Yemabella, mark it. Yes there is an attendance bias, but i think it should be a Highly recommended version on the jam charts. Why? Its frikkin YEMabella.

I mean, would it have *killed* Trey to sing a few lines of Izabella so we could mark it as a sandwich???!?!?!?!

I suppose if you're of the opinion that every YEM in the 90's was the 12/9/95 version (or, shit, even just the 8/9/98 version), then this one's obviously not going to stack up to that standard. But if you're of the opinion that every YEM should be taken on its own merits, then I think you'd find a lot to like here - Mike and Fish, in particular, really blow this one out. A very fine close to a very good set to close out a superb run.

Easily the best YEM of 3.0. Nothing else comes close. The show is worth getting for this YEM alone but the rest of the show is pretty damn awesome too. I don't even mind that they played The Line late second set.

A big, bold, exciting version that would have been noteworthy if it'd included only one of a) the powerful jam out of "Wash Uffizi", b) the Trey siren/Mike running segment, and c) the charming Drums segment to close things out. The fact that it includes all 3 cements it as the best YEM (to my ears, at least) since George W. Bush was President.

Glad to see this makes the cut. Very fun YEM...best of 3.0 and IMO can stand with some of the big boys of 1.0 (not the REALLY big boys, but certainly some of them).

More or less on the same tier as 7/14/13, 12/4/09, and 12/31/10 when it comes to 3.0 YEMs (i.e. a notch below 11/2/14, as of this writing the King of 3.0 YEMs), and very similar to 7/14/13 (and 7/5/14's) in how it's more stripped-back than the usual BIG LOUD MUSIC jams of YEMs past. Old dog, new tricks, etc.

I'm so glad that @FunkyCFunkyDo and @CameToPlay, two of my favorite Phish talkers on this board, have gone to bat for this baby. I called it "grimy and patient" in my review, and I think that still works (I didn't even get into the interplay Funky speaks of above). One of the finest versions of the era, maybe a notch or two below The Big One of 3.0 (11/2/14, of course).

If you're a fan of "interplay" this version is for you. Talk about a musical conversation. Page and Trey are going at it, Trey and Mike are going at it, Fish and Mike are going at it, Fish and Trey are going at it. Some serious improvisational prowess is on display with this version. I really can't get enough of Mike and Trey's back-and-forth towards the end of the jam... especially when Trey is hitting those ascending high notes in response to Mike's plinko bombing. There are so many interesting little segments in this one. I listen to it very regularly and it always brings a hue smile to my face and inciters a huge dance party in my living room.

Very "danceable" and fun. Even though the end jam is a good 6 minutes, you kind of just want it to keep going because it grooves so nicely. I felt it was a way to celebrate a great show and give something back to the audience. I've listened to the rest of the 2013 versions and I think it is the best of the year.

Nobody's idea of an all-time YEM or anything, but I do love a) the vocal jam and b) the fact that it's mid-set. I think more YEMs should be mid-set, or end Set 1 the way that Hartford's does, so that the band doesn't have to play it with an eye on the clock (or, for that matter, the rest of the second set). Just shouting into the ether, don't mind me.

What a pleasure it was to have Sloth and this YEM open up my first show at MSG. Just an old-school style YEM played with a bit more gusto than a typical 3.0 version.

crab in my shoemouth

Mike's bassline that starts after the tramps segment is soooooooooooooo filthy and launches the band into a totally groovy plinko/breakdown. The plinko segment reminds me of watching light rain fall onto a windless pond. Beautiful, intricate, captivating. Then the rain storm starts. The lightning flashes in Trey's guitar and the thunder bellows in Mike's bass before rocketing into a soaring climax that we just never see anymore for 3.0 YEMs. Just a jaw-droppingly good version. It is one of my all-time favorite YEMs, era notwithstanding.

my first yem, finally! maybe like a greatest hits show so perhaps i should have expected it, but for my first show of 3.0 it was a treat!

Possibly the most aggressive YEM ever performed by Phish. Of course, Trey's guitar sets the tone, but listen to Page hammer down on the piano, and Fish crash his cymbals (puns intended). Something was missing from the band's performances in Vegas, but their effort to compensate for this absence is clearly audible. And the audience at the T&M refused to allow the band to disappoint them...

Groovy and funky leading to a thrilling climax. I'll admit I used to have a "2.0 bias" in that I always pictured 2.0 Phish being sloppy and not listenable. I have since found this to be an otherwise unjustified and untrue mindset, and this YEM was one of the things that pulled my head out of my ass and my ears upward toward the great music.

I'd say this YEM can take on some of the big 1993 YEM's, maybe even 1994 (but it's not *quite* 1995 level). It's a little sloppy in the composed section, but all-in-all, this is quite the exquisite treat considering how complex the song is, and this was likely one of a handful of times the band played the song since the hiatus in 2000.

What a way to open a show, too! There are plenty of other highlights, as well (Roggae, MOMA, Stash), but the YEM should be priority #1 if you've not delved into 2.0 Phish much at all.

WOW is right. Excuse me while I stick my face into the freezer to get it back to solid form.

This version was a smoker. Gordo dropped some serious bombs, and I give it major bonus points for landing in the encore slot after a second set that I thought was super fun.

There is a "The Way I Feel" jam, but a lot funkier than the 7/15/98 soundcheck on the live phish release, from about 12:30 to the vocal jam. I'm surprised no one's mentioned it!

An amazing show. you Enjoy myself to end an exciting and rather strange set 1.
I wanted to make the remark that Harry Hood might be top 5. Add to the Hood Jamming chart.

"Odd" doesn't seem like the right word here...I'd go more with "hypnotic", as the groove (which the band seems to lock into by kismet) is one of the most exceptional jam segments ever put together, all the more so by the fact that it came out of what was shaping to be a plain old good YEM. This is probably my favorite version of them all, and the reason why is less than 5 minutes long. But sometimes you know when something is special, and this YEM is special.

.....don't forget 6/11/94.....that may very well belong on the mountain, too!!

There's already something of a weird bias against 1999 to begin with (all the weirder because of how much Big Cypress is fetishized at the expense of the rest of the year), which means that jams as ridiculously good as this one (even Charlie says as much) can fall by the wayside. But goddamn, the sheer power the band conjures up in this YEM will make you think they played this in Fall '95, instead of Fall '99, a tour you don't readily think of when you think of the band playing their most powerful music. Hyperbole, as always, be damned - this is a YEM to put on Mount Rushmore, with 12/9/95, 12/2/99, and 11/17/97.

Out of the 32 YEM versions I have seen live, this is my favorite. Some of the highest octane Trey available!

This jam as two moods: minimalist funk and building, rocking peak, and that's all it needs. Lot's of single note slides drenched in wah from Trey. One of my favorites.

Maybe not jam-chart worthy, but it is interesting to hear the band play over Trey's looped guitar rhythm. Unfortunately, the multi-tasking keeps Trey busy, and his solo never really gets off the ground, but this provides space for Page to demonstrate his palate of keyboard sounds.

IMO, one of the most underrated YEM's. This jam is a funk juggernaut.

I can understand why, people would think this YEM is overrated. But I think the greatness in this jam is that is so chill, so laid back!

And, of course, by "overrated" Charlie means "superbly, beautifully, buttery smooth".

There is a really cool effect on Page's synthesizer in this version. It sounds like it cuts out for a microsecond with some kind of portamento effect. And Trey's vocal-jamming after his "Boy, Man" is inspired (the crowd loves it!)

I still say that as far as quantity of quality YEM jams goes, 1995 is the winner. But that doesn't mean that there are no other noteworthy YEMs from years past 1995. I actually hold the 12/6/96 YEM in the same esteem than the famous YEM from NYE 1995 (though I love both), but as for the YEM that, to my ears, is the most melodic and musical, this is a tie between the Albany YEM (12/9/95) and this YEM from Phish's European '97 tour.

This one is a keeper for sure. The guest musicians, Bela Fleck and the Flecktones help Phish craft a masterful jam full of textural melodies. Typically, when I think of a YEM I always think of Page's keyboard solo, then Trey's ripping guitar, then the B+D segment. But this one keeps the keyboard solo while Trey takes a back seat playing some cool chord progressions. All throughout, when Trey introduces the guests he keeps referring to a "Pierre" in the audience. Not sure if it's a "you had to be there" thing or not, but it's pretty funny. Also, I'd like to address something; in the description it says this jam doesn't have a B+D section, but I think there actually is, it's just in an odd placement. In the middle (around the 18 minute mark) Jon ("Greasy Troll" plays a raging drum solo, and I think I vaguely hear Mike (or Victor Wooten) playing the bass too. Well, it's probably just me wanting to hear a B+D section. But there is definitely a kick-ass drum solo and an eventual segue back into the jam proper.

It's jams like this YEM that really showcase the band's talent during one of their most surreal tours. In some aspects, Summer '97 is probably one of the band's most experimental moments on stage. They weren't quite at the funk level that would become Fall '97, but at the same time they weren't playing like 1995 or even 1996 anymore. In short, Summer '97 is a special tour. And this YEM couldn't have happened anytime else. Please listen!

Does anyone else notice at the end of the silent jam they drop into a Twist jam a couple years before it was created?

This was my 1st YEM and the measuring for all YEM's since and some have come close but never have any surpassed. Well worth the year wait!

Yup. In my opinion, it's their Magnum Opus.

This is probably the consensus choice for the greatest YEM of them all, and it's not a hard argument to make - the superb melodic jamming for which this jam is known is as fantastic as its reputation, the silent jam is funny (if you watch the video), and it builds to one of the most furious climaxes in Phish's live catalog. Really, with a jam this good, it's only personal preference when you're arguing against it, and I happen to prefer 10/2/99 and 12/2/99 more, but this one is right up there for me. It's one of the crown jewels of an undisputed peak for the band.

Fall 1995 was an exceptionally good period for You Enjoy Myself, and this might be the crown jewel of the bunch. The regular jam is almost mercilessly powerful, gloriously rolling forward before segueing flawlessly into Crossroads, ripping *that* tune to shreds, and then just as easily working their way back into the usual high-octane YEM jam. Compulsively listenable.

Had to do some research on this... in the droning "pre-nirvana" section of the intro, Trey sings a haunting falsetto melody three times. Charlie Dirksen's old review of the YEM from RMP mentions that Trey also sang this during some stage banter preceding the YEM from 5/11/88. Listening to that version provides Trey's lyrics: "Who's the Mar Mar? Mar Mar is waiting for me." "Mar Mar", of course, is a nickname for Trey's dog , Marley. Both the melody and lyrics are clearly the same. The melody sounds like something from a Brian Eno album, which would make sense as a pre-Halloween tease, but I couldn't place the melody. I suppose it is just as likely that Marley had rejoined the tour and Trey sang it again for her - this would also explain the "Shaggy Dog" bustout the following night in Louisville. Hmm.....

The > Frankenstein is still one of my best Phish moments. Mind blown!

This is my favorite version of YEM.

In the circulated mix and on Phishtracks, I love how prominent Mike is the whole way through. Trey's solo is entrancing too. Awesome, awesome, version.

Imo, this should read:

Long jam segment, part of which (17:40-19:18) is fiery and astounding.

Absolute Face Melter, The keyboard solo was really solid. Next it goes to Trey, Ripping the guitar for a few seconds then goes soft like a usual YEM jam, then the buildup comes, It gradually increases until Trey rips the guitar and DESTROYS The Cameo Theater. Next It goes to the man Mike, Playing one of my favorite, If not favorite YEM bass solo, The bass solo is kinda short sadly. then it goes to the vocal jam, interesting but a little generic. The Jam itself sounds like funk and a badass jam together. Can't see why most Phans overlook this one. This is a Must-Listen, Highly recommend it. 9.3/10. Also in my top 3, Absolute stunner.

“YEAH!”
“SUCK IT!”

Sometimes juvenalia is hilarious

That Sunshine Of Your Love tease by Trey is preceded by a lick from Mike that sounds reeeally close to "Groove Is In The Heart". Really cool to hear, particularly since Mike is so loud in these mid-April soundboard recordings.