This was a stellar show. It was my 6th of this tour at this point and best except for maybe Spokane(10/7). We didn't know what to think when Tweeprise lit up. I was taping and started my DAT late as I was blown away by what was happening and forgot to unpause my D-7. Great flow and high energy all around. I remember at the "Boy" part of YEM, Trey was like a race horse that couldn't wait to get out of the gate. Man, was he off to the races. Awesome! The Michael Jackson teases worked well here and we all wondered about Halloween. I would find out 10 days later as my last show of this tour.

The lot scene was really laid back(especially compared to Omaha the following year.) I met Amy walking around checking for copyright infringement issues. We parked on the top floor of an adjacent parking garage. It was a self contained ho-down in itself. Lots of energy in the air as it was Saturday and The Cornhuskers were playing nearby as well. The scene hadn't quite blown up yet and this show had a real casual/comfortable feel to it.

Complete opposite of 11/16/96... Wow! Bad vibes! Bad juju! Great show! Weird how that worked out.

How about a Tweeprise to kick things off? I had to check and see if I'd inadvertently started playing disc 3! By opening up with this song, Phish effectively pulls the net out from under themselves as they step onto the tightrope: if the rest of the show turns out to be lackluster, they'll look rather silly, won't they?
Reba jams don't often get me off, but I'll propose that this one is quite nice. Kung surprisingly pops into existence the very moment that CTB concludes, with an extended chorus of “Kung! Kung! Kung!” chants (in the middle of which Fishman hilariously poses the question on everyone's minds: “Kung?”)
Fast forward past a handful of tunes (all featuring highly inspired, TIGHT playing)... GTBT. Right, fair enough, this will be the close of an excellent set. But wait, this is a bit odd: Trey is really pushing the boundaries with his solo, stacking up the tension, and almost playing out of key. Hmm... The rest of the band just plays along as usual, probably not quite sure what else to do. The end of Trey's solo comes around, and just then he effortlessly sliiiides back into Tweeprise! It's apparent that the rest of the band didn't quite see this coming, but they turn on a dime and the transition is very smooth. Wow! (This took my breath away the first time I heard it!)
Set 2 appropriately opens up with a snappy 2001, which soon disintegrates into Bowie. The band tries hard as hell to make this an excellent version, and I'd say they succeed. Trey leaves plenty of space for Page to jump in with some tasty licks. Between 13:00 and 14:00, there's a a short-lived tempo change with a muddy, heavy metal feel – pretty cool. The effects that Trey applies during the climactic breaks will certainly put a smile on your face.
Lifeboy is especially pretty. YEM is a hard-groovin', ass-shaking throwdown. Purple Rain, while absolutely absurd, is strangely appropriate following YEM's extended vocal jam. Harry Hood also plays its part in contributing to the excellence of this set 2.
While it's certainly a fantastic set 2, set 1 may have even been better! When all is said and done, this is a *GREAT SHOW*, entirely deserving of the LivePhish “archival release” treatment.

This review is based upon the archival release; I was not in attendance. Unprecedented Tweeprise opener, to be unlikely repeated a few weeks later at 11/9/95, according to a jaunt over to ZZYZX's Phish Stats, and which would not happen again until 6/19/10, where it followed 6/18/10's encore-closing Tweeprise and preceded its own show's encore-closing Tweeprise! Marcia, Marcia, Marcia! I love the freewheeling, madcap velocity of Fall '95, which is on display in this show beginning with the Chalk Dust Torture. I'm not as Booked, chaptered, and versed in Phishtory as many other Phishtorians, but I feel handily sure that Fishman's best year may have been 1995. The band moves as an unit, as a well-oiled machine steaming through the composed portions to break through to uncharted territory with admirable fearlessness and glee. This Chalkdust certainly verges on Type II, with the hindsighted benefit of knowing what was to come in the 7/10/99 version casting a very promising and engaging color over this admittedly shorter and Type-I version. It just sounds like they're bursting to lift off like that version does, even though '95 was a year more inclined to Machine-Gun Trey than the near-krautrockish propulsion and euphoriant, shoegazey drift of that Camden version. They even tack a little big-rock coda onto the end of this one, and here comes Guelah! Guelah is probably among the least variable of songs in Phish's repertoire--though it's thus alongside such notable staples as Bouncing Around the Room--so I don't have too much to bring to the table in describing this version's individual merits. Reba is next, and Reba was fast in '95, my goodness! Tidier composed portion than my favorite version--also from Fall '95: 12/31--and I don't know how much I really need the percussive quasi- vocal-jam stuff from Trey in the beginning of the jam, but there is an array of approaches taken within the jam proper, witnessing some quieter moments that finally resolve into a searing peak the likes of which Reba is most beloved for, I think. Esteemed RMPer Tim Wade rates this one a B+, a motion that I second given Reba's capability of not merely peaking but irrevocably changing people for the better... well, let's not get carried away with ourselves, but it's a very good version. Wilson has an interesting pre- Blat Boom section with feedback. I was listening to the 6/18/94 Wilson a few nights ago and was pleased to hear it without "the chant," but Trey obviously approves or approved of it because even in that version he was shamelessly egging it on. Little things like this contributed to the brand Phish has built, like them or not. Kung -> The Lizards, Strange Design, Acoustic Army might be the stuff dreams are made of in a contemporary 3.0 setlist, and they're all very special here. This whole segment of the first set really demonstrates the ephemeral flaw in the pursuit of excellence: that if it's not preserved somehow, by memory or in this case by recordings, the everforward march into the future tends to cast shadow on previous achievements. GTBT -> Tweeprise! Not a heavy set on the Type II, but we still have set two to look forward to! Just imagine what Phish 3.0 could do with a commonly played 2001 Set 2 opener nowadays! This one is of the more concise varieties, but segues into Bowie in a most intriguing fashion. Bowie itself is breakneck and breathtaking. Resolves somehow into Lifeboy, one of Phish's more contemplative and therefore beautiful numbers: one which has been inexplicably sporadic in appearance these past 7 years. YEM features Trey on percussion rack and some Speedy Gonzales-type screeching--from Fish?--in the vocal jam. Hood is typically perfect for the era, plenty of "shredding," and Suzy, Highway to Hell puts us back on the road. The lack of a huge Type II jam notwithstanding, this is an amazing show, one that you have little excuse not to seek up, since it's available via archival release on LivePhish.com!

For the most part EducateFright said everything I would've review-wise. Just wanted to add a bit about the GTBT>Tweeprise to close the first set. First off Trey rips the solos, I think Jimmy Page would be proud, and the end jam morphs from pure rock hose to classic phish tension release. After the second or third release its actually mike who deviates the bass line from the more standard GTBT type riff to the E F# G A (the Tweeprise baseline a whole step higher (I believe it's normally in D)). Man, mike never abuses his harmonic power as the bass player in jams but when he recommends a course of action like that it always seems to be a great call (most notable example is probably the great went Gin). Sorry getting off track. Anyways, you see Trey look over when he hits the G giving the nod of approval and they're all immediately on board. Seamless transition to the end chorus of Tweeprise and the crowd goes wild. And it's in a different key! give these guys some credit they're true musicians. You can tell because Trey can't play the normal tweezer reprise riff at the end (although I suppose he could've on the low e-string). Gold. Also, acoustic army reminds me of when Zeppelin would do like going to California (and some other of their acoustic songs). Love seeing the Zeppelin influence

Incredible show with a ton of energy. 1st set sandwiched between a Tweeprise!!!!...Good Times Bad Times smokes.....2001 --> David Bowie is worth a listen....YEM --> Purple Rain --> HYHU is stellar.... I love the way Harry Hood's ending plays out in this version...Highway to Hell!!!! wow....classic '95

Highlight for me is the 20+ min Dog Log from the sound check... blissful to say the least!