All selections and text by Nathan Tobey

“Free” 11.22.95 II, Landover, MD

After a terribly (and amusingly) botched “Rift,” the band comes out with a “Free” that is one of the best versions ever played. 33 minutes of dynamic improvisation that features an especially strong performance from Page. At about the 21 minute mark, the jam moves into a quiet, breathtaking sequence featuring Trey whistling that evokes memories of the 12/29/94 Bowie.

***

“Down with Disease” 12.12.95 II, Providence, RI

Thrilling. This jam is an adventure comprable to some of the very best jams from this peak period of Phish. It may just be the most interesting “Disease” the band has played (no offense to 11/12/94 or 6/25/97).

***

“Stash > Ghost” 6.19.97 II, Vienna, AT

Most of you know the Paradiso Wormtown “Stash”—meet its lesser-known little brother, the Vienna “Stash.” A great but straight ahead “Stash” seems to be winding up only to dissolve into a extended funk jam that will have you dancing by the time “Ghost” arrives.

***

“Antelope” 7.29.97 II, Phoenix, AZ

“Antelopes” that venture into true experimental improvisation are few and far between—and this is the best of a very short list. This Desert Sky “Antelope” goes far off the beaten path into a beautiful jam, before finding its way back to close things out.

***

“YEM” 7.26.98 II, Dallas, TX

97-98 is known as the funk period, but Phish always had some funk — mainly in the form of YEM. So, what better vehicle for the cow funk treatment of the 97-98 period? This “YEM” got that treatment. At 29 minutes, the funk goes on (just about) forever—without a dull moment.

*** 

“Ghost” 9.12.99 II, Portland, OR

I love ’99, but it’s true that the band could sometimes be sloppy or disconnected that year. This is not one of those times. 29 minutes of plugged in, focused playing that shows off 99 at its best—a combination of subtle textures, abstract soundscapes, and powerful grooves.

***

“Down with Disease” 3.8.09 II, Hampton, VA

There a lot of reasons to love the reunion run, but the jams are not usually considered one of them. That’s true for the most part, but this is a huge exception. A 22 minute adventure with a gorgeous Trey-led segment that starts about mid-way through, followed a section of stunning Mike soloing, and wrapping up with a Fish/Trey race to the finish. This one flies under the radar. It shouldn’t.

*** 

“Simple” 11.16.94 II, Ann Arbor, MI

A 34 min masterpiece that every fan should hear. Like most of the rambling 30+ minute jams of the era, it breaks down at points, but there are several sections of thrilling, jaw-dropping playing that could each have sustained an amazing jam out of “Simple” by themselves. The jam ends with delicate, gorgeous outro followed by a huge ovation. Perfect.

*** 

“Twist” 7.18.03 II, East Troy, WI

This dark horse “Twist” comes out of nowhere late in the second set at Alpine to create a dark, swirling jam that reaches some menacing peaks before returning to the theme.

***

“Bathtub Gin” 8.7.09 II, George, WA

Unquestionably the best “Gin” of 3.0—and one of the very best jams of 3.0, period. The creativity is pulsing in this jam as the band locks together for 18 minutes of adventurous improvisation that—like the very best of Phish jams—sounds almost composed. This is a jam that stays with you.

***

“Piper” 7.8.12 II, SPAC

Any “Piper” played at SPAC would be overshadowed by the epic, essential 6/19/04 performance. But this “Piper” holds its own, and then some—it’s a stunning, tight powerhouse of a jam that features a thrilling peak from Trey. My favorite 3.0 version (though 10-30-09, 6-27-10, 6-15-12, 9-4-11 and 12-30-11 are all must hears).

***

“Frankie Says” 12.28.03 II, Miami, FL

My nominee for best “Frankie Says” ever. A stunning jam that came out of nowhere in the first frame to set  the tone for an exploratory night of powerful Trey-led, Hendrix-inspired jamming.

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All selections and text by Benjamin Lee aka Llamalee

As a young phish fan I was reluctant to make a top 10 list to share. In the end I decided if I were to make a list, I would avoid the blatantly obvious jams and include what I consider to be not as well known segments of Phish that I find myself listening to repeatedly, or versions that have personal significance to me.  Hope you enjoy.

***

“Bathtub Gin” 7.21.97 I, Virginia Beach, VA

The introduction of funk to the US, this is a classic although repetitive funk jam with some solid start-stop play. The best part of this jam is the multiple hammered notes the band hits during the peak of the funk highlighting the level of percussive, cohesiveness the band was playing with at the time.

***

“Foam” 5.28.94 I, Monterray, CA

Ever wonder why certain Phish songs that may have nothing too exceptional to them but just get you going? “From,” for some reason unknown, does this to me. This version of “Foam” never gets old. What I have come to realize is this “Foam,” like lots of pre-95 jams and other early “Foams,” centers on a drastic volume change, something the band has not used at all in 3.0. A style I would like to see return provides a lot of energy when the jump from quiet to raging hits.

***

“Reba > Yersuashalayim Shel Zahav” 7.8.94 I, Mansfield, MA

Even though the “Reba” two days prior is probably better, this is a strong “Reba” with a perfect ending in the odd but beautiful chant. An all-time favorite show that surprises me to never have been remastered to the Live Phish archives since the “Stash” from A Live One shows the high quality of recording that exists.

***

“Stash” 12.31.03 II, Miami, FL

This is where it all began for me. I was working in a coffee shop one day listening to Grateful Dead when one of my neighbors came in and said I should check out this band “Phish.” He gave me this CD and after hearing this “Stash” (and “YEM” too) from the New Year’s Show, I was hooked.

***

“Simple > Loving Cup > Mike’s Song” 11.8.96 II, Champaign, IL

I had to include a “Simple” with Trey on the drum kit from this time period because these are my favorite style jams. Although the other “Simples” of Fall ’96 are superior (see 10.26.96, 10.31.96, 11.18.96), this one—like all of them—illustrates how Trey stepping back allows Page and Mike to control the direction of the jam, give the band a unique sound, and focus the music on highly percussive rhythm when Trey returns to the guitar. The “Mike’s Song” is included just because it has a great section that jumps back and forth from funk to shredding.

***

“Weekapaug” 7.17.98 II, George, WA

A high paced, straight-forward “Weekapaug” in a year in which the song truly shined. After a heavy “Taste” tease this one seems like its going to end as the band returns to the main theme but the jam extends into serious funk that ends with a nice change of pace before being cut off by Trey for “Character Zero” (not just a 3.0 thing).

***

“46 Days > Oh Sweet Nuthin” 8.15.09 II, Columbia, MD

This is the meat of the second set from a MPP show that gets no respect.  The second set starts with a weak “Tweezer > Taste” but things really pick up with this “46 Days” that passes from a seeming fade out end of the hard rock jam into a blissful peak. A transition into the Velvet Underground cover caps the song perfectly. See also the “Harry Hood” that ends the set which I consider to be the best “Hood” of ’09.

***

“Crosseyed and Painless” 10.16.10 II, N. Charleston, SC

A favorite for personal reasons, this song—considering the name—appropriately started with a friend of mine being pushed by a falling drunk guy eight rows vertically downward through the North Charleston auditorium seating (He looked dead at first but was perfectly fine.) Some of the best play from Trey in the year 2010 with a jam that keeps you still waiting.

***

“Rock and Roll > Lizards” 8.24.12 II, Pelham, AL

Another personal highlight since I was only able to see four shows in 2012, this jam segment is my favorite live memory from the year. A truly beautiful jam with ambient melodies transitioned into the classic Gamehendge song.

***

“Harry Hood” 12.5.95 II, Amherst, MA

Returning to the idea of the band using volume for energy, this “Hood” exemplifies that perfectly. Reaching an original peak that involves an “Entertainer” tease, the band brings everyone back down before turning the volume way up for one of the all-time best “Harry Hood” peaks (see 12.30.95 for the best, headphones recommended).

All selections and text by Lindsey Pontieri

Geeking out about Phish is one of my favorite activities. Rather than taking the clinical route-breaking down the jam, analyzing the tour or spitting out the stats, I put together this list based on what the band and shows bring to me—a sense of community and joy. Some are from shows that I’ve attended, some not, but all put a big fat grin on my face every time I hear them.

***

“Boogie On Reggae Woman > Golden Age > 2001” 7.7.12 II, SPAC, NY

I began this with the intention to stick with “Golden Age > 2001” as it’s become one of my favorite one-two punches, and then I remembered that “Boogie” preceded the pair at SPAC last summer. It’s funky, it’s joyful, it’s triumphant and then “2001” drops in and the whole crowd starts to groove. Love it.

***

“The Divided Sky” 10.24.10 I, Amherst, MA

Every time they hit the pause, I get goose bumps up and down my arms knowing the beauty of what comes next.

***

“Chalk Dust Torture” 8.16.96 I, Plattburgh, NY

On August 16, 1996, surrounded by 70,000 of my closest friends, I got hooked on Phish. This may not be the “best” Chalkdust (7/10/99 is often hotly debated as…oops.  Stat!  Sorry) but this is my first “Chalkdust” and we all remember our firsts. And god was it good.

***

“Dog Log” 8.2.03 E, Limestone, ME

Silly, goofy fun. I caught this one as the encore and have been chasing it ever since (and Page’s keys in this are great….).

***

“Suzy Greenberg” 10.31.09 E, Indio, CA 

I am a firm believer that a horn section should invade the stage on a more regular basis. Trey shreds through this one with Sharon Jones and the Dap Kings taking it to the next level.

***

“Run Like An Antelope” 7.14.91 I,  Townshend, VT

Giant Country Horns were on tour with Phish during the summer of ’91, and this one is a fun show to listen to. It’s raw, relaxed and a sign of what’s to come.  During the verse towards the end, there’s some play and a bit of horns as an added bonus.

***

“Wilson” 3.13.93 I, Boulder, CO

The opening chords to “Wilson” with the familiar call back are known and beloved to many. However, I totally dig the original dark and twisty opening found in this version. There’s also a bit of secret language play with the Simpsons theme. Listen full through; the original chords work their way through the song giving it a different feel.

***

“You Enjoy Myself” 4.5.98 I, Providence, RI

It’s “You Enjoy Myself.” From the Island Tour. That should explain everything.

***

“Squirming Coil” 12.30.11 E, MSG, NY

While this [2011] NYE run was inconsistent at best, this is a version that Page takes his time with. As time has gone on and I’ve focused on different aspects of the band, this one has grown on me. Initially, depending what was going on in the set, it was one of my bathroom songs. Now, with time and a different perspective, I find that when Page is alone on the stage, taking his time to finish it up, it is a moment of stillness and beauty.

***

“Tweezer” 2.28.03 II, Uniondale, NY

Before the band hit the stage, it was a special night. My sister’s first show. And holy crap, did they not disappoint. There are shows embedded in Phish lore and this one is dug deep right in there. This second set opener is 27:08 min of patience and band connectedness that shifts from psychedelic glory to playing off the Frampton tease. This is one of those jams that you get lost in and when you emerge from it, you have to take a second to question whether it just happened.

***

“Tweezer Reprise” 2.28.03 E, Uniondale, NY

Wherever there is a “Tweezer,” there’s a reprise lurking. Most nights it closes the same show, but in 3.0 I’ve seen it split and played to close multi-night stands and, in one instance, repeated (6/18/10). No matter wherce or how it presents itself, it’s four minutes of pure head banging energy, and on this fateful night in 2003, that’s exactly how they closed the show. Like all “Reprises,” this one builds and builds, with the energy in the room off the hook, and as it hits its peak, the room explodes and everybody is left exhilarated wanting more.