If they played a YEM like this today everyone would piss themselves and then fall over.

Let me start by saying that I think the is the quintessential Phish show of all time. While there have certainly been "bigger" Phish shows (Cypress, NYE 95, etc.), and while there have certainly been "jammier" Phish shows (11/22/97, 07/17/98, etc.), I do not think there has ever been a better Phish show in terms of just going out and nailing song after song after song. Even if you are only a casual fan of this show, then you know that it has at LEAST three top versions of famous Phish songs, and it probably has a lot more than that in all honesty.

Let's start with the most obvious jam here in YEM. I don't think a whole lot needs to be said about this jam. Everybody who has heard it knows that it and 12/09/95 are the premier YEMs of the Phish catalog, and it seems like a narrow majority has selected the Red Rocks 94' YEM as the greatest version of Phish's most iconic song. This is one of those unique, iconic Phish jams where it really speaks for itself. If you've heard it, then you know why it is the best. If you haven't then just go listen to it and you'll understand. It truly speaks for itself.

Next up we have Split Open and Melt. While the Big Cypress SOAMelt ventures off into blissful territory and then slams into a funky Catapult, this version is more of the tension and release type jam. But of course, "tension and release" is a bit of an understatement. This is the most definitive "tension and release" jam ever played by the band. There was an interview with Trey in Fall 1994 where he talks about hoe the band puts certain jams on the backburner during certain tours when they aren't really "feeling" the song. He specifically mentions the Red Rocks 1994 SOAMelt and talks about how the band knows they can never top a version like that. If Trey thinks it's the best... well.... that has to count for something, right?

Third, we have Stash. This one flies a little under the radar compared to the SOAMelt and the YEM, but almost everybody who has actually heard this Stash knows that it is among the premier versions ever played. This isn't some monster Type-2 version like Europe 97' Stash's, and it's not quite like the 11/14/95 Stash (I think that's the date), but it doesn't need to be. It's nine minutes long. Go listen to it and check it out for yourself. The entire jam just builds into the most cathartic (I'm not Mr. Miner, I swear, this is just the proper term here) ending to Stash you will ever here. Almost everybody who has heard it agrees, it is an insane Stash.

Outside of the "Big 3" we also have a number of amazing segments of music. It is hard to call any Tela "the best one ever," but it is hard to find one more perfectly nailed than this. I remember hearing a Phish fan at this show talk about how he cried when they played this version. I think that says it all. Indeed, the entire It's Ice>Tela is one gorgeous segment. The funky jam out of Ice just blends so fluidly into Tela. I wish they would play it like that more often.

A lot of people consider the Maze played at this show to be the best ever. I see this all the time. Personally, I prefer 06/18/94, but since so many people love this Maze, and it is really the heart of the second set, it is worth mentioning.

We also have a Fluffhead that I consider to be the best one ever played. Outside of one version in 1999, Fluffhead has never been jammed really, but you will not find a tighter more well-played version than this one, although 06/22/94 is an amazing version as well. The entire second set opener that precedes, 2001>Antelope, is quite unreal.

I could keep going, but then I would write about the entire show. Take it from me, RR1994. This show is A+ Phish.

This is the summer show for me that really launched '94 into becoming what I consider THE year of Phish. It is a show that has long been touted as one of the band's greatest along with Chicago's epic just a week later. 1994 was really when Phish began their ascension to the top of the heap when it came to improvisational music, and it was the incredible two weeks of shows in the middle of June that really set the tone for November and eventually '95. This two week period really was the first of Phish's truly incredible runs (sorry I dont think anything from 8/93 can hold a candle to 6/11, 6/17, 6/18, or 6/22).

I'll be brief in my review because I think this a show that should be approached with a relatively open mind and just a little expectation of some greatness. In short: YEM is traditionally considered one of the greatest of all time, Stash, Antelope, Chalkdust, Melt, and even SOAM all rip hard, and Fluffhead is Fluffhead take it or leave it...but in this case I'll take it.

Much of June '94 has become lost on casual fans due to the vast density in the quality of music, particularly from 6/10-6/25. If your a fan of '94 or really of the band at all you need to hear this show. The YEM reaches a peak seldom reached by Phish and is essential listening for any legitimate fan of the tune

If you're looking for a show to get someone into Phish with, you couldn't do much better than this gem. It features letter perfect renditions of much of the classic repertoire.

This is my first review, so it's fitting that I write about the first full Phish show that I heard. This show has been, and probably always will be, my favorite show. There is such a high level of energy in each song, and combined with the tight, unified playing, the result is a complete show from top to bottom.

I'm not going to go through every song and make hackneyed comments about how well each one was played. Listen for yourself, and what you hear will far surpass any words that I can use to describe these two sets from Red Rocks. Believe me, you won't be sorry.

A few notes:

-The YEM is a multifaceted monster.

-The Maze and the Antelope caused the rock structures around the venue to collapse.*

-The Squirming Coil is why we love Page.

-The Contact gets funky. It's awesome.

That is all.

* = not entirely accurate

I like the previous night, but this is far and away my favorite of the 2 '94 red rocks show. the set list is stacked and the playing is rock solid.

wilson>chalk dust gets the energy up right off the bat. then they go deep early with a good first set yem. rift is pretty straight forward, as is dwd, but then, i love this set ending sequence. the whole band plays really well on ice and they let it drop nicely into a very good tela. then they blow their "rocks" off on this stash. trey really digs deep on this one. great set closer.

2001 is pretty standard brand for '94, but they really cut loose on this antelope. page and trey move this one around nicely. a very tight fluff head follows. they were playing this song very well in '93-'94. very spirited. i love how mule comes out of the back end of fluff. good stuff. this is a nice wild mule. coil comes a little earlier than normal, but it sets up maze really well. this maze is a barn burner too. great page/trey interaction. they kill it. then as contact winds down, it is time for a real surprise. the first frankenstein in 3 years pops up. what a closer; it's still one of my favorites. a rocking suzy, complete with frankenstein teases, closes the red rocks run in high style.

this show is simply too heady. my own head is overwhelmed by the intrinsic headiness of phish, on june 11th 1994. how heady could a “maze” get? only so much headier than a heady “wilson” followed by an all-too-heady “chalk dust torture”. this was for sure the headiest night since the very birth of tray pistachio himself, which is of course only headier than the original amalgamation of the letters h-e-a-d-y in such order.

NOTE TO READER, “FRANKENSTEIN” IS ALSO VERY MUCH QUITE HEADY

Been listening to Phish off and on since about 1995. Junta through Hoist were in constant rotation for a solid two years, and "A Live One" and "Hampton Comes Alive." Fell off the wagon for a while. Dove back in deep about 2012, starting with 3.0 live shows and working my way back to other eras. Went nuts on 1997-2000 (I love Fukuoka most of all) and love the funk, ambient jams and intergalactic space Phish.

But now I'm digging deep into 93-95 and am really loving it, as it's getting me connected back to those early records I loved so much. I'm a jazz guy and a rock guy, so this is like aural candy for me.

Anyway, just gave this a spin and I agree with other reviewers that it's an upper echelon Phish show. There's so much manic energy, fire and passion in the playing, which is spot-on for the whole show. The YEM and Stash from the first set are outstanding, as is the RLAA. Superb.

mike and fish were on fire this whole show, and mike especially, he smoked this YEM.

As I gear up to catch TAB at Red Rocks in a few months, I figured it was time for a deep inspection of what has been often heralded "the greatest Phish show ever." I'll cut to the chase: I'm skeptical of this title. Having said that, I'm not sure what alternative I could confidently serve up as hands-down contender (maybe 12/14/95?). Perhaps my hesitancy to hand the crown to this show comes from my status as relatively well-versed 3.0 Phan and a subconscious desire to reject the notion that I've heard the best there is (there must be something more than this!). If this is the case, then I doubt I'll ever really be able to steadfastly declare any one show the best ever. Nevertheless, 6/11/94 certainly deserves the hype and has earned its seat at the table for any discussion of GOAT status. The band approaches every single song here with musical expertise and untamable energy, harnessing the essence of what it means to be Phish to the very utmost through two ripper sets and a blazing encore. Though I may not be ready to admit it myself, I cast no judgement on he/she who stands by this night.

Setlist Thoughts
- Wilson is one of my favorite set openers, as it immediately demands the attention and participation of an eager audience. From the second the first verse begins, the band fires on all cylinders. Beyond Trey's above average soloing here, I took most note of Fishman and Mike's irregularly prominent roles on this tune (see Mike's harmonic play during the second call/response section, which gets an audible laugh out of Trey).
- Generally, I think Phish fans justifiably salivate more heavily over a -> transition than a mere > when looking at a .net setlist. However, there's something so powerful about the more subtle transitions when one tune finishes on an unresolved chaos and the next comes in to bring us back home. That's exactly what Trey does here, parading in Chalk Dust Torture to sort of continue the shredding left unfinished by Wilson. Trey is absolutely ridiculous here (probably going to be saying that a lot this time). This is a great example of his ability to start a solo on a high octane note, yet tread carefully as to not burn through the tank too quickly. With the help of the rest of the band, he spins out an ever-rising energy that doesn't reach the ceiling until the very end.
- I'll restrain myself from diving too deep into this YEM, as I'm not sure what hasn't been said. This is what y'all came to the show for, and boy did you get it: a tight composed intro section; a beautifully atmospheric and droning minute before Page's piano solo that meanders from serenely Ionian to more dissonantly ominous harmonies; a stellar round of spotlight moments from Page and Mike (the latter is especially active in the section following his solo); characteristically soaring and piercing sustain from Trey before the big drop; shredding organ riffs; drum fills galore; a patiently building guitar solo that begins with the tone knob on 0 and builds to form the icing on absolute shredfest; meaty, meaty octave pedal Mike during DnB; a continuously grooving vocal jam; and even what I would venture to call a -> Rift. This YEM is fucking 10/10.
- Rift is one of the few Phish tunes for which I hold the studio version as my comparison point. I think it's because I've heard enough bad ones (or at least subpar enough as to not retain the studio version's magic). Despite a couple of forgivably minor missteps, this Rift performance passes my test. Trey and Page absolutely crush this piece with precision and soul. Mike and Fish can't be overlooked, either, as both bring the same high-quality musicianship to this piece. The residual YEM VJ quotes in the intro are a nice touch.
- This DwD is a sneaky highlight for me. The vocals retain all the spirited fun that I love in the studio and the solo section is absolutely gripping. There are several ""stank face"" moments as Trey flies around the fretboard, and many of these are due to the rest of the band. Fishman's use of the cymbal hits is so god damn nice here. These guys could ride this one off into the sunset and I'd be happy. It only gets better when the now-rare ascending vocal riffs come back in around the 6-minute mark.
- As with Rift, this It's Ice passes the initial test of ""can they pull off the complicated lines?"" There are several reasons to love this performance beyond this, though. Most notable in my opinion are Mike's busy bass in the verses and Page's absolutely dirty piano licks that birth a sweet funky groove in the breakdown.
- Tela is absolutely beautiful from beginning to end. Bass, piano, and drum flourishes aplenty dot this performance with numerous moments of bliss. When the peak finally arrives, it's as emotionally moving--as utterly triumphant and powerful--as ever. I can only imagine the energy in the rocks during the last couple of minutes here.
- Set 1 ends with a Stash that clocks in at just under ten minutes (more on this later) and bears many of the same qualities of the other great Stash's that don't evolve definitely into Type II territory. That said, Mike brings some unique elements here that make this version stand out to me. Namely, there's a lot of amazing harmonic build and tension here that is not directly derived from the song's form itself (see the ascension from 5:33 - 6:13). On top of this, we get a lot of the familiar offbeat emphasis that can be found in other rhythmically playful performances of this tune, cacophonous and looming harmonies across Page/Mike/Trey, storm-like drumming from Fishman, and a fucking tight finish.

*Going to take a moment now to point out two elements that immediately stood out to me about this show other than the absolutely phenomenal musicianship. First, take a look at this setlist. The song choice is diversified across the band's (admittedly young) timeline, and every single song is a crowd pleaser (other than MAYBE Contact for the select few Contact haters...though I wholeheartedly disagree with you). Second, take a look at the durations of each song. Other than YEM, Fluffhead, and just barely Antelope, every song is under ten minutes. We don't get any crazy behemoth jams from this show like Bozeman, no insane segue fests like the 6/22/94 Simple. YEM and Fluffhead are always that long anyway. Yet, this show is widely considered the peak of live Phish. As someone who has always championed the view that longer does not equal better, I appreciate having this in the back pocket.*

- I've written before about the function of Also Sprach Zarathustra as a shorter tune. While I absolutely love the longer funk jams that evolve out of this tune, I have also noticed a pattern associated with the tighter, melody-focused versions: they are usually followed by a fantastic jam. This performance is no exception to the rule, and a quick 4-minute 2001 (with some sweet Mike fills) gives way to a fiery Antelope.
- The whole band is absolutely on point throughout this Antelope. Fishman's crash cymbals left and right drive the jam forward with freight train momentum, Mike and Page play with some counterpoint harmonization as Trey slips in and out of dissonance with his fancy fretwork. Following the main peak, the band fools around with various fills and chords before Rye Rye (I'd even say that Trey throws in a London Calling tease around 8:10). This jam's gotta be heard.
- At the request of the crowd, the band pulls out Fluffhead and passes yet another test of their ability to navigate tricky composition in a live setting. Page's piano solo is stanky, alternating with some crazy sharp drones coming from Trey's rig. Trey and Fishman's ad libs in Arrival give the celebratory peak that much more energy on top of an outro jam that is drawn out slightly longer than usual. Trey and Fish are attached at the hip here, and it's awesome.
- Scent of a Mule features a ton of awesome interplay between Page and the rest of the band in the beginning of the Duel. As young as the tune is here, Page's improvisation here is as if he's been training on this particular piece for years and truly highlights his musicianship. Trey holds his own extremely well as the tempo launches sky high before the final verse.
- From SoaM we move to SOaM. As the jam charts call out, we get an incredible amount of tension and release here. It's about as evil-sounding and thunderous as any other Melt I've heard, so if you're into that sort of stuff you should definitely give it a listen. Not much uniqueness that I could hear, but certainly a well-played performance.
- More Page features! Squirming Coil's outro is blissfully beautiful (more so than usual, in my opinion). I hesitate to even say more on this for fear of diverting attention away from any one moment of the 5-minute piano solo.
- Maze's intro grows from the final chord of Page's Coil solo, with Trey's ascending sirens and gurgling drones foreshadowing a killer performance to come. The verses expertly alternate between the crazy energetic and the more subdued measures, switching on a dime. Both Page's organ solo and Trey's guitar solo reach insane points of intensity that make me feel like my heart is going to leap out of my chest just listening. An A+ Maze.
- Contact is well-played and straightforward. Set 2 Page continues to pop off on a super funky piano solo. Following Contact, we get a sizeable bust out with Frankenstein, which subsequently become a staple cover over the band. Though there have been crazier Frankensteins, this is an excellent selection to cap off a historic night of Phish.
- Page wasn't quite finished it seems, as the Suzy encore gives him a platform for even more shredding on his grand piano. the jam section here grows in energy in a microversion of Darien Jam #1. What's super cool here is the purposefully quiet and sparse third verse coming out of Page's solo.

This show is fucking killer. Give it a listen.

Great energy right form the start with a nice Wilson>Chalk Dust opener. The energy just gets better from there as they play a great YEM. The rift is nothing special just sort of a breather while not losing all the energy of the show. DWD isn't anything to brag about but still a fun song. Everyone sounds good in It's Ice>Tela and the set ends with a nice Stash.

Set 2 opens with a standard early 90's version of 2001 which gets the crowd ready for an action packed second set. A better than average Antelope follows and leads to a decent Fluffhead. Scent of a Mule, Split Open and Melt, and The Squirming Coil give the set some solid jams but nothing special from any of the three. Maze in my opinion is the star of set II, you can really hear the crowd get into it and the band responds with great energy of their own. Contact slows things down a bit making the first Frankenstein in nearly 3 years that much more suprising but certainly a pleasant suprise.

The boys close out the show with the always fun Suzy Greenberg. All in all a great performance from the guys with no really weak songs.

Everything in this show is played extremely well and with metric tons of energy. I will list a few highlights here, but this is a show that is worth listening to in its entirety because the band's execution on every song is phenomenal! Every song has some nuances in dynamics, rhythm, Mike's bass booming bass lines, Trey's inspired solos... If I had to say anything negative about this show, it would be that many of the jams don't go into Type II territory. However, this means that this Red Rocks outing showcases the pure ecstasy of Type I jams to the fullest degree. OK, enough pre-amble, here are my highlights:

1) YEM: Hot F***! The energy up to this point is soul electrifying! Mike is funky, plunky bass boom, Page is crystal clear jazzy baby grand, Fishman is tight and syncopated snaps and pops, and towards the end of the jam segment, Trey is face and mind mauling alike. Mike really shines in this jam (and throughout the show really). He will thump the eyeballs right out of any listener's funky little head. So phenomenal... This is a go-to example to show someone "How YEM is supposed to sound". Strap in for a high octane ride. Maybe wear some adult diapers. Also, the transition into "Rift" from the vocal jam is quite cool.

2) It's Ice: The funk breakdown here is just great

3) Stash: Soars and peaks galore. Great Type I version from a band playing in its prime

4) Run like an Antelope: Segues masterfully from a funky 2001 opener with thrilling and impressive delight. This antelope rages hard! The whole band is a freshly oiled engie, settling into some nice grooves with Trey and Mike meshing like PB & J (Trey = Jelly, Mike = peantu butter, obvs). Right before the "Aye aye rocco", Fishman picks up the beat and PB/J build to some insane frenetic energy. Incredible Type I Antelope.

5) Fluffhead: Worth the listen because of how well the band is playing. Mike is little bunny foo foo, bopping people on the head with those bass notes.

6) Split Open & Melt: The chaos and tension ins this version is wild. I love Mike's dissonant basslines that straddle a tightrope of melody while Trey's guitar effects grow on a razor's edge. Page also shines during some of the peaks, like a drowning man who briefly surfaces to gasp precious air before plunging back below the surface. Probably the closest to Type II the band gets in this show, its a sharp and stellar gut punch.

Again, listen to the whole show. I agree with others who say this is a perfect show to give a newbie to help them unravel the amazingness of this band.

Giving this one an anniversary listen tonight...it's been a long time. I got the tapes of this not too long after the show ("not too long" meaning a month or two in the days of snail mail tape trading). It was a really hotly traded show, as there were very few soundboards getting out anymore. I guess Paul had literally "pulled the plug" on soundboard patches to the tapers as things started getting crazy. In fact, the majority of the 94 SBDs that are out there today didn't leak out of "the vault" and get into wide circulation for years... in most cases, not until music started moving around the internet post-millenium (you youngsters may not understand the utter thrill of finally being able to get Phish recordings without the post office involved, btw). So this show had the benefit of a much better sounding recording than most of the other amazing shows that kept coming out, one after another, and it was clearly a strong one with a killer setlist for the day...all their best ones at the time imo...Stash, Antelope, Split, Fluff, YEM. I ended up trading these tapes a lot, but I deemed the show to be a bit too "safe" and kept searching for the shows where they took more risks and hit greater heights. I could live with some rough spots if my mind was sufficiently blown in the end.

Listening back 28 years later though (yikes, that's a whole lot of years), what I heard as "safe" back then sounds more like "mature" now. This marvelous show is just SO listenable. Maybe it's like my opinion about figure skating (of which I have few) that if you fall in a competition you should be disqualified. Staying on your feet is kind of the fundamental part of skating and I don't see how you can call yourself a champion/medalist (that competition anyway) if the whole world saw you flopped ass-down on the ice. If you think that's harsh, then stick with moves you can do. I don't love figure skating and my tolerance of crappiness is correspondingly low. My love for Phish, of course, is huge, but as the years have gone by, my patience for moments I don't love has waned a bit too. Too many ragged minutes scattered throughout a show (or even a long track) seem to temper my joy for the high points these days, like a skater's fall ruins an otherwise flawless routine (imo, again). It's live improvisational music so I totally forgive the band for glitches, but my listening preferences have become much more selective.

So this has gotten pretty long winded, but my point is...this show is just so strong and consistent from start to finish. There isn't a dull or clumsy moment anywhere. Nothing abrasively experimental. Nobody's on auto-pilot...all four members on top of their game, throwing out fresh ideas with energy, confidence, and control. Other reviewers have covered the specifics well. I agree that Mike is particularly awesome in this one... I give him the MVP award for the night. Trey gobbles up most all of the MVP awards in '94 but Mike gets this one. He reeks of confidence and swagger... F's your face with bass all over this show. Definitely an excellent show for a newbie due to the lack of "challenging" moments for new ears.