The Jam Charts · phish.net's good stuff

Strong debut version features a slinky and jazzy piano intro. Page solos nicely, with cool chords from Trey, who soon offers an energetic solo of his own. Page retakes control through an extended outro, which builds to a near peak. Must-hear for fans of "The Wedge."

1992 was kind of an off year for "Bowie." But the band starts off 1993 with an excellent well-varied ripper here. All of February 1993 was strong for "Bowie."

"Jim" opens this historic show's second set, showcasing Page's new found sound (seriously, check it out). That aside, the version is superb, the band locked in as, within "Jim", they begin to truly toy with tension ratcheted not solely for the purpose of release.

"Water/Wash Your Team in a Beehive I'm a Sent You" lyrics.

"Water Your Team In A Beehive I'm A-sent You." And "My Girl" teasing.

Cool jam on "You Don't Love Me" by Willie Cobbs, but more familiar as an Allman Brothers Band cover, from 5:27 - 5:55. After that, it is a crazy shred-fest, plus it's Page's first time on baby grand, which sounds awesome.

Very cool and experimental beginning to the jam. Some good thrashing around elsewhere. First time with Page on the acoustic piano, which sounds great!

Excellent and very different kind of jam that gets well removed from "Antelope." Great tension in an almost "Stash"-like way.

After some "TMWSIY" teasing, the jam immediately launches into exploratory territory, with several great little breakdown sections. Add that it's Page's first "Weekapaug" on the baby grand (which sounds awesome) and some fun "Push Th' Little Daisies" teases and vocals at the end, and you have a gre…

"Vibration Of Life" in intro. Cool jam with some interesting rhythmic variation.

-> in from "DB." "VOL" is performed during the "Bowie" intro. -> back to "DB."

-> in from "Vibration Of Life." Cool jam with some interesting rhythmic variation.

An improvisational section begins at 4:40, with really great Mike and Page playing. Then Trey adds electric energy to the mix as the jam returns home to conclude.

Really cool version with Trey (5:27) leading the band through extended "DEG"-like play, before (5:52) entering what sounds like "Rift". This, then, into raw and raucous soloing, which brings the version to a customarily strong close.

A crazy composed section with a lot of hissing and screaming (affectionately known as the "Baguette" version), breaks for a jam featuring playing both fluid and somewhat jarring. In time, Mike provides a great beat over which Trey creates a cool vibe. The band modulates intensity to inform an explo…

Excellent version with "Clementine" VJ.

Jam sounds like it's peaking, but at 9:10 this "Bowie" heads out for more dissonant and exploratory jamming.

A modified, percussive intro provides a glimpse of the form the song will soon assume. A strong outro, featuring great work from Trey and Page, highlights an evolutionary marker in the development of this song.

Signal-laden intro with fun stop / start playing. Trey even seems to sing with a sense of urgency, before great soloing gives way to thoughtful and inspired full-band playing.

The jam goes "Type II" almost immediately, seamlesessly alternating between standard melodic "Weekapaug" jamming and sparser, dissonant sections found throughout '93 and '94. Very strong improvisation within the context of "Weekapaug."

By far the most exploratory and different jam through this date. Very innovative and very excellent. Unfinished.

Power strumming by Trey leads to some serious tension and dissonance. Fish is great.

Mike is busy through an extended intro, engaging in a sort of musical banter with Trey, as the two seemingly swap signals. A calm then warms into a cool, really unique jam, featuring notably spacey Trey, who employs sweeping sustain and melodic variation to create a great soundscape before play ver…

> in from "Fluffhead." Noticeable tension and dissonance from Trey as well as the expected rapid-fire action.

Another "Wedge," another intro. Here, Trey leads, with Page playing in support. This dynamic produces different soloing, featuring more Trey, and great, restrained Page. The band modulates intensity through a cool outro.

After scratching his way into the jam, Trey plays melodically, offset by Page, who features prominently in this version, offering accents and a series of fills to compliment the version's central theme. Mike and Fish sync up before Trey enters into another musical passage, infused with any number o…

The jam starts with a really nice, swinging vibe. As it builds, Trey has some great soloing, topping it off with strong trilling.

Some great Page, and then Trey cranks the tension up and Fish hammers it home.

Cool B&D segment.

Hilarious in part...Trey goes flat...Butchered a bit. Must-hear!

If you want to understand why "Bowie" has been so disappointing since really, the mid-'90s, just compare any recent version to this all-around fantastic one from a relatively unknown show.

Takes awhile to get going, but when it does, it's very strong... before it cools off. Unusual ending too as Fish kicks ->into Foam.

Great drumming through the composed section mellows into a smooth, Mike-driven beat. Trey modifies his tone and hits a series of scattershot notes before infusing the jam with a warm melody and cool trilling. The band toys with an array of tempos and speeds before Trey seizes upon a great theme whi…

After a nice "In The Hall Of The Mountaint King" tease from Page, the 1st jam is centered around "Another One Bites The Dust" (Queen) teasing, then the 2nd jam features more jamming to the same tune, but in a twisted and distorted way.

Extended intro with swells of feedback from Trey akin to the pre-Nirvana section of YEM.

"Moby Dick" jam, teases and signal in intro. Jam itself is very good, if largely "Type I," with more "Moby Dick" teasing.

-> in from "DB." To celebrate Fish's birthday, the boys bust out a little drum-centric Led Zeppelin. > back to "DB."

> in from "Moby Dick." The "Bowie" intro continues briefly before launching the composed section and a solid "Bowie" jam with more "Moby Dick" teases.

Jimmy Herring on guitar. Section breakdown is Page, then Trey, then Jimmy. They all rock it, hard.

Fish rules the court here, and Trey is predictably fleet fingered in this powerhouse version.

With strong execution throughout, Page's shift to a baby grand is a big plus to the performance sound. The changes in dynamics, from the quiet sections of Clod, to the growing intensity approaching Arrival, demonstrates the band's confidence that they can not only survive, but even excel when perfo…

Directly before "Tweezer" walks away, this supercharged "Reba" jump-starts this historic second set with wild and inventive play, notable for "Woody Woodpecker" teases and syncopated madness.

Great opening section (with a "Straight from the Sewer" rap), and a "Low Rider" jam before a "Walk Away" sandwich! But there's not a lot of "Tweezer" in here. Can't really "rate" it as against others.

-> in from "Tweezer." "Walk Away" is sandwiched inside "Tweezer."

-> in from "Walk Away" to finish this "Tweezer."

Tease-heavy version includes melodic winks at "Tweezer," "Wilson," "Reba," "The Lizards," and "Stash." This version also includes a "MMGAMOIO" sandwich.

-> in from "Mike's Song." The first of several brief segues in the midst of an inspired and popular "Mike's Groove." -> back to "Mike's Song."

-> in from "MMGAMOIO" to complete a tease heavy version of "Mike's."

> in from "Mike's Song." Part of an epic tease and segue-fest, the "Hydrogen" sandwiches brief versions of "The Vibration Of Life" and "Kung."

-> in from "I Am Hydrogen." All part of an incredible and hugely popular segue-fest "Mike's Groove." -> to "Kung."

-> in from "The Vibration Of Life." Both are sandwiched inside of "I Am Hydrogen."

-> in from "Kung" as the roller coaster segue and tease-fest continues.

A strong "Type I" version of "Weekapaug" that passes through "Have Mercy" and a "Rock and Roll All Nite" jam in the midst of one of the craziest tease and segue-fests of the band's career.

-> in from "Weekapaug Groove." This incredible "Mike's Groove" is a segue and tease-fest, with 12 bona fide ->'s in a single set. -> back to "Weekapaug."

-> in from "Have Mercy" as this incredible tease and segue-fest "Mike's Groove" continues and -> to "Rock and Roll All Nite."

-> in from "Weekapaug." An audience member dressed as Gene Simmons joins the band in singing this Kiss classic. -> back to "Weekapaug."

-> in from "Rock and Roll All Nite" to wrap up an incredible "Mike's Groove."

-> in from "HYHU." A cool and very improvisational jam, coming at the end of a historic show. Shredding, intense peak.

Reggae style and other fun throughout the intro, as if to set the table for Page. And Page responds in kind, his playing strong throughout the version, both when soloing or providing fills for Trey.

Frenzied and chaotic version that briefly pushes out beyond standard "Antelope" several times. Page expertly adds dissonance to the harmonics.

"Stash" -> "Manteca" -> "Stash" at the close of the jam. The jam itself is also very good, with nice improvisational action throughout, an unusual ending, and a -> to "Lizards."

-> in from "Stash." Sweet little "Manteca" jam towards the end of a very solid "Stash." -> back to "Stash."

-> in from "Manteca" to complete this strong version of "Stash," which ends in an unusual manner and -> to "The Lizards."

Yet another rock solid "Bowie" from February 1993. Great melodic variation by Trey.

Unusual, exploratory ending section (beginning at 8:00) with rhythmic variation and a different vibe. -> to "Lizards."

Another strong Spring '93 version that bookends the debut of "Nellie Kane" -- the second half is particularly hot, and -> "HYHU."

-> in from "Weekapaug." The debut of this Hot Rize bluegrass classic is sandwiched in a typically strong '93 "Weekapaug." -> back to "Weekapaug."

-> in from the debut of "Nellie Kane" to conclude a strong '93 "Weekapaug."

Machine Gun Trey takes out the audience in this largely straightforward, but blistering hot version. Fish rocks too.

Insane intensity and tension. This one is smoking hot and Fish goes ballistic.

Breaks away from the standard jam at 8:20 into a quiet but tension filled section. Returns home to wrap up.

After four minutes of standard but white hot "Weekapaug" jamming, Page and Trey drop into a sparser section with "Alumni Blues"-like riffing, before bringing back the main "Groove" and finishing on a high note.

This New Orleans rendition swings through a speedy "Smoke on the Water"-like section before rebuilding to a strong "Weekapaug" climax.

Strong varied and experimental jamming with multiple sections. Fish earns his stripes keeping the rhythm in check while keeping pace with the mind of Trey. The return to home base after being far, far away is a thrilling rocker.

Soulful Page on the B-3. Then Trey gradually rips his section up into an incendiary peak.

"Julius"-like repeated riff from Trey (no joke) beginning around 6:43 for a minute. Very cool version. "Buried Alive" tease from Trey.

A bizarre composed section usually bodes of cool things to come, which, in this particular instance, arrives in the form of a series of subtle effects from Trey, who then begins to play atop a very chill yet musical beat driven by Mike and Fish. Again, the band moves as one, and the playing gains…

Typical for Spring '93, the jam includes a breakdown section, and this one features great interplay between all four, a gradual and mildly dissonant return to "Weekapaug," and a trill-filled, predictably strong peak.

Vicious, mean-spirited, dissonant, ripping guitar work, "outside-the-box" deviations, and teases taboot. All the ingredients are here for a classic '93 "Bowie."

Long, musically oriented intro with Trey repeating a melancholic riff and a sweet little jam in the pre "Blat, Boom...!" section with Mike hinting at "Getting In Tune" by the Who.

Great rythmic-oriented jamming. Released on Live Bait Vol. 6.

The 1st jam has some good variation away from the standard, while the 2nd jam is typical for 1993, somewhat crazed and chaotic, but also way out there and well removed from boiler plate "Mike's."

"My Girl" teasing/jamming by Trey leads to an excellent Page piano solo midway through, which rebuilds in great form to a soaring "Weekapaug" finale.

Departs "Stash" entirely at 6:55 into an intense, high power jam that eventually (about 9:30) gets back to "Stash."

Another sick one or, a great "Bowie" with incredible tension, varied jamming and an angry disposition. More twisted = More better.

Teasefest including a -> to "Spooky."

-> in from "YEM." A "Spooky" jam is sandwiched in this "YEM" along with many other teases. -> back to "YEM."

-> in from "Spooky," sandwiched in this "YEM." INSANE VJ! Teases include "Mystery Achievement," "We Will Rock You," Welcome to the Machine."

Kinda messy jam on "Sweet Emotion" during the jam segment.

-> in from "Tweezer." "Sweet Emotion" is sandwiched inside "Tweezer."

-> in from "Sweet Emotion Jam" to complete this "Tweezer."

Dazzling, swirling play from Trey as the jam becomes subdued and assumes an almost "Weekapaug" vibe. Fish remains relentless, and he rocks and rolls the band through a wild rise which finds Trey zipping through simply incredible runs.

Fun and exploratory jam includes a solid breakdown section with jams/teases of "Heartbreaker" and "Lively Up Yourself."

> in from "I Didn't Know." A good one with some "DEG"-like jamming to add to the dissonance factor. Machine Gun Trey in serious heavy action towards the end.

Following the final refrain, the band launches into an evil sounding "Little Drummer Boy" jam, singing "my friend, my friend he's got a knife" to the "Drummer Boy" melody.

Although the jam is basically "Type I," it includes teasing/jamming on the Bee Gees' "Staying Alive" throughout, some "Little Drummer Boy" teases near the end, and is very well played with good Trey shredding.

Trey shreds throughout the jam of this quintessential 1993 version. And you aren't the only person to hear "Terri" and "Tickle" in this wild vocal jam.

The first version to stretch beyond standard "Jim." Cool little exploratory departure starting at 7:30.

Bizarre and creepy jam includes a "Rhapsody In Blue" tease from Page, and an unusual ending with screaming.

The jam breaks down to near silence with just Page and Fish quietly musing. Then the energy gradually rebuilds with great rocking fills from Trey and Mike before circling back to "Weekapaug" proper. Ends with an extended vocal jam which -> to "HYHU."

Very exploratory jam which veers away from standard "SOAM" and makes a clean break at 7:50 into improvisational, slightly off-kilter playing. Shifts into some good rocking and gets really great as it works its way back to "SOAM."

Nice little melodic outro jam is tacked on with no "Myfe" ending.

Beautiful, delicate playing at first. Then at 7:55, there's an incredible section where the power builds in a cool and very unusual way for "Hood." From here, there's a brief settle before launching into a blistering ending.

Really fluid and laid-back jamming, with Trey all but absent (relatively speaking), as if inciting the others to respond. This results in an all but total dialing down of the sound. Not so much a secret language, as a testament to the band, who, via subdued and nuanced playing, manage to maintain…

Band uses the jam as a segue for a performance of the entire suite of Gamehenge songs, one of only 5 such performances. Unfinished.

Rhythmically oriented jam with awesome Fish and shredding Trey which gets increasingly experimental and dissonant.

The jam leaves the standard behind, comes back, leaves again on a different tangent, and finally returns to wrap up.

A strong, surprise version (the first in 114 shows), Trey glides through a "Stash" tease, and, true to the era, incorporates somewhat experimental playing, featuring a great shuffling, percussive sound. Page's first "Magilla" on acoustic piano is definitely worth hearing, it sounds fantastic.

Strong Mike in a somewhat dissonant 1st jam. The 2nd jam is the first of several '93s which have jamming similar to the future "Simple." This one also has some good stop/start action, before more dissonant Trey and a percussive lead up to the closing.

Great little "Ob-La-Di, Ob-La-Da" jam/tease, followed by a breakdown with exceptionally strong playing by Fish and a vocal jam-style ending.

Great version - sounds like a neck-and-neck horse race between Fish and Trey trying to keep pace with each other.

Very drawn-out, extended ending.

Attentive version with Trey totally on point, his playing rife with melodic content and truly inspired, as if tapping into some sort of otherworldly intent. A wonderful build with some impressive Mike thrown in.

Solid but typical play in the 1st jam leads to good improvisation in the 2nd jam. Beginning with sounds similar to the as yet unhatched "Simple," the jam returns to typical "Mike's" jamming, then breaks into Mike-led, rhythmic and exploratory play, before coming home to wrap up.

"On Broadway" teasing/jamming leads to an improvisational breakdown section with good variation in the intensity. At 8:15, the jam breaks into an inspired "Type II" section which concludes with an explosive return to "Weekapaug."

The jam has a cool quiet section before rebuilding to a strong finish.

Breaks away from "Antelope" several times, with some twisted tension building between 6:50 - 9:00.

In the opening segment of "YEM," the music > to "The Pez Song!"

> in from "YEM" during the opening segment. Trey sings one verse of this Dave Abrahams' (childhood friend of Trey's) song. > back to "YEM."

> in from "My Life As Pez" (aka "The Pez Song") to return to the "YEM" opening segment.

Spectacularly improvisational and MUST-HEAR . Takes "Stash" WELL beyond anything performed up to this date. Starts exploring right off the bat with an un-"Stash"-like groove, a brief "CYHMK" jam, and a power finish.

Excellent second-set-opening version.

Page leads the jam for awhile!

Great jam with an unusual rhythmic and swinging vibe gradually diminishes, then -> to the debut of "Psycho Killer" before -> back to "Weekapaug."

-> in from "Weekapaug." Debut of this Talking Heads classic is sandwiched in a strong "Weekapaug." -> back to "Weekapaug."

-> in from the debut of "Psycho Killer" to conclude yet another strong '93 "Weekapaug."

Moves beyond "Stash" at about 7:00 for a good 2 minutes of exploration before returning.

Very CYHMK-like jam for several measures. Smokes!

The breakdown begins with dissonant rocking by Trey and Mike, then leaves "Weekapaug" altogether, journeying through several improvisational soundscapes. Arguably the most out-there, experimental "Weekapaug" ever, with a blazing return home and vocal jam taboot.

Fantastic improvisation in a very cool and very different jam than most. Mike and Fish are awesome keeping pace with Trey, who excels. Dissonant and blistering ending.

Excellent, raging, machine-gun Trey jam segment!

Excellent, very exploratory version that includes some "DEG"-like jamming. Well beyond "Stash" proper.

Several minutes of growly, percussive, dissonant, and atypical jamming.

Brain-splitting tension and dissonance on display here. The ending release is welcome relief!

"Gumbo" quote, -> to "Honky Tonk Women" Jam during the bass and drum section.

-> in from "YEM" at the end of the bass and drum section. -> back to "YEM."

-> in from "Honky Tonk Women." Vocal jam includes bits of "New York, New York" and "Swing Low, Sweet Chariot."

"Stash" -> "Kung" -> "Stash." The jam is typically great Spring '93 stuff with exploration beyond the norm. Returns, seemingly to conclude, then heads out again for more exploration, winding up in the Land of "Kung."

-> in from "Stash." Great combination, a tense, improvisational "Stash" paired with "Kung" in the middle, which includes "DEG" jamming. -> back to "Stash."

-> in from "Kung" to conclude this excellent version of "Stash."

Excellent jam segment -> to a "Spooky" sandwich.

-> in from "YEM." A "Spooky" jam is sandwiched in this "YEM" jam. -> back to "YEM."

-> in from "Spooky" as this excellent "YEM" jam continues.

The jam quickly moves beyond the standard into exploratory '93 territory, with Page, Mike and Trey mixing it up in the quiet section, which reduces down to little more than a quiet pulse, before rebuilding in a thrilling, powerful and electrified manner and returning to "Weekapaug."

Short jam, but a dramatic, extended ending with screaming. Highly entertaining for a short version.

Trey hits on a cool little riff which he incorporates into much of this very good, unusually less dissonant jam.

A nice "Ob-La-Di, Ob-La-Da" jam/tease occurs following the final refrain.

Jam on "I Wish."

The beginning of the jam is different and improvisational. Grows mildly dissonant as it progresses even while Trey shreds.

A somewhat dissonant, straightforward 1st jam morphs into nice melodic play before breaking into some cool and unusual "Low Rider" jamming in the 2nd. With no formal return to "Mike's," the jam concludes with a great -> into "Ya Mar."

After successfully navigating the treacherous early sections, there's a palpable sense of energy as the lyrical section of Clod ends, leading to a super Page solo complimented by great play from Trey. An excellent Bundle of Joy gives that momentary sense of an impending train wreck, before the band…

Unusual, intense and improvisational jam that almost sounds like a "SOAM" jam at times.

The jam from this fiery, intense version was attached to the end of the song "Demand" on the studio album Hoist. In a 1994 interview, Trey noted this performance marked the beginning of a watershed, 14-month period, during which the band really clicked and coalesced on "SOAM's" complex jam rhythm.…

Nice interplay between Trey and Page in the breakdown section, then the jam seems to be headed for home with a fiery peak, but instead veers off-course into more improvisational jamming, gradually diminishing unfinished, and (arguably) > to "Gumbo."

Some versions of "Stash" peak and seem like they're concluding, then head out on another exploratory jam. This gripping and probing version is an excellent example.

A strong and exploratory jam with good dynamic modulation, excellent Fish, and some inspired and "hose"-like melodic playing by Trey from 7:25 and 9:25. The setlist describes this as "atypical, jazz-laced jams." I'd just call it ass-kicking '93 Phish.

Very strong jam segment.

Demented. The jam, like a 95 "Reba", seems like an exercise in speed. Fish's play is remarkable, all technical terms seemingly applicable. Trey works his own sort of wizardry, and the version becomes like a "Stash", rife with tension and release.

The song begins in a different and cool manner, while the 1st jam includes intense and rocking play with Trey ripping it up. The 2nd jam is gnarly, percussive stuff, and includes Trey screaming "Will the good lord save, will I dance on grave" before mellowing and becoming more melodic. A classic '9…

Good improvisational jamming right off the bat, then strong "Type I" jamming followed by quiet Page/Fish-led play. As Trey and Mike jump back in the mix, the energy builds dramatically, but the improvisation continues further before finally heading for home for a victory lap.

Another strong entry from Spring '93. Trey latches onto a catchy swinging theme in the jam which also teases "The Wreck of the Edmund Fitzgerald" and "Sundown" by Ontario's own Gordon Lightfoot.

Rocking version includes a brief jam on Pink Floyd's "Money" (4:45 - 5:20) followed by fantastic, very exploratatory jamming. Intense conclusion to the jam with Trey just shredding away.

The strong 1st jam includes jamming that hints at "Crossroads," before breaking into a repetitive, grundge-like Mike and Fish-led groove. The 2nd jam sounds very much like an early stab at what would evolve into "Simple" the following year, played atop a similar groove to the 1st jam, and then ends…

Excellent jam with Theme From Bonanza and "NICU" teases, as well as strong and unusual melodic content -> to the first "Makisupa" in 320 shows (last seen on 11/26/90) before -> back to "Weekapaug."

-> in from "Weekapaug." "Makisupa" makes its first appearance in 320 shows (last seen on 11/26/90), amidst a strong "Weekapaug." -> back to "Weekapaug."

-> in from the first "Makisupa" in 320 shows. This section includes great "Can't You Hear Me Knocking" ("CYHMK") teases, exploratory jamming and a shredding peak. All in all, another great '93 "Weekapaug."

Experimental jam with quiet scat singing by Trey early, good tension, a near breakaway section at 6:00, and pounding Fish.

Lengthy, playful, discordant intro with "The Good, the Bad and the Ugly" teases from Page on keys and Trey on vocals. The Morricone teases continue throughout, most effectively as the nightcap to a queasy, little jam preceding "BLAT BOOM".

Excellent B&D!

Awesome opener. Typically great guitar builds seamlessly to a incredibly thick and textured groove (5:00) which the band, circa late 90s, rides like a wave. Trey breaks to solo atop steady percussion before working the version to a smart conclusion.

> in from "Glide." Very different from many of the preceding '93 versions. Jam begins with some melodic, almost upbeat playing by Trey. Returns to typical '93 "Bowie" by 8:00 with great tension.

A high energy, solid 1st jam is followed by a nice, melodic groove, with great Page on the B-3. After rebuilding some energy, the jam briefly settles before roaring back to close.

After starting in a rocking manner the jam detours into a segment of off-kilter exploration before returning home.

Remarkably groovy jam segment.

Barn burner version with intense, rhythmic and dissonant jamming midway and a screaming peak.

Very pretty and delicate soloing. Impressive Page and a strong conclusion. Proof positive that "Esther" is not necessarily best reflected in the studio.

"Earth Move" tease. Sandwiches "Manteca"!

-> in from "Tweezer." "Manteca" is sandwiched in the "Tweezer" jam.

-> in from "Manteca" to complete this "Tweezer."

Breaks into a punchy, rhythmic groove, returns home, heads out again for more improvisational play, then builds into a powerful ending.

Great -> in from "Runaway Jim." Following the final refrain, the outro -> to "Manteca," then -> back to "MFMF."

-> in from "My Friend, My Friend." "Manteca" is sandwiched in the outro. -> back to "MFMF."

-> in from "Manteca" to complete this solid version.

"YEM" -> to "Jam" with Aquarium Rescue Unit and RAGES!! (No B&D or VJ).

-> in from "YEM." Aquarium Rescue Unit joins in for the jam segment and it RAGES!!

Good improvisation and some cool licks from Trey early, then the Machine Gun lets it rip with great trilling near the end.

Very melodic jamming. "Sweet Emotion" and "Crimes of the Mind" jams as well.

-> in from the gnarly second jam in "Mike's Song," when a surprising "Ob-La-Di, Ob-La-Da Jam" emerges. After toying with the Beatles classic, Dick Solberg (violin) joins the band and ignites a spirited and high energy several minutes of play, which neatly -> to "Rocky…

Unbelievable staccato picking by Trey throughout the jam is matched by deft playing Page and Fish. A serious ripper.

"Mission: Impossible" teases and a "Yield Not to Temptation" jam. Vocal jam based on the "Bonanza" theme.

"Stash" -> "Kung" -> "Stash." Intense, high voltage jam in "Stash." Great segues.

-> in from "Stash." The second "Stash" -> "Kung" -> "Stash" appearance is also a strong version.

-> in from "Kung" to conclude this excellent version.

More subdued, "underwater" jamming, with the band winding the sound way down. Only Trey never ceases playing, and the effect is instant and sustained beauty. Page provides great fills as, trilling and shredding, Trey drives the band through a soaring peak.

"Bowie" -> "Jessica" Jam -> "Bowie" -> "Have Mercy" -> "Bowie." Awesome medley, but the "Bowie" sections are also outstanding. The pre-"Have Mercy" jam section is excellent but very different than any preceding version. Post "Mercy": the usual high wire shredfest.

-> in from "DB." Awesome little melodic section in the "DB" intro pays homage to one of Trey's big guitar playing influences.

-> in from "Jessica." The "Bowie" intro concludes and launches this epic "Bowie" into action.

-> in from "DB." Great segue to "Have Mercy" in the midst of a stellar "Bowie" jam. -> back to "DB."

-> in from "Have Mercy." Returns to "Bowie" to wrap up this classic and top shelf version of "Bowie."

"Discipline" and "Manteca" teases in an extended jam unusual for Spring '93 tour.

Towards the end of Page's solo, Trey, and then Mike and Fish jump back in and kick off (by ->) an awesome, rocking and bluesy "Jam."

MUST-HEAR, fantastic rocking and bluesy jam that -> in from "The Squirming Coil." As the jam progresses, it starts to sound a bit like "Crossroads," which appears later in the show following "Mike's." -> to "Big Ball Jam."

Following a strong but typical 1st jam, the 2nd jam gets really rocking and blues-infused, then neatly -> to a great version of Robert Johnson's "Crossroads," before -> back to "Mike's" to wrap up.

-> in from "Mike's Song." The Phish debut of this Robert Johnson blues classic is sandwiched in the middle of a strong version of "Mike's."

-> in from the debut of "Crossroads" to complete a strong, sandwich version of "Mike's."

"Amazing Grace" goes electric! Only instead of creating a Judas, Phish induces a 'Come to Jesus' moment, which, incredibly, seems to take a detour through "Weekapaug." An absolutely stunning tour closer which packs the emotional punch of NYE's "Auld Lang Syne." A-freak…

The usual great fare for this period, but then at about 8:45, there is an upbeat departure and "Little Drummer Boy" jam.

Quality over quantity. Short, yes, but they pack a lot of swift improv into this one.

Strong version with especially good soloing by Page.

Trey hits on several different riffs in the jam that are good. Faster tempo, so even faster shredding. "Wilson" tease in intro.

Phish debut.

Begins with a jam on "Heartbreaker" right off the bat, followed by a rocking, exploratory jam. The band then plays along with nearby fireworks which sounds similar to a "BBJ." Finally, they start into "Brother" but shift back to finish "Antelope."

After a good improvisational start to '93, "SOAM" suffers a slight "Type I" malaise in late spring and early summer. Here, the jam progressively frays the edges, getting more outside the box and paving the way for the huge August versions.

As @SLAVEPHAN notes, the band pushes through an Arabic, minor-key groove, and the version features some distinct hey-jamming, with each musician taking turns changing the musical direction. Play becomes quite tense, and, at times, there seems to be no real resolution on the horizon. One of the fine…

Great repetitive and thematic jamming which cranks the tension up several notches.

Great and varied jam that includes a "Tweezer" jam at the beginning and a nice melodic section. Then it acclerates.

Searing hot and extremely improvisational jamming, with several false peaks followed by gut-wrenching tension.

This is a sick, sick puppy. All kinds of improvisation combined with a generally mean-spirited sentiment.

The 2nd jam begins with a rocking, percussive tone, then cycles down to dream-like, easy going melodic play that sounds akin to "Blue Bayou." The energy then ramps up, with "Crossroads"-like playing as it returns to "Mike's" proper.

The jam is brought down to near-silence before kicking back in with a bluesy section and returning to traditional "Weekapaug" to close.

"Bowie" -> "Donna Lee" -> "Bowie." After a gentle start, the jam grows typically dissonant and tension filled. Some "DEG"-like jamming adds to this effect.

-> in from "DB." Played during the "DB" intro. Sadly, this is the band's last performance of this classic Charlie Parker jazz tune.

-> in from "Donna Lee." Great jam with tension and dissonance and some "DEG"-like jamming as well.

Frenetic playing and lots of little brief departures that stretch the boundaries of "Antelope" and then keep coming back. Trey's playing is incredible. Released on Live Bait Vol. 4.

Very cool beginning to the jam, and Trey is tuly superb throughout, embracing a variety of styles and tecniques.

A pretty, inspired, patient, and increidbly quiet jam (check this out with headphones) which, in addition to melodic, and typically inventive Trey, features wonderful work from Page. Mike and Fish maintain a breezy, airy sort of rhythm as the version steadily gains momentum, the musicians nicely mo…

Little sprinkles of improvisational play throughout this great version, and Page is notably strong. Who Do? We Do! is dynamic and filled with great Fish, leading the team. Mike compliments Page's solo in Clod quite nicely, while Trey and Fish stretch the celebratory victory lap in Arrival out just…

Cool "Heartbreaker" jamming highlights the 1st jam, while the 2nd had good rhythmic, repetive play which is also decently melodic compared to some '93 siblings.

After very few performances from Summer '92 - July '93, this "Gin" blows open the doors to serious improvisation, including tempo shifts, a "Sleeping Monkey"-like jam, then some great free-form jamming. -> to "Makisupa."

Straightforward version until just before the customary closing chords would end the song and "Hydrogen" might begin, in that where "Simple" eventually would start-up, the band launches into what old tapes called a "Heavy Metal Jam," which features Joe Rooney screaming on vocals (and then that jam…

Sick jam with dissonance, rhythmic gyrations and soaring tension, then > to a reprise of "Makisupa" in the "Rocco" section.

> from "Antelope" for a quick "Makisupa" reprise before > back to close "Antelope".

> from "Makisupa" into the "Rye Rye Rocco" with an All Fall Down signal to wrap up a very strong "Antelope".

Being that it's August '93, you can expect some quality improvisation. This one has some twisted meanderings and a deranged little section near the end.

Awesome B&D!

Mike is HOT in this version, despite the short B&D. "Tequila" tease and a -> to "Cocaine" in the jam segment.

-> in from "YEM." A jam on "Cocaine" is sandwiched in "YEM" and precedes the vocal jam. -> back to "YEM."

-> in from "Cocaine." "YEM" VJ includes "Cocaine" teasing and "Tweezer" lyrics and -> to "Halley's."

First time played in 241 shows. Serious tension/anticipation building early on in the jam, making the release glorious.

Some unusual and improvisational jamming during Trey's section. Mike and Fish are great responding to Trey here.

Breaks into an unusually upbeat groove that gradually grows dissonant. Makes a brief return to "Stash" proper before settling, unfinished, with a -> to "Makisupa."

Of all the improvisational but slightly off kilter '93 versions, this one may take the cake. The solid 1st jam includes a "2001" tease. The 2nd is all over the map - rhythmic, dissonant exploration, a semi-return to "Mike's," quieter musing with a "New York, New York" tease, an Irish jig of sorts,…

-> in from "Mike's Song." A signal infused version of "Kung" is sandwiched in the middle of a crazy but improvisational "Mike's."

-> in from "Kung" to complete one of the more bizarre but improvisational versions of "Mike's."

A good, jazzy outro jam is tacked on which > to "McGrupp." Released on Live Bait Vol. 4.

This classic version features a long, fantastic Page solo with solid backing from the others. As it continues, the energized nature of the playing increases, and Mike is noticeably strong before Fish fires off the Gatling guns to signal the closing section. Released on Live Bait 4.

Power jamming plus typical August '93 all-over-the-map improvisation. Very intense with insane tension.

A wild and crazy "Bowie." After a punchy, rhythmic start, the jam accelerates into sheer chaos.

First of several strong August '93 "Hoods." Improvisational and restrained playing by Trey shifts at 10:00 when Page plays some low register piano chords, and the power starts to surge upward. Fantastic "Hood."

The Chairman of the Boards shines once again. Trey's confident guitar work gets the ball rolling with a strong Fluff's Travels, and continues through the perilous Chase section. An intense, frenzied, Who Do? We Do! and crisp Clod evince a band performing at a mastery level, the stuff of August '93…

August '93 = improvisation. This "Possum" inculdes a cool intro, a jam with moments of improvisation spread throughout, a "Tequila" tease, a crafty transition back to lyrics, and then hysterical Mike singing an octave lower.

A "Who Knows" (Jimi Hendrix and the Band of Gypsies) jam is sandwiched between slices of "CDT."

-> in from "CDT." Brief jam on this Jimi Hendrix tune. -> back to "CDT."

-> in from a "Who Knows" jam (Jimi Hendrix) to finish this "CDT."

Diverges from the standard outro into a tense little jam before > to "Split Open And Melt."

Improvisational, but a little bit weird. The jam begins with scat singing by Trey and immediately breaks into slow, plodding and percussive action. Returns to "SOAM" with sick trilling at the peak, then slows down, and down, and down, and -> to "Glide."

"Smoke on the Water" teases in the jam with Trey quoting "Here comes Speed Racer" during one of them. Vocal jam contains verses from "Psycho Killer." Great vocal segue into "Contact."

Jam gets well beyond "Jim" into some interesting exploration. It's August '93, what else would you expect?

A wacky but improvisational outro jam occurs, including a "YEM"-like vocal jam.

Insane, tension-filled, extremely improvisational "Stash." This is a vicious animal. Totally awesome!

The 1st jam includes a unique repeated riff from Trey and Mike. 2nd jams in 1993 were often a bit odd, even bizarre. That description fits here, as the 2nd jam is very improvisational, but also unconventional, including "Games Without Frontiers" vocal quotes from Mike.

Much of the jam is decidedly "Type II" and unsettled in nature, but the return to typical "Weekapaug" at the end is quality as well.

Nimble and delicate piano action from Page. Then Trey cranks the energy up several notches with blistering blues work.

A jam on the Simpons signal and lots of gnarly, improvisational stuff including rhythm and tempo changes in a semi-evil jam.

The old intro is played although it was largely abandoned after 1988. Odd little outro jam tacked on to the back as well.

Syncopated grooving that departs the "norm" and features a fun, intense breakdown, with truly remarkable full-band exploration, a la "David Bowie." The playing almost gets pushed back to "Reba" territory before collapsing totally into improvisational "Bomb-Facotry-esque" wonkiness.

Excellent version that weaves back and forth, back and forth between super tight but typical "SOAM" playing and exploratory jaunts.

An unusual "The Landlady"/"Tweezer" combination, with both songs weaving back and forth.

Get Back signals, a Simpsons signal, and several measures of "Landlady."

> in from "Tweezer." A few measures of "The Landlady" are played at the end of "Tweezer."

> in from a brief reprise of "The Landlady" to complete this song combination.

Like 8/8/93, another improvisational version. "Possum" isn't exactly a "Type II" vehicle, but there are brief moments in this one that come close. Includes a "Tweeprise" tease, a solid low-key start and a rocking conclusion to the jam.

> in from "Lengthwise." Cool little Mike solo between Page and Trey. Brief exploratory jamming towards end of Trey's solo. Blistering finish.

-> in from "Makisupa." A fantastic segue. Jam begins with Mike soloing quietly, then Page joins him in a largely delicate duo (with Fish subtly keeping the beat). Trey's solo is similarly restrained. At 7:15, the volume comes back up for a exclamation point finale.

Very exploratory, but also remarkably musical. Lots of tension, but without so much chaos and dissonance.

Long, very musically-oriented intro. Serious improvisation, but unlike many other strong versions, this one is far less dissonant and shrill. Rather, it is very rich musically, including little jams on "The Mango Song" and "Magilla."

Incredibly improvisational, Must-Hear "Gin," one of the best ever. After 83 mostly straightforward versions, the band in August '93 suddenly seizes upon "Gin's" jamming potential. This wild, racehorse version is fun, wacky, musically coherent, has multiple teases/jams, and segues seemlessly into "Y…

A shredding 1st jam with good variation is followed by yet another improvisational but somewhat wacky 2nd jam. Here the band settles into some quiet, Mike-led play, before thematically rebuilding, with the band's weird chanting/screaming adding to its crazed nature.

Despite being consistently well played, "Divided" was largely kept on a short leash throughout 1993. This excellent version is an exception.

"Dance Of The Sugar Plum Fairy" tease by Page. Solid version with excellent Fish and Page teaming at the end of the jam.

Moderately exploratory considering it's August '93. Uncharacteristically lacking in the customary dissonance.

"Antelope" -> "Sparks" -> "Walk Away" -> "Antelope" -> "Have Mercy" -> "Antelope." In very good company with other major segue-fests, including the "Tweezerfest" (5/7/94) and "Stash" (11/14/95). What distinguishes this epic version is that strong improvisation is combined with melodic beauty that a…

-> in from "RLAA." First stop on an epic, "Antelope"-based segue-fest. -> to "Walk Away."

-> from "Sparks." Part of a massive and epic "Antelope"-based segue-fest which -> back to "RLAA."

-> in from "Walk Away." This fantastic "Antelope" and segue-fest continues and -> to "Have Mercy."

-> in from "RLAA." This epic segue-fest continues with some melodic relief from the intense sections of "Antelope" that precede it. -> to "RLAA" to finish off this masterpiece.

-> in from "Have Mercy." Here concludes one of, if not THE finest "Antelope" versions in the history of the Universe.

Jams based on "Speed Racer", "Smoke on the Water", "Kool Thing (Sonic Youth)," and quoting of "Mystery Achievement" (Pretenders). Vocal jam includes a brief "On Broadway" quote.

Another good August '93 "Jim" that expands into some great improvisational jamming.

Playful improvisation in the outro with Mike taking the lead melodically. > to "Paul and Silas."

Almost unquestionably the finest, most improvisational and thrilling stand-alone version of "Stash" ever performed (11/14/95 taking the song combination honor). SBD from FTA - IT - Part 2. Download this, NOW!

Arguably some "Cities"-esque chords from Trey, Antelopian HOSE, "Cocaine"-esque, and "Harry Hood"-intro-like jamming, and a glorious dying-out-of-the-theme ending. This is quite a version.

The jam begins in a very delicate manner, then grows in power with sprinkles of improvisation. There's another great quieter section, and then at 10:40, it's all guns blazing for a full throttle finish.

Several breakaway moments in this exploratory jam. When it's not moving beyond "Possum," the jam is wild, rocking and intense with incredible playing by Trey. Unusual and spontaneous ending with whistling.

Magnificent. A huge, fantastic, multi-faceted, and improvisational odyssey, this version features three-distinct segments which culminate in a blistering peak. A truly wonderful "Reba," the second to arise in the middle of an historic month for the song.

Very improvisational version. Fish is the star here, varying the rhythmic structure several times during Page's solo, and during Trey's solo, which has moments of reggae-like sound, as well as a brief jazz-like swing. Then at 7:10, the band begins a silent jam which continues until 9:00. (NOTE that…

Superb exploratory playing. While it has neither the dissonance and chaotic jamming of many '94 versions, nor the psychological edginess of many '95s, the overall quality places this "SOAM" in good company among the best.

A typically short, strong '93 1st jam moves on to some good improvisational play in the 2nd jam. This one hangs together musically pretty well despite a few signature August '93 oddities. The jam gets pretty sweet and rocking as it progresses, with a "Crossroads"-like vibe.

Highly improvisational version including jams on "Gypsy Queen" (Santana) and "I Wish" (Stevie Wonder).

Within the context of "Divided Sky," this has a very improvisational, well-played jam with excellent Fish and Trey.

After some cool whispering/mumbling by Trey in the intro section, the jam starts off with a strong, Page B-3 solo, which turns into a little jam of its own, with solid support from the others. Page cranks it up into the usual high energy frenzy, leading to a smooth handoff to Trey. From there, we g…

Brushing past a wobble or two in The Chase, things really coalesce in Who Do? We Do! Being that it's August '93, you can expect flourishes of improvisation, even in a highly composed song like "Fluffhead." Clod has inventive playing by both Trey and Page. And this Arrival is not to be missed, as Tr…

Trey's solo tells a beautiful, soulful story start to finish, before peaking triumphantly. An incredible, transcendent version.

Incredible, extremely "Type II" improvisation which also flows together remarkably well musically. Powerful ending to this masterpiece.

Long jam segment.

Nice work by Page on this version (released on Live Bait Vol. 6).

Classic version popularized by its official release (Live Bait Vol. 6). Excellent full-band play featuring strong Mike and dynamic modulation. Textbook.

Very improvisational version with several good twists and turns including a jam on "CYHMK."

Almost an eerie quiet early in the jam with mostly Page, Mike and Fish gently musing. Gradually Trey brings in the melody, and there is a near linear sequence of intensity building as the chord progression repeats itself.

Similar to 8/14/93 in that it's not wildly exploratory for August '93, but it's expertly played with flourishes of improvisation.

What I'd call an "average-great" version for the mid-'90s.

Extremely improvisational, with multiple movements. Perhaps lacking the melodic grandeur of 8/15/93, it is nonetheless stunning, fly-by-the-seat-of-the-pants exploration.

Very improvisational, dissonant and chaotic version.

Still August '93, so "Possum" is still exploratory as far as "Possums" go. The jam starts off a little odd, then comes back to a more "normal" mode. Has a cool slow down section plus Mike singing falsetto/extra low. (*skip in tape, timing inexact).

With Bela Fleck and the Flecktones, who add some extra flavor to this outro. > to "Llama."

> from a terrific "Fee," and featuring Bela Fleck on electric banjo, Victor Wooten on bass, and Roy "Future Man" Wooten on drumitar, here's one of the coolest versions you've "ever heard." While sticking close to "Llama" proper, the musicians gel wonderfully, offering up a wonderful passage of chi…

Bela Fleck and the Flecktones. "Bowie" -> "MLB" Jam -> "Bowie." Very improvisational version, really no surprise given the month and year. And the Flecktones are no slouches when it comes to improvisation. Nothing like Victor Wooten and Mike going at it, or Bela and Trey.

-> in from "DB." Phish and Bela Fleck and the Flecktones team up for a little "Mind Left Body" jamming. -> back to "DB."

-> in from "MLB" Jam. Returns to "Bowie" to conclude this dynamic, exploratory version with Phish and Bela Fleck and the Flecktones teaming up for group improvisation.

With Bela Fleck and the Flecktones. Fish and Future Man play around with rhythm, then the others join in a low-key jam.

"I Feel The Earth Move" tease/jam in another excellent August '93 version.

There's some "Crossroads"-like playing from Trey, a "Long Tall Glasses" (Leo Sayer) tease worked into the jam, then "DEG" teasing and "DEG"-like jamming as it gets way out there into a twisted combination of two unusual jams, then it returns to "SOAM" for a soaring peak.

Not the jarring dissonance of later versions, but Trey plays like a demon possessed here.

Rounding out a strong August '93 for "Mike's," the 2nd jam here fills in the unchecked "heavy metal" box. Replete with screams and gnarly riffing, the band displays it penchant for unbridled improvisation to Canadian fans. Acoustic "Ginseng" follows. Go figure.

Quickly breaks into off-the-wall, "Type II" playing and concludes unfinished with a "La Marseillaise" tease before > to "Wilson."

Another strong August '93 "Antelope," with dissonance, improvisation, and shredding by Trey.

The old intro section is played again. Some cool Mike action on this version.

Yet another wildly exploratory August '93 "Stash." This one gets far from home, but doesn't quite gel cohesively.

A couple of short sections that stretch beyond "Possum," plenty of intense, improvisational "Type I" action, and incredible shredding.

Magnificent jam segment. Guest artist Baby Gramps joins the band for the vocal jam, which > to his "Nuthin' But A Nuthin'" aka "Mice And Bats."

> in from "YEM." Guest artist Baby Gramps joined the band for the "YEM" vocal jam, and then continue with a humorous rendition of his song aka "Mice And Bats," with Fish on vacuum.

Jam breaks into a great upbeat groove, settles into a quiet section, and rebuilds with great tension. Excellent.

The third, and final, of August 93's tremendous "Rebas." Absolutely BEAUTIFUL playing in what, for the period, typically constitutes the quiet section, before another great build makes for a wonderful conclusion and a bodacious "hell yeah!" release.

A menacing outro jam with an accelerated tempo which sets the mood for the fantastic "Split Open And Melt" that follows.

Incredible combination of improvisation and musicianship. Must-hear. Some August '93 jams are quirky. Not this one. Start to finish, it's gripping, creative, tension-filled, exploratory, and musically coherent. Simply Magnificent.

This "Esther" features a fun and different sort of intro - which invites a really cool and shuffling sort of tempo - before great soloing and flashes of improvisational flair hint at what would come in 1994.

Enchanting and nimble early section is gradually overtaken by power, ending in a fierce and extremely tight peak.

Possibly the most deranged, sick, insane, and wild-ass version ever. AWESOME!!!

A truly stellar Page solo (even for Leo) is absolutely matched by brilliant and shredding guitar playing by Trey.

Page has a stirring solo, then Trey goes ballistic with the others joining the mayhem. Watch out! This dog bites!

Celebrating the conclusion of an incredible and historic month, this "Fluffhead" bristles with energy and verve. Who Do? We Do! features some great interplay, and all four musicians are in sync throughout. Page's Clod solo is a classic, with Trey cooly strumming along in support. Close inspection w…

Another killer, improvisational, and multiple movement version from the strongest month of arguably, the peak year for "Stash."

More incredible August '93 improvisation, with this version containing five distinct, magnificent jam sections, a Brady Bunch theme tease, and Secret Language.

Random Note, All Fall Down, and Oom Pah Pah signals included in this jam.

"YEM" -> to a HUGE "Oye Como Va" jam.

-> in from "YEM." Huge "Oye Como Va" jam occurs just prior to the "YEM" bass and drum section.

-> back to "YEM" from "Oye Como Va." Nice -> from the vocal jam into "Contact."

Jazzy, exploratory and quiet beginning to the jam. The power cranks up with "Kashmir" teases and then gets blistering hot.

Great opening segment!

Strong '93 version that has a very unsual quiet section from 6:35 - 8:35 before returning to "Antelope."

Jam breaks into a quick tempo groove at about 6:45 and continues on this track until returning to "Gin" at 8:20.

Fantastic version which sounds light years removed from the improvisational wackiness of August '93. This "Mike's" has melodic grandeur that distinguishes it from almost any '93 siblings. The signature 2nd jam has moments of hose foreshadowing a bright future for "Mike's."

Wraps up a tremendous "Mike's Groove" with inspired "Type I" playing and a funky vocal jam. Unfinished with a > to "Purple Rain."

Page stays on piano throughout, which adds grandeur to this version, while Trey really just adds color to the chord progression for most of the jam, enhancing its majesty. But it's over the top when Trey takes the lead.

Phish caps 1993 with a fan favorite. Trey dazzles, his playing incredibly fun and infectious, matched by Fish on his blocks. A festive, celebratory groove ensues, before building to a shredding peak. An exclamation point on a terrific year for "Reba."

Trey repetitively hits a lot of notes in staccato-fashion in this jam (that Mbird Board and Working Group member Drew Hitz adores, and thinks I'm an idiot for underrating in '94 when I reviewed this version). While definitely an above "average-great" version (it sure ends well!), this jam IMO just…

"Peaches En Regalia" teases and Random Note signal in this version.

"Peaches en Regalia" teases, good on-the-spot variation, a great rhythmic breakdown midway, and a fiery ending add up to another top notch '93 "Possum."

Sweet theme in the jam.

Jam segment only following "Auld Lang Syne" (Released on Live Bait Volume 3).

The jam starts with an "Auld Lang Syne" tease and delicate soloing, which builds into a frenzied guitar-led jam.