A phenomenal version of the song that is sure to fly under the radar. This is a classic style of Phish jam that is perfectly executed here. Chunky funk grooves start out, with Trey on rhythm allowing Mike and Fish to really drive things. But then they shift into a stunningly beautiful bliss jam centered around - of all things - the "Your Pet Cat" guitar riff. Gorgeous playing from the entire band. Must hear.

long & good

I've listened to this jam (and most of 12/30/19 in general) countless times since they played it. When Phish plays something that excites everyone this much, oftentimes the sheen eventually wears off and a jam might lose its luster a bit.

This Tweezer simply does not. If anything, its intricacies are further revealed with every listen and its high quality becomes more and more revealed. This is a study on live group improvisation, a spectacular touchstone for the band in this particular era. It's a glorious moment in time, and what I truly consider to be one of the greatest jams the band has ever played.

This jam capped the only other full decade of Phish since the 90s and seemed to sum up my own journey seeing Phish consistently for the past ten years. I couldn't help but think that this was a true mountain top moment for me...something to sum up everything I've had the privilege of seeing from this band in 3.0. But this isn't just about me of course...this one was for us.

Viva la Phish.

I've been to every msg show since 1/2/2016, which had a pretty damn good tweezer as well. This is the best jam I've seen at msg, and they've dropped quite a few since that date. Hell, this is the best jam I've seen anywhere. The last 15 minutes of this jam is why I will never miss a phish show at the garden.

The beautiful segment starting around 18 minutes and really taking form at 20 and ending around the 24 minute mark is what I think the ideal soundtrack to some imaginary perfectly satisfying and epic ending to Stranger Things would be. The rest of the jam is awesome too; love how pocket oriented it is and the woodblock usage.

You think you’ve heard everything this band can throw at you from an improvisational standpoint, and then you hear the utterly gorgeous ambient-esque section of this all-star jam and you realize there’s still so much more ground left for them to cover. A truly special jam from one of the band’s truly special nights.

damn near stole the show 3 songs in if it wasn't for the ghost. feels like 98. go vols

Really fantastic tweezer all the way through. jamming. Super funk. Love it.

once again phish proves why Tweezer is simply the nastiest song in their repertoire. if you can't get down to Trey ferociously attacking the main riff in this version, I don't think we can be friends

2016 isn't anyone's idea of a peak year for Tweezer, but this churning and ferocious version would not have been out of place in last year, which is a fine choice for a peak year for Tweezer.

Yes, it wasn't actually played in the calendar year of 2015 proper, but if you take an NYE run as part of a touring year (as I do), then this absolute superstar jam is a worthy ending for one of Tweezer's banner years. Half of it is pure driving Type I, something you might hear in 1992 or whatever, and the other half is a powerful get-off-your-ass-and-jam groove that resolves into a peak not unlike the 9/6/15 Disease. Pure joy in musical form, and a true highlight of the stellar MSG 2015-16 run.

This was one of those jams you could obviously see coming from a mile away (in a GREAT way). Everyone was primed and ready for Tweezer to explode at the beginning of this second set and with every movement of the jam you could feel the corresponding crowd reacting with glee.

Some people have criticized the fact that this jam does not have a 100 mph exploding high octave peak at the end of the jam, but I find this notion unimportant considering the high quality of this jam. The beginning Type 1 section brims with energy throughout and absolutely explodes at the end. The jam then finds it way up a fourth from Am to Dmaj via a bouncy octave riff from Mike (a classic tried and true Phish tactic). What follows is gorgeous and celebratory and includes an almost supernatural start-stop section before finding its way to Trey's Dick's DWD-esque ascending major climax. Excellent jam that > into a fiery Type 1 Sand.

Truly a special Tweezer from a special night! Also, Trey and page both tease What's The Use? starting at 20:26 (LP time).

Truly the best of both worlds. Gritty, dark, and nasty jamming in the first half breaks free into a soaring, euphoric second-half jam with Trey's joyous guitar leads setting the audiences' soul free. This is as good as it gets in 3.0. When combined with the Prince Caspian jam that follows, you've stumbled upon the most powerful statement Phish has made since Nassau 2003.

Has a really dark section that sets my soul on fire. Love this tweezer and the following caspian.

I can only imagine how much more we'd love this jam if it wasn't immediately preceded by that other jam everyone loves so much. Punchy nastiness for the first half of the jam, then a soaring reprise of the first (and best) jam segment of the Randall's CDT, pushed to an even more intense level than that famous jam. I think even the most stone-hearted Pharaohs of 3.0 deniers would have a hard time turning their back to this puppy.

This is pure magic! My soul soars starting around the 12 minute mark and along with the 46 Days form earlier in the set, this is some of my favorite music of the entire summer. 13:30 brings the hose for me. I remember everyone in a 360 around me with HUGE smiles during this section. This is why I listen to Phish. Pure inspiration flowing effortlessly through the band back out to the universe that created it. It didn't take too much convincing to change this version to highly recommended status!

Despite its length, the funk in this tweezer is so thick and groovy that it could've easily been played in a fall 97 show and fit right in. Mike and Page are locked in throughout! Then only the 7th NO2 appears out of nowhere and achieves the absurd mind-melting impact during the 12 minute Tweezer-> NO2-> Tweezer stretch that some jams take 15+ minutes of exploring to acheive.

The funky, spacey, *weird* jam behind NO2 in this Tweezer would not at all have sounded out of place in 1999 - like, you could imagine it taking a few twists and turns and ending up in My Left Toe. I'd like to see this Tweezer on the jam chart one day - you can easily nod your head to that groove even if you ignore Mike shouting "this might hurt a little bit!".

IMO this version deserves the HR treatment. Not only was this Tweezer a huge surprise after the awesome version played just two nights before, but the segue out of waves was straight filthy with incredible tone from Trey. Then the first and second half of the jam flow together seamlessly, and the stunning peak sounds composed. I would like to hear the reasoning as to why this version is not highly recommended out of curiosity as I feel like it stands comfortably with all of the other powerhouse Tweezers from August 2015 (possibly the best month for Tweezer since June, November, or December 1995?).

This jam will probably be best known for the 5 minutes of blissy hose at the end, which even though it follows a familiar template, is still a glorious segment (I dig the woodblock!). But the first half of the jam may actually be the better half. There were hints of a 3rd segment coming, but no void left by its absence. Do not miss the first half of this jam or the silky transition period between the 2 segments. No abrupt changes of direction in this one. Great jam from a great show from a great tour. One of my faves of the summer.

A lot of people say the last 5 minutes sounds kinda like Melt; to me, it sounds kinda like if Melt had been written in 1997 instead of the early 90s, so instead of the migraine-inducing nastiness of '93-style Melts you get the absolutely glorious grooves of late-90s Melts, coupled with Trey firing off trills at the end as the band snaps into one of *those* segments. Coupled with CDT, this is one of Those Jams from Summer 2015.

Probably the consensus choice of the finest Tweezer from August 2015, one of Tweezer's Mount Rushmore months (I actually, deep down, think they scaled back Tweezer in 2016 pre-Lockn'/Dick's because that's one hell of a hard act to follow). Much like the Kill Devil Falls from the night before, one of those jams that basically tells you everything you need to know about how shit gets done in 3.0 - remarkable improvisation, touching as many aspects of what Phish does so well with an octopus-like reach, and even hitting a peak or two on top. One of the true highlights of Summer 2015, a tour that has more highlights than Jacoby & Meyer's has suits.

Attendance Bias Review: Have I heard better live Tweezers (in 3.0, I'm a late bloomer)? Yes (Hampton 13, Magnaball, and MSG 16)
But at this show, with some of my closest friends on the lawn and coming off a scorcher of a show the previous night, I was calling a second set Tweezer opener all day. When I heard the opening notes of the Tweezer, me and my best friend (it was his second show) were halfway to the beer vendor. We began to run back but decided that chugging a beer during a second set opening Tweezer is mandatory. So we blazed on through the concession line spun as all hell. Somehow I made $20 in singles for change for beer that costed less than $20 total. I had an idea of the mistake the cashier made, but to be real, I was too excited for the Tweezer (and a little too out of it) to correct the mistake. From that point on, there was no place I would have rather been in the entire world than partying with my close friends on the lawn throughout a 27 minute Tweezer. The Tweezer was not even close to the best Tweezers I've ever heard to be honest, but goddamn there was no other place I would have rather been in the world.

I believe our reviewer is suffering from JVS: jaded vet syndrome or trying to compare this jam with Tahoe. Sure there's about 4 minutes of searching, but the first 19 minutes or so represents my favorite jamming of the summer so far. Truly spectacular interplay and emotion from all 4 band members. I can't stop listening to it and could not recommend it highly enough.

zwyts said:

I really really love this version (attendance bias certainly could be a factor), and have already re-listened to it many times. There is a lot going on here. More each time I listen. It is perfectly suitable as a passive listening experience, but there is a lot of subtlety here that requires a little more active engagement. I think each member poured a lot of heart, soul, thought and effort into this one and it does achieve its mission. This is a special Tweezer. I hope people revisit it often, and I think they will be rewarded if they do so. I predict it will gain more and more cachet over time.

I agree. I think the description undersells this jam, which is magnificent (and no attendance bias for me, unfortunately).

Is this really not gonna get the "highly recommended" status? c'maaaaaaaaaaaaaaaaaaaaan ;-)

I really really love this version (attendance bias certainly could be a factor), and have already re-listened to it many times. There is a lot going on here. More each time I listen. It is perfectly suitable as a passive listening experience, but there is a lot of subtlety here that requires a little more active engagement. I think each member poured a lot of heart, soul, thought and effort into this one and it does achieve its mission. This is a special Tweezer. I hope people revisit it often, and I think they will be rewarded if they do so. I predict it will gain more and more cachet over time.

People would have gone bananas if they played this jam in 2009, which I think tells you something about a) the strength of 12/31/14 II, as this jam has been almost entirely overshadowed, and b) the strength of the last 3 years of 3.0, as a jam this strong can just get a "hey, that was pretty good" before everyone moves on. It's kind of a little brother to the glorious 12/28/12 version - fluidity, gracefulness, pure joy, all in one neat package - and well worth a listen or twenty. Tweezer took a bit of a step down after its annus mirabilis in 2013, but only a bit, and this bad boy would easily slot in with last year's masterpieces.

This really should be a yellow version. It's tough for a Tweezer to make the cut considering 1) how often Tweezer is played and 2) the fact that nearly all Tweezers are significantly jammed-out, but the peak in this one definitely makes it a cut above. The jam builds naturally to an intense, melodic, cathartic peak, that recedes for a moment before returning even stronger. The peak waves in and out, before the jam dissolves into a slowed-down, disorienting coda.

An excellent Tweezer, and in many respects different from the 3.0 Tweezer paradigm.

A genuine pleasurable surprise, combining gritty and almost discomfiting blues, some sharp chords from Trey matching up with a relaxed 70s-style backing from the rest of the group, and the second glorious monster peak in a row (after the Light) into a neat little package, while finding its way back into the Tweezer ending to boot. A superb bit of hose to close out 56 of the most exceptional minutes of music this band has ever graced us with.

It's funny that I listened to this jam after the famous 12/2/95 version, as this one is almost the complete musical polar opposite. Instead of the flamethrowing hose of that version, this one is a Fish and Mike showcase (rare enough on its own to justify a listen), where Fish's fancy rhythmic games and Mike's powerful basslines take center stage while Trey throws out licks and Page goes to work on the clavinet. It's a really interesting, nifty jam, and as @CreatureoftheNight mentions, the return to the Tweezer theme is a nice capper. This jam, the centerpiece of a surprisingly good closing show to the massive Fall 2013 jaunt, deserves a lot more praise.

Setlist nerd note - I still have no idea why this isn't a -> out of Waves. I have seen -> s given for less.

Truly democratic jamming. I love this type of rhythmic and textural playing. Mike's contributions at 9 minutes and Trey's groove at 12 minutes is fantastic. The old school return to Tweezer is always welcome.

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I hear this Tweezer start up on the heels of a rockin' Chalk Dust Torture, and all I can think of is the great George Takai saying, "Oh my!" I really hope everyone who was inside the XL Center that night, realized at that moment what thrills they were in for. Another clear and dynamic AUD - thanks @padelimike! Fishman lays it down for everyone who needs more cowbell, and when Page moves to the clav and changes the key, I'd swear that The Captain and Tenille themselves are strutting across the stage, singing "Love Will Keep Us Together". Another modulation at 9:15 brings us to the key of F, and IMO the best part of this Tweezer. Essentially, I agree with the other comments here - this is a fine, jam-chart-worthy piece of improv. Could it be that some jam chart admins go out of their way to move against the grain of popular opinion? Or is this song's jam chart entry a reminder to the rest of us, that we are all individuals with our own, equally valuable opinions?

This is not overrated one bit. Among my 3 favorite from the era.

This Tweezer contains a phenomenal jam. As mentioned above, the band is locked in from the outset. Not overrated in my mind.

Here's all I know - anybody that calls this puppy overrated is no friend of mine. Pure float-on-a-cloud bliss, right up there with the 8/1/98 Tweezer and the 11/30/97 Wolfman's non-death-metal part. I'd give it the yellow treatment as well, as it's easily one of the highlights of Fall 2013, a banner run in the history of this band.

The fact that the 7/12/13 Tweezer is yellow and this one isn't makes absolutely no sense. Hartford Tweezer demolishes that Tweezer. Nothing against that Tweezer-> Cities-> Wedge sequence which was really cool, but the Tweezer by itself doesn't hold a candle to Hartford.

How does saying something is "overrated" add value to the jamming chart?

Answer: it doesn't.

@doctordoak said:

Overrated, my ass. Seems like an attempt to mask a bias

This jam was so good the band locks in right off the start on the jam. This is not overrated by any means and could even deserve to be highlighted yellow.

Hide yo kids, hid yo wife!

I had seen a few shows and heard quite a few but that Tweezer was the first time I was transported.... The first time I could actually feel that everyone around me was feeling the same thing that I was at that moment. We were all in it together and it was beautiful.

This was the 9th show for @First_Bube and she had already seen some amazing moments. After this Tweezer she turned to me and said "something special is happening right now, isn't it?" It was the first time I saw that certain look in her eye at a show. This Tweezer has power indeed.

this tweezer is developing into one of my favorite phish jams. it has all the necessary components: initial cruise into uncharted waters, Mike Bomb, scary exploration that eventually peaks in an unheard-of fashion with trey's crazy guitar screams, blissful outro.

This Tweezer is The Godfather 2 compared to Tahoe's My Cousin Vinny.

There's a non-inconsiderable amount of folks that prefer this Tweezer over 7/31/13's, and I can see the argument - there's damn near as much going on here, in terms of ferocious, almost *angry* jamming, not to mention that remarkable ambient pool that leads into Golden Age. I'm not sure it's quite as Technicolor-epic as the Tahoe version, which is why I still give that one the nod, but it's certainly nothing to be trifled with. "Raw power" seems like a pretty apt description.

I absolutely love this version, but I gotta say, the wooing that came from it has ruined so many good jams for me that I'm actually starting to dislike this version.

OK, so I haven't heard *every single* Tweezer, but I'm familiar with all the big ones for the most part. I'll go out on a limb here and call this the greatest version ever played.

The Tahoe Tweezer delivers every time.

just not in 30 min or less

@ndphanjeff said:

The GOAT.

God Of All Tweezers?

Because if so, I'd like you to meet my friend Bangor...

The hands down single greatest jam of 3.0. I was amongst the lucky 7,500 people in attendance. This is the reason I follow the band to all ends of the country.

yup.

The GOAT.

The Tahoe Tweezer delivers every time.

Such is the greatness of this jam that I actually think Charlie's underselling it a little bit.

I'm glad that Charlie put this one on the chart, as both this particular jam and this particular show have gotten a bit lost in the shuffle. Sure, it's not the longest version, but it does indeed peak quite well (with, as mentioned, Page pushing things forward with some darn fine piano/organ work), and the segue into Cities is much better than I originally gave it credit for. You won't be disappointed with this one (or, for that matter, Alpharetta 2's. Did I mention that 2013 was a superb year for Tweezer?).

It may be overshadowed by the Tahoe Tweezer, but this may be my favorite version of the modern era. The whole thing tells a story in the way it shifts from section to section with beautiful fluidity. Everyone is listening extremely well and playing with such patience and finesse, that when the hose finally opens up, it could not be placed any better. There's even a mini-hose before the big one. A beautiful jam, one of my favorite Tweezers ever. Tahoe is a masterpiece, but don't sleep on this version.

Fluid, serene, blissful, diverse, spaceous, intense. And that's just the first 12 minutes.

It's funny how quickly the wind was taken out of the sails of this jam by Tahoe and Hampton 2013's versions, as this was (almost certainly) the consensus choice of 3.0's best Tweezer when it was played. It still holds up, though, as a great example of everything the band does so well in this current incarnation - discrete segments, fluidity in the way it shifts moods, and the sense that everyone is doing the right thing at every point in the jam. A truly fine version that deserves all the praise heaped upon it.

8.22 and 8.26 are my favorite Tweezers of 3.0, I cannot believe 8.22 isn't even mentioned.

A really superb piece of business that gets bonus points for a) being genuinely segued into out of a DWD jam, b) Fish's Golden Age teases, and c) the majestic jam-long hose that peters out into beautiful ambient bliss. MFH, indeed; this sucker was a pretty big deal in 2011, and is only less so because Tweezer's kicked it up a notch in the years since.

Nice deep bassline from Mike to start the jam, Trey sits back and lets him do his thing. Really punchy through the midsection, nice themes from Trey. Mike still dropping bombs, mixing in a few effects. Trey starts to pick it up, the band follows and things are really movin now! Nothing too mind blowing, just a quality rockin Tweezer jam here. Trey signals the wrap-up with the main Tweezer riff, and the band settles into a little ambient-ish jam

Right into -> Fluffhead for only the 5th time ever

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Awwww yeah, crank this Aud UP! Page and Mike out front in the mix, but still a nice balance. (Thank you Lenny Stubbe!) Page uses the black keys of the piano for a dissonant effect during the post-Ebeneezer section, and his clav keeps things funky as Trey noodles and uses his pitch-shifter effect. @NigelTufnel's show review describes Trey's solo as "minimalist", and I concur - Big Red latches on to two different three-note motifs and repeats them over and over for a significant portion of this jam. Like 6/30/00, it sounds like the rest of the band is waiting for Trey to figure out what he wants to do... but they throw down a killer dancing groove in the meantime. The highlight of this version, IMO, is when Trey finally steps back at 12:30, and the jam dissolves into nearly 4 minutes of spacy improv that sounds more like 2000 than 2010, murky, like walking on the floor of the ocean...

Trey leads the way on this one - much of his playing during his solo reminds me of moe.'s Chuck Garvey.

I prefer this baby to the Sand from that (decidedly underrated) show, actually; it's basically the 6/19/04 Tweezer Reprise jam in Piper, only a) out of an actual Tweezer itself and b) played with more muscle behind it. 2009 didn't really get going (in my estimation) until Red Rocks, but there's scattered moments of greatness in the early stages of the year, and this is one for sure.

Some sick swampy, grimy 2.0-style funk in this one!!

Right from the get-go there is something special about this one. Trey is playing around a lot more than usually, goading Fish into spicing up the rhythm. The post Ebenezer breakdown is double its normal length much to delight of myself and the crowd judging by the roar on the tape. The jam launches straight into cowbell work from Fish and bubbly, bouncing grooves from Mike. The band effortlessly moves through several sections of soft textures and loud rocking. Page is absolutely sizzling on the keyboards, adding stabs of color in just the right spots. Like a bird they flap their wings to gain speed then spread out to glide along in the wind. Trey's pulsating vibrato syncs up exactly with Fish's raindrop like cymbal hits. All at once they stick their heads above the clouds and bring us up to bathe in the brilliant sunshine. We are soaring. High over the clouds now, Trey finds an emotive pattern knit in the sky and grabs hold. Tears stream down my face at the sight of such beauty. Trey pulls us higher and higher, so high he stretches the seams of reality, pushing into outer space. At the last possible moment he relents. We slowly make our way back down beneath the clouds into some jazzy funk-lite. From there we return to a rocking celebration jam gradually taking us all the way back down to earth.

Personal aside
In 2013 around the 10th anniversary of this show I heard it for the first time and became obsessed. This was also a time when I was experiencing the worst depression of my life. I tried to take my own life one night in early March and landed myself in the hospital. I got transferred to a mental health facility for a week to protect me from myself. Never in my life had I ever felt so alone. Completely cutoff from my friends and family in a strange place with a bunch of kids just as f***ed up as me. The ONE bright spot I had was knowing the 2/28/03 Tweezer by heart. I would play it over and over in my head during those days. I clung to it. It became a lifeline. Not the only one of course but the one that had zero pretention. It just was. This show will always have a special place in my heart because of this and I cherish every single time I get to listen to it again.

@The__Van said:

This^

More to the point, I rarely use the word "transcendent" when talking about music. This jam is absolutely that. The peak 15 minutes in is IT. I truly did not understand IT until I heard this Tweezer. I also rarely use the phrase "must-hear." This is a must-hear. Hell, this entire show is a must-hear.

Without a doubt, one of the best jams of the band's career. There are moments of this jam that make me feel like I'm floating. 2003-2004 could be frustrating at times, but this is one of those nights where it all came together and magic happened. This show also contains outstanding versions of Birds of a Feather, Bathtub Gin, Back On The Train, and Harry Hood.

case can definitely be made for this tweezer being Phish's best jam of all time

case can definitely be made for this tweezer being Phish's best jam of all time

This is where IT is at

Ripping version.

Fourthed (if that's even a word...) Just spectacular.

Thirded.

This^

A Personal ALL-TIME Favorite.

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This version of Tweezer is chunky peanut butter - modest and simple, but not necessarily bland. Trey seems to forget about the "Uncle Ebeneezer" verse for a little while, but they eventually get to it. Fish breaks it down again at the start of the jam, and it initially sounds to me like nobody wants to take the lead. The combination of Mike's envelope filter and Page's synth at 6:20 made me think I heard a sitar and a tanpura drone - somewhat appropriate, given that this is another laid-back Tweezer groove, half a world away from the laser intensity of 12/2/95. The jam gets a little momentum around 9:00, but is still sluggish, and Fishman attempts to give it a boost with a big fill at 10:40. Finally Trey realizes that he needs to do something up there, and trills for a bit before taking the wheel of the sedan, heading down another, more satisfying improvisational highway...

Glad this made the chart. One of the most coherent Tweezers.

Love this Tweezer, hits the spot every time.. Mike throws some great lines in as well

This is what 2000 phish is all about. There's some really tasty DEG action. One of those jams that truly achieves "lift off". Pure hose.

I also vote for "very very good." This Tweezer starts out strong and ends just as strong. Sure it can be repetitive, but it is well worth it to reach the ending climax. Just an aside, it feels as if there's a bit of a "second jam" on this one as soon as Page's delicate synth keys are hit around the 16 or 17 minute mark.

The jam could have ended there and people would still be pleased, but I'm glad the jam stretched out as long as it did. The delicate electronic ambiance gives way to a blistering Trey-led jam and a delicate outro jam, and the band is in full force. There's just something so magical about Japan.

Parts during the middle before the buildup remind me of the Cypress Tweezer a little bit.

The power of repitition at the end there, I swear I thought it was the ever-fabled female orgasm. I vote this jam > uhhhhhhhm.

I vote for very, very good.

Amusing first comment aside, I think the reason for the jam chart description is that there's *so* much going on here, from lowkey ambient loop-land jamming to hazy Trey-leading hose to weird spaciness (Page playing notes that sound like water droplets, in a neat effect) to a warm and relaxing shuffle that Fish pushes forward to something not unlike the peak in Slave to a roaring heavy rock-out finale. It's the '94 channel-surfing aesthetic mixed with the late-90s ambient style, and it's one hell of a jam.

Ah yes the "uhhhhhhhm" Tweezer. Known far and wide as being either good or bad.

There's so much more to be said about this Tweezer than the jam chart description states. Such as the razor sharp bed of loops that hits around 7 minutes in before mike and fish slam into a pocket as deep and funky as fall 97. Trey continues playing over this delicately until around the 10:30 mark where he leads the band in another direction and cuts the loops. From here, the "melodic slave-like jam" develops and the rest is ear candy.

This isn't going to be anybody's pick for the best or most favorite Tweezer ever, but it's still a very fine, spacey piece of business, a Type I (ish) version that just flows forth like a wave of energy for its 14 minutes. A really nice opener to an almost criminally underrated show from a definitely criminally underrated tour.

The groove for the last half-minute or so of this jam -> Cities is addictive! I love that unison-type cowfunk sound that Phish perfected in Fall '97. That's the sound of the Phish workin' on the chain gang, IMO.

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Like 10/23/96, Fish does a masterful job of holding onto the reins of the tempo, actually slowing down the song at a couple of points. A little mini-moog from Page between verses, setting up some very spacey post-Ebeneezer improv and some fight bell action from Mike. But by 8:00, Fishman is dropping the mad beatz and guiding this jam like an expert handler showing off Handsome Dan. It's not until 11:20 that Trey really takes flight with his solo, which soars high like a twin-prop before diving down to buzz over the audience's heads at 13:50. The eventual landing is drawn-out and a little bumpy, caused by some roadkill...

This jam just absolutely shreds. Parts of it remind me of the Sand's they played circa 1999-2000. Very melodic, passionate, emotional, and driving. Then a nice low key bluesy jam near the final few minutes before segueing near flawlessly into an NICU. One of the best jams of Fall 1998 if you ask me.

Just an astonishingly beautiful piece of music, thanks mainly to Trey, but don't miss out on Page's accompaniment as well. And yeah, give the Hartford 2013 version a spin as well, if you want more music to pull out your lighter and sway along to. I mean this as a compliment, of course.

After all these years, this is still one of my top 10 all time jams. Several recent versions have followed in its vein, Dick's 2011, Hartford 2013, but nothing compares to this masterpiece.

This is the Summer '98 loose-limbed funkadelic party vibe sound condensed into one jam (give or take a detour into California Love or two). I don't agree with people saying Summer '98 is superior to Fall '97, but I wouldn't disagree with anyone that says Summer '98 is more *likable* than Fall '97.

Fans of the band's electronic ambient sound will want to check this Tweezer out. Well, I should actually hope so, seeing as 1998 was THE year for the ambient-electronic style. This isn't the best '98 has to offer, nor is it the best of this particular style, but this is one worth hearing for any Tweezer fan, or 1998 fan (and if you're a fan of both, then it's win-win!)

The song itself is standard, as per usual, but the jam immediately takes off into a down-tempo keyboard driven electronic groove with Page playing some cool melodic and spacy lines. Then, after this section comes the -> California Love section where the band effortlessly plays an excerpt of the Tupac Shakur classic, then -> to Tweezer for some "hose" (though it doesn't get to go anywhere near where 6/24/00 or 2/28/03 goes, which is why this Tweezer probably isn't as recognized).

The jam in the final section after the Tupac cover is great and provides some high level energy that beautifully contrasts the first jam before the Cali. Love. This high energy continues until it sounds like there will be a penultimate peak, and lo and behold, there is! Only this peak is another effortless and wonderful transition -> to Free (which is another review all on its own. You should check out my 7/15/98 review on Free

All in all, this is not the best Tweezer. I wouldn't even include it in my "top 'x'" Tweezer's ever. But, it is worth hearing for fans of this era and especially for the segues and euphoric jamming. I would actually include the Tweezer-> California Love-> Tweezer-> Free as one sequence, and it holds up over time (to my ears).

tl;dr-The Tweezer by itself is nothing too special, but the whole sequence of songs is a super-team of tight, yet fun and somewhat loose jamming. AKA: everything a Phish fan should love in Phish. Enjoy!

Came here just to note "Moby Dick" teases from Mike in the last few minutes of this Tweezer jam - and these last few minutes are so, so good, I didn't mind listening to it over and over again until I figured out what it was I was hearing.

Phish hasn't played (m)any other jams that I would describe as "sexy", but this seductive Tweezer is one of them. It's a late-night, smooth-moving groove machine that draws you in mysteriously. The first portion of the jam is very low-key and spacious with seemingly not much going on, but the band is able to create a sense that something big and possibly sinister is looming ahead. Only gradually does the intensity start to rise after Trey enters the forefront around 10 minutes with some very creative riffs and an equally alluring guitar tone to match the feel of this jam.

The jam hits full throttle at 14:30 with a series of passionate peaks, but it's right back to that murky funk that seems to carry much more weight than its minimalist nature would suggest a minute later. Alas, this renewed section of dark funk doesn't last long before the band allows it to drift away for the time being, lurking in the background to be employed in another jam. Things brighten considerably with a -> into Taste, but I would have loved to hear how things played out if this section had continued. I especially like Mike's bass work here, however brief it may be.

The combination of funk and darker tinged playing in this Tweezer is a great representation of the Island Tour's sound. This is one of the best jams of the run in my opinion, second only to the colossal Roses jam from the previous night. I think you'll find this Tweezer satisfying. I always do.

The volcanic, amazing conclusion to the space the 11/14/97 Twist opened up. Hear Trey's wide open leads swirling and churning, not bound by anything earthly as Page washes them in supporting flourishes of harmony. Fishman, meanwhile, is modulating the rhythm seamlessly over and over again while Mike follows him in perfect lockstep. All of the dynamics and shifts in energy in the second half perfectly build the context for the segue into Izabella which, during a lazy listen, may seem like a sudden decision but actually falls gracefully into place in the jam/set.

Best. Tweezer. Ever.

On the short list of greatest jams of all time - ridiculous cohesion, musical power, and one of Those Segues to cap it off. A very, very large part of why so many folks consider 12/6/97 II the set to beat.

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Hey, *there's* Mike! A slower tempo opens up this show, nice, loose... idk, have you heard any of Fall '97? Pretty wild post-"Ebeneezer" improv, I'm sure it messed with some folks' trips that night. Fish lays down what is practically a breakbeat at the start of the jam. Trey aptly brings in the Love Unlimited Orchestra with his wah-wah, telling us the story of the Ghost of Barry White (who was actually still alive in 1997). Sooooo much space in the music at 8:30 - the other three were practically begging Mike to take the wheel on this jam. And he does, like a bad motherfu- (shut yo mouth!) Then Trey turns up the heat with his 'Doc until molten lava starts erupting from the speakers of his pair of Fender Twin amps. This peak is very similar to the one from 11/17/97, but I don't seem to get tired of it. Eventually the fireburst dies away, and Trey hangs on to that G chord as the jam winds down, one more gem from a tour that was studded with precious jewels...

I can't imagine what it must have been like to be a Phish fan that hadn't caught the band on tour in the summer (let alone any of the Europe jaunts) and were unprepared for the transformation they'd undergone. Just imagine - not only are they leading off a show with one of their biggest jam vehicles, but instead of a wide-ranging rock monster it's a lean and mean funk fest, unhurried and spacey even when Trey starts getting into the riffing instead of firing off wah-wah licks, before finally cooling off and coming to a gentle close. A pretty strong contender for "best first song to a show ever", not that this is a particularly long list.

Ah, Mi Amore. what can i say . Super Funk -> Trey Raging -> Deep space funk outro. DE-LI-CIOUS

Underrated

Underrated

Slow the tempo down just a little bit, and this would sound even more like a Fall '97 jam than it already does. With Karl Perazzo riding shotgun, this jam never really takes off for parts unknown, but instead vacillates between a nifty as hell groove and Trey just ripping off some wicked solos at the end, with (as @Pinhead_Larry and @Icculus pointing out) Page getting in some damn fine work. Almost a test run for the 11/17/97 Tweezer, in a way. Ignore the Perazzo shows at your peril, friends.

The Karl shows (10/29, 31, 11/2, 3/96) are what I believe to be a key turning point in Phish's sound. Jams were now more about the percussion, as they had a lot more now to offer with Karl, and with Trey's mini kit (as if Fish didn't already have a lot to offer). Page also takes the front seat for a lot of the big jams on Fall '96, and Trey finds a balance between soloing, and melody.

I believe this Tweezer represents that ideal. Karl's percussion adds a bit of a world music element, and the boys really do a swell job of keeping that theme throughout most of the jam. Trey turns the wah up and Page turns the synths up, and with a laid back tempo, you have a perfect combination for some melodious up-lifting music.

Enjoy this one!

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Bob Gulotti on a 2nd drumset, which means that Fishman is in control here, playing conservatively so their guest doesn't fall off the rails, while holding back the tempo from the energetic guitarist. Trey wisely focuses on Page at the start of the jam, allowing Mike to fall in step with the drummers and establish a solid foundation for this jam. Trey builds his solo to a peak at 8:20, but then reaches for another at 9:00, and the band doesn't go with him! To my ears, this indicates that Trey's usual solo style wasn't working here, so he switches up his rhythm, and eventually sets up some loops and moves to his percussion kit. I don't know if the jam totally works as well as other percussion jams from Fall '96, but even if you don't know drumming from a stick and a pail, check out what Fish and Bob Gulotti get up to during the jam - the interplay and communication between them is fairly expressive, and quite unique in Tweezer's history. Trey returns to the 'Doc at 14:15 to bring the jam to one last peak, and then home to Gamehenge.

One word description: fierce. Tweezer in December 1995 was fucking *FIERCE*.

The linchpin of one of Phish's all-time greatest sets (IMO, IMO); both parts of the Tweezer surrounding Timber (Jerry) are played with a nuclear-powered energy that'll make you clutch your chest and scream that this is the big one and I'm comin', Elizabeth. One of my five favorite Tweezers, which means that it shares company with some *damn* good jams.

Can I get a timing for the slipknot tease? It's going right over my head

The Tweezer-> Timber-> Tweezer sequence is out of this world. Whenever I hear this show I think that there is an MVP but its a great band at the peak of their powers listening and jamming like the world might come to an end at anytime.

The best of the 12/95 Tweezers and that is saying something.

Glorious power rock that could only have come to life in the year 1995. A full band effort indeed, but Fish absolutely cruses the drums like King Kong kicking dinosaur ass on Skull Island. Definitely a Tweezer that must be heard to be believed.

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Jumping ahead a couple more light-years to this version, on a cold, cold, cold night in New England. I dig the flavor of Page's clavinet between the verses. Check out the .net reviews of this show for a little back-and-forth commenting on this Tweezer - I don't really have much to add to what's already been said about this classic. (But thank goodness I posted this comment, right???)

I don't know if you can even really call this Type II, as it's basically the usual Tweezer jam sped up 33 1/3-played-at-45-speed style and played with an astoundingly, almost breathtakingly intense energy from beginning to end. The ending, where they slow down to a blues shuffle and then slow down even further to a bluesy crawl, is also well worth hearing. A deservedly famous version from what might be Tweezer's greatest stretch, December 1995.

Gumbo and Gin teases

There are about 10 great Tweezers from fall 95 (none of them over 25 minutes, thankfully) and this one might be my favorite. It's worth your time

This is my second favorite of the Big Mid-Nineties Tweezers (i.e. Mesa, Bozeman, Mud Island, etc.), mainly due to what Charlie mentioned, but also because it feels closer spiritually to Fall '95's Tweezers than to, say, Bangor's. I miss Dave's Energy Guide.

Maybe I'm in the minority, but I thoroughly disliked this when I was at the show. It felt like a wasted set to me.

Still haven't worked up the energy to re-listen

This is a GNARLY piece!!! I dream of a soundboard release via Live Bait or archive, if not the entire show.

I sort of blow hot and cold on the big multi-part Tweezers of '94 and '95, but I have never had anything less than total admiration for the Mud Island Tweezer, mainly because (if you can really say this about a jam longer than two Simpsons episodes put together) it's about as focused as any of the Frankenstein's Monster Tweezers ever got. Of course, that would mean nothing if the music within wasn't really good as well, and the music here is damn good. Small wonder that they abandoned the jump-into-the-beyond style of playing Tweezer not long afterwards - they had nowhere else to go and nothing else to prove.

Bozeman's little sister. The notes for Bozeman -- "Spectacular. Awe-inspiring at times. An incredible exploration." -- apply to this Tweezer also. Excellent Phish, especially the close-listening band interplay, and also the couple sections of triumphant hose.

Here's my best guess at what they're chanting: "Have mercy?" (laughs) "they'll say the body's safe" "we'll set the box straight" "water your team in a beehive, I'm a sent you"

Really astounding version that goes through so many diverse sections, everyone engaging and great IMO!!! There is a LOT in this 26 (or so) minutes! One of my faves from this EXCELLENT era!

this is in my opinion the masterpeice of phish improvisation. akin to an early darkstar or any band's creation at their most fluid, collective, seemingly divine point. the jam flows with absolute relentlessness, never seeming to consciously search for direction or hesitate. its magic.

Phish kicked it here in The Big Sky, without a doubt. This is the epitome of phish's highest skill in their early years.

It's the very special Tweezer from which comes the track on A Live One titled "Montana." It was a title that always confused me until I heard IT - this entire show. It's is killer fun, don't neglect the other songs in favor of the jam. The problem with my take on it, and I recognize this, is that it is all quite expertly and cooperatively executed. Regardless, this Tweezer is not the only highlight from this show.

The fans are the highlight, though. If Phish claims they react to and interact with their fan base, it's obvious here! I dig it.

But all things considered, Jon Henrietta Fishman is this particular show's hero. It is such a joy to hear in its entirety!

Try to convey what you strive to condone.

The material directly after the DDLJ is very similar to the jam that was played during soundcheck a few nights earlier in Chicago (it's included in the Chicago '94 box). Trey is playing pretty much the exact same notes. But here it takes on a darker, eerier vibe due to what the rest of the band is playing. It's incredible to hear how fast this little snippet developed. During the soundcheck Trey's guitar just doesn't quite mesh with the rest of the band. During this Tweezer it fits perfectly.

Words cannot describe this incredible Tweezer. On a whole, 1994 deserves all of the credit it gets. The Fall of 1994 is, IMO, the "oddest" Phish tour, in that all the big jams were weird, dark, exploratory, and went way "out there." Well, maybe this doesn't apply to all the big jams of this era, but a decent chunk of them.

This Tweezer is the epitome of the sound of Fall 1994. It is beautiful, it is dark, it is moving, it is powerful, it is explorative, it is undaunting, and it is unstoppable. The DDLJ is just the icing on the cake. Please, my limited vocabulary cannot describe this epic jam. Just please listen to it if you have not already.

I was surprised by how much I enjoyed this version. Thick grooves and striking improvisation, not unlike some of the big Tweezers from later in the tour but half the length. A good listen.

In the minority here, I'm sure, but at this point I consider the Tweezer jam the weakest part of the Tweezerfest @waxbanks has made this point in his review, but the blues jam *sucks*, and the band's improv would be much better even a month later) - the drawing point for the show, at this point, is the astonishing run of segues that come afterwards. YMMV, of course, and this show is still a classic, though more for the latter than the former.

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Comparing this AUD to ones from Fall 1992 demonstrates the expansion of the band's PA and stage monitors, as well as the aggressiveness of their playing, that exemplified Phish in 1993. And there's the grand piano! Unfortunately, the jamming in this version does not quite live up to the lofty standards set by the other Tweezers of Connecticut, as this one is about as straightforward as they get for this period. Seems to me that Mike is the odd man out again in the jamming, although it could be that Trey simply isn't listening to him as much as he is to Page and Fish. Oh well (shrug). But when Fishman switches the drumbeat and picks up the tempo for the segue into Walk Away, I'm still goosebump-thrilled.

Sounds like Trey is playing the melody to “the moment ends” part of The Moma Dance, five years before the song was written. Otherwise not an outstanding version.

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The Curtain leads directly into this Tweezer, opening the 2nd set of the second show of the band's first official NYE run. I think it is a nice example of this combo, being the second of its kind following 12/12/92. A heavy post-"Uncle Ebeneezer" jam brings us to the heart of the matter. Trey lets the guitar feedback ring at the start of the jam, allowing Page to slip in a "Rhapsody In Blue" tease. A big classic rock riff jam kicks in - to my ears, this sounds *kind of* like the opening riff to Punch You In The Eye - it's in the same key, but the notes and the rhythm of the two are not exactly the same. Still, this is the kind of potent jamming that was giving bros nocturnal emissions back in the day. This riff jam soon alternates with some playing in the key of D major, a move that the band often did back then. At 8:40, about the time when the earlier versions are winding down, Trey and Mike start playing in harmony, something else they did often during 1992. I like how that rock riff keeps getting hinted at later in the jam, until 12:22 when they hit the big E chord and start the wind-down section that includes the Donna Lee tease. It's a little mind-blowing to listen to the jamming in this version, let alone the rest of this set, and consider all that was still ahead of this band in regards to live improvisation.

This fucking rocks. listen

You can hear the guys playing around with Chalkdust Torture Reprise right before Tweezer starts. Page plays the chords, and then they do the 'tension build' on the A chord right before dropping Tweezer.

My favorite pre-93 version. Smooth as silk.

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Although reportedly performed at The Sting in New Britain on 5/16/91, the circulating recording ends before the band plays Tweezer, making it the only "missing" version of the 12 known performances. We must move forward a full two years to hear the next of the Tweezers of Connecticut...

During the freakout after “Uncle Ebeneezer”, Trey repeatedly yells for “Chris”, with Mike and Fishman joining in. I suspect the band was teasing Chris for calling someone else’s name out while he was sleeping :-)

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An outdoor AUD brings some mild, gentle breezes from off the Long Island Sound. Page's Hammond organ is pushed up in the mix, as it often was back then. The band doesn't have the arrangement nailed quite yet - it sounds like Trey is ready to start "Look who's in the freezer" before the others. The jam features some good alternating between the rock riffing and free-form melodic improv that sounds like the winding-down section, before Trey pulls out Jimmy Page's trusty "Heartbreaker" riff. The "don't play" secret language signalled by the "Popeye" theme at 7:10 seems to be lost on the audience - I can imagine many of them halting their head-bobbing and looking over at the stage as if something went wrong. The jam wraps up shortly thereafter. Still a long ways to go with this new song, but hey, it's all about the journey, right?

Already on the Tweezer jamming chart, but the description doesn’t mention the crazy yelling! A wild, funny version.

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It's kind of weird/funny to hear Trey start playing that oh-so-familiar riff on his guitar, and the tape capturing one lone voice shouting a "woo!" of recognition. Those were the days... Early versions of Tweezer featured the band singing with rather deranged voices, including Fishman flexing his rawk vocal chops. There are also a few random "Tweez-ahhh"s, seemingly from all four band members. These guys clearly have some affection for this new tune, and they have also been rehearsing it a lot - listen to how relatively structured the jam is following "Uncle Ebeneezer", and how they quickly fall back onto the beat afterwards. Trey immediately starts the jam out with a tasty rock riff, but he doesn't noodle, and he leaves plenty of space for the other three (Mike's bass is low as usual on this SBD, but Page's piano and Fish's drums shine with clarity). Throughout the jam, you can hear Fishman moaning into his microphone, which turns into anguished cries as the tension builds. When they hit the big E chord after the 8:00 mark, the yelling sounds like the boys are on an amusement park ride. These early versions have a false ending after the "winding down" section, where the band restarts the tune, then ends it suddenly, a feature of the song until it was recorded for A Picture Of Nectar. The band muffs the very end, however, leading to an audible chuckle from Fishman (gotta love that guy).

This one is introduced as "Tweezer So Cold"