This tight rager showcases Big Red’s chops back in 92. Listening back, I’m struck, not only, by how absolutely all over the fret board he is, but by how he barely used to use any effects at all (to great effect). A great version that is completely overlooked.
This first set of this Red Rocks show was broadcast on the radio, which is how I got a good quality copy that year. My vote for best ever “YEM” (possibly my favorite Phish jam ever), which somehow doesn’t get mentioned anymore with almost everyone’s attention falling on 12.9.95 and other versions.
Not exploratory, but tight and intense, this early “Bowie” reminds me of the band’s recent gesture toward shorter, more economical playing. They really get right down to business here.
This Neil Young sit-in gets my vote for second-best guest performance ever; a nasty extended jam for the benefit of small farms. (For the record, everything with Karl Perrazo is the best guest performance.)
This is the last good version of “Free.” And it is very good. The Trey and Mike jam ultimately inspired a horrible moment at Coventry, which, I speculate, is why they’ve never tried to jam it since.
Just because it never gets old—of the top three or four versions ever, which kicks off the second set of a magical night in Virginia.
All selections and text by Luke Falk “Split Open and Melt” 4.16.92 I, Santa Barbara, CA This tight rager showcases Big Red’s chops back in 92. Listening back, I’m struck, not only, by how absolutely all over the fret board he is, but by how he barely used to use any effects at all (to great …
This masterpiece is in the middle of a run of what I consider to be the greatest string of “Tweezer’s” ever performed by the band. A monster exploration of rock groove that they band was owning on a nightly basis at this point. Trey and Page each shine on this one, and we even get hints of what sounds like an early “Birds” jam! Frankly, it may be Fishman that deserves the MVP throughout. This is a fine example of peak Fall/Winter ’95 Phish—explosive, percussive, guitar heroics, it’s all there. Cherry on top with a nice segue into “Makisupa,” allowing Trey to hop on his mini-kit.
If nothing else, know that 1996 was the year of “Maze” (and “Simple”), and when it takes the second slot of Set two on the NYE run, hold on. This was the last version of the year, and it gets the full treatment. Both Page and Trey both crush this version, with Trey getting the edge, giving it an extra helping of tension, and a little dash of evil with the last couple of minutes reaching terrifying levels. They don’t play “Maze” like this anymore.
This slid under the radar then, and it still does now. The last “Caravan” played by Phish, and it’s a murky, swank little run through the jazz classic they had performed so well in their club days. It carries over amazingly well in the cavernous Spectrum.
Having missed all of ’97 and all of ’98 up to this point, and having been completely out of the tape trading circle, I hadn’t heard Phish funk, although I had read reviews on the internet. The last live show I had seen was 12-31-1996, so, needless to say, this show was a revelation to my ears. This isn’t the best “Ghost” ever, but to me it holds a special place. It has some funk, then Trey kicks it into overdrive, building and directing, and the jam absolutely soars, eventually landing into a huge “She Caught the Katy” bustout, complete with heavy fog machine usage. I was front row this night, and still haven’t gotten over this jam sequence.
This is easily my favorite first set ever, and this may be my favorite sequence of Phish ever performed. It may be one of those “had to be there” moments, but the cosmos aligned in the cornfields that night. After the fun “Meat” opener, and a heavy “MFMF,” “My Left Toe’s” ambiance enveloped the masses (who were baking in 99 degree heat that day. I consider this to be the finest version of “My Left Toe,” and the drop into Whipping Post could not have been more unpredictable, and perfect for that time, on that day.
This is my personal favorite “Twist.” It’s the first song that comes to mind when I think of that night in Florida. I think it’s the best example of Phish excelling at ambient music. It’s mesmerizing, and beautiful, almost like a bedtime lullaby, but instead performed for 80K people swaying in unison, as the band calms us down for the long night ahead.
This show had a lot to like, mostly antics and creative setlist construction, but the unequaled highlight is “Drowned -> CDT Reprise.” A blistering jam erupts out of The Who classic, with Trey all over his loops. Eventually he lays back and allows the band to settle into an infectious funk groove, complete with a brief start-stop jam. I can’t think of many jams where I had as much fun dancing as I did during these 5 minutes. When the hilarity ensued with “CDT Reprise,” the bliss and humor of Phish reached it’s zenith.
A must hear, top tier version of “Gin.” May or may not have been inspired after Trey pegged a kid in the face with a glowstick. Either way, this is a beast that can be separated into two parts. Part 1 – “The Mr. Completely Jam,” containing all that dirt and growl from Trey that I love from 2003. Part 2 – The insane Trey/Page weirdo “Gin” funk breakdown (listen for what I think sounds like playing with “FoTM”). In between all that is straight up dirty rock and roll.
Those were dark days for all of us, and the Deer Creek >Alpine Valley run in 2004 did little to shake the stain of sadness. Yet this “Tube” gave me one last time to dance in the moat at Deer Creek, and dance I did. The last jammed out “Tube” provides a good work out for Page, Mike, and Fish, while Trey adds some effects and other tones throughout. A bit harsh for “Tube,” but overall still above average rock groove.
My pick for the best “Melt” of 3.0. 2009 has left little for highlights, but the Cincy shows that Fall were well played, and this “Melt” showed signs of a band still able to send kids fleeing for the doors. I tend to think that all 3.0 “Melt’s” are formulaic to a certain degree, but the level to which they commit to the truly demented is what make “Split’s” work for me. This version left everybody in attendance motionless, I imagine having internal discussions with their sanity. I think what makes this work is Fishman finding something to do while Trey sets up his loops. It’s a devilish few minutes at the end of the jam, and one of the more challenging improvised pieces the band has dropped in 3.0. And yes, they’re able to seamlessly work back into wrapping up the song.
“Midwestern Meltdowns and an Assorted Few” Selections and text by Jeff Walls aka @Tela’s_muff “Tweezer –> Makisupa” 11.30.95 II, Dayton, OH This masterpiece is in the middle of a run of what I consider to be the greatest string of “Tweezer’s” ever performed by the band. A monster exploration of rock groove that they band was …
