Harry Hood

, comment by waxbanks
waxbanks Five minutes longer than the ALO version that (one would hope) everybody knows, which is presumably why it didn't make the album; they do put those five minutes to wonderful use. The volume-swell tricks they play here were common in 94, almost a signature -- if I remember right, Trey has said that volume-matching was one of the Hey exercises back in the day. You can hear them as ostentation; non-fans often do, I bet. But from here under the sea they seem pretty clearly to be tools by which the band syncs up not only with each other but with the room, the people present, the movement of air, of sound...waveforms as long as a jam or set or the whole night together cohering, converging on some zero point. The same with Trey's brief 'out' gestures, bringing the music out of phase (with the presumed reality of the progression; with us) for a moment and then tying up again; same too with the 'Type II' passage that foreshadows the Gainesville/ALO version, functioning both as a departure from the songform and a kind of extension or extrusion of it, seemingly revealing to the band just how far they could take the Hood jam without violating its structural integrity.

This is 'interesting' the way so much late-94 Phish is, like an elegant proof artfully written.

And it's beautiful as a baby universe.
, comment by Palmer
Palmer This Hood changes the entire 1.0 version completely. The crowd clapping during the nooding of Trey seems to be a bit repetitive at segments ( but ends thank God) as the hood jam gains momentum and continues to build throughout, Powerful, improvisational and unique.
 
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