The Jam Charts · phish.net's good stuff

Debut includes a Page solo followed by the familiar klezmer style riff as the whole band accelerates the riff until Mike starts howling, indicating a return to the lyrics.

Following a few flubs in the first "Reba" of 1994, Trey blasts on through the composed section and modulates intensity. After teaming up with Mike to tease "A-Hunting We Will Go," super soloing dominates the version - listen for Page syncing up to develop extended "Batman Theme Song" teasing - whic…

"Hey Bulldog" teases during an extended jam. Page led at first, but it becomes a full band rocker.

Debut of the complete song.

Debut with the Giant Country Horns. Played at a slightly faster tempo than most subsequent versions. Establishes precedent for this song to be a pretty intense, raging one. SBD available on the "Spreadsheet."

Incredible, fantastic version. While the Giant Country Horns add an undeniable boost to this powerhouse version, it is Jon Fishman who fuels this colorful rendition, arguably more notable for its scuttling, shuffling beat than the addition of trumpet, sax, or trombone. The version you take to your…

Debut with the Giant Country Horns. The song was played in a lower key throughout 1994 than all versions from 1995 to present. The jam includes a great horn-infused "Alumni Blues" jam.

Jam starts with a beautiful, flowing section with great Page and Mike. Then Trey and Fish kick things up several notches.

Highly charged musical version rife with ideas and fire Fish. Listen, if you wish, to 8/9/97's surprise summertime splash, and follow Trey playing (here, in 94, after the 6:00 mark) a very similar, demented, distorted, and delightful line - awesome version.

Cool bass solo follows Page's organ solo. Then Trey plays a great guitar solo, which Mike joins, to conclude.

Contains an excellent melodic jam, and Mike is out-of-hand good. A well above-average short version.

"Stash" starts off '94 in a jarring, intense manner, seems to peak, then breaks into a 2nd, really excellent improvisational section.

Trey is just ON FIRE! A thrilling, albeit straight-up "Type I" version.

Awesome and very unique version in which the 1st jam is the centerpiece of the improvisation. The jam slips away from typical "Mike's" into a repetive motif, which then breaks into nice melodic play that grows increasingly tense. Then the jam picks up a rocking head of steam. The 2nd jam adds color…

Nothing recreational here, Trey, exiting the song proper, dominates. After simply spraying the space with impossibly open, yet concentrated sound, play (7:00) momentarily grinds to inform cool, droning, near-thematic improvisation. Not for long. As if broken down to rebuild, Trey whips the band int…

Second set jam vehicle. First ever "Digital Delay Loop" jam is performed, followed by a rocking and extended "It's Ice" jam. Must-hear version.

-> in from "It's Ice." The debut of the "Digital Delay Loop" jam is performed at the beginning of the "Ice" jam. -> back to "It's Ice" for more excellent "Ice"-type jamming.

-> in from the debut of the "Digital Delay Loop" jam. A rocking and excellent "Ice" jam follows the "DDL" jam.

Begins with a nice bouncy groove, things settle into quiet, subtle playing, then Trey & Co. build to a textbook finale.

Like 1993, the band starts 1994 with an uninterrupted string of improvisational "Bowies." This one has a very cool, exploratory jam, but not so jarring and dissonant as most of the '93s.

Pretty rocking jam, somewhat straightforward but with tempo shifts, unusual melodic lines from Trey, and a nice rhythmic breakdown section at the end.

Gnarly and heavy-duty power rocking jam. Not for the meek.

A pretty crazed version with multiple teases, a vocal jam, and some unusually tense playing.

Great Fender-Rhodes action from Page early, with the others gradually joining the mix. By 6:00, the power has cycled up on all fronts in a very crisp and cleanly played version. This one goes to 11.

Good solid rocking jam with Page leading the way.

A good, gripping and improvisational "SOAM" with great tension.

A "Rockin' Back Inside My Heart" jam (Julee Cruise) occurs in the outro section.

Great interplay by the band during Trey's solo, with delicate precision.

Jam starts off with some good rhythmic changes, builds in tension, then there is a major break at 6:55 into some great and cool exploratory jamming which gets back to "Antelope" by 9:25.

A "Classic '94" jam begins with a great early section that has a good Fish-driven pulse, then Trey starts to add power with strummed chords. The intense peaking section concludes with really incredible trilling by Trey.

Great rhythmic variation from Fish throughout. Page's solo is interesting and unusual. A near-silent jam during Trey's solo, after which he shreds the build-up.

More scuttling and scuffling from Fish. Great Mike. Page playing with great intensity. And Trey modifies his tone; he really shapes and bends his notes. Collectively, a wholly rocking, as opposed to jazzy, vibe.

Start/Stop jamming in the intro. Cream's "Sunshine of Your Love" is teased during an intense jam.

Mike is noticeably strong in this dark and evil monster. Finishes with a "CYHMK" tease.

Another subdued jam with Page again complimenting Trey, whose patience is offset by Mike and Fish, their fills particularly spirited and on point. Trey works through patterned playing, which, cumulatively, has an almost hypnotic effect, before a concerted push works the jam up and into a mini-break…

A very intense, high power version, loaded with tension and unusual rhythmic shifts, but not highly dissonant. Very solid.

One of those great probing versions that leaves "Antelope," comes back briefly, leaves again, home again, off again, etc. etc.

First version to have the audience chanting, AUD version also has enthusiastic claps. The band delivers a bombastic performance, surely energized by this new avenue of audience participation.

> from a jam-charted "Wilson." Perhaps still riding the energy of the first-ever audience participation in "Wilson," the band delivers another fiery "CDT." The jam starts with a bit of stop/start action. Page gives the organ a workout before Trey comes barreling in to take over with nifty play at a…

Trey and Page carry the lead while the rhythm section starts and stops several times before grinding to a halt.

Jam breaks into an upbeat, melodic but intense groove. Then, nasty old "Stash" makes a roaring comeback.

Bad-Ass jam with power jamming, rhythmic shifts, and more. Fish rocks. The jam winds down instead of peaking.

Great Trey solo in this show-opening version.

Yet another exploratory April '94 "Bowie." This one has great Mike, exploratory rhythmic shifting, and a cool breakdown jam at 10:10. Dissonance builds towards the end. Really, an awesome version.

Jam section includes some early funk followed by a settled section which rebuilds into a rocking jam that opens up some before returning to the "Wolfman's" theme. Nothing like the monster versions from 1997 on, but an important one for establishing the funk -> release/rock -> return to "Wolfman's"…

A nail biting thriller with excellent melodic variation, loads of tension and an intense and dissonant ending.

Although largely straightforward, the jam is played at an accelerated tempo. This also marks the first real appearance of the present day, "Type I" "Gin" jam with Page and Trey melodically playing along to the "Gin" theme.

Another strong, groove-oriented jam, which, primarily because of tape quality, provides a great look at Page’s strong play. Trey, however, locks into a great riff, which Mike then echoes, as Fish, as usual, drives the version's frenetic pace.

The great thing about "Stash" from '93 - '94 is how fluidly the band weaves back on forth between familiar ground and exploratory territory. This intense and gripping version shifts back and forth several times.

A bit odd and quircky at times, but also very experimental and improvisational, and the jam closes with a raging peak.

Intense jam rocks the house, hard. Great Fish and Page.

With the Dave Matthews Band. -> in from "Drums" featuring Fish and Carter Beauford. A rocking and very percussive jam with both bands playing along together builds into a good groove which slows and -> to "All Along The Watchtower."

Incredibly exploratory version. Perhaps not beautiful music, per se, but this is fearless improvisation on display.

Trey seems to pick up the notes that he "dropped" during the composed section, sprinkling them throughout an experimental jam that feels jazzy, in large part because of Trey's tone, and band-wide shifts in tempo and intensity. Page's play is particularly pretty, and improvisational flashes abound,…

Similar to 4/20/94, except that the jam gets further away from the norm as it develops, becoming more malicious.

Super musical, this version, which features "Caravan" teasing and wonderful Page, boasts incredibly strong soloing (Trey) and remarkable full-band play.

A gripping version with nail biting tension and dissonance galore.

With Col. Bruce Hampton on piano and a Rock 'n Roll Hoochie Koo jam.

Follows "YEM" serving as a vocal jam of sorts with Colonel Bruce Hampton joining on vocals.

"Gin" -> "Jump Monk" -> "Gin." Quality jamming early on with variations on the "Gin" theme. The "Jump Monk" (Charles Mingus) segue comes near the end (one of only 2 Phish performances of this jazz classic).

-> from "Bathtub Gin." One of only two performances of this Charles Mingus jazz classic. -> back to "Gin."

-> in from "Jump Monk." Quick return to end "Gin" before > to "Dog Faced Boy."

Here, there's a noticeable, bouncy groove to the jam section, like you want to tap your foot along, which seems unusual for "Slave." And Trey really brings it on heading into the finish.

First of the "Big" '94 "Bowies." This is an unbelievable journey of music and improvisation, spine tingling at times, and thrilling by the conclusion. And the best was yet to come.

Blistering hot "Type I" version with superb playing by Fish and Trey.

> in from "Fee." Page's solo is dynamic, with both subtle and louder moments. Cool band-wide collective improvisation during Trey's solo, and a high-octane ending.

Fantastic, improvisational version that expertly combines far-ranging exploration with captivating, spell-binding playing. Fish is incredible throughout, and the blistering conclusion is icing on the cake.

"Layla" teases, rhythmic gyrations, great staccato playing by Trey, and incredible Trey shredding for an intense peak.

Crazy, very strange version. (No B&D or VJ.) Nice segue into "FEFY."

Though not perfect, Trey gets paid by the note in this one, including during its mighty peak and conclusion.

Excellent variation in the playing, including a nice quiet section, dissonance, pounding, and an amusing section with the band members all yelling "Yee Haw!!" No real ending but instead a > to "Sanity."

All band members play a flurry of notes several times before the > to "Uncle Pen."

A typically fiery, intense '94 1st jam breaks into great rhythmic, medium intensity playing, which mellows into some super melodic Trey-led jamming with hints of "MLB." Collapsing to drums, the jamming returns to "Mike's" proper to conclude.

Every version of "Stash" from April '94 is on this chart and with good reason. This one mutates and thrashes nicely.

> in from "Wilson." Cool little jam on "The Lion Sleeps Tonight" in intro. Some "DDJ"-like musing, an unusually quiet but probing early section, and then a gnarly, dissonant build, all making this final April '94 performance another strong one.

Jam opens with a great "The Lion Sleeps Tonight" tease followed by light, fluttery playing before a knockout punch ending.

A lilting, musical intro features melodic Trey and "The Lion Sleeps Tonight" teasing, a fun theme throughout this show. A loose, easy vibe dominates the composed section. Page's fast clip solo, which sparkles, is anchored by great Mike and colored by thoughtful and deliberate work from Tr…

Several teases in the jam (see Setlist), but they fit in really well, as if part of the jam, not funny little add ons. Then the jam takes off in typically blistering '94 style. Fish rocks this one hard, and the others are no slouches either.

"MLB"-like jamming by Trey early, followed by an intense, improvisational, high tempo and super-charged jam.

Great, growly tone from Trey, the jam building and bettering as Fish propels the intensity. Trey's play becomes truly dynamic, with great rhythmic melodic variation offset by huge, sweeping sustain. And Fish just crushes his cymbals.

Oteil Burbridge on bass and Stacy Starkweather on stand-up bass. Experimental jam with instrument switching -> in from "Mike's Song," and includes Trey on drums, Fish on keyboard, and some scat vocals from Oteil.

Enchanting little version that shifts back and forth from minor to major mode several times, then explores.

Excellent quiet '94-style space early in the jam, with a very gradual uptick in the intensity. Sick trilling by Trey.

A crazy-ass jam, typical for spring '94, and includes a "Right Off" tease (Miles Davis). > to "Sparkle."

This is a very sick and demented version, with someone (Fish?) screaming in the background at various points. Trey dedicates the jam to a good friend's baby, just then being born, and suggests naming him/her Marco Esquandolas.

With Cosmic Country Horns, but a weak jam (and no B&D or VJ).

Odd (but appropriate for "My Friend") sort of outro with chanting/singing by Fish and others.

An excellent exploratory version. It's too bad that the recently discovered recording for this show is not of the same quality as this fine "Stash."

Page's solo is very unusual, at times sounding like an organ in a cathedral. Trey unleashes the predictably strong fire and brimstone stuff. Great Fish, too.

Somewhat weird, but definitely exploratory version. "Tweeprise"-like jam for a bit and other forays.

Good solid "SOAM" with intense playing, plenty of dissonance, and an unusual ending sequence.

Tweezerfest! An excellent, improvisational "Tweezer" jam precedes a number of other great, jammed-out tunes, with frequent musical references to the underlying and all-encompassing "Tweezer" theme. -> "Mind Left Body Jam."

-> in from the opening "Tweezer." Spirited and intense playing downshifts to some quieter transitional action, which neatly -> "Sparks."

-> in from "Tweezer." The third stop in the historic Tweezerfest medley, this high energy version sounds as though it will segue to "Walk Away," but instead pulls a fast one and -> to "Makisupa."

-> in from "Makisupa." "Tweezer"-like jamming emerges from the basic "DDL Jam." The Tweezerfest continues...

-> in from a "DDL Jam" that sounds an awful lot like "Tweezer" at times. This brief, less-than-pristine salute to the Aerosmith classic also has moments that sound a lot like "Tweezer." No wonder it's called the Tweezerfest. A neat -> to "Walk Away" ensues.

-> in from "Sweet Emotion Jam." "Walk Away" arguably returns to "Tweezer" after about 4 minutes. Either way, it's great, improvisational playing that ultimately -> "Cannonball."

A smooth and swinging "Cannonball" jam, replete with the Breeder's anthemic riff and serviceable lyrics. Spirited jamming winds down into wonderful Page, who leads a perfect -> to "Purple Rain.

Following "Purple Rain," This version is highly improvisational, and may sound more like "Tweezer" than "HYHU" to you. Ain't called the Tweezerfest for no reason!

-> in from "HYHU Jam." Closing out the startling, unprecedented and historic 1 hour and 7 minute long Tweezerfest exploration, the band ends this magnum opus with a big exclamation point, injecting spirit and extra mustard into the always energizing "Tweezer Reprise."

A strong, mostly straightforward jam is followed by a rocking and upbeat groove and a blistering return to "Stash."

Imagine a crazed and panic-stricken Antelope crashing through forests and fields in a desperate attempt to escape some ill-tempered multibeast. Eventually, it succeeds, living to "Run" another day. That about sums up this one.

"Theme from Shaft" quote by Trey. No B&D. Nice segue into "Halley's."

"Landlady"-like jamming in this wild, high energy jam.

The jam makes an exploratory departure around 7:00, then works back to "SOAM" in a chaotic but improvisational manner.

Extremely quiet and contemplative play from the composed section spills into the jam, which is dialed down to an all but erasure of sound. Trey employs a series of great, jazzy chords, before inspired soloing drives the version up and through a typically great build. With Page sounding great upon h…

Intense, fairly chaotic version.

> in from "Fee." Ghostly and diabolical. All kinds of wailing screams from Trey's guitar push this one over the top.

Very exploratory right off the bat with a good, rocking and percussive jam. Returns to "Gin" in the end, but in a seriously rocking manner with a -> to "Lizards."

There's something special about the band from Vermont playing in the desert, and this "Fluffhead" is no exception. An extremely tight, well-executed version, this one is also a straight out rocker, without any sense of the late '90s more mellow approach to this song. Trey fires off a cool "Bring It…

Intense, powerful version with a "Bring It On Home" tease (Willie Dixon song popularized by Led Zeppelin) in the intro. The jam incldes a "Give Me Back My Wig" tease (Hound Dog Taylor) from 5:23 - 5:46.

Ferocious jam with some pretty crazy improvisation by the band. All over the place!

High power, intense and pounding jam that is mostly straightforward at first. But then, just when it seems to be finishing, the jam swerves abruptly, becoming a sick, growling and angry monster.

Typical full power '94-style "Slave." Great quieter teaming by Mike and Trey early in the jam. At 5:43 Fish kicks into gear and it's throttle-up time.

Riveting, intense, pounding, a downright ripping version. Mostly "Type I" but so what - this one will kick your ass!

Excellent and active full band engagement during Page's section, especially some great interplay with Mike, and Fish on the wood blocks. The already energized nature of the jam builds to an intense conclusion before returning to the closing section.

Strong jam, "Mind Left Body" tease.

Trey modifies his tone and creates a cool, jazzy vibe. Great Page (electric) and Mike (eclectic) accent soloing which informs a lilting, airy passage. Fish creates a great beat. And the band, as one, works the version to dizzying and dazzling heights.

A couple of exploratory movements. The second has some beautiful space similar to several Fall '94 "Tweezers."

"Antelope" ("Type II") -> "BBFCFM ("Type II") -> "Antelope" ("Type II"). A truly amazing jam which like 8/14/93 combines incredible improvisation with inspired melodic and musical magnificence. Released on Live Bait Vol. 8.

-> in from "RLAA." Crazy "Type II" version buried inside an awesome and improvisational "Type II" "Antelope." -> back to "RLAA."

-> in from "BBFCFM." This section of "Antelope" is extremely improvisational but also includes some melodic and uplifting jamming, while never forgetting its "Antelope" roots.

More great tone with Trey quickly breaking to solo, alternating between rapid-fire play and measured blasts of sustain. Fish picks up the pattern, with the musicians swapping ideas. Trey then really, really, leans into his pedal to shape his sound, with the band breaking to peak before the song's c…

Nice electrified outro jam.

High power jam that at moments borders on heavy metal rocking. A very intense version with a screaming end.

Page and Fish lead the band in a couple of different grooves. An atypically funky jam in parts.

Some good thrashing around early, then the jam breaks into a classic "Type I" jam with spirited play and a cool ending.

Weird, experimental jamming with lots of angry dissonance, tempo changes, and a crazy build to the peak. Then at the very end, there is a cool Trey solo with subtle backup from the others.

Twisted, odd version. "Ob La Di"...

Thrilling, intense, improvisational, and rocking power jam, followed by an extended "Rocco" section with whispering Trey: "Been you to have any cantaloupe?"

VJ includes "Psycho Killer" quotes.

Lots of screaming at various points is a good indicator that this somewhat wacky, blistering version packs some heat.

Although no perfect live performance may exist in this Universe, this superlative version is one of a very small handful that comes close. All the treacherous sections - The Chase, Who Do? We Do!, Bundle of Joy - these sections are nearly flawless. Like most '94 versions, this one is intense and ha…

Even though most of the jam is technically "Type I," this is an intense, thriller. Don't overlook.

Mike gets into this really great groove starting at about 8:00 that everyone else plays off. Even as Fish, Trey and Page bring the heat, Mike keeps the licks of this groove rolling. And the ending section is just smoking hot.

Sweet jam featuring truly dynamic modulation and really awesome playing from Trey. The sort of version you could listen to all day. (Or at least Four times. Focusing upon each musician, independently.) Trey alights upon a great theme - accented by cool playing from Fish - before the jam swings thro…

Crazy debut version, out of "Mike's Song," naturally.

Extended hi-hat intro with the crowd shaking macaroni boxes and "Flintstones Theme" tease. Fish: "Shake your macaroni!"

Wild, electro-rock jam!

Super version. Trey drives a great, dark, direct yet swinging groove, with Page providing really colorful fills. Mike is on-point, his play incredible, and, with Fish, inciting a sort of charge from Trey who creates an electric solo through an incredible conclusion.

Great version with serious improvisation. A very exciting jam that is well orchestrated.

Classify this one in the extreme "Anarchy" jamming category. Jam includes Trey chanting, Fish yelling, a largely dark vibe, slow pulsing power rocking, rhythmic-driven jamming, more screaming, etc.

Terrific Page. Outstanding Trey (whose solo departs from that sound characteristically "emotive" to become something more "musical"). Fish is the surpirse, here, though. Rim shots, extra floursihes and fills really work to bring this version to a fun and fiery close.

Chaotic, frenzied, and blistering jam. Insane buildup to the peak with excellent screaming by Fish.

The "Guitar Man Taking A Leak" jam with Page, Fish and Mike starts the 2nd Encore, while Trey was in the bathroom.

Good rocking jam with excellent Fish and solid Trey (of course Page is great).

The 1st jam is rocking and ass kicking, with a clever little "Tweeprise"-like walk up. The 2nd jam is basically a non-vocal version of something very "Simple"-like. Just listen and you'll hear it. The return to "Mike's" has more crazed '94 scream-infused power action.

Typically strong '94 "Bowie" that gets mean, nasty and thrashing as it progresses.

A short, but magnificent version, though controversial, as some remain deaf to its majesty.

Awesome pump-it-up jam. Excellent musical variation from 3:55 - 4:30, then it's off to the "Possum" party.

Paradigmatic, normal-lengthed "YEM." Sublimely perfect, melodious, gorgeous jam. Trey is on a mission from the start of the jam segment!

"As spirited, kinetic, and vigorous as Stash gets. Incendiary peaks by Trey, anchored by booming, seismic Mike/Fish rhythms akin to those in 12.2.95 Tweezer." Thanks @FunkyCFunkyDo!

Intense, gripping and high energy version from a show loaded with standout performances ("YEM," "SOAM," "Stash," etc.).

Phish's primal, animal spirit is very present in this bad-ass version from Red Rocks. Like much of this well-regarded show, the performance is punctual, precise, and crackling with raw energy. Maybe there's a minor issue or two in The Chase, but beyond that, this one is tight. Check out Mike and Tr…

Very intense, hard rocking version with incredible tension. Released on Live Bait Vol. 6.

Totally on point, Trey moves the band though this version with verve and tenacity. Instead of modifying his tone, Trey dances through a series of notes, providing a solo not wholly unique (this is not the only of its kind), but perhaps the finest of its nature. A "heavy metal" outro of sorts befit…

Trey scratches his way into the jam and incites an incredibly infectious groove. Fish works counter as means to inform the beat, and, as Trey begins to play proper, the theme remains the same, and the result is sweet. Page offers perfect fills, while Mike creates a somewhat strange and discordant l…

Thrilling, intense, and very spirited conclusion to this "Slave."

"On Broadway" jam!

Intense, with "DEG"-like jamming from 5:15 - 5:50, awesome Fish, and an "On Broadway" tease at the start of the jam.

-> in from "Fee." You gotta love it when Fish screams "Yes!!" several times as they are pounding their way through this ripper.

First version with the honky-tonk, Page-solo coda. (They'd reworked the song before its 1994 debut.)

A belligerent, aggressive, volatile, and bad-ass jam. If you like the really sick versions of "Stash," you're in for a treat.

This is a super-charged, full-throttle version with strong playing by Page and Fish.

The first "Type II" version in which the jam almost immediately breaks away into a rhythmic and rocking groove before settling into some good quieter space. The jam regains some pulse and power before -> to "Contact."

Great version. Not overly improvisational, but the jam gets into a great power rocking groove beyond "SOAM."

The jam breaks into a different and repetitive groove early on, then returns to "Gin" in a very rocking manner.

OJ, OJ, and more OJ.

Entertaining version with "OJ" reference, plus they quoted "Simple" quite a bit in the "Hydrogen" (and "Harpua") of this show, too.

Very uplifting playing from Trey in this hot version from the "OJ Show."

Excellent version where the band really rocks out during the jam.

Fish handily takes first prize in this rhythmically (and otherwise) intense ripper from a hot show.

Beautiful, descending four chord "Mind Left Body Jam"-like progression in the hi-hat intro. "Three Blind Mice"-like riffing segues into melodic hose, which in turn becomes a "DEG"-flavored, thrilling jam. "Voodoo Child" and "Purple Haze" teases in closing segment.

-> in from "DB." A superb and melodic "MLB" Jam in the intro to "Bowie." -> back to "DB."

-> in from "MLB" Jam. From here, a spectacular '94 "Bowie" launches. A thrilling version of "Bowie."

Good "Tweezer" but check out this show as a whole...

"Frankenstein" and "How Many More Times" teases. "SPAM" VJ!!

The jam gets out there well beyond "Stash." The tension is cranked up repeatedly with great pounding by Fish.

Typically great '94 thrashing "Antelope" stuff until 6:25 when the jam breaks into a good settled section that percussively rebuilds with wild dissonance and buckets of tension.

Strong, Mike-driven version, featuring great percussion. Trey's playing is as fast as Page's fills are delicate, and the band works through several ideas and progressions to build a jam that, at points, sounds like "David Bowie."

Excellent version. Reggae sounding and effects laden jam around 2:20 that goes on for a few minutes. A jam resembling a "DDL" jam (which doesn't actually include any loops) emerges around 6:30 out of the vocal reprise, and eventually works its way back into a second vocal reprise.

The jam includes a nice little tease/jam on Rick Derringer's "Rock And Roll, Hoochie Koo" (which sounds similar to Led Zeppelin's "Moby Dick").

The jam starts into a tense, exploratory groove before launching into a stunning, melodic Mike/Trey duet. At 12:00, the tension and power return, but the jam doesn't return to "SOAM" proper until 14:00.

Mike mows everyone down on this bass-centric version. 1994 is a great year for "Esther," and here is one reason why. Page's and Trey's solos smoke, but it's Mike's powerful playing that distinguishes this version, not a song one normally associates with Mike.

The jam has spots of improvisational playing, including an unusual and dark section from 6:55 - 8:00, and a nicely trilling peak.

Although this version mostly stays inbounds, the boys play the tension card to full-effect, and the ending is unusual.

Crazy medley, where "Simple" is played to the melody of the Allman Brothers' "Midnight Rider" at one point, and segues back and forth to "Catapult" and "Icculus" in a must-hear "Mike's Groove."

-> in from "Simple." Lyrics to "Simple" are sung to the melody of the Allman Brothers Band's "Midnight Rider." -> to "Catapult."

-> in from "Midnight Rider" Jam, part of an incredible version of "Simple." -> to "Simple."

-> in from "Catapult," as this "Simple" medley of songs continues. -> to "Icculus."

-> in from "Simple." A high energy, highly amusing version of "Icculus," ripe with NBA references, appears midway through an incredible "Simple" medley.

This concluding section of "Simple" follows a classic performance of "Icculus" and -> to "Mike's Song."

Trey brings the volume way down, then he and the band bring the intensity up to a near boil. Fish is great.

Noisy, thrashing and chaotic version with some good exploration later in the jam and a cool ending.

Great theme out of the composed section, notable for really quiet and wholly unique playing. The band continues to explore and push boundaries, with the jam becoming "primal" and totally out of the ordinary. Very cool.

Very improvisational and multi-faceted version with several distinct "Type II" sections, including an uplifting "DwD" jam near the end. Released as filler for Live Phish Vol. 10. A heavyweight among "Antelopes."

Excellent jam segment.

Incredible play from Trey in the composed section, accented by awesome Fish. Precision syncopation yields to a Mike-driven jam, with Page providing great fills as the band explores a number of distinct musical passages. Trey completely distorts his tone to lead an atypical and "growly" jam, which a…

"Bowie" -> "Catapult" -> "Bowie" in intro. Good solid summer '94 version, released on Live Bait 4.

-> in from "DB." Spooky version of "Catapult" is played over the "DB" high hat intro beat. -> back to "DB."

-> in from "Catapult." The early part of the jam is melodic and upbeat, but it gets typically nasty and tension-filled as it progresses.

High power, high intensity improvisational jam includes unusual Trey vocals near the end and a really cool ending.

Far-ranging jam that gets well beyond standard "Antelope." Incredibly intense but not chaotic. Great strumming by Trey in the peak section.

Some great Mike and Trey teaming following a short, near silent jam, with rhythmic, staccato plucking by both. Ferocious ending.

Two exploratory jam sections here. The second, beginning at about 10:35, is a great little "cool down" section.

Great Page on the organ (unusual for "Bowie"), and some crazy screaming from Trey and Fish.

Gripping, powerful jam with dissonant, off-key playing, serious tension, a "Voodoo Child" tease, and an explosive ending.

Cool, spacey beginning to the jam, great riffs from Trey, strong Fish, and a powerful finish with solid trilling = Great "Hood."

A classically high power '94 version which wastes no time kicking into gear, includes great trilling and rapid-fire action from Trey, strong B-3 from Page near the ending, and thunderous Fish throughout.

With his tone dialed in perfectly, Trey patiently builds in both pitch and intensity upon the typical "FEFY" theme to a climactic catharsis of melodic magnificence. As with many '94 "FEFY"s, > "SOAMule."

Lots of siiick soloing from Trey.

Thrilling version which peaks with the melody of "2001" and also teases "Antelope" in the jam.

The jam section begins with good energy, settles, then rebuilds with Trey, Mike, Fish and the audience contributing rhythmic support. Then there's a brief "Landlady"-like section before the tension mounts and finally breaks as the closing section begins.

Following the first electric version of "The Old Home Place" (and only the second performance in the band's history), "Reba" isn't in Maine any longer, as the band, driven by extended, airy, and introspective play from Trey, masterfully makes for "Somewhere Over The Rainbow."

After a tease from Trey, the full band shifts into an instrumental version of this classic Judy Garland tune.

A true wizard, Trey works a fanastic -> to bring the band back to "Reba." More fantastic full-band play, driven, in large part, by Mike, brings this notable version to a close.

Some "MLB"-like jamming early on. Dizzying, hypnotic, and intense jam ensues.

Exploratory, far-ranging, and gripping version includes Hendrix teases, incredible jamming with cool funky Page on the B-3, rhythmic gyrations, power rocking, dizzying dissonance, and a thrilling, unusual conclusion.

Excellent, intense and cacophanous version where the band plays along to a 4th of July fireworks display. Released on FTA - Super Ball IX Part I.

Especially after 8:00, this one falls into the "extreme" category, with dissonance and chaos run amuck.

Early "Dance of the Sugar Plum Fairy" teasing is enhanced by great Trey, whose unique soloing features dynamic modulation before the band comes togehter for a strong conclusion and a great > into "DwD."

Great, multi-section, power rocking jam which really doesn't sound anything like "Gin." Briefly returns to "Gin" before > to "Lifeboy." Soundboard version released on FTA Superball IX, Pt. 2.

Weird jam. "Dance of the Sugar Plum Fairy" tease from Trey in the VJ.

Mike rules! Another super and dynamic '94, this one isn't blemish free, but also has so much to offer that to pass over it for a couple of rough spots seems unfair. Mike is so solid and present throughout, while cohort Fish fills the tail gunner slot with martial ferocity. The twisted gyrations of…

Classic version featuring an incredible groove. Mike and Fish lay the foundation as Page becomes more prominent and then Trey just slays. After Trey develops and works through a fantastic theme, full-band play becomes more direct and straight-forward, with a "Paradise City" - or, circa 2014, that…

Patient, provocative, and playful jamming emerges near the 6:00 mark, a vestige from the intro, which features manic teasing. Truly cool improv follows, notable for hushed, eerie, thematic "non"-play , which, like a powerfully "weak" pulse, all but flat-lines - in the best possible way. Trey litera…

Super fun Set 2 opener that features a brief "Dance of the Sugar Plum Fairy" rendition before the song starts. Excellent, Santana-like play from Trey, including a lengthy sustained note from him while his bandmates hammer out the song. > into "Poor Heart".

"HYHU" and "2001" jams. "Donna Lee" and "Who Knows" teases. Incredible version for this period.

Great jam featuring "Manteca" teasing and super Trey. After the band disassembles their sound, soaring play is once again restored as Trey whips through a series of nasty licks. Arguably a > into "Yerushalayim Shel Zahav" in lieu of whistling.

A little chaotic, but some really great Mike action on this one. > to an excellent "Stash."

This is the version on <i>A Live One</i>. Although the jam doesn't go too far out there, there is a repetitious section beginning at 7m that ratchets-up the tension considerably. The ending section is drawn out, furthering this effect. "This is what I play for any professional musician interested i…

"YEM" -> "Frankenstein" -> "YEM."

-> in from "YEM." "Frankenstein" is sandwiched in the "YEM" jam.

-> in from "Frankenstein" which is sandwiched in this "YEM." "Frankenstein" tease from Mike in the B&D.

Another strong version that weaves back and forth between "Antelope" and little brief departures.

A chaotic, frenzied and twisted version. Plenty of improvisational jamming, yelling and screaming throughout, even a brief Trey major mode solo right before the scream-filled ending.

Multifaceted improvisational version, including a quieter section, a thrilling rebuilding of energy and dissonance, a second settled section, and a pulsing push back up over the top.

Outro jam includes a "Purple Haze" tease.

Following a predictably intense '94-style 1st jam, the 2nd jam begins with good exploratory play. Much like the strong version from 5/8/93, there's some great improvisational action before the -> to the sandwich meat, in this case "Low Rider."

After a heated "Mike's" jam flies past the onramp to "Simple," Trey finds a lick not unlike the War classic. Mike and band quickly pounce, and for about two minutes cruise along in a groovy, rocking "Low Rider." The ride goes squirrelly when Fish yanks the wheel, dropp…

-> back to "Mike's" adds an emphatic exclamation point to this solid version.

Settles in the middle with a cool breakdown section before re-building to an energetic finish.

Solid Page section, Trey's solo has a cool, unusual suspension at about 7:00, and Fish is fantastic throughout.

Pretty much a mean and nasty jam that gets way, way out there into a state of bedlam, with a twisted ending to cap it off.

A wild, chaotic, and improvisational ride. Though you never really lose sight of the song in play, the boys take this "Possum" for a crazy and far-ranging journey. Hysterical Mike and Fish vocals at the end to add fitting emphasis.

Amazing mashup in this "Cavern -> Wilson -> Cavern" sandwich in which "Wilson's" lyrics are initially sung over "Cavern's" music and then a combination of elements of both songs before giving way to a genuine "Cavern" ending.

Don't miss this set of Phish. "Tweezer" sandwiches both "Julius" and "BBFCFM."

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

-> in from "Julius" as this "Tweezer" continues.

-> in from "Tweezer." "BBFCFM" is sandwiched in this "Tweezer" jam.

-> in from "BBFCFM" to wrap up "Tweezer." -> to "Mound."

Unusually long quiet section for this period with strong Mike. Some great trilling by Trey before the final, solid peak.

Insanely intense, driving, and dissonant jam, with excellent Fish just hammering away.

Sweeeet jam segment and B&D!

Really cool and different "SOAM" with ghoulish tension and a great section with Page out in front leading the quick tempo, rhythmic and frenzied jamming. At other points, the jamming could be fairly described as demented.

Dissonant, rhythmic "Type II" jam has a cool "Jessica" jam at 12:45 that comes out of nowhere.

Cool jam with Trey slashing his way into the jam before incorporating some really cool effects. The band modulates intensity, and Trey teases "Theme from Popeye," which the band morphs into full-band playing. A bit of a fake-out into the build produces super experimental playing, but Trey muscles…

Page dominated in a great way, but with solid work by the rest, especially Fish.

Fishman and Page star in this chaotic, noisy version. It's essentially straightforward, but a pounding jam nonetheless.

Wild-Ass crazy version from the last show of Summer '94 includes a -> to "Catapult," -> back to "Antelope," hilarious and related Fish/Trey wedding banter, lots of blood curdling screaming and yelling, and belligerent playing by all.

-> in from "RLAA." Humorous version with wedding banter provides brief comic relief before -> back to this insane "Antelope."

-> in from "Catapult." This wild, crazy and sick version of "Antelope" continues to a fiery and belligerent conclusion.

Even for 1994, this "Hood" is a very intense one as Trey shreds like crazy in the climactic jam before the closing lyrics.

"Baracuda" teases. Straightforward, but a stretched-out, well-played, extremely intense version.

A rousing composed section incites a huge fan reaction, which bleeds into the jam, notable for an infectious groove - marked by solid Mike - with Trey deliberately building through cool riffing, a rise in sound before a quick dip in intensity finds him augmenting his tone to inform really great pla…

This is what an "Antelope" on steroids sounds like. Pretty high up there in the Intensity Hall of Fame.

A brief heavy-metal jam shortly after 5 minutes works its way into uncommonly funky terrain (for '94) before concluding in typical fashion.

This version is highly improvisational, sounding poor at times (IMO), but I believe this may simply be the band's first attempt at a Bangor-like "type II" version.

Dark, dissonant and percussive exploratory jamming. Assertive Fish action.

Enchanting, Page-led early part to jam. At 9:00, Fish and Trey kick it up to more typically intense mode. At 12:25, a calm envelopes, before the storm returns. Excellent "Bowie."

Loaded with sprinkles of improvisation throughout, and with strong contributions by all, this is also one of the funnest "Foams" to listen to. It sounds as if the band was having a blast working its way through this one.

Playful and quiet start-stop jamming gains power and slowly weaves its way back into "Weekapaug" proper for an impressive finish.

A choppy, percussive jam grows quiet, starts to explore some distant territory, then builds intensity as it returns to "Gin."

Another warm-up version for what would become the Bangor "Tweezer." Unusually improvisational.

Michael Ray on trumpet and shaker, and Carl Gerhard on trumpet. "Salt Peanuts" tease. Great version.

Hilarious intro, then P-Funk "Flashlight" sickness jam.

Dissonant version departs from "Jim" around 7:00 into weird chanting, howling, and screaming by Trey and Fish.

In addition to a crazy vocal jam, the "YEM" jam -> to "Catapult" mid stream.

-> in from "YEM." "Catapult" is sandwiched in the "YEM" jam. -> back to "YEM."

-> in from "Catapult," which is sandwiched in this "YEM." Crazy vocal jam!

Right from the start, this excellent version is loaded with sprinkles of improvisation, well worth the visit despite minor flaws. Unlike most '94 performances, this one seems less intense and high power, and instead, adopts a more experimental approach. From Fluff's Travels to little spots in Clod,…

Dissonant and improvisational jam that gets way out there at a couple of points, and has a little Trey solo in the "Marco" section.

Excellent version with a nice movement beyond "Stash" including moments of that Fall '94 spacious sound.

Nice rocking full band jam.

Fantastic, multi-faceted version. Dissonance and Tension: check. Tempo and rhythmic shifts: check. But this one also has beautiful, upbeat jamming (aka major mode).

A huge "Reba" remarkable in that the band departs a really pointed and direct groove to enter a passag of marked space, noted, as some, for sharing similar qualities of "Eyes of the World." Complete with "Dave's Energy Guide" teasing, an experimental, probing version which again pushes against trad…

Bela Fleck on banjo, with Bela and Page playing along together before the full band kicks into a low key jam.

It's like a "Mule Duel" between Page and Trey, except this is a "Llama Duel" between Bela Fleck, Page and Trey. The duel starts with acoustic instruments before switching to electric. Incredible, must-hear version. Sbd available on FTA - Bonnaroo Pt. 1.

"SOAM" -> "Kung" -> "SOAM." The jam itself is decent, dissonant, and moderately exploratory.

-> in from "SOAM," -> back to "SOAM."

-> in from "Kung" to complete this "SOAM" sandwich.

-> in from "Lengthwise." Page shines for an extended section starting at 3:15 through 5:00, where the jam goes from near silence to a more predictable jam. Fish's driving play keeps things at a breakneck speed. The jam ends with soaring licks from Trey.

The first seriously "Type II" "Hood" includes some very experimental jamming. Parts of this exploration are mildly dissonant and very un-"Hood"-like, while other sections are quite spectacular. The "Type I" ending is first rate.

Chaotic and crazed version with a number of short but discrete exploratory departures.

High-quality "Type I" action followed by a "CYHMK" jam to close.

Very good, multi-section jam, including some percussive rocking, un-"SOAM"-like jamming, and great Page.

Another strong fall '94 version, arguably the peak period in "Bowie's" storied performance history.

Though short, this is an excellent, powerful version that ends in an unusually fierce way.

Standard (strong) Page. But the tension and dissonance elevate through the ceiling during Trey's section. Sick Fish.

"YEM" -> to "Vibration Of Life" in the opening, then -> back to "YEM." "Another One Bites The Dust" jam; "Mission: Impossible" tease from Trey.

-> in from the opening segment of "YEM." "VOL" performed in the quiet portion of the "YEM" opening. -> back to "YEM."

-> in from "Vibration Of Life" to continue the "YEM" opening segment.

This "Hood" from A Live One seems to peak, then breaks at 11:25 into a section combining '94 space, moderate dissonance, and loads of tension. When this oblique resolves back to normal "Hood" at 13:30, it's pure '94 bliss.

Incredibly improvisational. At 7:00, the jam heads off in a great, creative and unusual direction. Then after 10:00, there are some on-the-spot duets - Mike/Page, Mike/Trey, etc. followed by a rising thunderous roar as the jam returns to "SOAM."

An incredibly improvisational "Type II" version. The jam grows increasingly dissonant, then breaks away altogether into classic '94 space. Then it morphs into a pulsing and rocking section with unusual vocals, before powering up, exploding back into "Weekapaug" and -> to "Yerushalayim Shel Zahav."

-> in from "Axilla (Part II)." Big Red shreds the ending here, with a -> to "Big Ball Jam."

An excellent, creative, and increasingly intense jam which includes some unusual Page B-3 action, multiple, blistering hot peaks, as well as Trey teasing "The Rover" in the intro and full band teases of "Kashmir" and "Magilla" in the jam itself.

Good tension build up and at times dissonant. Page leads but all contribute.

Good exploratory section from 5:00 - 6:20, back to "Antelope," more foraging and then dramatic tension ratcheting.

Another big "Reba" which features more by way of experimental and unusual play. After a remarkable "blissful" section, the band builds to a gigantic peak(s) and a towering release.

"When the cows come out to play" says Fish in the intro to this diabolical, nasty "Type 17" jam.

Quite possibly the most dynamic, super-charged version ever performed, which also includes an All Fall Down signal during the "pause." Must-hear material.

Very rough in parts, but Trey hits on a pretty cool theme for a minute or two in the jam.

Magnificent, extended version as Trey leads the band to finish precisely at curfew. If you've not heard this, you haven't heard the SICKEST in Phish history.

Insane, riveting version with a "Bowie" -> "Manteca" -> "Bowie" in the jam segment.

-> in from "DB." Brief "Manteca" jam in the midst of a thrilling "Bowie." -> back to "DB."

-> in from "Manteca." Return to "Bowie" to conclude a riveting Fall '94 version.

Evil outro jam and vocals.

-> in from "Simple." Excellent Fish and Trey on this improvisational version.

Another very strong Fall '94 version, infused with rhythmic and other stylistic variation.

Excellent, thrashing, wild and unfinished version kicks off a great, unsusual segue-fest. -> "Buffalo Bill" -> "Makisupa" -> "Rift."

A spry, playful jam is tagged onto the end, which sounds like it's going to speed up for a second. Instead, it pivots (->) neatly into a super "Makisupa."

-> in from "Buffalo Bill." After 3:00, this "Makisupa" breaks into some great '94-style jamming, spacey at first, then hard rocking with a great -> to "Rift."

Not way out there, but moments of crashing, noisy rocking beyond the standard, then some great '94 space following the final lyrics before a -> to "TMWSIY."

-> in from "TMWSIY." Classic '94 space follows "TMWSIY" and very gradually and miraculously -> into the Who classic.

Short but very, very sweet!

"Antelope" -> "Sleeping Monkey" > "Antelope." Fantastic improvisational playing with all the good '94 stuff combined with a seamless segue, then a return to "Antelope" for more exploratory jamming. Great version and song pairing.

-> in from "RLAA." Awesome song combination and humorous relief in the midst of an ass-kicking and exploratory "Antelope." > back to "RLAA."

> in from "Sleeping Monkey" and this "Antelope" provides more exploratory jamming before winding down in good fashion.

One quality of many great '94 "Hoods" is their balance of grace and power. As the encore from a fantastic show, this "Hood" begins with some quiet and delicate playing, which pairs nicely with the raw energy and intensity of the finish.

Taking the outro jam up a big notch from 10/29/94, this version includes a switch from major to minor mode towards the end that creates good tension. Simply put, this is the first enchanting, gorgeous version.

Superlative, epic, one for the ages. Hard rocking yet played with extreme precision, this version reflects the band at the top of its game.

Trey goes insane. Truly SICK version. > "Horse."

Thick grooves and beautiful melodies.... A quintessential Reba.

Essentially "Type I," but this is a textbook, immaculately played version with great tension.

Well-played, mostly straightforward version. Shows just how strong 1994 was for "Antelope" that this one barely makes the cut.

A spectacular, transcendent end to a spectacular, transcendent show.

From a show loaded with improvisation ("Tweezer," "Possum"), this version includes moments of uncharacteristic dissonance, and unusual chord progressions and melodic content, particularly in the build-up, which is scorching.

For a show filled with improvisational versions (see "Tweezer," "Possum," "Foam"), it should come as no surprise that this "Maze" is also both inspired and exploratory. It's also just insanely loaded up with tension, Tension, TENSION!

An unexpected and largely upbeat groove emerges from the typically chaotic jam for this time period.

Version from "A Live One." A "type II" version that is "all over the map" and "off the charts" (despite being on this one).

Must-Hear stormy exploratory jam with a descending melodic theme in parts, several sections that challenge the limits of standard "Possum," and "I'm A Man" (Spencer Davis Group) teases in the intro.

Epic, Exploratory MUST-HEAR Multibeast, well beyond simple description. When the jam finally returns to "SOAM" after 13:30, there's almost a welcome relief to be home again after a long, astounding, and mind-blowing journey.

The jam includes an unusual and very un-"Hood"-like section from 9:00 - 10:50. The build and peak sections that follow are strong '94 fare.

Great tension and dissonance combined with moments of melodic beauty and calm. Like one of the big November '94 "Tweezers" with many movements, and all packed into a 10 minute jam.

A '94-style funky breakdown jam leads to a spirited "CYHMK" jam before returning to "Weekapaug" for a high intensity peak, with a great "CYHMK" ending.

Riveting, powerful version. Page travels way up the keyboard, and the ending of his section is so dynamic that it sounds like the grand finale. Then Trey works all the way up the fretboard, with Page briefly (and uncharacteristically) on the B-3, before launching the band into a blistering build-up.

Another typically strong Fall '94 version with improvisational play and a wacky ending section with a vocal jam.

Fantastic, improvisational '94-style jamming. One of the very best versions of "DwD," but oh so different from the funk versions of later years. Includes a -> "Have Mercy" -> "DwD." Somewhat unusual ending with -> to "Lifeboy."

Excellent "Have Mercy" section of a huge and jammed early "DwD."

-> in from "Have Mercy." More excellent '94-style jamming on this epic combination which -> to "Lifeboy."

Awesome version in which Trey brings the volume down close to zero, things start to rebuild, then from 10:50 - 11:30, there's this great section where you can feel the explosion coming before it arrives. And it does, BIG TIME.

Good solid improvisation in several parts, loads of tension with great playing by Fish and Page, and a full-throttle peak.

Another evil sounding outro jam.

Fish gets the intensity so cranked up during Page's turn that Trey only needs a match to blow this one up. Instead, he adds the flame thrower.

> "Lawn Boy", this fun and spirited version retains elements of the Page "standard", resulting in a unique mashup of sorts while, at times, radically altering "Cavern's" set composition.

3rd "Big" '94 "Bowie." One of the most exploratory and improvisational versions ever. Includes some wild and crazy interaction with the audience.

Great jam!

Thunderous percussion running throughout the composed section is offset by a protracted period of sustained and pretty calm incited by Trey, which Page sustains for some time. This idea is again assumed by Trey (very cool) before Mike drives the jam forward. Trey's tone is great as he plays with -…

Incredible journey of exploration well beyond the standard. The second section, at about 8:30, includes quite of bit of "DEG"-like jamming, followed by some quiet moments and a killer return to "Stash."

This is what "Type II" is all about, folks. Stunning. Magnificent. Released by Kevin Shapiro on "From the Archives" #17.

A thrilling ripper with lots of improvisational jamming. Following "spike, man" they tease or start into "Have Mercy" but quickly bail.

No major mode "nice" jamming here, this a gripping, intense, old-school thriller. Awesome.

"Frankenstein" teases.

Mike and Fish lead this one early on, with Mike playing way up the fret bar and Fish maintaining the pulse. Trey adds power chords and little flourishes. Then Trey has takes the lead, with Fish and Page hammering away.

> in from "Rift." This Bag is musically tight, yet slightly structurally different than other type I Bags. There is a litle funky piano breakdown at around 4:00 before blues-Trey rears his head in for some of the more traditional buildup-and-release jamming. At about 6:25, Trey sustains a note,…

Great, uptempo playing early on becomes increasingly frenetic and dissonant. Returns with a jarring ending.

Fierce, truly inspired version that I grossly underrated in the mid-1990s. I am ashamed of myself.

Blistering and rocking version includes "Bathtub Gin," "Jean Pierre," and "DEG" teases and a blazing peak.

"Reverend" Jeff Mosier on banjo. Great exploratory version that gets well beyond standard fare.

Hugely improvisational version -> to "Vibration Of Life" in the opening segment. "Spooky" and "Can't You Hear Me Knocking" jams; highly irregular bass solo from Mike.

-> in from the "YEM" opening segment. -> back to "YEM."

-> in from "Vibration Of Life" to return to this improvisational "YEM" with "Spooky" and "Can't You Hear Me Knocking" jams; highly irregular bass solo from Mike.

An absolute thriller, moderately exploratory, but intense with great tension building throughout.

Great and different version with the "Reverend" Jeff Mosier on banjo.

Fantastic, exhilarating, "Oh my god it's so f_cking good" jam.

Another jam informed, early on, by a passage of quiet, contemplative play, and marked staccato playing from Trey and super Page. Fish is busy upon his blocks, and Trey works through a great theme (infused with a warm tone) beneath which Mike offers mellow "underwater" grooves to lead the band throu…

Intense but straightforward version which -> to an incredible and classic Fall '94 "Jam," labeled as "Columbia Jam" on Live Phish Vol. 18.

A MUST-HEAR incredible jam that -> in from "Funky Bitch." Very improvisational with multiple sections, it defies easy description except that it's classic Fall '94 jamming. -> "Yerushalayim Shel Zahav."

-> in from "Jam," an incredible and MUST-HEAR classic 1994 improvisational performance. This Hebrew folk song provides a fitting ending to this iconic jam.

Short but excellent version quickly exits the typical jam in favor of a rocking, blues-infused jam which -> to a crazed "BBFCFM."

-> in from "Runaway Jim." WILD version with extra screaming, silliness, profanity, and a bluegrass ending.

Played by audience request, the jam features an improvisational early section, a fantastic build up, and wonderful peak.

Another strong Fall '94 version which -> "Mind Left Body Jam."

-> in from "It's Ice" for a solid jam featuring the iconic descending chord riff.

> in from "Mind Left Body Jam" to complete this "Ice."

Some gorgeous, must-hear jams and "space." Just magnificent at times. "Power of Soul" tease.

Spectacular version in every way -> to "Vibration Of Life" in the opening segment.

-> in from the "YEM" opening segment. -> back to a fantastic "YEM."

-> in from "Vibration Of Life" to return to this spectacular "YEM."

Another phenomenally improvisational version that is also, like 11/16/94, must-hear.

A slightly dissonant breakdown jam begins with Page on the clavinet. After settling, the jam grows angry and growly, then explores more ground before ratcheting up in tension and bursting back to "Weekapaug." -> to "The Mango Song."

Hard rocking version grows increasingly dissonant with several brief departures that stretch the bounds of "Possum" and a hot peak.

Page's solo is pretty amazing on its own, but especially when coupled with the dynamic interplay among the band during this section. Trey has a very quiet solo, and the build-up features great Trey/Fish teaming.

The Other One. All fans should be familiar with this version as well as Providence. Of the two, this one is more musically oriented. A downright masterpiece.

Version featured on A Live One. Like many of the stellar '94s, this "Slave" has a huge dynamic shift from the subtle, quiet, early part of the jam, to the soaring, high intensity peak.

Spectacular. Awe-inspiring at times. An incredible exploration.

-> in from an epic "Tweezer." This iconic sounding jam fits perfectly midway through this incredible "Tweezer."

-> in from "DDL" Jam as this incredible "Tweezer" continues.

Quality '94 space jamming in the outro section which > to "Reba."

Gets beyond "DwD" several times with some dissonant jamming, then makes a big break at 7:00 into "Type II" terrain. Returns to "DwD," but with flashes of dissonance.

"Antelope" -> "MSO" -> "Antelope" -> "Fixin' To Die." Awesome Fall '94 improvisation. The first section of "Antelope" is strong but par for this period. However the section following "MSO" includes some excellent, experimental jamming, and segues smoothly into the band's only electrified version of…

-> in from "Antelope." Humorous version with snoring provides a brief relief before -> back to the "RLAA" -> "Fixin' To Die" storm.

-> in from "My Sweet One." The second and very "Type II" section of "Antelope" charges away and -> to the electrified "Fixin' To Die."

-> in from "RLAA." Awesome electrified version puts the final touches on this awesome jam and song combination.

-> in from "Fixin' To Die." Trey turns the volume down to almost zero, then builds it back up during his solo. -> to "Mike's Song."

Very good improvisational "SOAM" with a dark tone and an extended section of spine-tingling tension building.

Crazy sandwich. An amazing "type II" version. "Norwegian Wood" tease. "BBFCFM," "NICU," "Makisupa."

-> in from "Tweezer." First in a medley of songs which ultimately -> back to "Tweezer."

-> in from "BBFCFM" as this medley of songs sandwiched by "Tweezer" continues.

-> in from "Makisupa" as the "Tweezer" medley continues.

-> in from "NICU" to complete this "Tweezer"-based medley of songs. -> to "JJLC."

-> in from a monster "Tweezer." Trey brings the volume down to near zero early in the jam. Unusual ending with a > to "Harry Hood."

The usual pugnacious, mean-spirited jam until 13:45, when it sounds like it's wrapping up. But then the band delves into more exploration. Throw in the Cosmic Country Horns for the trill section, and you've got yourself another "Big" improvisational version.

Another solid '94 "Antelope," with descending melodies, tension, dissonance, rhythmic variation, and a noisy, chaotic peak.

Although short, this unfinished version packs a serious punch.

Quite possibly the most intense, ass-kicking straightforward version of all time. Insanely ferocious conclusion to the jam.

Aggressive, all-over-the-map improvisation.

Cool jam with Page on the clavinet!

Strong straightforward play through 6:15, when the jam breaks into a dark and classic "Type II" Fall '94 space jam. Mike solos, accompanied by spacey effects with increasing tension. Then Page and Trey take turns out front before Fish brings the boys back to "Weekapaug" to wrap up a very improvisat…

Another wide-ranging exploratory "SOAM." Great dissonance, a pulsing rhythm, and tension as the jam builds to a close.

Version that's on A Live One.

Badass funky jam! -> to "Catapult."

-> in from "Simple." "Catapult" is sung to the melody of a '94-style funk jam. -> back to "Simple."

-> in from "Catapult." The funky "Simple" jam winds down and -> to "The Lizards."

Another wacky '94 "Possum" with a spooky, extended intro, a silent jam, dissonant playing, and a raging peak.

Huge, sprawling, epic "Reba," which sees the band tossing form and convention into the tub to produce one of the finest versions of 1994.

Mike and Fish are awesome during Page's strong solo. Then Trey and Mike play a near duet with little touches from Page, and Fish rocks the house for the intense build-up.

Thrashing, dissonant, innovative and unusual "Antelope" jamming, it's all here, including an excellent "The Force Theme from Star Wars" tease in the jam. "Suck the deer shit from the side of this hole!"

A spectular version with "hose" and a "Slave" jam. Just unreal, magnificent Phish. Very jazzy at times as well.

A riveting and exploratory jam that gets more and more out there as it progresses.

A wacky, semi-evil version moves quickly beyond the standard, beginning with a dark Page-led section, followed by a Fish-led vocal jam. After more exploratory play, the band breaks into a jam on "The Little Drummer Boy," before returning to "Weekapaug" to wrap up.

Excellent improvisational "Jim" which includes a "Dueling Banjos" tease from Trey and must-hear -> to "Foam."

-> in from "Runaway Jim." Fantastic segue for this great pairing. A typically strong '94 version with a dramatic build-up.

Although neither chaotic nor very dissonant, this one qualifies for the extreme and atypical category - odd but improvisational.

"Dueling Banjos" and "L.A. Woman" teases. The latter half of the jam is dark and brooding with a uniquely Fall '94 tone that has moments that sound similar to a "Bowie" or "Tweezer." Ends in solid, ripping "Possum" fashion.

Even for a "DDL" Jam, this one is unusual, with an added psychological edge to it. Appropriate warm up section which -> to a mind-blowing, classic and MUST-HEAR "Bowie."

The Legendary Providence "Bowie." Between the "DDL" jam in the intro, whistling, "Lassie" chatter, and creepy whispering, this one is more psychologically jarring than 11/26/94.

Page plays a solo in this unusual version, which like the other Fall 1994 versions of "Tweezer" is must-hear.

Spacey intro with a "Digital Delay Loop" section to lead off. Intense Page. Extended Trey section is really more of a full band jam than as typically presented. Eventually gets back to "Maze" proper for a red hot finish.

"Mike's" -> "Buffalo Bill" -> "Mike's." While the 1st jam is standard, incendiary '94 material, the 2nd jam has solid, varied improvisational play before the ->.

-> in from "Mike's Song." A nice version of "Buffalo Bill" is sandwiched in a solid '94 "Mike's." The -> back to "Mike's" is great stuff.

-> in from "Buffalo Bill," the return to "Mike's" is several steps better than "normal," well worth checking out.

Typically strong '94 fare includes "CYHMK" jamming, a funky breakdown section with Page on clavinet, strong exploratory play by all four, and an "Auld Lang Syne" tease as this "Weekapaug" heads for home.

Fiery, powerful and precise '94-style jam with an unusual and spacey outro jam tacked on.

Trey and Page add a big exclamation point to end the final frame of a fantastic year for the band.