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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.
I wanted to make the remark that Harry Hood might be top 5. Add to the Hood Jamming chart.
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"
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!
Long jam segment, part of which (17:40-19:18) is fiery and astounding.
“SUCK IT!”
Sometimes juvenalia is hilarious