Jam Chart for the 1995 Fall Tour Tour (169 entries)
Legend:
Highly Recommended
Attended
JOTY
| Info | Notes |
|---|---|
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Hood (15:16)
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The jam veers into different territory at 8:45 as the customary "Hood" harmonics are upended by a shift to minor mode. Returns to normal "Hood" after 10:30, building to a nice peak which gradually fades with no closing refrain. |
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Possum (10:49)
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Mike and Trey highlight this excellent, fun, rocking and well played version. It's mostly straightforward, but high quality fare nonetheless. Try 9/27/91 for another terrific non-exploratory version, separated by 4 years to the day. |
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Reba (13:09)
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> in from the "White Rabbit Jam," perhaps the earliest glimpse at the band attempting to execute "Reba" at breakneck speed. After a clean composed section, Trey powers through the version, the playing straightforward and direct until the band slows at 7:40 to create an interesting and controlled passage, akin to "DEG"-like playing, before breaking for a spirited conclusion (the band once again playing incredibly fast through the whistling section). |
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Antelope (10:36)
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Good improvisational version with rhythm shifts and great tension. |
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Simple (9:21)
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Rocking outro turns serene and dreamy, then grows creepy and dissonant, and > to "Keyboard Army." |
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Slave (11:35)
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Near silence at the beginning of the jam, then listen carefully at 4:45 as Fish delicately and musically adds his Electrolux to the mix. The jam then kicks up several notches, and like 6/15/95, Fish seems to up the tempo slightly to add energy and power to this very fine version. |
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Bowie (15:41)
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A much more exploratory version than most Fall '95 "Bowies," which despite being very well played and intense, stick pretty close to the basic theme. |
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Tweezer (15:19)
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Even more crazy and chaotic of a jam than normal for "Tweezer." Jam reaches a good peak, cools way down, but then climbs and climbs and reaches an excellent peak beore concluding in a mellow way and seguing into Keyboard Army. (there's no return to the normal coda) |
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Possum (12:02)
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Very solid "Possum" with building tension and moderate dissonance. Great variation and trilling by Trey, and a sweet peak. |
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SOAMelt (15:41)
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Just a good solid, improvisational and well played version with tension, pulsing rhythm, and a creative ending section too. |
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It's Ice (10:43)
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Although Page dominated, the jam has contributions from all band members in a somewhat dissonant, but atypically melodic, and chilling, version. |
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Hood (16:03)
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A heartfelt and moving version with beautiful soloing by Trey, who briefly plays without amplification. Then the jam builds to a powerful '95 peak, but is unfinished with a crazy crescendo of sound instead of the closing refrain. |
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Divided (16:05)
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A somewhat unusual approach by Trey makes for a different and interesting version. Being 1995, it's also very well played. |
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Possum (14:36)
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Outstanding version with the jam based loosely on "You Don't Love Me" (Willie Cobbs, popularized by the Allman Bros.) - listen from 4:25 - 4:41, 6:15 - 6:30, and 8:56 - 9:03 for teases. "DEG" and "Johnny B. Goode" teases as well. |
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Gin (12:43)
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First of several exploratory, rocking, and improvisational '95 "Gins." This one even has some early funk sounds from Page. |
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Mike's (12:14)
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A great 1st jam includes different melodic material from Trey, and grows tense and dissonant as it progresses. The 2nd jam begins with a swirling, rocking tempest, grows spacey, and then some rhythmic low-key, Page-led exploration emerges from the haze. |
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Theme (12:11)
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Beautifully played, straightforward version is augmented with a percussive, dissonant ending section. -> to "Wilson." |
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Stash (18:10)
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Some cool quiet playing early on, then the jam veers away from the norm into some deep exploration. A different animal than the creatures from '93 - '94. No big peak, instead the jam dissipates with a -> to "Catapult." |
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It's Ice (9:11)
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Features a spacey and psychedelic jam. |
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Runaway Jim (9:05)
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Quickly gets beyond "Jim" into a driving, percussive and intense jam. |
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Reba (14:54)
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Great "Reba" not far removed from some of 1994's finest (10/18; 10/26). Expansive and far-ranging, the band plays quietly and patiently, covering a lot of ground, and working as one to incorporate calculated, dynamic melodies, and extended passages of sustained grace. |
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YEM (28:17)
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With Medeski, Martin & Wood! (no B&D, no VJ) |
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SOAMule (12:02)
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Scat singing and playing by Trey in response to Page's solo. Another long Page solo. Prayer-like chanting from Mike before return to lyrics. |
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Jam (36:16)
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With Medeski, Martin, and Wood. An astounding and VERY exploratory jam -> in from "Keyboard Army," as these improvisational kinfolk team up to tour the universe. Some really excellent sections, especially the final 7 minutes. |
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Mike's (14:30)
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A Page and Mike heavy 1st jam, in which Trey hangs very much in the background. In the 2nd jam, screeching play from Trey and B-3 fills from Page compliment the funky, rhythmic base. Then there's a 3rd jam of sorts at 9:50, which features Trey retaking the lead in a plucky and upbeat conclusion. |
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Weekapaug (13:12)
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The jam goes "Type II" midway through for several minutes of foreboding exploration, during which Fish really stands out. Unfinished with "Dreaming" and "Keyboard Army" teases. |
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Reba (13:58)
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Super Fish sets a shuffling beat atop which Trey grooves, and a wonderful, rolling jam ensues. Mike incites a mini-breakdown, from which a concerted passage of energy builds to burst. Trey employs any number of staccato-like licks, with Page matching him upon his piano. Huge sustain and powerful trilling drive this version to a thrilling conclusion. |
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Bowie (16:36)
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Although it doesn't get way beyond "Bowie," this very good version includes a lot of little unexpected improvisational twists and turns and a psychedelic edginess. |
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YEM (22:42)
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"Oye Como Va" teases and HUUUUGE B&D! |
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Possum (15:00)
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Intense, fantastic version with off-key jamming, amazing trilling from Trey, and an unusual ending that -> to "Catapult." |
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Tweezer (15:49)
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Amazing!! Great segue into "Makisupa." |
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Slave (10:23)
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Mike is noticeably strong throughout. Only with this rock solid foundation can Trey and Page layer on their magic dust. |
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Fee (5:48)
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Delays/effects and -> to "Llama." |
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Julius (9:10)
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Blistering, second-set opening powerhouse. |
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Theme (11:21)
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Strong "Type I" version is yet one more example of why 1995 was such a stellar year for the band. |
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YEM (27:30)
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A !@%^^!# MONSTER!!!!!! |
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Antelope (16:48)
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Although largely "Type I," this version is one of the most thrilling and intense ever. The tension and tempo start to crank up after 8:00, and even more so after 10:00. At 11:30 it sounds like "Rocco" is starting with no peak, but then there's a cool, thrumming jam section that sounds like an Antelope running, before building to the expected peak. |
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Reba (16:43)
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Trouble in the composed section is atoned for by way of a remarkable, multi-faceted jam. First, Mike and Trey team to create an extended passage of contemplative, exemplary play, with Fish and Page providing on-point fills. This soon builds into powerful and direct playing, with Trey's dynamic soloing offset by the others, in particular Mike (best experienced in SBD as part of Live Bait Vol. 12), before Trey goes off, incredible, shredding guitar not so much building as exploding, resulting in a memorable, fiery peak. |
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Mike's (17:07)
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A quick tempo, energetic 1st jam gets fired up, then takes a few more laps before breaking to the 2nd at 9:30. Dropping into a rhythmic groove, Mike and Page front while Trey goes mini kit. At 14:15, space takes over and gains a pulse and ominous sentiment, before -> to "Breathe Jam." The jam on this Pink Floyd classic provides fitting closure for another big '95 "Mike's." |
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Breathe (3:50)
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-> in from "Mike's Song." The jam on this Pink Floyd classic provides fitting closure for another big '95 "Mike's." |
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Runaway Jim (9:07)
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The recording, while imperfect, does well to capture Trey's signature (95) tone, and Page's strong play. The band creates an excellent passage of sustained "calm", which they deftly rebuild before Trey trills the version to a strong peak. |
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Fluffhead (14:40)
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Evoking all the great sounds of 1995, from Trey's Leslie-infused watery guitar effects, to Fish's booming drums, this excellent version captures the timeless nature of "Fluffhead" at this important point in the band's history. No surprise that The Chase and Who Do? We Do! provide a few minor road bumps, but generally the playing is intense and focused. Clod features some great piano soloing, while all four coalesce to hammer home a powerful Arrival. |
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Bowie (18:17)
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Fascinating, extraordinarily intense version with some bizarre gibberish vocalized by Trey for a number of measures. |
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Simple (8:53)
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Very different jam, rocking at first but with descending and unusual harmony from Page, then becoming very spacey and > to "McGrupp." |
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SOAMule (13:00)
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Wild Page solo with Trey and Fish joining at times > Trey scat singing and guitar > Page solo with Trey singing along > Page alone on piano > klezmer > wierd extended falsetto singing by Mike > ending. |
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YEM (22:42)
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Very strong version in a year of mostly awesome versions! |
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Frankenstein (5:55)
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On the heels of a strong "Mule" and crazed "YEM," beautiful play straddles the line between "Jam" and a perfect -> as "Strange Design" bleeds to breathe life into a wonderfully executed "Frankenstein." An extra spacey conclusion >'s for "CDT" to compliment a gem of a second set. |
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SOAMelt (12:03)
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Jam immediately breaks into a propulsive groove. Low key at first, the tension builds as it gets beyond "SOAM." Intense. |
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It's Ice (4:47)
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"It's Ice" -> to "Kung," which is played in its entirety during the jam segment. |
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Kung (2:45)
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-> in from "It's Ice." Following "Kung," -> back to "Ice." |
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It's Ice (1:42)
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-> in from "Kung" to complete this version of "Ice." |
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Divided (15:06)
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An inspired version with some really beautiful moments before Trey leads the boys into an overdrive finale. |
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Drowned (4:48)
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Debut as part of the 1995 musical costume, the Who's Quadrophenia. Straight forward version with no extended jamming. |
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YEM (39:45)
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HEAR AT ALL COSTS!!!! "Fuck You (In)(Up) the Ass" VJ. |
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JJLC (9:03)
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Dave Grippo on saxophone. Grippo kicks in where Trey would normally lead the playing and adds rich texture and a jazz sentiment to this fantastic version. Performed in Chicago, of course. |
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Suzy (7:30)
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Dave Grippo on alto saxophone, Don Glasgo on trombone, and Joey Sommerville on trumpet. Excellent version with a distinctly bluesy feel to it. |
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Divided (16:56)
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Astounding collective musicianship here. In this scorcher, the band nimbly stretches the chord structure, phrasing, and timing in such a deft manner that it's almost imperceptible. |
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Simple (7:28)
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Excellent and very rocking version, with Trey on the mini percussion kit, but in a great way. |
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Reba (15:44)
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A chill and relaxed jam anchored by great bass and drums, colored with pointed fills from Page and wonderful playing from Trey. The band locks upon a cool theme, the groove easy-going as Trey augments his tone. Spirited play cycles through and into a passage featuring dynamic modulation and great syncopation. More great guitar builds steadily into a euphoric release. |
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Theme (10:47)
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Some powerful playing by Trey early in the jam. Unusual and intense ending. |
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Gin (16:03)
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Excellent, multi-dimensional version. From power jamming to beautiful quiet space to coordinated rebuilding including a great "Rift" tease, it's all here. -> to "TMWSIY." |
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Runaway Jim (8:48)
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Opening almost as many shows as "CDT", it's impossible to decide upon the best "Jim" opener. Here, however, had song not followed "BATT", we would certainly find a version worthy of consideration. Trey's Leslie-soaked tone drips with color like some fever dream, and Fish's play, as ever, is unparalleled. Amazing play from an amazing show. |
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SOAMule (13:02)
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Vocal/guitar jam by Trey responding to Page. Trey is nuts! Trey vocally joins Page at end of his second solo. Fishman kicks in on drums to bring on the klezmer. More crazy falsetto/baritone singing by Mike. |
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YEM (14:22)
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A jewel. A perfect "YEM" which includes a "Crossroads" jam. -> to "Crossroads." |
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Crossroads (2:44)
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-> in from "YEM." Awesome "Crossroads" jam in the middle of a perfect "YEM." -> back to "YEM." |
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YEM (11:44)
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-> in from "Crossroads" to complete this perfect "YEM." |
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Bag (10:14)
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> in from "Sparkle." With several instances where the jam grinds to a near stop, this is another '95 version that stretches the boundaries of "Bag." |
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Hood (17:14)
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Outstanding version with a great intro. The jam begins with Trey soloing beautifully, and then he is joined quietly by Page and the others. The gradual but deliberate build up and glorious peak evince top level musicianship. |
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Mike's (13:29)
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Solid 1st jam with good variation. The 2nd jam is relatively short by '95 standards, but includes another good Mike and Page showcase while Trey uses the guitar to create a soundscape background before hopping to the mini kit briefly. |
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Weekapaug (11:18)
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A vigorously played version that packs a lot of punch. Strong funky elements enhance the excellent typical fare. |
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Ya Mar (9:39)
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"Lizards" teases. Cool drum solo. |
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Fluffhead (15:32)
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Minor early issues aside, the playing in Who Do? We Do! is very sharp and powerful. In Clod, Trey seems to use a reverb-like effect, which pairs well with Page's soloing - a soundboard would be a huge plus. A full-throttle, slightly extended Arrival includes some sweet, Leslie-infused trilling by Trey near the conclusion. This is classic 1995 Phish. |
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Antelope (11:50)
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Jam starts off largely straightforward but gets more out there as it progresses with key changes and rhythmic bending. |
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Reba (14:32)
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An interesting and somewhat atypical 1995 "Reba." Really terrific playing from Mike and Fish informs a jam that, while not quite ambient, seems more aimless than recent versions. This, however, functions to make the conclusion that much more powerful, as the band, pushed by Trey, coalesces to play with great power before arriving at the "note." |
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Tweezer (18:41)
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Very curious, "Free"-like jam. Trey finds a very cool theme to repeat for a minute or two as well. |
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Slave (11:28)
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Just solid all around. Trey leads brilliantly, Page jumps to the 88s earlier than usual, and the rhythm guys punctuate the dynamic with an exclamation point. Great sounding Aud, or Aud/SBD matrix on the spreadsheet. |
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Possum (12:28)
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Fantastic version and one of the most improvisational ever. Includes a Simpson's signal, a "Dixie" tease, Trey scatting, a "Woody The Woodpecker Theme" tease, a "Johnny B. Goode" tease, AND a wild and exploratory jam. |
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Maze (12:40)
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Insanely intense Trey section with a strong psychedelic edginess to it. |
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Stash (15:32)
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"Stash" -> "Manteca" -> "Stash" -> "Dog Faced Boy" -> "Stash". Many would rank this combination among the Top 10 Phish jams ever, and with good reason. This magnum opus is a stunning, thrilling masterpiece. |
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Manteca (1:46)
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-> in from "Stash." Nice little side trip to "Manteca" in the midst of this phenomenal "Stash." -> back to "Stash." |
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Stash (12:27)
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-> in from "Manteca." This epic "Stash" continues. This section includes some cool grooving on "Esther" before growing intense and incendiary, and then settling down and -> to "Dog Faced Boy." |
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Dog Faced Boy (2:52)
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-> in from "Stash." A haunting version of "DFB" adds a psychological twist as this epic "Stash" begins to head home. -> back to "Stash." |
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Stash (6:05)
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-> in from "Dog Faced Boy." A blistering cacophony follows "DFB," before this monumental "Stash" arrives home on familiar, but unsettling ground. This entire "Stash" sequence is absolutely MUST-HEAR for any serious fan. |
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YEM (11:01)
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"Low Rider" teases, -> to "Immigrant Song" jam!! |
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Immigrant Song (0:46)
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-> in from "YEM." Brief jamming to the Led Zeppelin classic before -> back to the "YEM" jam. |
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YEM (8:12)
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-> in from "Immigrant Song" to return to this solid "YEM" jam. |
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SOAMule (12:12)
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Page solo > Trey singing scat and playing guitar with great audience reaction > Page solo > klezmer > prayer-like chanting from Mike > ending. |
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Mike's (18:38)
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A multi-section "Mike's" begins with a rocking, somewhat dissonant opening section. For the first several minutes of the second jam, Trey "plays" loops and hits the woodblock while Page rages, and then Trey returns to guitar around 10 mins in and continues the intense and rocking, but also melodic, jam. Finally around 14:00, the jam settles into a quieter, spacey section, but as Trey adds Leslie-infused touches, things end on a hopeful and upbeat vibe. |
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Weekapaug (11:31)
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The jam includes an engaging, funky percussive section and an extended, intense buildup to the peak. |
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Jam (3:02)
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A short background jam with Trey on percussion while he discusses the debut of the band/audience chess match. |
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Slave (10:51)
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This one starts peaking just before 8:00 and continues building, with one or more false peaks before the final ending. |
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YEM (30:20)
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Must-hear! Among the very best. "Brick House" jam! |
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2001 (5:58)
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Hendrix style effects, Trey mini-kit and first baby voyage for "2001". |
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Tweezer (21:32)
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Gets very funky for several minutes. Very cool must-hear version. |
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SOAMule (12:34)
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Vocal and guitar response by Trey, but very different from all the preceding versions. Page picks up Trey's musical theme in his second solo. Mike adds his part with extended chanting before the return to lyrics. |
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My Friend (6:55)
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Version follows "Guyute," the only time these kindred compositions have been paired together, and includes a spooky outro jam with strong Fish which -> to "Dog Faced Boy." |
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Simple (9:25)
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Teases of Maze, Bowie, Possum, Day in the Life, and Bowie again. Very long, funky percussion jam, with Trey on the "mini kit." |
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Bowie (10:23)
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Great fall '95 version with a "Bowie" -> "Take Me To The River" -> "Bowie" in the jam and some thunderous and blistering exploration following the debut of this song popularized by Talking Heads. |
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Take Me to the River (1:23)
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-> in from "DB." Great brief jam on this Al Green song popularized by Talking Heads emerges in the midst of a solid "Bowie" jam. -> back to "DB." |
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Bowie (8:45)
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-> in from "Take Me To The River." The real heavy meat of the "Bowie" jam is in this section. |
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Ya Mar (9:53)
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Fish solo. |
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Mike's (14:02)
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After a high powered but otherwise typical 1st jam, the band breaks into a nice melodic 2nd one, with Trey electing to stick with the guitar, and good accents provided by Page and Mike. The jam ends with a nice -> to "Keyboard Army." |
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Antelope (11:11)
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Jam wastes no time dicking around but gets right into intensive and dissonant playing. Great Page and Fish. |
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Free (33:02)
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The second extended, highly improvisational "Free." This one is a monster with several movements well beyond "Free" proper and "No Quarter" teases and a "BATR" tease. -> to "Llama." Must-hear. |
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Reba (14:22)
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> in from "Theme," more tight playing in the composed section gives way to really cool Mike, soon joined by Trey (who runs through a great set of chords), and this colored by incredible, off-beat Fish. Page offers a pretty splash of sound before Trey enters a truly melodic solo, Mike matching him note for note. Awesome and truly attentive full-band play informs great improvisational jamming which concludes in predictably great fashion. |
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SOAMule (12:44)
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Typically strong Page solo followed by Trey on vocals and guitar. This one gets crazy as it picks up tempo and pitch. Another Page solo, klezmer, bizarre chanting from Mike, and ending. |
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Gin (13:05)
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Improvisational version includes a great breakdown jam led by Fish, Page and Mike with Trey on the mini percussion kit. |
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Timber Ho (8:03)
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Set II opener. Stretched-out, multi-faceted psychedelic jam that includes "Mind Left Body"-like jamming from 2:47 - 3:21. Jam has an eerie, quiet, mid section, then regains power. Extremely dissonant. Transition to "Kung." |
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Mike's (11:30)
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Following "Kung", which is performed like a hymn, "Mike's Song" takes the long journey home: A typically fierce version bending to break into an incredible "Rotation Jam" (like @SomethingsPhishy points out: If you didn't know better, it's tough, on tape, to realize the band swaps gear) which, ultimately, finds the four on Page's rig - this, before a seamless -> back into "Mike's." Fall Phish at its finest. |
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Rotation Jam (13:23)
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-> "Mike's". Debut finds the bandmates swapping gear before settling to play upon Page's rig before returning to "Mike's Song". |
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Mike's (5:15)
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-> from the first "Rotation Jam," the musicians return to their instruments to complete the first segment of a momentous "Mike's Groove." |
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Reba (15:27)
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Almost two months removed from Shoreline's speedy "Reba," the band again takes flight, whipping through the composed section at warp speed. The ensuing jam, while metered, does not relent, with passionate, inspired Trey leading the way, while focused, full-band play is infused with great syncopation and rich melodic variation. |
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Timber Ho (8:31)
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Set II opener. Unusual intro. Intense with ferocious percussion. Page jumps to the B-3 briefly to provide an unusual and chilling effect. Multiple movements in this incredible, jarring jam that will rattle your skull. > to "Sparkle." |
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Possum (17:20)
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Extended, percussive intro, almost like a "Bowie." Soaring, multiple peak jam with awesome Trey and Fish. |
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Taste That Surrounds (7:58)
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With Bela Fleck on banjo. This is a fantastic version; the banjo is a perfect addition for an intense, rhythmically complex, song like "Taste." |
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Slave (11:22)
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Bela Fleck on banjo. This is a fantastic version, with Bela and Trey pairing together incredibly well. |
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Tweezer (19:23)
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This is what the "HOSE" is all about. Excellent -> "Makisupa." |
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Makisupa (7:07)
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Spry, tropical sounding jamming, with some especially strong percussion -- Trey moves over to the kit for a while. Excellent, extended transition > "Antelope." |
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Antelope (10:55)
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"Tweezer" -> "Makisupa" -> "Antelope." An excellent and intense though largely straightforward version which includes some "Tweezer" teases in the "Rocco" section. |
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SOAMule (12:17)
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Trey follows Page's long solo with some vocals, but mostly a beautiful guitar solo. Page responds in kind, with marvelous classical piano stylings. |
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Hood (14:47)
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No bells or whistles on this "Hood." But the build and peak sections are simply gorgeous, even by '95 standards. |
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Mike's (20:16)
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A driving and furied 1st jam leads off. The 2nd begins with a somewhat dark sentiment, buffeted by an intense rhythmic sense. The jam then quiets briefly, before regaining its propulsive high energy nature. At 15:00, Page takes the lead, adding '95-style funk, while Trey opts for the mini kit. At the end, Trey returns to guitar to lead a clean -> to "Weekapaug," the first ever "Mike's"/"Weekapaug" pairing. |
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Weekapaug (8:28)
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-> from "Mike's Song" (1st time ever), and played in a different key than normal. Despite some issues with the key change, the jam contains a beautiful, melodic theme. |
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Maze (11:27)
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> in from "2001." Hard to believe one of the all-time hose versions of "Tweezer" comes two songs after the boys detonate this cluster bomb. |
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Tweezer (15:03)
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Even more serious "HOSE" in the entire version. Just awe-inspiring! |
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Stash (12:28)
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Although largely "Type I," this typically strong '95 version is an intense thriller, and has excellent dynamics modulation. |
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Timber Ho (7:04)
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Set II opener. Another typically strong '95 version that will fry your brain. Dissonance reigns supreme. > to "Sparkle." |
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Gin (23:34)
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A very exploratory "Gin" jam. At 7:00, the jam starts to twist away from the standard, and works through several sections including driving power rock, percussive '95-style funk, more power rock, and a -> to "Keyboard Army." |
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SOAMule (13:50)
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Page solos, then comes Trey on vocals/guitar, but the vocals are very atypical. Page responds with another strong solo, the klezmer starts, followed by Mike chanting and stomping his feet. On the final beat of the song, the band breaks into a high-powered, accelerating jam that lasts for 1:34 until abruptly transitioning to "Lifeboy." |
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Jam (1:34)
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> in from "SOAMule." A high powered, accelerating jam starts on the final beat of "Mule." Abruptly > to "Lifeboy." |
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Hood (17:12)
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Multiple rolling peaks that get higher and higher, and the final few, which incorporate an "Entertainer" tease are just sweet. |
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Slave (12:33)
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Unusual mid first set placement. Trey hits on a great riff that he molds as the jam develops. The band really stretches this one out, with unbelievable intensity even before mounting the final peak. One for the ages. |
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Possum (13:43)
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Multiple peaks that grow increasingly intense. Fish and Page are especially dynamic, with Page briefly on the B-3. |
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SOAMelt (16:46)
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Sick wrecking ball version that will pound your head. Start with some "In-A-Gadda-Da-Vida" jamming to warm up. On to improvisational twists and turns, a tense, hammering peak, and a somewhat bizarre ending. Very demented. |
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Reba (14:23)
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If 9/30 and 11/29 are fast, the Niagara "Reba" is faster. While the composed section suffers, the jam is crazy, relentless, rife with rich fills, crazy intensity, and the whacked sentiment of the set-opening "SOAM." This late second-set version sees Trey creating huge sustain which bleeds into a spacey, unusual outro. Really cool. |
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Julius (6:44)
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Only known version with a Page-only solo. |
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Mike's (17:24)
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Compared to the preceding version, this one begins in a less frenzied state, but builds up pretty good head of steam, including "Crossroads"-like jamming. The 2nd jam begins with Trey mini kit action, until 11:40, when Trey returns to his main instrument, transforming the rhythmic oriented jam into hose-filled, "Weekapaug"-like, major mode celebration. -> to a great "Weekapaug"/"DDL Jam." |
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Weekapaug (7:02)
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"Mike's -> Weekapaug -> Digital Delay Loop Jam." Incredible sequence of music with an inspired but straightforward "Weekapaug" in between stellar works of improvisational play. |
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Digital Delay Loop Jam (6:31)
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-> in from "Weekapaug." After a spirited and uplifting "Mike's Groove," the "DDL" Jam provides a chilly, eerie ending to this epic multi-part jam. |
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Tweezer (17:38)
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"KUNG" sandwich. This version is "type II" in large part and just wild and crazy. |
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Kung (4:16)
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-> in from "Tweezer." "Kung" is sandwiched in the "Tweezer" jam. |
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Tweezer (4:09)
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-> in from "Kung" to complete this strong "Tweezer." |
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Antelope (12:00)
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Rhythmic-oriented jam that is ripe with great tension and dissonance. |
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Timber Ho (7:00)
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Set II opener. Overshadowed by the huge "YEM" later in the set, this version is dark and twisted, an impressive and musical "wall" of sound, but is also very well played. |
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YEM (34:09)
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An incredibly melodic and beautiful jam segment makes this among the finest and most adored YEMs in Phish history. Also a "silent jam" and Shaft quote. Vocal jam includes quotes from a talking Beavis and Butthead doll. (No B&D section.) |
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Bowie (23:12)
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Haunting, ghoulish and riveting version that includes a long intro. Fish kicks ass! Maybe not as exploratory as the summer '95s, but it compensates with twisted psychological tone. |
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Taste That Surrounds (9:17)
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More of a full band jam, as the separation between Page's solo and Trey's was not clear at this stage. |
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SOAMule (12:48)
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Vocal and guitar response by Trey is hilarious and wild. Page responds back with another long and dramatic solo; the klezmer, and more weird chanting from Mike. |
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Hood (14:57)
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A good mix of quieter playing leads to anticipation as the build develops, then the peak delivers a celebratory release. |
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DwD (31:46)
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Extremely improvisational, experimental, "Type II"-on-steroids jamming. Musically, it's all over the map. But "DwD" fans should give this a listen to experience the band taking a fearless plunge into the abyss. -> to "Lizards." |
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Foam (10:47)
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> in from "Horn." An overlooked standout from a show loaded with noteworthy performances. The balance and modulation of intensity is stellar, from the subtle, delicate musings during the solos, to the thrilling crescendo jam finale. Mike and Fish masterfully modify their texture as this one undulates while trending upward. |
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SOAMelt (14:11)
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"Type I" until 8:50 when the jam breaks into a pulsing, percussive bent, which is followed by a wacky silent jam section. |
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Tweezer (9:17)
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Another must-hear version. "Slip Knot" tease in the segue into Timber. |
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Timber Ho (4:58)
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Awesome -> in from a serious "Tweezer", the jam is typical high quality '95 "Timber" fare, followed by another fantastic -> back to "Tweezer." |
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Tweezer (9:47)
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-> in from "Timber" as this classic "Tweezer" continues. |
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Halley's (11:51)
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The first truly jammed-out version. Following the typical outro jam, the band breaks into an upbeat melodic groove. The pulse quickens, then settles into an eerie, on-off style jam. Fantastic segue into a stellar version of "NICU." |
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NICU (9:11)
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-> in from a jammed out "Halley's." A rhythmic oriented outro jam morphs into a beautiful Page solo which -> to "Slave." |
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Slave (10:43)
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-> in from a jammed out "NICU." Extremely powerful version. Fish and Trey lay it all out to end Set II of an epic show. |
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It's Ice (8:49)
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Very spacey jam segues into a creepy, Fish-driven groove with unintelligble, bizarre vocalizations from someone (?), as Page teases the "Pink Panther" theme a few times. "Odd" doesn't even begin to describe this. |
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Gin (11:38)
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A very good "Type I" jam breaks into some percussive, deep exploration at 8:30 and then -> to "Rotation Jam" (one of only 4 such performances during which the band members all switch instruments but continue playing). |
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Bowie (14:10)
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Jam almost immediately breaks into an unusual groove. Not way out there, but uniquely excellent. |
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SOAMule (12:05)
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More '95 style "Mule Duel" wackiness, with the expected Trey guitar/vocal response, more Page soloing, and Mike chanting with a brief snore. |
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Simple (7:02)
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Short but sweet. A high octane "Simple" nicely -> to a great "Weekapaug." |
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Weekapaug (13:48)
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Features a long percussive jam with Trey on the mini-kit, giving Page a chance to take the lead. Eventually winds down into ambience before > to "Coil." |
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Stash (11:40)
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One of the most spirited, cacophanous versions from '95, even though it's straightforward. Fish and Page go ballistic. |
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Maze (12:38)
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While typically dissonant and tension filled, there is rich melodic variation from Trey compared to "standard" versions, and his yelling and screaming at one point adds to the mind-numbing aspect of this beast. |
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Hood (17:06)
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Another strong December '95 version. Fish is the star as he expertly intensifies the percussion as the jam progresses. |
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Tweezer (22:46)
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Page solo segues into a "Tweeprise" finish. WTF. |
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Tweeprise (2:47)
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-> in from "Tweezer." The second notable "Tweezer" -> "Tweeprise" combo. |
Jam chart versions are selected because of improvisational and other characteristics that distinguish these from typical versions of the song.
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