the textures, yet churning out amazing music like a machine.  Interestingly, Trey introduced a melody in this jam that he would toy with and carry throughout most jams in this show- a sort of themed lick for the evening.  (For those who care, it comes at about 12:25 on the SBD).  This “Tweezer” grew out of the funk and into its more climactic space.  Once the jam peaked, the band settled into some late ’97 stop/start solos before dripping into a smoking version of “Taste.”  Despite a nice “Limb by Limb,” the rest of the set was filled with fun, yet composed pieces.  The stage was set for what was sure to be an epic second half.

511609734_ae413fe390The buzz that had began in Nassau had traveled to Providence.  Setbreak had a tangible vibe of excitement as everyone knew that the second set would be epic- there was no doubt.  And everyone was right. The upcoming frame would be composed of some of Phish’s biggest songs, all magnified under the almighty lens of The Island Run.

They opened with the quickened drum beats of “Birds of a Feather,” and it took a moment to place the song, due to hearing it for the first time only two nights before.  They never repeated songs over four nights, so if Phish was opening this second set of this show with a song they debuted in Nassau, you knew there had to be a reason.  Over the course of the next 17 minutes, the reason became evident as the improvisational potential of “Birds” was wholly uncovered in a fiercely psychedelic odyssey.

Creating an intense jam that went beyond the typical aggressive rock rhythms of “Birds,” Phish engaged in some intergalactic communication, playing one of the definitive jams of the run.  As the band engaged in improv, it was as if they were collectively sailing the smooth strings of the universe, playing with no hesitation whatsoever.  About halfway through, when the band diverted their course into some chunky and locked music, effects were layered onto the jam and it adopted a certain outer-space quality.   Possibly foreshadowing the upcoming “2001,” it was at this point that Trey returned to his “4.4.98” melody, integrating it into this building jam artistically and with slower phrasing.  The band was passing musical ideas as easily as a spliff, tearing through sublime improvisational planes at a breakneck speed.  Gradually, they brought the music back to the song’s lyrical refrain, completing the high-speed chase through spacetime, and leaving the arena drenched in sonic residue.

1998-04-04gn2Yet, these residual textures soon developed into an intro to a larger-than-life “2001.”  As the band brewed their aural stew, the crowd was perched at the edge, waiting for Fish’s snare hit to transform the Civic Center into a space-aged dance hall.  And then it happened- the band entered the crack-groove as the lights dropped; only colored rays danced around the arena (see video below).  The grooves were straight slammin’; the band was subconscious yet again, effortlessly creating some of the best music of their career.  This “2001” doesn’t get mentioned nearly enough with top versions, but I would challenge anyone to find 20 more intense and  coherent minutes to ever come out of the song.  Sure, there are longer renditions (The Went, The Gorge), but they don’t hold up to the insane tightness and urgency of this version.  This was a perfect example of the band members playing as one entity- they may as well have had one brain- as they flew through grooves like never before.  Trey absolutely annihilated this jam with far more aggressive leads than usual for the song.

Ironically, one of the best versions of “2001” ever unveiled only moved through the theme once.  The band spent most all of their time improvising like never before.  The post-theme section of the jam was fairly succinct, as they created a sparser palate colored by Page’s Rhodes washes.  Cleverly, the band broke down the groove piece by piece, eventually landing in a vocal jam!?  Yes, this is how spontaneous the band felt during these nights, bringing one of their most intense jams to a quirky conclusion before Trey, in rhythm, strummed the beginning chords to “Brother!”

508818184_8994fa2000While most renditions of “Brother” focused on brain swelling intensity and seeing how far the music could be pushed before it imploded, this version grew quite differently.  Following the initial high-paced section, the band entered some surreal improvisation that brought the maniacal jam to a place of beauty with its odd time signature; like a ride on a psychedelic swing set.  Leaving the song far behind, this turned into a completely original jam, and one of the true highlights of the show.  Beauty and delicacy after such bombast lifted up people’s souls.   It’s hard to claim any band member “stood out” in such a collective effort; this was pure Phish, plain and simple.  Ending in cacophonous dissonance before returning to the song’s theme, this was a bona fide Phish adventure.

Following a second 15-second “radio friendly” version of “Brother,” Trey explained that the next song was “radio unfriendly” because it was “really long and really slow.”  Following the build-up, Phish dropped into the old-school opening of “Ghost,” automatically upping the ante of the set.  Often overlooked due to the plethora of stand-out “Ghosts” in this era, the Island version deserves its proper credit.  This 4.4 rendition didn’t focus on thick funk, but rather an eerie climbing melodic theme.  Ridiculously patient, the band allowed the jam to evolve organically, again complementing each other as if using ESP.  Latching onto each other’s phrases, and building the jam like a psychedelic construction crew, Phish built a swirling peak of harmonic melodies, seemingly levitating the venue.  Quickly popping from his plane, the band segued jokingly into the “Blues Brother’s” theme they had bust out during the 12.29.97, telling us they hadn’t forgot about those MSG shows either.

508843989_25d12a8c62Following the non-stop hour of intense psychedelia, the band used a Gamehendge centerpieces, “Lizards,” to provide for some breathing space and reflection.  As we tried to wrap our minds around the madness, Trey’s “If I Were a Dog” solo in the second part of the song gave every one the space to move inward.  This song couldn’t have been more randomly placed, and it couldn’t have been placed more perfectly.  Everything was clicking, we were fully immersed in Phish’s power.

This marathon set had to be coming to a close soon. And with the signature cymbal hits of “David Bowie,” we knew how things would wrap up- with another dark journey.  The entire set had an “unknown space-age” feel to it, with each jam more unique than the next.  This set created a powerful counterpart to the previous night’s in Nassau .  The band’s enthusiasm was indicative by the fact that every song in this set, with the exception of “Lizards,” extended beyond fifteen minutes.

“Bowie” was the ideal closer for this set of super-stardom.  The effortless quality of their jamming continued, quickly translating into a vintage version of the classic song.  In a set that favored darkness over light and madness over calm, “Bowie” served as the only fitting punctuation to the set. With the encore drop of “Harry Hood,” the crowd exalted in what was to come.  A twenty-minute pristine “Hood” put a sublime exclamation point to a night of menacing mania. It was crystal clear that Trey ‘s melodies were flowing directly from his soul as he gazed up into the rafters while losing himself in the music’s majesty.  Intricate and perfectly played from note one, this fantastic voyage landed us exactly where we needed to be.  As the poignant music washed over me, I felt so lucky to be there.  Not just “there” as in Providence, but “there” as in the era of the Phish.  As my mind spun with dizzying realizations and was flooded with sublime music, I felt an overwhelming sense of bliss and an appreciation for life in all its majesty.  I was alive, Phish was alive and things had, literally, never been better for me in my entire life.

“2001” 4.4.98

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4.5.98

1998-04-05gnIt felt so strange to be entering the fourth show already; the first three blurred together like a dream.  Following up their “Tube,” “Mike’s” and “Tweezer” openers from the first three nights, the band raised the proverbial curtain with another huge bomb- “Oh Kee Pah > YEM.”  With everyone in the venue expecting a transition to “Suzy” or “Bag,” Phish surprised all with the opening to “You Enjoy Myself.”  Not only did the band open with “YEM,” they opened with one of the most defining “YEMs” of the late ’90s; the show’s highest highlight came right off the bat on this night!

With the dive into the jam, the Civic Center exploded.  Laying back and listening to his bandmates set up an insane groove, Trey entered the jam with a set of rhythm licks that could not have been conceived any better if composed.  This was some funky Phish music, far beyond a conventional “YEM’s” rhythmic patterns.  Subtly adding layers to the jam, the band set up Trey’s entrance.  Using the space perfectly, he brought some infectious rhythm playing to the onset of the jam, before his licks gave way to a sublime guitar narration.  Sounding as if telling a story to a group of children, Trey delicately accented his phrasings, lending emotional meaning to his notes.  If I were to pick one “YEM” to listen to for the rest of my life, this would be the one.  Yup, it’s that good.  It is so coherent and smoothness is surreal without being in your face.  There are so many distinct parts of the jam that we used to have own ideas on which part was the sickest, and the choices were manifold.  This was a huge highlight of the run.

862779724_8182271e4fA serene “Theme,” “McGrupp” combo brought the aqua blue lights out and chilled the arena with soothing songs before the next significant improvisational segment of “Bathtub Gin > Cities” took over.  While not incredibly extended, the “Gin” featured tight playing and a feel-good vibe that infused the audience.  The band’s methodical playing stood out during this jam which remained harnessed to the song’s melodic theme.  Yet, instead of returning to the original melody at end the song, Phish spent the last couple minutes of the jam improvising away from “Gin’s” structure, creating a funked out texture that seemed to be heading elsewhere.  Pretty quickly, Trey started slowly playing the chords of “Cities” over this canvas, and the band gradually all caught on, creating a less-than-perfect transition into the Talking Heads cover.  But once the opening groove hit, any small stumble was meaningless.  The composed section of the song featured many subtle improvised variations that always stood out so vividly in Phish songs.  Mike hits up a melodic bass line at the end of the jam that sounds like it belongs in a Wu-Tang verse; it’s quite nasty.  This wonderfully satiating dose of dance grooves absolutely hit the spot, as everyone wanted to hear “Cities” any time possible over ’97 and ’98.

“Sparkle” was the calm before the set-ending storm of “Split Open and Melt.”  A menacing jam saw the band play with the same effortlessness that had defined this entire run.  As if the instruments were playing them, there was no separation between thought and musical expression.  Basking in IT for four straight days, the band could do no wrong, regardless of what song they chose to play, and that is an absolutely literal statement.  There are simply no low-lights from the run, and this “Split” fit right into character. A ridiculously coherent jam, it is almost hard to distinguish any of the member’s playing as their musical offerings morphed into a complete whole; moving, twisting, and growing as one.

1874641252_ea3120c8f4When the lights came on after yet another absurd set, we looked at each other glowing, yet realizing there was only one set to go in this extraordinary place called “The Island Run.”  Yet savoring the moment, we tried to fathom what musical feats the band could possibly still pull out.  The last set grew in theme, favoring melody and triumph over rhythms and psychedelic dance music.  The set-opening “Disease” felt like a community celebration of all that had happened over these four nights.  Completely ripping joyful Phish rock carried the beginning of the set.  Yet, the jam grew dirtier for the second half, with the entire band crushing far more improvisational patterns.  This “Disease” moved from a gleeful stomp through the meadows to a brisk walk through the urban nighttime, growing in intrigue as it progressed.  Winding up in completely improvisational land, Phish finally left all traces of the song behind, creating an eerie canvas.  Just as we thought we might be heading way out into the stratosphere of psychedelia, the jam came to a natural end in silence.

Out of the silence came a change of vibe with the opening guitar chords of “Yamar.”  While this seemed like rather odd placement for the island cover, it kept the set moving along its upbeat theme.  Once the band entered the improv, this “Yamar” became magic.  Trey absolutely slaughtered this, playing lines as if they were coming off a record.  It was a joke; he was spewing gorgeous melodies as easily taking a pee.  Completely going off, Trey mesmerized the crowd, and his own band with his work.  Mike, Fish and Page quickly stepped out of the jam’s prominence, and then into silence, allowing Trey’s quiet solo melodies to take this version to the bank.  The whole arena was silent, listening to Trey play exactly what was in his heart at that moment of glory, his emotions to pour directly out though his guitar. The band emerged from the darkness with a stunning musical bliss, sounding like we were gradually headed for “Slave.”  The following portion of music is some of the most soulful of the weekend, as the band complemented each other subtly, flawlessly and beautifully.

2963669909_8b7183aff1This segment ended in some more solo playing by Trey that instead of leading into “Slave,” brought us into a classic second set “Prince Caspian.”  Love it, or hate it, late second set of a great show is when “Caspian” appears.  Bringing us childhood memories of Narnia, the band unleashed an awe-striking jam.  With stellar piano work by Page, classic Gordeaux bass lines, crashing cymbal work, and Trey wailing in a distorted tone, this wasn’t your every day “Caspian,” it was Island “Caspian;” there is a huge difference.

The rest of the set unfolded quite unexpectedly.  “Maze” thumped into play, seeming to not fit with the set’s or weekend’s feel, but Phish had a different plan; wanting to return to the funk, but in the Phishiest of ways.  Using “Maze” and “Possum,” two of the least funky songs in their repertoire, the band segued creatively into two last doses of dance music.  As “Maze” raged along as expected, the band used one of the “white-light crescendos” to smash into a bass-led song that was unrecognizable at first.  But as the band began to sing, it was apparent that they had re-arranged “Oblivious Fool” more than a little bit, transforming it into the bizarre and funky song we were seeing.  Even in the last minutes of their run, Phish was bubbling with tricks and energy.

Smack in the middle of what seemed to be a shredding set-ending “Possum,” the band pulled a similar stunt, transitioning on a dime into one of the most memorable jams of the weekend.  All off a sudden, Trey was tickling the crowd with his rhythm licks and the band cannon-balled into the jam with some the thickest funk of the weekend.  Trey summed up everyone’s feeling in his classic speech:

So it’s getting near the end of this little four day run. It’s been really fun, and its kind of weird having to stop after four days…And i started this little funk groove because we can’t end this whole thing without a little bit more funk, since that’s kinda been the theme.  So for those of you want to take off, take off, but for those of you who want to just dance to the funk, we’re gonna stay around and keep grooving.

4.3.98 (Joel Price)

4.3.98 (Joel Price)

Igniting the crowd to its highest possible point of energy, this banter will live eternally in Phish history.  The band proceeded to play the deepest funk of the weekend, cleverly building into “Cavern.”  Moving into the classic set-closer, the crowd was blindsided one last time, and roared in response.  Ending the run with possibly the Phishiest moment of the four nights, the bittersweet reality had come to light, the run was indeed over.

The Island Run remains a pinnacle of Phish’s career; a moment defined by such communal energy and enthusiasm, from the audience and band, alike.  The supreme magic of those nights remains a lingering mystery.  Never to be approached by another run for the rest of their career, these four nights were of another dimension.  The music created over those four nights is timeless, needing only a reference by song combos for everyone to understand what you are talking about. “Roses > Piper,” “Birds >2001 > Brother” “Oh Kee Pah > Yem,” “Wolfman’s > Sally,” Mike’s > My Old home Place,” “Gin > Cities,” “Disease > Yamar,” “Maze >Shafty”- you get the drift.  This was not everyday Phish; these were the best four consecutive shows ever played.  This was The Island Run.

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DOWNLOAD OF THE DAY:

4.25.92 Evergreen College Rec Center, Olympia, WA SBD 

phish-picture-of-nectar-tour-92Here we dip into the standout month of April ’92 when Phish visited Evergreen before their legendary Fall ’94 gig.  The setlist reads like a cannon of old-school Phish, and the second set is anchored by the “Bathtub Gin,” “YEM” combination.  A great SBD nugget for your Friday afternoon.  Enjoy!

I: Suzy Greenberg, My Friend My Friend, Paul and Silas, Reba, Brother, Tela, Chalk Dust Torture, Bouncing Around the Room, Rift, Magilla, Run Like an Antelope

II: Maze, Bathtub Gin, You Enjoy Myself, Silent in the Morning, All Things Reconsidered, Dinner and a Movie, Harry Hood, Weigh

E: Cold as Ice > Terrapin > Cold as Ice, Poor Heart

Tags: ,

98 Responses to “The Island Run: Providence”

  1. showhe Says:

    NW Ohio > Oxford, OH > Cincinnati > Denver > Cincinnati

    Started listening to Phish in the fall of ’93 thanks to a dorm buddy but didn’t get to see them until 7.31.98 – Polaris since I was dedicated to finishing collge. MFMF Opener and by far the best encore I’ve seen, PYITE, Slave combo. From that point I was even more hooooked and tried to see them as much as possible while funds were there and work alloted me time. From alpine to deer creek and every show in Ohio since. Made it to IT as well. My biggest regret is not getting to Big Cyrpress due to a job that required me to be on-call during year-end…I ended up quitting that job in the long run. This tour I’ll be seeing shows in 2 new states…TN and PA…with the hope of a CO show or two as well.

    @ Frankie: I’ve been to Montreal…great city…although I don’t speak a lick of French which made the triip interesting.

  2. soam Says:

    best 4 pack hands down

    Albany 1 > Worcester 3 1998 (been caught stealing thru wipeout)

  3. Frankie Says:

    @showhe

    Oh you should learn man, the most beautiful woman in the world live here… :p

  4. John Campion Says:

    From Rhode Island here! Started listening to Phish in 93 and my first show was 12/29/94.

  5. showhe Says:

    @Frankie:
    Not sure the wifey would approve. 😉

    Everyone speaks to you in French first and then English once you give them this stupid look on your face. I suppose it would be handy to learn another language anyway…someday.

  6. Wilfred Brimley Says:

    I was given a mixed Phish CD 8-9 years ago in the lot of Alpine and one of the tracks is 5-6 minutes long and the song title is just labeled fat funk jam…There is a start stop jam to it and to this day have never heard it again…can any who may have heard this circulating let me know what show it’s from because it’s the silliest funk i’ve heard Phish play….

  7. Los Says:

    Philly born and raised here…on the playground is where i spent most of my days…

    now Im in central pennsylvania area round carlisle

    Chris dont get it

  8. Frankie Says:

    @ John Campion

    Wow! That’s a crazy show to have as your first. That Bowie is so intense! People must have been losing their minds! Ahahaha! How was it live?

    The part at the end with the whistling/Whispering/DO IT NOW stuff always makes me smile… poor tripping people… Ahahaha!

    “Good boy, good boy, Laaaaassssssie! Come home Laaassssie, come home… *whistling*” WTF? 🙂

  9. Billy Breathes Says:

    Yes…must’ve indeed been losing their minds…in the most enjoyable way. 🙂

    I was at a show in 96 in Hamburg, Germany. Miner posted the show a couple weeks ago….get it if you haven’t already.

    The place must’ve held about 500 people at most. My buddy and I had some very nice, clean LSD from Amsterdam.

    Talk about intense?! There was NOWHERE to go to escape for a break! 500 PEOPLE. It was 100% PHISH IN YOUR FACE.

    I had an out of body experience, literally, I saw myself floating above my body during the H20. It was the most amazing and most intense experience I’ve ever had.

    Was anyone else out here at that show?

    Thanks for listening. 🙂

  10. Matso Says:

    I’m also from Montreal (anglo though) -> Toronto 98-01 -> London, UK 01-Present.

  11. Frankie Says:

    @ Matso

    Cool! Did you have the chance to see the Phish shows in Montreal over the years? According to the Almanac, they played as part of the jazzfest at Les Foufounes Electriques in 1989!

    The summer 94 show is the one i wish saw though… Tweezer! Landlady with the longest Trey note ever!

  12. Matso Says:

    @ Frankie –

    The only Montreal show I saw was the Metropolis show in 4/5/94 (my first show – still holds an unbelievably special place for me – loads of bad Montreal cops outside, me being 16 years old with bad fake id but somehow getting in, the forever wait for the band to come onstage, the life-altering Runaway Jim…)

    I was travelling that summer so I missed the St Denis Tweezer (but I forced my mom (!) to drive to Pontiac, MI for the 6/23/94 show because I HAD to see them again as soon as possible and that was the closest place that worked in terms of dates!).

    I had tickets for the 93 Spectrum show, but ended up not going because I was only 15 and wasn’t up to chancing it with the 18+ entry.

    I had just bought Picture of Nectar when they played the 92 Spectrum show…

    and I was 11 and listening to god-knows-what when they played Foufs!

    Btw, one of the people I saw the most shows with is francophone too, so you’re not alone (c’mon, in the only city where Pink Floyd played 3 nights on their last tour, you’ve know there’s going to be some french heads ready to trip to Phish too!)

  13. soam Says:

    bottom line it’s on…minor have you put me on a list where my shit is blocked?

    There is no talk of Worcester 98 and I know it to be as hot as it gets-except seth yacablome

  14. soam Says:

    why are my comments awaiting moderation? is my love for this band too much for the net to handle-I could dig that.

  15. guyforget Says:

    Northern NJ>Delaware (go blue hens)>NJ>San Diego>Scottsdale
    RobAins, Where abouts?

  16. Frankie Says:

    @Matso

    It’s true, its just that i haven’t met many through my years of seeing “jambands” in Montreal so i don’t know… I’d love to meet some Montreal fans to tour the northeast shows with… It’s true that Montreal loves his Floyd though… I didn’t know it was the only city with three nights though… at the Olympic Stadium too! 🙂

    Cool story! Thanks for sharing… i was just two years younger than you and no cool older brother so i never got to know about Phish in time. My first real concert experience was Ben Harper in 1995 at the Club Soda. I was 15 but they didn’t ask my ID and i got in! That show changed my life!

    On a sad note, did you know they demolished the Spectrum to build a Best Buy… Such a stupid decision… I saw so many great shows there, the last one being Toubab Krewe/Toots and the Maytals… It was a great room, so full of history! Remember the Miles Davis & other legends pictures in the entrance… 🙁

  17. Los Says:

    the spectrum is scheduled to be demolished on later this year. there is supposed to a final concert played on 9/30/09…a certain redheaded guitar hero’s bday…

  18. Selector J Says:

    A friend of mine during the Turkey Run in ’03 was selling cigarettes in Albany and these guys were from Montreal were trying to pay in Canadian dollars. It was pretty funny. “There’s no way this is real money. Who is this playing hockey on the back? The Prince of Ottawa, or something? And what’s the exchange rate these days anyway? My rate is $5 US and $7 Canadian. Look I’m sorry buddy but I don’t have change for a Canadian ten.” The transaction ended up working out but a funny exchange, indeed.

    I’m in Austin. Moved here from Charleston, SC in August ’04. What a fun move that was:
    Did the whole drive from SC to TX with four cats. Unloaded everything into a new house. Left a week’s worth of food and litter for the cats. Went to the airport. Flew to Boston. Rented a car. Drove to Coventry. Coventry. Drove back to Boston. Flew to Austin. Started grad school the next morning. A hellish week.

  19. John Campion Says:

    @Frankie Says….
    Yes that was an incredible night! And actually…people were frekin out durring the “Do It Now” part. Lets just say I saw quite a bit of people heading to the exit to escape!! haha. I love the good times/bad times from that show. Oh..and the sleeping monkey!

    Here’s a question for everyone. Whats the stage set up gonna be like this time around? Do ya’ll think they will go back to all four across? Or stick Fish in the back again? I’d love to see the old school set up!

  20. Selector J Says:

    “But am I the only one who feels like this is not even close to the best run of their career?”

    Yes. Someone could argue this is not the best run of their career but to say it “is not even close” is, in my opinion, kinda crazy.

    It’s like someone said yesterday that the Nassau “Roses Are Free” was not his favorite and I thought, “What! There’s a better Roses out there?” I certainly haven’t listened to every version but I mean, Damn! That one is some of the sickest stuff I’ve ever heard Phish play in any song.

    I’m not saying anyone’s opinion is wrong. You are certainly entitled to like and dislike whatever you want for whatever reasons but I just want to know what you like better than this… and where can I find it?

    And that goes for the guy who liked another “Roses” better than the Nassau ’98 one. Which versions do you like better. I’m not saying your wrong, I just wanna know just in case there is another epic version I haven’t heard.

  21. guyforget Says:

    Campion, i posed the same question a few days ago. Majority felt old shcool was best, fishman stage right, but the consensus was also “who cares as long as they’re ON stage”!!

  22. MangoMan Says:

    4/4/98 GHOST is EPIC!! one of my top 3 ever!

  23. Frankie Says:

    @John Campion
    Ahahaha! That’s what i thought… it freaks me out when i’m sober soi can imagine…

    @Los
    Good thing then… it’s my birthday too…

    “They say it’s your birthday! It’s my birthday too yeah!”

  24. bhizzle Says:

    @ RobAins

    Binghamton, NY>Lake Arrowhead, CA>Binghamton, NY>Pagosa Springs, CO>Rochester, NY

    First show: 4/9/94:

    Set I: Magilla, Wilson, Rift, Bathtub Gin, Nellie Kane, Julius, Fee -> All Things Reconsidered, Stash, The Squirming Coil

    Set II: Sample in a Jar, Reba, Peaches en Regalia > Big Ball Jam, Demand, Mike’s Song > I Am Hydrogen > Weekapaug Groove, Tela > Slave to the Traffic Light, Cavern

    Encore: Amazing Grace, Highway to Hell

    Show Notes: This show marked the first performance of Demand. This non-standard, free-form Weekapaug included quotes from The Little Drummer Boy, Divided Sky, and DEG. Little Drummer Boy was also teased during the end of Peaches and the ensuing Big Ball Jam. Highway to Hell was jokingly dedicated to some fans in the front row, who were chanting for AC/DC Bag and not an AC/DC song.

    Last show: 6/19/04

    Set I: Reba, Runaway Jim, NICU> Scents and Subtle Sounds1, Wolfman’s Brother, Walls of the Cave> David Bowie

    Set II: Song I Heard The Ocean Sing, Piper2> Gotta Jibboo> Limb By Limb, Cavern

    Encore: Wading in the Velvet Sea

    1 did not include the introduction found on the album
    2 with Tweezer Reprise tease

    Missed Lemonwheel, Big Cyprus & Coventry

    Dream: to see at them at Red Rocks

  25. John Campion Says:

    @guyforget: I agree 100%. as long as all four are up, i’m happy! But picture this: there is a curtain 360 degrees around the stage so you can’t see (including from up top). The lights go out and the curtain raises and there they are..on stage…old school set up. ohh boy!

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