, attached to 1996-10-21

Review by casperphish

casperphish Very vivid memories of this show. Drove down from Albany right after a full day of teaching band at my school. This is my most memorable moment from the show...was watching the show from behind the board, just to the right. During intermission I happen to see an older gentleman with a "Phish Parent" lanyard standing next to me. So I ask him, "May I ask, Sir who's parent of the group you are?" "I'm Trey's Dad." NICE!!! I find out from our chat he was a teacher as well. Papa Anastasio smiled and nodded his head when I told him I was a music teacher. We continued to chat about teaching and asked each other why we chose teaching as a career. Lights dimmed, I thanked him for the chat, he wished me best of luck with my career, the boys came back out on stage and the music started again. Very cool moment for me. Maybe one of the coolest non musical Phish moments for me.
, attached to 1995-06-26

Review by fhqwhgads

fhqwhgads If you're on the fence about buying this archival release, I'll try to persuade you with these 4 words: "Stash-like jam in Possum!" Maybe closer to Dave's Energy Guide territory than Stash, really, but this entire show is absolutely worth hearing in multitrack soundboard quality, especially if you haven't heard it before, or if your knowledge of Phishtory isn't as encyclopedic as you'd like it to be. The LivePhish.com blurb advertises this show as "Summer 1995 Space Camp" material, and though Summer '95 isn't every phan's idea of peak Phish, it was a very transformational, paradigm-shifting time: you got your August '93, with the breakthrough into nightly Type-II jamming, then your Summer '94 which integrates the August '93 sound into a precision machine led by astonishing guitar pyrotechnics, then your Fall '94 which gets out there into the territory that would continue to be mined in Summer '95, though each of the latter two aforementioned tours have their own characteristics (at least by virtue of the seasons in which they were played, where many phans will swear there's a notable difference between Fall Phish and Summer Phish and their concomitant conditions of indoor Phish and outdoor Phish.) I'm learning not to spoil the surprises of a given show in my reviews, so I won't blow up this show's spot by giving away all its secrets, but to reiterate, DWD -> Free and YEM are not the only reasons to listen to this show (though they are very good reasons!) Someone jam chart that Possum immediately, though, for Pete Carini's sake, is alls I know! Good luck and have as much phun as possible. Sincerely, @fhqwhgads
, attached to 2003-01-02

Review by Deadphish420

Deadphish420 This was my very first Phish show. Rode a Greyhound bus for 24 hours from northern Indiana for this show. I was still 15 and travelling with my sister. I was going mostly because of her excitement for it and what the little Phish that she had exposed me to. At that point the only album I had listened to was [i]Billy Breathes[/i] and the only live show I had heard was the Nectar's show from mid 80's, so my Phish knowledge was very low. Not knowing 95% of the songs they played hurts my memory of the show itself. I didn't know what I was hearing. All I knew is Phish took control of my body with their music and made me dance my ass of like I never knew I could. Such a mind blowing feeling. I'm kind of glad I hardly knew any Phish when I went to these first shows because I wasn't chasing songs, I wasn't worried about how long jams were, and I wasn't picking the show apart which happens when you become a jaded vet. I had no expectations at all so I could be completely unbiased in judging what I saw and heard. And my judgement was indescribable love for this band, scene, and whole community. Since then obviously I have seen many shows and immersed myself in their vast live catalog and I've listened back on this show many times. So to actually review the music. The Chalkdust opener is really good. You can feel the excitement when you listen to it, both of the band and the crowd. Then the Gin gets a good funky kind of groove for a while before climbing to a satisfying peak. I love this version of BOTT. It explores a bit more than the norm. wouldn't consider it type 2 but it gets close to it. I also love the Round Room that follows. Underrated song and should be played more. It has a sick outro that leads into The Horse very nicely. The Stash isn't bad but it isn't great. Some good tension jamming but this is one of the songs where you can hear the rust the boys were shaking off from hiatus. 2nd set starts with a banger. "Another new song?" You're damn right another new song and they are gonna jam it out over 20 minutes. They used to jam the hell out of that song in 2.0. The jam dies out into the start of Simple. The rest of the show is good but not great. I like Thunderhead and like most phans I wish they play that more and Antelope is always fun but nothing else stands out in the 2nd set besides 46 Days. Cavern is kind of butchered by Trey flubbing the lyrics and guitar multiple times. Mexican Cousin encore was ok but there really needed to be a 2nd song in that encore IMO to make it satisfying. Overall, I think this was a good, fun, exciting show but setlist flow is a little lacking and, like I said before, there is some definite rust in there. I gave it a 3 star rating but it's more like 3.5
, attached to 1998-07-15

Review by fhqwhgads

fhqwhgads Breezy, typically "Summer Phish" show, in my opinion, that nonetheless has some meat on its bones and some unusually placed jams. I loved the racing pig narration before Guyute, the Horn -> Jam is probably the only time Horn has been taken for a Type-II ride, and Tweezer -> California Love Jam -> Tweezer is funnily moving to me, as a fan of the 2Pac & Dr. Dre song (as well as the Joe Cocker song sampled, "Woman to Woman," and Talk Box virtuoso Roger Troutman's performance on the sampling version.)
, attached to 1998-10-31

Review by fhqwhgads

fhqwhgads All three sets of this show are worthy, IMO, though for differing reasons. The first is the type of set I'd love to see nowadays, with a creative setlist and noteworthy jams. The second set warmed me up to The Velvet Underground, from whom before I'd only heard Sweet Jane or maybe I'm Waiting for the Man on the radio. I've since delved more deeply into their catalogue (all 5 or 6 LPs of it? LOL), which I'm sure was a happy byproduct of (rumoredly) Page's selection of this musical costume. The third set is challenging, but full of teases and with a recommended version of Wolfman's... hey, any extended Wolfman's is okay with me. And if you had trouble with the "vibes" after the Ghost, I hope you attended 11/2/98!
, attached to 1996-10-31

Review by fhqwhgads

fhqwhgads Some phans overlook or pooh-pooh the first set of this show, which is probably understandable given the watershed greatness of the second set and the Perazzo-guesting third, but I really enjoy listening to this show front to back. This would've been a hometown show for me if I had paid a little more attention to my cooler, elder friends circa 1996, but I probably couldn't've got my Dad to take me to it at 12 years old, anyway, and if he had he probably wouldn't've been cool with the scene. Ah well. I got my LivePhish download.
, attached to 1995-10-31

Review by fhqwhgads

fhqwhgads The Who were one of the classic-rock bands I was least familiar with until I heard this show. That gave me a pink-cheeked innocence going into listening to the musical costume that I cherish and may never again be able to duplicate (though I wasn't a big Bowie guy before 10/31/16, either.) Icculus opener? Yes, please! The Harpua is funny with plenty of Mike banter; if you need a reference point as a newer phan you could think of it as similar to the 9/6/15(?) Dick's THANK YOU Harpua. Plenty of nearly proto-punk energy in The Who portion of the show, and the YEM is one of the longest versions ever (I think maybe *the* longest, but possibly not the best: see 12/9/95.) Perfect encore caps another captivating and mystical Halloween from our four.
, attached to 1994-10-31

Review by fhqwhgads

fhqwhgads This is absolutely my favorite Phish Halloween show. The energy in the place must've been through the roof. Funny Vibration of Death Harpua, great Reba and D. Sky in first set. The White Album is done to perfection, even the parts where Phish diverges from the Beatles' original versions (as in Birthday, for example.) And you get Fishman full frontal, which was surely worth the price of admission! Great third set and encore, this is just a classic show that some would say your collection is worthless without.
, attached to 1996-08-13

Review by fhqwhgads

fhqwhgads I'm not a 1996 scholar, but this show is a worthy prelude to the Clifford Ball. I think maybe more interesting things happened during Fall Tour that year as far as Type-II jams, but this Mike's Groove is better than a whack on the back of the neck with a big fucking stick, I'm sure. I love the acoustic mini-stage setup they used in '96. I'm talking myself into, just writing this review, making a more concerted effort to investigate '96, which is often lauded as one of the most underrated years of Phishtory in the Forum. BRB!
, attached to 1994-06-22

Review by fhqwhgads

fhqwhgads Tight, well-played first set (Summer '94 is all that way for me) and the second set is one of those huge segue-fests, coming off another one about a week prior at the 6/17/94 OJ Show of renown. If you haven't heard the Icculus from this show, you've got to. That may seem silly to single out from the entire setlist, but Mike plays this arpeggio(?) that is really one of my favorite moments in Phishtory. Hey, if you can't cherish the little things... Speaking of fleeting moments, there's also the Hakeem banter... Relentless energy and inventiveness on display here, just a fantastic show.
, attached to 1989-08-26

Review by fhqwhgads

fhqwhgads I love this show, particularly the first set, which is absolutely stacked! I'm woefully and inexcusably unfamiliar with a lot of pre-93 Phish, and the 80s is the decade I'm least knowledgeable of, but boy man this show is great. If the setlist goes to show one thing only, let it be that Phish's catalogue was extremely strong right from the word go. I'll also put in a little, niggling request: Phish, please play Donna Lee again! Thank you!
, attached to 1999-07-10

Review by fhqwhgads

fhqwhgads 1999 is an underrated year in Phishtory, in my opinion, though most phans knowledgeable and interested enough to be part of .Net know many of its merits. This is just a great show, from top to bottom. Wilson gets extended a little bit, as was Phish's wont in '99, but the Chalkdust that follows is rightfully (and righteously) legendary. It soars effortlessly, the jam striking me just now--I'm a little verklempt--as a sort of updated soundtrack to the journey of the Famous Mockingbird, if you can dig that. Roggae is a great cooldown. Gin also reaches huge heights, as do Tweezer, BOAF, and Fluffhead. This show seems homologous with 2/28/03, to me, in that there are about 4 or 5 great big jams, though instead of the Destiny bustout, here we get the rare Back at the Chicken Shack. You've heard this show, or if only about it, no time like the present!
, attached to 1993-08-14

Review by fhqwhgads

fhqwhgads August 1993 represents the consensus month that phans agree Phish started deploying Type II with our now customary regularity. The precision is off the charts in the composed portions of songs, and I suppose the jamming was invigorated by a newfound sense of discovery and potency in a different way to approach "the show." Phish could honestly do no wrong during this month. I find myself overwhelmed by the amount of teases, but I would certainly welcome a return of that kind of variety nowadays in 3.0. Don't miss this one!
, attached to 1998-11-27

Review by fhqwhgads

fhqwhgads The Meat > Reba and Vultures from the first set stood out to me in this show. The second set is one of those quintessentially Phishy bob-and-weave seguefests that culminates in one of the longest Weekapaugs I know of > Antelope. Wipe Out seems--kind of like the Moby Dicks in 7/11/00--almost designed to push Fish's limits: not that either are technically too demanding for a drummer of his calibre, but just kind of one of those in-jokey things that got carried on throughout the set and works in its own favor. Mirror in the Bathroom is thrilling, for me, and was my first exposure to that song. One doesn't often see a song segued out of, back into, out of again, and back into again, let alone Chalkdust or (almost) Weekapaug, but sometimes you get more than you paid for with Phish... oh, piddle on that, you always get more than you paid for with Phish!
, attached to 2000-06-14

Review by fhqwhgads

fhqwhgads Both sets of this show are absolutely fantastic, in my opinion. The atmosphere of the Live Phish 04 recording captures the ambiance of the club and the respectfully attentive Japanese phans. There's just an inimitable characteristic sound to this show, and particularly the recording of it captured by Live Phish 04. The Back on the Train that opens Set 2 is my favorite version of the song, one that I feel is due a renaissance vis-a-vis extended jamming. Twist > Jam -> Walk Away -> is for many phans an all-time segment, and while I feel it has moments that are not quite as seat-of-the-pants captivating or risky, shall we say, as something from earlier in 1.0, it is definitely a series of movements that builds to a cohesive whole. The 2001 is long and gnarly, too! ;) Sleep encore is played by request, and The Squirming Coil is always a welcome closer. I don't know exactly what it is about this show that makes it one of my absolute favorites; maybe it's got a bit of the 5/8/77 Grateful Dead factor that such a great recording circulates, or that it represents a sonic direction for Phish that had been explored before but perhaps reached its peak in this particular show. I seem to recall certain phans have contended that 6/14/00 crystallizes what the band had been trying to accomplish until Big Cypress, and even extends and magnifies the grandeur of that style--if not matching B. C. in sheer scope--while rarifying it into a typical two-set show. Let it move you!
, attached to 1994-07-16

Review by fhqwhgads

fhqwhgads I don't remember much about the first set of this show, though Stash and Maze were surely on par for Summer '94, with its relentlessly reinventive vigor in composed portions and jams alike (Type I jams, in this case.) The second set is memorable to me for the "verbal jab by Fish" about Trey's upcoming wedding to Sue (née Statesir), as well as the Harpua with the "Your cat got hit by a comet" narration. 2001s back then were not typically variable in many ways, often serving as a Set-II opener, but this one has especial significance, as explained by the show notes. Summer '94 sees a decidedly Trey-led Phish, with his authoritatively virtuosic guitar taking the music in newly explorational directions following the watershed of August '93 and its introduction of nightly Type II to the repertoire, but I encourage you to listen carefully to all 4 band members, as Mike, Page, and Fish were all doing really interesting things, as well.
, attached to 1995-12-14

Review by fhqwhgads

fhqwhgads I remember when this show was released as Live Phish Volume 01. I was in college at the time, and only gave it an attentive listen on a weekend visit home. The sound quality of the Live Phish release is a bit dodgy, the levels not as smooth as some other releases; or perhaps it was just typical of a December '95 show that the energy is all over the place. Fine first set, to be sure, and one that would definitely please in the common era (bustout of Taste That Surrounds notwithstanding), but the beloved second set is all it's cracked up to be and more. If I remember correctly, neither Timber (Jerry) nor Halley's Comet had been jammed out in such a way preceding this show. Oh, how I love a good "->", and this show has a virtually nonstop series of them in Set II. Knowledgeable, longtime phan Charlie Dirksen (@Icculus) is on record that December '95 is pretty much all must-hear Phish, and I concur. On display in this show is a fervor both on part of the band and the audience that is rarely matched these days.
, attached to 1997-02-20

Review by oh_kee_dono

oh_kee_dono I have already written a review for this show but I wanted to say more now that today is my 20th PHISHIVERSARY. This show has always been special as it was my first. Now 20 years and 47 shows later there are still reasons I love it. It contains 5 songs that are my only viewings and another four songs with 2 viewings. Soul Shakedown has only been played 10 times total and Love me is only at 9 times total. Musically this show doesn't seem to be faring well on the ratings but I like it. The tweezer is short but beautiful. The Bowie is pretty standard but the intro is unique at least for my shows. I remember Stash getting pretty deep for a few minutes with a welcome Bouncin' at it's conclusion. Trey was making an impact on me with Free around the 4:30 mark until it's conclusion. I swear he looked me right in the eyes a couple times during that number. Not that it was very hard to make eye contact in that tiny little theatre in Milan. I'm not sure of the capacity but it seemed there were only a couple hundred people in there. And I was super close to the stage. I could hear trey's foot landing on the stage as he stomped along to parts of free meanwhile colorful rainbows of sound poured from his guitar. After sweeping me away with Free >Swept Away >Steep they played a Beatles number that made me think "I feel like such a hippie right now" I honestly don't remember much after that except trying to find our hotel and listening to The Prodigy, Music for the Jilted Generation once we got there. I love this band and all it's fans. See you out there!
, attached to 2016-12-30

Review by banjomatt

banjomatt I've been revisiting this show for almost two months now and I'm more and more convinced that it's just that good. It's worthy of all those superlative all-killer-no-filler mantles and excels in song choice, flow, and jamming. Each of the major jams (Gin, Tweezer, Gnost, and Light -> Party Time) contains a cohesive, complete idea, explored to its logical conclusions before seamlessly segueing to the next vehicle. Hell, you could even say that about Wading. The Ghost jam, particularly the The Wheel/Mountain Song section is one of the most transcendent pieces of live music I've heard. Oh, and did I mention that they played fucking Sparks? Kuroda's immersive Garden rig is on full display here, and I recomend hunting down a copy of the excellently produced webcast.
, attached to 1995-11-29

Review by qushner

qushner Excuse me. The Simple is pretty "important" here. It's not the usual sing-songy see-saw jam. Nor is it a shred-fest. Trey grabs a nice little ascending figure and rides it all the way up. Dismount is a bit jarring, which might be the only thing keeping it off the jam chart, but I'd recommend giving it a good listen.
, attached to 1995-10-19

Review by A_Buddhist_Prodigy

A_Buddhist_Prodigy Thanks @BurningShoreProphet for posting the video for this! This was my first show and the boys left my jaw on the ground from the start. I always remembered the Jim and PYITE (can't forget your first). But the Mike Groove was indeed great. I remember being flabbergasted by their energy and chops. When they encored with A Day in the Life, I was hooked for life. It's so nice to have video of your first show.
, attached to 2014-07-04

Review by newyorkphan18

newyorkphan18 Looking back a few years, and this setlist and show is exceptional. Personally, this was my first 3-show run. Camping at Lee's made this weekend a nonstop party. Tons of fun to be had at the campground both before and after the show. SPAC always an amazing venue for both the lot scene and for the music. Set 1 Highlights: Moma> Reba Runaway Jim, SOAM Coil Set 2 Highlights: Fuego> DwD Light>Fuego Theme
, attached to 1997-11-26

Review by Bob_Loblaw

Bob_Loblaw Yet another ridiculous Fall '97 show. Just to add to some of the above comments Taste is top shelf. 2nd set is extremely seguey and sometimes the experiment paid off (->2001) and sometimes it isn't as clean (->Yamar) but it works out, even if you were a little freaked out. Character Zero could not have been more random. The fact that it opened the 2nd set. Or the fact that they stretched it for about 21mins! Overall almost everything is played top notch. I would say this is one of those rare shows where the 1st set is better then the 2nd. But that's "just like my opinion man".
, attached to 1995-12-08

Review by pmc2kd

pmc2kd Time for another review in honor of the Baker's Dozen (going to try and hit 5 of those...) Set I opens with Sample in a Jar. While most people never look to get this pop tune, it serves well as an opener for my money. Good sing-along, fun upbeat start, and a nice energetic solo make this a good table setter. There's noticeable confidence in the soaring leads and a great little flurry upward from 4:10-4:15. Poor Heart is up next. Like the version from 12/5 (or the Old Home Place from 12/7) this one is very well executed and very crisp and clean. Page really shines in this version. Simple is more than welcome in the third slot and begins a strong sequence of tunes. The song is well played and the jam proceeds in a pretty rocking fashion with a nice full band groove. They start to downshift into a more delicate space around 6 minutes hitting some pretty spaces before a very nice drop into Runaway Jim. Jim kicks in at a nice pace and hits the quiet jam at 2:30 or so. They don't quite nail that big chord hit, but the jam, which starts around 4:30 offers some great playing. By 7:00+ they are really jamming nicely with Trey's playing being particularly active. Some big peaks with some tension appear at the back end of 8 minutes and continue for the remainder with some excellent work by all members. The song returns a bit before 10 minutes and ends a find run of continuous playing. Fluffhead is greeted by audible excitement in the audio on the relisten app. The Leslie speaker even rears its head during the opening of the tune. They pretty much nail it, minus a couple stumbles. This is a very well-placed and well-played rendition. Trey's solo at the end is quite magnificent. It's Ice is up next and represents another (the?) set highlight. Aside from being very well executed, this version descends after about 5-5:30 minutes into a very serene space with Page coloring the airwaves most prominently. At 6:30 there's a deviation from the pretty section into something slightly more spacey. Page carries the little jam and they dive back into It's Ice at around 7:40 for a great conclusion. Acoustic Army & Prince Caspian are unworthy of distinction in this instance, but fine in their own right. GTBT, on the other hand, is a final shot in the arm. This one screams and has a nice tension filled and ultimately soaring climax. End Set. Overall, the set doesn't touch the previous night's first round, nor does it touch some of the better set I's from this tour. That said, it's plenty strong. Everything in '95 seemed fierce, and seems even fiercer in comparison to some of today's bland renditions/formulaic first sets. The run from Simple through It's Ice is stellar. Set II opens with 2001, which has a brief spacey intro. This tune began to find it's funk footing in '96, so this version skews more towards the '93 style versions, which work quite well as a set II opener. Pretty straight up, but very rocking. There's a nice little droning/Page led jam segment after the first climax (3 minutes + or so in) which builds nicely into a final release. Trey is using the pitch shifter/digitech whammy with the droning feedback. Tweezer is up next, and it's a doozy (find me a bad one this tour?). Like 2001, this one skews early 90's speed versus late 90's molasses slow funk. Fishman plays some great fills throughout the "song" section. The drop into the jam at 4:12 or so is really quite fast. Trey starts an idea around 4:30-4:40 and the band picks up nicely - damn this is already great. By 6:40 we are treated to a nice little peak on the opening segment. In latter years, they could simply milk that jam for a good 7 minutes and peak it into oblivion and call it a day. This being '95, they start to break it down around 8:15 into a nice jazzy section. Fish, Mike, and Trey are really hooked up and Page is delivering in spades around them. By 9:30 the song is broken down further and gets quieter at 9:45 with Trey toying with the tempo. Page hammers some fills at 9:50ish, with Fishman picking up that idea. Suddenly Trey is left alone as the band hammers home the downbeat in unison around his choice leads. This is $$$. By 11:15 we are off the reservation and into Hey-Hole type territory. Trey continues to toy with the tempo, but Fishman says my turn at 11:40-45 and a furious, hard-rocking groove ensues. By 13:00 it's pretty maniacal (in a great way). More killer stuff at 14:45, which turns spacier/funkier by 15:20. Into the nether-realms by 15:45. 17:40 sees us ease eerily into the Kung chant. At 21:35 we are reaching the end of the Kung section and into some really strange and frightening space, which drops back into Tweezer perfectly at 22 minutes, god damn. Fish screams over the guitar line, Trey motors ahead with some straight-dope leads that soar majestically over the full band Tweezer groove. Fish continues to Scream and Trey continues to let his guitar to that for him. At 23:27 they go towards the breakdown ending of Tweezer, a hallmark of mid-early nineties versions, which slow to a crawl before concluding. This is a fine execution of that approach with a crawling end, drawn-out, & plodding along into Jon Fishman's vacuum time. Nothing to say about that really. Coil follows up and signals the set may be winding down (rest assured there's plenty left though....). This is a pretty sweet version indeed with some cool Trey/Page interplay during the outro solo. It's not as straight up stunning at 10/9/94 (A live One), but it's not bad at all Mr. McConnell. Well, lulling us into peaceful sleep is not an option. So Tweeprise is up delivers in roaring fashion. Antelope?! What?! This is a really cool pairing to end the set in atypical, but excellent fashion. The intro has a little Page led section with some more unwelcome rythmic clapping from the crowd (argh!! - and sidenote - Jaded Vets can't deride the Wooing if they were into this!!). The drop into the jam is perfection - and very purposeful. Not much needs to be said here other than this jam is liquid hot magma burning all in it's path. Top notch version - would be considered a "best of" in the modern era. For December '95, it's just one in a litany of greatness. End Set. Encore is a double feature of the Beatles. Come Together is a great treat and very well played. ADITL is always welcome. Overall another near perfect set II for December '95. Only real tough listen is the Fishman stuff post Tweezer (but was probably a nice hoot at the show). Tweezer is a great one & Antelope is also sublime. First set isn't Amazing, but it's definitely fun, with some well-played classics. 4.25/5 Another classic.
, attached to 1995-12-05

Review by pmc2kd

pmc2kd Alright, it's been a bit, but continuing December '95 with the second night of UMASS. Set I opens with Horn, which is kind of an odd opener. Not bad, but I can't imagine it kicking the energy level up. Perfectly adequate rendition, with Trey playing the solo section nicely. CDT seems to be the quick reset and throws the show into a second gear. Very nice crisp version with a good solo. Taste That Surrounds (or Taste) is up next. Like most early iterations, the Fishman vocal section is rough. The song itself is pretty nicely done. Interesting how it evolved. The Lizards is preceded by a quick dedication to Basketball announcing legend and all around maniac Mr. Dick Vitale. Pretty cool. UMASS was a solid team - making the elite 8 with sophomore Marcus Camby - who'd lead them to the finals later on (one of my earliest memories of college basketball). Anyways great version with a typically beautiful outro solo. Free follows up in fine fashion. It's a slightly stretched out version with the churning style jamming that characterized the song through 95-96, before Trey went into a more funkified and guitar oriented jam on the song. Nicely stretched out. Esther is kind of an odd song. For me, it's a less successful "Phishy" song, but it's ok here. David Bowie is next up and brings us back into the jamming realm. The intro is nice and disquieting. Not overly long, but some good eerie space before a pinpoint drop into the song. Trey's playing is crisp and precise in the composed segment with the band in lockstep. The drop into the jam is very nice, and a delicate and purposeful jam begins to develop. Around 6:30-7 the band starts some repetitive playing and gaining a bit of speed and volume slowly. At 8:15 there's a cool little segment that sees Trey foreshadowing the "Frankie Says" guitar melody. Just a kindred musical idea of a tune that would pop up a few years later on Story of the Ghost. By 10 minutes they are moving faster towards a more traditional climax, while continuing to build some additional tension. At 10:50 a great jam develops between all members. It's a pulsing dancey jam, with some really cool playing from Trey. By 12:50 we've emerged back into the climax which gets very intense with a big release by 13:50 with a couple cool victory laps featuring some great tension and scintillating trills. Not a monster version, but boy would I love to see a version like this today. Ferocious and precise. An acoustic version of I'm Blue, I'm Lonesome closes out the set (and comes through pretty nicely in the Relisten App's audio source! The version is accompanied by some (disastrous and unwelcome) audience clapping (yikes!). What is this - Sugar Magnolia!? Nevertheless this is enjoyable. End Set. Pretty solid, not exceptional, but a great Lizards, Bowie & solid Free give us plenty to enjoy. Good playing throughout. Set II opens with a rollicking Poor Heart. Very nice version. Gin is up next and this one is a real heavy hitter. A good song section and opening jam gives way to a nice funky/rock jam, which, by 9:30, is cooking along. Trey and Fish are accenting each others notes on the downbeat and Page is filling the space around them very nicely on the baby grand. Mike is laying down some bulbous bass offerings that would make any living creature gesticulate wildly in primitive and euphoric dance. By 11:30 Trey hits an ascending run and the band drives into some satisfying music, which by 13:30 is morphing into some really neat atypical stuff. By minute 14 Trey has set his droning background and moves to the mini-kit, coloring the music nicely as Page asserts himself with an organ/electric piano type tone. It's less demented than the heralded 11/2/96 Crosseyed, but stylistically not so far off. At around 16:30 Trey drones a higher note over top the band and Page moves to the baby grand. Trey's back in the picture at 17:15 and plays some tasty notes at 17:45. He then kicks into some funky chording/leads around 17:50 but choses to go towards rhythmic, repetitive lead lines over the jam space the band has found themselves in. Think a faster version of the end jam in the Slip Stitch and Pass Wolfman's Brother or the cool section in the 7/4/94 Bathtub Gin>Lifeboy that was From the Archives at SBIX. By 20:30 we are heading back into some weirder space, signaling the end is nigh. It's really good space, with a little start stop action, some frantic Mike notes, some excellent Tom hits from Fish & some nice piano accompaniment from Page. Not unlike the best of Bowie intro jams. Keyboard Army emerges in perfect fashion.... Wow. A nice rendition of Keyboard Army is followed up by Scent of a Mule. SOAM is good and Page takes a good solo section. The song is well done and interesting and drops immediately into a rocking jam. It picks up speed and noise level before going into a more tense space and again picking up speed into a noisy conclusion. Drops perfectly into Lifeboy. Very beautiful version which sets the table for Harry Hood. '95 was a year to feel good about Hood. This version is excellent. The opening jam is delicate, but has plenty of great notes. The Leslie speaker colors the jam around 9:00 with a beautiful watery feel, which climbs beautifully upward. At 10:28 or so Trey switches the Leslie off and brings us to a nice melodic passage that continues to build and he switches the Leslie back on for a brief moment. At 11:22 we are hitting the full band catharsis section, which builds again rolling up another hill, with Trey getting very active around 12:10, switching the Leslie on again, and carrying us still higher. By 12:50 we are poised for some peaks, which begin at 13:05 or so, with some beautiful sustained notes from Trey. He sends us back down briefly before building some additional tension and sending out a signal to the universe that everything is alright and peaks us again at 15:00. The Leslie makes another brief and welcome appearance and the peaking continues. The band drops into a quiet section at 16:00 in, which is just great stuff. A low growl builds at 16:25 and explodes at 16:33 in euphoric celebration. Lyrical refrain at 16:50. You can feel good about this version. Negativity can go suck an egg. Cavern feels like an afterthought, but must have been a fun final release. Encore: Theme & Sweet Adeline are both nice. Theme is very well played in comparison to Trey's recent attempts at the middle section. (but it's ok, keep trying!) Overall a great set II. This is a really solid show. The first set isn't the best in the world, but it's by no means bad. The second set is bundles of fun, with great flow and excellent jamming. The Gin and Hood are both absolutely money. Throw in a very cool SOAM-> Jam and perfectly placed Lifeboy & Keyboard and you've got a winner. 4.25/5 another great show in a great December 95 run.
, attached to 1996-12-01

Review by Bob_Loblaw

Bob_Loblaw Set 1 is pretty average. The exceptions being Trey slaying DWD and a pretty intense and strong Antelope to close. Set 2 is strong front to back. Tweezer starts off extra funky and the jam is very experimental. It's also fun how it slows down into a kind of metal jam towards the end. Reba has spot on execution through the composed section and the blissful section is also strong. Great placement for Swept Away/Steep. The scream by the band before Tweeprise is funny to picture because I'm sure it scared the shit out of some people. Slave is strong to close as Trey lays down the peaks perfectly at the end. Highway to Hell is a fun encore, especially as a fun new cover the band was messing with at the time. Overall S2 makes this a 4 star show. But there's little to complain about with S1.
, attached to 1995-11-19

Review by tiggerphish

tiggerphish This was my very first show. I was introduced to this fine ensemble by Todd O' Gara a great phriend indeed. Met a taper in the lot named Elliott Easterly (anyone else here know him?), and exchanged addresses, and I would go on to get all of the shows I attended from him. Makisupa opener and the rest is history, my life forever altered and changed, completely for the better,.... forever. This Band is an epic part of my life on a daily basis and the four individuals and their 5th member CK5, have shocked and persuaded my soul to ignite. And I am grateful beyond words.
, attached to 2010-07-02

Review by weewaw

weewaw This was my first show! Such a fun time! Got some songs I knew and liked, went with my best friend Drew (RIP). Got some tasty jams in the second set, and a YEM closer. Drove back to Spartanburg that night and crashed in the parking lot outside of my friend's dorm since they didn't answer the phone, then we drove home the next morning. Still have the bootleg shirt I got in the lot, though it is getting mighty ragged. Changed my life.
, attached to 2004-08-14

Review by teaboneski

teaboneski Low rating for this one, but I think that has a lot to do with the hive mind. Where all think alike, no one thinks very much. Feel me? Listen, and then go ahead and tell me that this Bag isn't one of the best ones you've heard. Walls > Jim > Jibboo are also great. And don't sleep on the Stash > Free. And, if you were there, you'd remember how special that Hood was. Drowned. Sure, like most of Coventry, the vocals are, at times, horrendous, laughable, even cringe-worthy. But the playing was creative, uninhibited, even desperate. It was pure art at a time when even the artists themselves suspected they may never create as a unit again.
, attached to 1994-10-14

Review by Bob_Loblaw

Bob_Loblaw A fairly average show. But a fun show. Highlights: S1 Strong Sample in The Jar. Awesome "Spirit Beam" Narration in Col Forbin. S2 Intense Tweezer Trey starts riffing and hits some high peaks. A pretty version of Lifeboy. Solid CDT. Cool yet standard bluegrass section. The highlight for me is the well played Coil with a nice extended piano outro that is gorgeous. E The horns provide a nice creole touch to Yamar. And they had a little extra to Cavern. Nothing epic or spectacular but fun none the less.
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