Hello,
Been listening to this Mikes a lot and at about 11:50 Trey starts teasing the Tweezer riff and they ride it out for a bit. Crowd went nuts too. Would this count as a tease for the show notes?

Thanks.

As noted in the entry for the 8/4/15 version, just a ton of fun from a heck of a show (even if you don't care for the "woo"s, which, seriously, who gives a crap).

The Alpine's Mike's is a lot more fun, but this one has more beautiful passages (especially near the end), and that always gets my vote. If that's the last time we see a second jam in Mike's, at least it went out on two very high notes.

Kinda significant that this mikes song was the first ten minute mikes in a quite a long time !!!!

Perhaps a bit less essential after the August 2015 Mike's Songs, but still well worth the listen for how dirt-nasty Trey's Echoplexing sounds.

This version of Mike's is yet another reason why I LOVE this show. Machine Gun Trey proves that he survived the hiatus, and is back to trill away at the enemy!

This is a spectacular jam. After listening to this version on 8-4-2015, Trey brought the second jam back. Could someone please explain why its highlighted status was revoked?

One of my favorites as it stops at the 11.30 mark and becomes a blissful masterpiece.

I heard that the "Big Dude in the doorway" on this night was Tom Marshall, who was interfering with Brad Sands' attempts to get the band back to the stage for the 2nd set. That's why Trey echoes the lines "Big Dude in the doorway" line right after Mike sings it, and then sings "Brad no are no nice guy".

A fantastic jam to start off a legendary Mike's Groove. This is must hear material.

A monster. Pure destruction. Stay for the whole set as well of course...

Superb Fall 97 rendition featuring a raging, evil first jam which slides into a 2nd jam of serene bliss. Phenomenal.

Something of a test run for the ambiance that defined 99-00 Phish, while still being a very listenable jam on its own merits. A very fine version from a show that has slipped through the cracks (then again, it's 1997, so those cracks are pretty goddamn wide).

Includes a second jam around the 9 minute mark that sounds Simple. Things settle down again around the 12 minute mark. These last few minutes are masterful!

Lots of 'Jibboo-esque' jamming, first from Page, then Mike through the "ENORMOUS PEAK" mentioned in the jam chart.

This, too, is my favorite Mike's Song. The first jam section is just crazy, mindmelting dissonance with Karl Perazzo hammering away in tribal fashion like a madman. After the second jam starts, the craziness fades away into pure sexual Phishy funk chocolate. This might just be THE JAM that paved the way to the 1997 Funk sound. Pure baby-making Phunk at its finest.

The jam is already an all-timer at this point, then they go ahead and decided to add a miraculous, hosey, Mind-Left-Body-esque buildup and peak on the end of it. Absolutely breathtaking.

This jam not only exemplifies a myriad of styles Phish is capable of, but is also, remarkably, a masterful display of those styles. I can't think of a more perfectly quintessential Phish jam.

I can safely declare this to be my favorite Mike's Song and one of my favorite jams ever at this point, even with the bobbled ending. The usual gnarly Mike's jam is great, certainly, but it is that buttery smooth second jam, laid back almost to the point where you'd expect someone to talk about their mind on their money and their money on their mind, that really makes this one for the record books. A jam that pointed the way towards Fall '97, while actually trumping a fair number of Fall '97 jams to boot.

"Behemoth" is spot-on with this one. The first jam is a lot of heavy riffing with the occasional improvised melody built in (and in this sense, I am reminded of the Mike's Song from Gorge '98), and then the second jam kicks in, and things get serious. More incredible soloing from Trey, and then a little later, Page does some cool bluesy piano licks, and Trey takes a back seat, and plays a repetitive metal-style riff, with Page playing some odd sounding keys that complement Trey's playing and tonality almost perfectly.

This part is also very percussion-heavy, possibly with Trey on his percussion kit, but with Page and Mike, it makes for a very other-worldly sound; very tribal-sounding. This particular section is all about Page, and he delivers (but what else is new?)

What comes next is Trey taking the reins again, signalling the end of the percussive jam, and cuing in a melodic lick before toning it down not even quite a minute later for a "> " to Lifeboy.

Overall, this is very well-played, and the transitions between the different sections are pretty fluid, and the band hits some high-marks in this jam, though it may take a few listens to sink in. Of course, I like to look at a spectacular Phish jam, such as this one, to a film that you knew you would really like if you could understand it some more. After the initial viewing, you keep watching and re watching the film until you think that you get it, and with each viewing, you learn something new and appreciate the artistic beauty of the film some more.

The 2nd half of this has a very Jibboo feel to it. The key is shifted into Paug eventually, so it could just be that, but it feels like there was a bit of a birthing of a Jibboo here.

Whoever's responsible for bolding Mike's Songs should bold this one already.

One of the finest versions ever played, from one of their truly great shows. Sorry, even a guy as verbose as me sometimes goes with the "why type 10,000 words when 14 will suffice" line of thinking.

It's too bad the sound of this recording is so bad, because this is a pretty good version of Mike's Groove for this era. Oh well, it wouldn't take long for the band to surpass this version.

I'm unable to verify this, but I believe this is the first circulating recording of Mike's Song where Trey and Mike are jumping on trampolines during the jam. In previous versions, Trey plays the "Stranglehold" riff in unison with Mike, but 3/4/89 is the first time you hear Trey start his solo by sustaining one long note with feedback. To my ears, that's an indicator that he was jumping on trampolines (it wasn't until 1992 that Trey became confident in his ability to solo while jumping). This tradition continued, as far as I know, until 12/31/94, and only occasionally after (e.g. 11/15/96).

small venue amp hum, crispy! transition into the 1st jam is sweet! very rock shredding to my ears, got that 'chop' 'chop' 'chop' going