Without microphones.
 50+ minutes; whistling.
 A cappella ending.
Don’t You Wanna Go was preceded by a Stairway to Heaven tease. Trey teased Jean Pierre in Possum. This 50+ minute Tweezer included a brief Gypsy Queen Jam, a 2001 tease, a Slave-like jam, and a Digital Delay Loop Jam with whistling. Simple contained a Jump Monk tease from Trey and was performed with an a cappella ending instead of a jam, akin to the ALO version from December 8, 1994. Amazing Grace was performed without microphones. In the soundcheck, Funky Bitch was peformed as a slow version and Rift was played as an instrumental.
If you want to understand Phish's place in the improvisatory-rock continuum then you have to hear jams like this otherworldly 50-minute Tweezer, which makes the 5/7/94 Bomb Factory Tweezerfest seem like a drunken joke-a-thon. This is pure unadulterated dig-in-your-heels psychedelic rock from the 1994-95 period when Phish was wringing every last drop of energy from Every Single Goddamn Song. The rest of the show is just summer Phish of fine vintage, but the Tweezer is essential Phish. It's instructive to compare this cohesive improvisation, with the whole band creating new music at the level of both structure and measure-to-measure content, to spacey and much more rhythmically-chaotic early-70's Grateful Dead jams. This is thoroughly modern music, though Phish was alone in playing this kind of rigorously free music on this scale in those days.
Go download this show, or at least the Tweezer, immediately. Turn out the lights, throw on the headphones, and go wandering to places unknown. Take a trip with the 11/28/94 Tweezer for comparison, while you're at it - and maybe dig out your old copy of 'A Live One' for some sweet 11/2/94 Tweezer action. That'll nicely fill two hours of your life, and echo well beyond. For contrast, try the 6/14/00 Twist - equally 'psychedelic' but qualitatively different in style - or the recent, more closely related (and nicely synchronous) Seven Below > Ghost from 11/28/09 in Albany.
My first review: After going to GRACELAND to pay our respects to the King, we strolled across the bridge to the mud island in the middle of the MISSISSIPPI where the stage stood and the city of MEMPHIS was the backdrop we knew it was going to be a "TCB" kind of night. We were not disappointed. The first set was smoking. Wanna go, Spocks, Mound, All Things were all played well. But the melt was crippling. Just tasty.
As the first few notes of Tweezer were played, I thought of the Bomb Factory. Hoping for similar greatness, some where past the 40 min mark during the final pressure-release sequence, we stood there in awe. It was obvious this was like seeing DARK STAR being played in 69 or Liz Reed in 71. Perhaps in their own right, better. Phish was the best band on earth.
In 94, after almost 100 DEAD shows, I stopped going. I had to witness PHISH at their peak. This choice paid off. When we met at the Jeep after the show we were screaming how sick the show was. Were so full of adrenaline, we drove straight thru the night to Atlanta.
@waxbanks already said it rather evocatively, but I'm just going to chime in and say this Tweezer is SERIOUS. Like jungles of Vietnam serious. Serious as a heart attack. Any fan of improvisatory music should hear this 50 minute segment, it gets so dark and evil during the first jam that you could turn a metal head onto Phish with a selective listening session. The song touches back down to the Tweezer riff around the 20th minute, but continues on going through a number of interesting sections varying between motion and stillness, including some crazy UFO abduction stuff and a major hose towards the end. Don't sleep on the first set either, it's really well played and contains what might be one of the finer versions of All Things Re-Considered. It's funny, on the AUDs you don't hear people going noticeably crazy over the Stairway to Heaven tease to open the show, maybe they couldn't hear it too well?
I'm going to do my reviews a little differently. My 1st 20 were just whatever I felt like writing, but from now on I will follow a specific format I have made for myself. The format will be in the disclaimer at the bottom and will be the same for all future reviews. If you have read the disclaimer from a review I will have made in the future, but now is the past you can ignore it here as it will always be the same unless I have changed it.
Split Open and Melt : 4, 1994-7-15 - This SOAM sounds like Maze, it is a very cool version, and unlike any I have ever heard. - BEST 1992-7-15
2001 > Poor Heart > Tweezer : 5, 1993-7-23 - Easily the most unique Tweezer I have heard, the recommendation is for 2001 > Poor Heart, there is no recommended Tweezer to compare this to other than this one. - BEST TWEEZER
The number beside each song is a 1-5 rating. The date beside that is a date of a recommended version in my opinion. There may be a note following that for each song, if not I didn't find it noteworthy. After a note will be another date of the best version of the song in question that I have ever heard, if this particular one is the best version it will say so in place of this last date. Not all songs will be listed, if they aren't listed it doesn't mean they aren't worthy of a listen, it means that either A) my copy of this show doesn't have that song or B) I just didn't feel like listing it - This is my review I can do what I a want. Most of the time I am only going to hit highlights or low lights. Rarely will I review each song.
This was my first show, and I didn't really KNOW any Phish songs beyond 'Fee' and 'Esther.' The massive Tweezer as totally lost on me at the time. I only have two very clear memories of this show: The Cavern 'kick dance' sticks out in my mind and the a capella 'Amazing Grace.' They did Amazing Grace w/o amps, and the crowd was very quiet with almost no shushers. Then, a dude yelled at the top of his lungs, 'long live the king!' and everybody laughed their asses off. If you listen to the tapes, you can't hear 'Grace' too well, but the guy's 'long live the king!' chant comes in loud and clear.
The Mockingbird Foundation is a non-profit organization founded by Phish fans in 1996 to generate charitable proceeds from the Phish community.
And since we're entirely volunteer – with no office, salaries, or paid staff – administrative costs are less than 2% of revenues! So far, we've distributed over $750,000 to support music education for children – 210 grants in 43 states, with more on the way.