The Jam Charts · phish.net's good stuff

The band locks into an incredibly cool groove before Trey, masterfully shaping his tone, leads the band into an extended improvisational passage enchanting and mysterious. A blend of warm sustain and dynamic modulation eventually yields to strong soloing, with Trey building the jam to a soaring, se…

Debut is an exceptionally well played version. With rich melodic content from Trey and great band-wide interplay, the jamming potential for "Theme" is clearly on display in this first go-around.

Debut. Jam section similar in tone, but less with percussion and with less Page than later '95 - '96 versions.

Several sections have a bleak and desolate tone, especially from 4:30 - 5:45, but the foreboding sentiment returns later.

Debut. Jam section features the same spiraling Trey and Page musicianship, but the lyrics, vocalist, and ending would remain a work in progress for another year. "The Fog That Surrounds" and "Taste That Surrounds" are both very similar (related) songs performed in 1995 as the band tinkered with the…

"The Wedge" reemerges to close a 135 show gap. Notable principally for the now-familiar Fish-driven intro, this compact version also features cool and confident play from Trey.

Jam section has an unusual, repeated descending chord progression. At 8:20, it morphs into a creepy, nerve-rattling jam, returning to "Theme" proper at 9:55. The quality versions from 6/25/95 and 7/1/95 have a similar descending chord structure.

After some "Third Stone From The Sun" (Hendrix) teases from Trey, this one gets out beyond the norm.

Debut includes a short instrumental bridge. The ending jam section and closing chords were added in 1996.

Another wacky "type II" version that is worth hearing if you're an aficionado of Phish improv.

Unusual jam. Sort of off-key. Sort of evil. Dissonant and anti-melodic. No real peak; it just fades into "Rocco."

Improvisational playing in several sections tests the rhythmic and melodic standards for "SOAM" in this solid version.

The 1st jam segment (to 7:20) is loaded with tension and moderate dissonance. The 2nd jam begins with sounds akin to "Simple," but gradually descends into a murky caldron of eerie and spacey improvisation. At 14:00, the jam begins to emerge from the underworld with low key play, a rhythmic pulse, a…

Some "CYHMK"-like jamming leads to a quieter improvisational section which pushes the bounds of "Weekapaug" proper. Released on Live Bait Vol. 6.

Some great plucking and strumming by Trey. The band is so tight and locked on in this version.

Really cool and experimental playing from the jump. Trey scratches his way into the jam and synchs up with Mike to exchange a cool set of complimentary notes. This builds into a series of measured, effects-enhanced chords, and great full-band play, featuring quiet, contemplative exploration, and ma…

Legendary "Mud Island Tweezer." It took over a set. Longest "Tweezer" in history. A masterpiece.

Psychological thriller that keeps you on the edge of your seat as the tension ratchets up. Unfinished with a -> to "IDK."

Segues in smoothly from Stash. This unusual version is played much slower than normal and carries real weight. The bizarre jam in the middle features Fishman on trombone and Mike on power drill.

A good thriller. Not as improvisational and exploratory as many '93s and '94s, but this one compensates with riveting tension.

"Bowie" picks up right where it left off in Providence, and summer '95 includes a number of spectacular, "Big" versions. This first one, while sticking to the "Bowie" theme longer than most, is exploratory both within that framework, and certainly once it gets beyond.

Some great playing by Trey throughout, and Fish seems to quicken the tempo as the jam progresses to add dynamism.

The watery sounds produced by Trey's use of the Leslie percoloate throughout this great version. Add fantastic Page and Fish, with his uncharacteristic rim shots, and an unusual and highly engaging concluding Trey solo, and it adds up to a stellar performance.

Beautiful piano soloing by Page.

Starts tamely enough, but the tension and exploration improve as the jam progresses, and the ending is nuts.

Intense, psychedelic and incredibly improvisational version. Has similarities in the final 10 minutes to the Providence "Bowie." Oddly, seems unheralded among the canon of all-time, must-hear jams. -> to "Free."

"Oye Como Va" teases. Boyd from Dave Matthews Band on fiddle for part of the jam.

1995 was a very strong year for "Divided Sky." This show opening, sunset version is a case in point.

Great version that gets well beyond "Stash" into some serious dark exploration. Classic Summer '95 jamming. And a powerful ending to top it off.

"Heartbreaker" tease, "Johnny B. Goode" sandwich. Although it contains some spacey jamming, it eventually becomes ferocious, with unbelievable, magnificent energy. Purported "Montana" tease.

-> in from "Tweezer." The debut of "JBG" is sandwiched in this "Tweezer" jam.

-> in from "Johnny B. Goode" as this "Tweezer" continues and -> to "McGrupp."

Great summertime version includes some filthy, nasty Mike in the "Mr. Minor" section, Trey soloing by himself for several minutes, and a very powerful but non-shredding peak.

Although essentially "Type I," there is a high degree of melodic variation from Trey in this strong summer '95 version.

Jamming both ethereal and measured builds from a pensive calm into a dreamy sort of intensity. Trey locks in upon a great, grooving theme. Strong work from Mike and Fish incites more fueled and focused soloing from Trey, which, offset by some impassioned Page, rises to a great release.

Dissonant version with a little brief funky Page action thrown in the mix before returning for a blistering peak.

-> in from "Simple." Cool, somewhat unusual jam that begins without all the usual thrashing and dissonance. Has some "MLB"-like jamming and gets out there as it progresses.

Beautiful opening segment.

Somewhat of an evil "Possum" that grows increasingly tense, dissonant and shrill, and includes an unusual stop.

Great mini build-up at the end of Page's solo. Mike is strong during the quiet section of Trey's solo. Powerful build-up.

Trey skillfully deploys the Leslie to great effect following some beautiful Page piano action.

Typical '95 Phish where they manage to pack a ton of music and jamming into a relatively short space of time. This jam explores multiple directions. High quality fare.

A quick, uneventful 1st jam drops swiftly into deep, dark Summer '95 exploration. At first, this 2nd jam is mostly a threatening, evil soundscape. But a steady beat from Mike and Fish, and directed playing by Trey bring it back to a rocking form. Following some pulsing play from 12:00 to 15:30, thi…

Intense, well played version approaches the conclusion, and then morphs into an eerie, psychedelic 5 minute exploration that gains some propulsion before a -> into the "Fleezer," a monster version of "Tweezer."

-> in from "Theme From The Bottom." An eerie, psychedelic jam follows "Theme," gains some propulsion, and -> to the "Fleezer," a monster 45 minute "Tweezer" -> "Tweezer Reprise" combination.

The Finger Lakes "FLeezer." Another masterpiece of Phish improv that segues into "Tweeprise." Must-f'ing-hear. Includes Fish on vacuum for a spell, and a "My Generation" jam.

-> in from "Tweezer" to close out the famed "Fleezer."

"Plinko" play from Trey, periodically offset by strumming, jumpstarts the jam, and works to create incredible syncopation. Predictably great guitar is matched by Mike, with the two musicians not so much dueling, as driving the version through any number of impressive ideas and rhythmic shifts. Grea…

THRILLING jam!

Red hot, strong, compact, and unusual second set opener, Fish, direct from the vocals, drives strong and Impassioned play, the four Creating a controlled cacophony (typical fare for the year), with Mike holding some great notes and igniting great patterned play, page Pounding his keys before Trey a…

1995's most exploratory, improvisational version. One of the "Antelope" clan which weaves back and forth between familiar ground and improvisation. The jam here gets out into some spacey and eerie Summer '95-style territory.

John Popper on harmonica. -> in from "Harpua," during which Jimmy decides he hates the band Abba, and needs to listen to some rocking harmonica music, which is precisely what this jam is. -> to "Llama."

Straightforward, but for a song that is already predictably intense, this one raises that bar several notches.

Another very good Summer '95 version, loaded with tension and with a psychological edginess to it.

Simultaneously rocking and dark, with 3 distinct and excellent movements, and with a psychological edge like many top Summer '95 jams.

A really beautiful quiet section at first, then the power starts to build, but ever so gradually. False peak > Real peak ending.

> in from "Ya Mar." Exceptionally well-played straightforward version. Trey shreds. > to "Taste."

Awesome Page, and with a "Taps" tease by Trey. Suffice it to say that this is one HELL of a way to start a 2nd set.

The 1st jam features some Eastern sounding notes and scales and is relatively brief. The 2nd begins is an intense, pulsing and rocking mode. The jamming gradually settles down into quiet exploration, which then grows eerie, gains power and a pulse and -> "WDWDIITR."

A brief, intense Fish and Page led jam develops at the end of "HYHU" and -> to "Weekapaug Groove.

A strong, straightforward breakdown jam features solid play by Page and Mike. Teases of "Mainstreet" (Bob Seger) and "Dreaming" (Blondie) add extra mustard.

Super version with excellent stylistic variation by Trey, as well as "DEG"-like playing and a cool "Heartbreaker" tease/jam. Trey's shape-shifting play recalls the excellent versions of '90 and '91.

Very exploratory, wide-ranging jam that is rhythmically oriented and, like other Summer '95 jams, has a psychological edginess to it. -> to an epic "Free."

-> in from a great "Down With Disease." Multi-movement masterpiece. Starts in typical (for 1995) style, but morphs into rhythmic, eerie and psychedelic piece. The jams then takes on a jazz-like vibe. After some quiet moments, picks up tempo and energy for a rocking, upbeat finale.

Excellent, intense version!

Largely straightforward, but blistering hot jam with great playing by Fish and Page.

> in from "Axilla (Part II)." Both Page and Trey have unusually long solo sections.

Can you !#@!!&% believe this? "Dave's Energy Guide" sandwich and a "Cannonball" jam.

-> in from "Tweezer." "DEG" is sandwiched inside the "Tweezer" jam.

-> in from "DEG" as this excellent "Tweezer" continues.

Seemingly played at a slower tempo, this is a creepy and spacey version with nice tension. A psychological face melter.

Extremely improvisational. Pretty much leaves "Bowie" in the dust following the composed section, only returning at the very end. A+ for exploration.

AMAZING B&D SEGMENT!

After a quick, typical 1st jam, the 2nd begins in a driving, rhythmic manner. Downshifting a few of times, the rhythmic pulse remains, but the jamming gets increasingly abstract. By 14:00, a spacey envelope has overtaken, and remains in place until a > to "Contact."

Good varied play prior to the funky breakdown section, where Mike and Page again jump out in front, before Trey re-takes the con.

Straightforward, but stretched out with great playing by all, especially Trey.

Trey plays the original guitar intro, and the instrumental section is richly melodic.

Highly unusual jam with Mike on the electric drill and Fishman on vacuum.

Venomous, percussive and deranged "SOAM" that gets further and further away from the ranch as it progresses. Despite it's length, the jam here doesn't have multipe movements, sections that vary, etc. It's just sort of continuous chaos.

> in from "Wilson." Trey wastes no time easing into this one. More like a scene from the Clint Eastwood movie "High Plains Drifter": Paint the town red and Burn It Down!

Dissonant and extremely tension filled jam. Seems to be concluding, but then at about 14:10, the jam morphs into a gnarly, experimental jazz-like foray. Unfinished with a > "Stange Design."

Great interplay between Page and Trey leads builds steadily and bursts into a soaring Trey solo and powerful peak.

Fantastic workhorse version from the slopes of Sugarbush Mountain in Vermont. Machine Gun Trey burns through the ammo in this one.

Breaks away from "Jim" at about 8:45 into percussion-driven exploration. The jam gets way out there, with some tension and dissonance, before morphing its way (->) into "Makisupa." Not beautiful music, but highly improvisational.

Nice segue in from "Runaway Jim". It starts with a typical effects laden jam, followed by a second jam after the vocal reprise, starting around 5:30. Trey uses the same effect as he does in early renditions of "Free." Gets spacey in the last minute as Fish and Page lead a spammy but cool jam that -…

"Tweezer" returns to relative normalcy. I say "relative" because this is still a great version, too.

Dark and intense jam with healthy doses of tension and dissonance. Dizzying buildup to the peak with ballistic Fish.

Awesome, multi-faceted improvisation that doesn't sound remotely like "Bowie" until the final 3 minutes. Includes multiple teases and "Bowie" -> "Johnny B. Goode" -> "Bowie" in the jam.

-> in from "DB." A spirited rendition, only the second ever, springs out suddenly in the middle of a monster "Bowie." -> back to "DB."

-> in from "Johnny B. Goode." Returns to "Bowie" for some more far-ranging exploration in the epic version.

At about 6:15, the jam section starts to get a bit beyond the conventional "Bag."

The jam veers into different territory at 8:45 as the customary "Hood" harmonics are upended by a shift to minor mode. Returns to normal "Hood" after 10:30, building to a nice peak which gradually fades with no closing refrain.

Mike and Trey highlight this excellent, fun, rocking and well played version. It's mostly straightforward, but high quality fare nonetheless. Try 9/27/91 for another terrific non-exploratory version, separated by 4 years to the day.

> in from the "White Rabbit Jam," perhaps the earliest glimpse at the band attempting to execute "Reba" at breakneck speed. After a clean composed section, Trey powers through the version, the playing straightforward and direct until the band slows at 7:40 to create an interesting and controlled pa…

Good improvisational version with rhythm shifts and great tension.

Rocking outro turns serene and dreamy, then grows creepy and dissonant, and > to "Keyboard Army."

Near silence at the beginning of the jam, then listen carefully at 4:45 as Fish delicately and musically adds his Electrolux to the mix. The jam then kicks up several notches, and like 6/15/95, Fish seems to up the tempo slightly to add energy and power to this very fine version.

A much more exploratory version than most Fall '95 "Bowies," which despite being very well played and intense, stick pretty close to the basic theme.

Even more crazy and chaotic of a jam than normal for "Tweezer." Jam reaches a good peak, cools way down, but then climbs and climbs and reaches an excellent peak beore concluding in a mellow way and seguing into Keyboard Army. (there's no return to the normal coda)

Very solid "Possum" with building tension and moderate dissonance. Great variation and trilling by Trey, and a sweet peak.

Just a good solid, improvisational and well played version with tension, pulsing rhythm, and a creative ending section too.

Although Page dominated, the jam has contributions from all band members in a somewhat dissonant, but atypically melodic, and chilling, version.

A heartfelt and moving version with beautiful soloing by Trey, who briefly plays without amplification. Then the jam builds to a powerful '95 peak, but is unfinished with a crazy crescendo of sound instead of the closing refrain.

A somewhat unusual approach by Trey makes for a different and interesting version. Being 1995, it's also very well played.

Outstanding version with the jam based loosely on "You Don't Love Me" (Willie Cobbs, popularized by the Allman Bros.) - listen from 4:25 - 4:41, 6:15 - 6:30, and 8:56 - 9:03 for teases. "DEG" and "Johnny B. Goode" teases as well.

First of several exploratory, rocking, and improvisational '95 "Gins." This one even has some early funk sounds from Page.

A great 1st jam includes different melodic material from Trey, and grows tense and dissonant as it progresses. The 2nd jam begins with a swirling, rocking tempest, grows spacey, and then some rhythmic low-key, Page-led exploration emerges from the haze.

Beautifully played, straightforward version is augmented with a percussive, dissonant ending section. -> to "Wilson."

Some cool quiet playing early on, then the jam veers away from the norm into some deep exploration. A different animal than the creatures from '93 - '94. No big peak, instead the jam dissipates with a -> to "Catapult."

Features a spacey and psychedelic jam.

Quickly gets beyond "Jim" into a driving, percussive and intense jam.

Great "Reba" not far removed from some of 1994's finest (10/18; 10/26). Expansive and far-ranging, the band plays quietly and patiently, covering a lot of ground, and working as one to incorporate calculated, dynamic melodies, and extended passages of sustained grace.

With Medeski, Martin & Wood! (no B&D, no VJ)

Scat singing and playing by Trey in response to Page's solo. Another long Page solo. Prayer-like chanting from Mike before return to lyrics.

With Medeski, Martin, and Wood. An astounding and VERY exploratory jam -> in from "Keyboard Army," as these improvisational kinfolk team up to tour the universe. Some really excellent sections, especially the final 7 minutes.

A Page and Mike heavy 1st jam, in which Trey hangs very much in the background. In the 2nd jam, screeching play from Trey and B-3 fills from Page compliment the funky, rhythmic base. Then there's a 3rd jam of sorts at 9:50, which features Trey retaking the lead in a plucky and upbeat conclusion.

The jam goes "Type II" midway through for several minutes of foreboding exploration, during which Fish really stands out. Unfinished with "Dreaming" and "Keyboard Army" teases.

Super Fish sets a shuffling beat atop which Trey grooves, and a wonderful, rolling jam ensues. Mike incites a mini-breakdown, from which a concerted passage of energy builds to burst. Trey employs any number of staccato-like licks, with Page matching him upon his piano. Huge sustain and powerful t…

Although it doesn't get way beyond "Bowie," this very good version includes a lot of little unexpected improvisational twists and turns and a psychedelic edginess.

"Oye Como Va" teases and HUUUUGE B&D!

Intense, fantastic version with off-key jamming, amazing trilling from Trey, and an unusual ending that -> to "Catapult."

Amazing!! Great segue into "Makisupa."

Mike is noticeably strong throughout. Only with this rock solid foundation can Trey and Page layer on their magic dust.

Delays/effects and -> to "Llama."

Blistering, second-set opening powerhouse.

Strong "Type I" version is yet one more example of why 1995 was such a stellar year for the band.

A !@%^^!# MONSTER!!!!!!

Although largely "Type I," this version is one of the most thrilling and intense ever. The tension and tempo start to crank up after 8:00, and even more so after 10:00. At 11:30 it sounds like "Rocco" is starting with no peak, but then there's a cool, thrumming jam section that sounds like an Antel…

Trouble in the composed section is atoned for by way of a remarkable, multi-faceted jam. First, Mike and Trey team to create an extended passage of contemplative, exemplary play, with Fish and Page providing on-point fills. This soon builds into powerful and direct playing, with Trey's dynamic solo…

A quick tempo, energetic 1st jam gets fired up, then takes a few more laps before breaking to the 2nd at 9:30. Dropping into a rhythmic groove, Mike and Page front while Trey goes mini kit. At 14:15, space takes over and gains a pulse and ominous sentiment, before -> to "Breathe Jam." The jam on th…

-> in from "Mike's Song." The jam on this Pink Floyd classic provides fitting closure for another big '95 "Mike's."

The recording, while imperfect, does well to capture Trey's signature (95) tone, and Page's strong play. The band creates an excellent passage of sustained "calm", which they deftly rebuild before Trey trills the version to a strong peak.

Evoking all the great sounds of 1995, from Trey's Leslie-infused watery guitar effects, to Fish's booming drums, this excellent version captures the timeless nature of "Fluffhead" at this important point in the band's history. No surprise that The Chase and Who Do? We Do! provide a few minor road b…

Fascinating, extraordinarily intense version with some bizarre gibberish vocalized by Trey for a number of measures.

Very different jam, rocking at first but with descending and unusual harmony from Page, then becoming very spacey and > to "McGrupp."

Wild Page solo with Trey and Fish joining at times > Trey scat singing and guitar > Page solo with Trey singing along > Page alone on piano > klezmer > wierd extended falsetto singing by Mike > ending.

Very strong version in a year of mostly awesome versions!

On the heels of a strong "Mule" and crazed "YEM," beautiful play straddles the line between "Jam" and a perfect -> as "Strange Design" bleeds to breathe life into a wonderfully executed "Frankenstein." An extra spacey conclusion >'s for "CDT" to compliment a gem of a second set.

Jam immediately breaks into a propulsive groove. Low key at first, the tension builds as it gets beyond "SOAM." Intense.

"It's Ice" -> to "Kung," which is played in its entirety during the jam segment.

-> in from "It's Ice." Following "Kung," -> back to "Ice."

-> in from "Kung" to complete this version of "Ice."

An inspired version with some really beautiful moments before Trey leads the boys into an overdrive finale.

Debut as part of the 1995 musical costume, the Who's Quadrophenia. Straight forward version with no extended jamming.

HEAR AT ALL COSTS!!!! "Fuck You (In)(Up) the Ass" VJ.

Dave Grippo on saxophone. Grippo kicks in where Trey would normally lead the playing and adds rich texture and a jazz sentiment to this fantastic version. Performed in Chicago, of course.

Dave Grippo on alto saxophone, Don Glasgo on trombone, and Joey Sommerville on trumpet. Excellent version with a distinctly bluesy feel to it.

Astounding collective musicianship here. In this scorcher, the band nimbly stretches the chord structure, phrasing, and timing in such a deft manner that it's almost imperceptible.

Excellent and very rocking version, with Trey on the mini percussion kit, but in a great way.

A chill and relaxed jam anchored by great bass and drums, colored with pointed fills from Page and wonderful playing from Trey. The band locks upon a cool theme, the groove easy-going as Trey augments his tone. Spirited play cycles through and into a passage featuring dynamic modulation and great s…

Some powerful playing by Trey early in the jam. Unusual and intense ending.

Excellent, multi-dimensional version. From power jamming to beautiful quiet space to coordinated rebuilding including a great "Rift" tease, it's all here. -> to "TMWSIY."

Opening almost as many shows as "CDT", it's impossible to decide upon the best "Jim" opener. Here, however, had song not followed "BATT", we would certainly find a version worthy of consideration. Trey's Leslie-soaked tone drips with color like some fever dream, and Fish's play, as ever, is unparal…

Vocal/guitar jam by Trey responding to Page. Trey is nuts! Trey vocally joins Page at end of his second solo. Fishman kicks in on drums to bring on the klezmer. More crazy falsetto/baritone singing by Mike.

A jewel. A perfect "YEM" which includes a "Crossroads" jam. -> to "Crossroads."

-> in from "YEM." Awesome "Crossroads" jam in the middle of a perfect "YEM." -> back to "YEM."

-> in from "Crossroads" to complete this perfect "YEM."

> in from "Sparkle." With several instances where the jam grinds to a near stop, this is another '95 version that stretches the boundaries of "Bag."

Outstanding version with a great intro. The jam begins with Trey soloing beautifully, and then he is joined quietly by Page and the others. The gradual but deliberate build up and glorious peak evince top level musicianship.

Solid 1st jam with good variation. The 2nd jam is relatively short by '95 standards, but includes another good Mike and Page showcase while Trey uses the guitar to create a soundscape background before hopping to the mini kit briefly.

A vigorously played version that packs a lot of punch. Strong funky elements enhance the excellent typical fare.

"Lizards" teases. Cool drum solo.

Minor early issues aside, the playing in Who Do? We Do! is very sharp and powerful. In Clod, Trey seems to use a reverb-like effect, which pairs well with Page's soloing - a soundboard would be a huge plus. A full-throttle, slightly extended Arrival includes some sweet, Leslie-infused trilling by T…

Jam starts off largely straightforward but gets more out there as it progresses with key changes and rhythmic bending.

An interesting and somewhat atypical 1995 "Reba." Really terrific playing from Mike and Fish informs a jam that, while not quite ambient, seems more aimless than recent versions. This, however, functions to make the conclusion that much more powerful, as the band, pushed by Trey, coalesces to play…

Very curious, "Free"-like jam. Trey finds a very cool theme to repeat for a minute or two as well.

Just solid all around. Trey leads brilliantly, Page jumps to the 88s earlier than usual, and the rhythm guys punctuate the dynamic with an exclamation point. Great sounding Aud, or Aud/SBD matrix on the spreadsheet.

Fantastic version and one of the most improvisational ever. Includes a Simpson's signal, a "Dixie" tease, Trey scatting, a "Woody The Woodpecker Theme" tease, a "Johnny B. Goode" tease, AND a wild and exploratory jam.

Insanely intense Trey section with a strong psychedelic edginess to it.

"Stash" -> "Manteca" -> "Stash" -> "Dog Faced Boy" -> "Stash". Many would rank this combination among the Top 10 Phish jams ever, and with good reason. This magnum opus is a stunning, thrilling masterpiece.

-> in from "Stash." Nice little side trip to "Manteca" in the midst of this phenomenal "Stash." -> back to "Stash."

-> in from "Manteca." This epic "Stash" continues. This section includes some cool grooving on "Esther" before growing intense and incendiary, and then settling down and -> to "Dog Faced Boy."

-> in from "Stash." A haunting version of "DFB" adds a psychological twist as this epic "Stash" begins to head home. -> back to "Stash."

-> in from "Dog Faced Boy." A blistering cacophony follows "DFB," before this monumental "Stash" arrives home on familiar, but unsettling ground. This entire "Stash" sequence is absolutely MUST-HEAR for any serious fan.

"Low Rider" teases, -> to "Immigrant Song" jam!!

-> in from "YEM." Brief jamming to the Led Zeppelin classic before -> back to the "YEM" jam.

-> in from "Immigrant Song" to return to this solid "YEM" jam.

Page solo > Trey singing scat and playing guitar with great audience reaction > Page solo > klezmer > prayer-like chanting from Mike > ending.

A multi-section "Mike's" begins with a rocking, somewhat dissonant opening section. For the first several minutes of the second jam, Trey "plays" loops and hits the woodblock while Page rages, and then Trey returns to guitar around 10 mins in and continues the intense and rocking, but also melodic,…

The jam includes an engaging, funky percussive section and an extended, intense buildup to the peak.

A short background jam with Trey on percussion while he discusses the debut of the band/audience chess match.

This one starts peaking just before 8:00 and continues building, with one or more false peaks before the final ending.

Must-hear! Among the very best. "Brick House" jam!

Hendrix style effects, Trey mini-kit and first baby voyage for "2001".

Gets very funky for several minutes. Very cool must-hear version.

Vocal and guitar response by Trey, but very different from all the preceding versions. Page picks up Trey's musical theme in his second solo. Mike adds his part with extended chanting before the return to lyrics.

Version follows "Guyute," the only time these kindred compositions have been paired together, and includes a spooky outro jam with strong Fish which -> to "Dog Faced Boy."

Teases of Maze, Bowie, Possum, Day in the Life, and Bowie again. Very long, funky percussion jam, with Trey on the "mini kit."

Great fall '95 version with a "Bowie" -> "Take Me To The River" -> "Bowie" in the jam and some thunderous and blistering exploration following the debut of this song popularized by Talking Heads.

-> in from "DB." Great brief jam on this Al Green song popularized by Talking Heads emerges in the midst of a solid "Bowie" jam. -> back to "DB."

-> in from "Take Me To The River." The real heavy meat of the "Bowie" jam is in this section.

Fish solo.

After a high powered but otherwise typical 1st jam, the band breaks into a nice melodic 2nd one, with Trey electing to stick with the guitar, and good accents provided by Page and Mike. The jam ends with a nice -> to "Keyboard Army."

Jam wastes no time dicking around but gets right into intensive and dissonant playing. Great Page and Fish.

The second extended, highly improvisational "Free." An absolute tour-de-force, few Phish jams are as raw and intense as the Landover Free: almost uncomfortably so. Arising from rancor between Trey and Fish following a botched introduction to “Rift,” this multi-sectioned jam explores emotions of ang…

> in from "Theme," more tight playing in the composed section gives way to really cool Mike, soon joined by Trey (who runs through a great set of chords), and this colored by incredible, off-beat Fish. Page offers a pretty splash of sound before Trey enters a truly melodic solo, Mike matching him n…

Typically strong Page solo followed by Trey on vocals and guitar. This one gets crazy as it picks up tempo and pitch. Another Page solo, klezmer, bizarre chanting from Mike, and ending.

Improvisational version includes a great breakdown jam led by Fish, Page and Mike with Trey on the mini percussion kit.

Set II opener. Stretched-out, multi-faceted psychedelic jam that includes "Mind Left Body"-like jamming from 2:47 - 3:21. Jam has an eerie, quiet, mid section, then regains power. Extremely dissonant. Transition to "Kung."

Following "Kung", which is performed like a hymn, "Mike's Song" takes the long journey home: A typically fierce version bending to break into an incredible "Rotation Jam" (like @SomethingsPhishy points out: If you didn't know better, it's tough, on tape, to realize the band swaps gear) which, ulti…

-> "Mike's". Debut finds the bandmates swapping gear before settling to play upon Page's rig before returning to "Mike's Song".

-> from the first "Rotation Jam," the musicians return to their instruments to complete the first segment of a momentous "Mike's Groove."

Almost two months removed from Shoreline's speedy "Reba," the band again takes flight, whipping through the composed section at warp speed. The ensuing jam, while metered, does not relent, with passionate, inspired Trey leading the way, while focused, full-band play is infused with great syncopatio…

Set II opener. Unusual intro. Intense with ferocious percussion. Page jumps to the B-3 briefly to provide an unusual and chilling effect. Multiple movements in this incredible, jarring jam that will rattle your skull. > to "Sparkle."

Extended, percussive intro, almost like a "Bowie." Soaring, multiple peak jam with awesome Trey and Fish.

With Bela Fleck on banjo. This is a fantastic version; the banjo is a perfect addition for an intense, rhythmically complex, song like "Taste."

Bela Fleck on banjo. This is a fantastic version, with Bela and Trey pairing together incredibly well.

This is what the "HOSE" is all about. Excellent -> "Makisupa."

Spry, tropical sounding jamming, with some especially strong percussion -- Trey moves over to the kit for a while. Excellent, extended transition > "Antelope."

"Tweezer" -> "Makisupa" -> "Antelope." An excellent and intense though largely straightforward version which includes some "Tweezer" teases in the "Rocco" section.

Trey follows Page's long solo with some vocals, but mostly a beautiful guitar solo. Page responds in kind, with marvelous classical piano stylings.

No bells or whistles on this "Hood." But the build and peak sections are simply gorgeous, even by '95 standards.

A driving and furied 1st jam leads off. The 2nd begins with a somewhat dark sentiment, buffeted by an intense rhythmic sense. The jam then quiets briefly, before regaining its propulsive high energy nature. At 15:00, Page takes the lead, adding '95-style funk, while Trey opts for the mini kit. At t…

-> from "Mike's Song" (1st time ever), and played in a different key than normal. Despite some issues with the key change, the jam contains a beautiful, melodic theme.

> in from "2001." Hard to believe one of the all-time hose versions of "Tweezer" comes two songs after the boys detonate this cluster bomb.

Even more serious "HOSE" in the entire version. Just awe-inspiring!

Although largely "Type I," this typically strong '95 version is an intense thriller, and has excellent dynamics modulation.

Set II opener. Another typically strong '95 version that will fry your brain. Dissonance reigns supreme. > to "Sparkle."

A very exploratory "Gin" jam. At 7:00, the jam starts to twist away from the standard, and works through several sections including driving power rock, percussive '95-style funk, more power rock, and a -> to "Keyboard Army."

Page solos, then comes Trey on vocals/guitar, but the vocals are very atypical. Page responds with another strong solo, the klezmer starts, followed by Mike chanting and stomping his feet. On the final beat of the song, the band breaks into a high-powered, accelerating jam that lasts for 1:34 until…

> in from "SOAMule." A high powered, accelerating jam starts on the final beat of "Mule." Abruptly > to "Lifeboy."

Multiple rolling peaks that get higher and higher, and the final few, which incorporate an "Entertainer" tease are just sweet.

Unusual mid first set placement. Trey hits on a great riff that he molds as the jam develops. The band really stretches this one out, with unbelievable intensity even before mounting the final peak. One for the ages.

Multiple peaks that grow increasingly intense. Fish and Page are especially dynamic, with Page briefly on the B-3.

Sick wrecking ball version that will pound your head. Start with some "In-A-Gadda-Da-Vida" jamming to warm up. On to improvisational twists and turns, a tense, hammering peak, and a somewhat bizarre ending. Very demented.

If 9/30 and 11/29 are fast, the Niagara "Reba" is faster. While the composed section suffers, the jam is crazy, relentless, rife with rich fills, crazy intensity, and the whacked sentiment of the set-opening "SOAM." This late second-set version sees Trey creating huge sustain which bleeds into a sp…

Only known version with a Page-only solo.

Compared to the preceding version, this one begins in a less frenzied state, but builds up pretty good head of steam, including "Crossroads"-like jamming. The 2nd jam begins with Trey mini kit action, until 11:40, when Trey returns to his main instrument, transforming the rhythmic oriented jam into…

"Mike's -> Weekapaug -> Digital Delay Loop Jam." Incredible sequence of music with an inspired but straightforward "Weekapaug" in between stellar works of improvisational play.

-> in from "Weekapaug." After a spirited and uplifting "Mike's Groove," the "DDL" Jam provides a chilly, eerie ending to this epic multi-part jam.

"KUNG" sandwich. This version is "type II" in large part and just wild and crazy.

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

-> in from "Kung" to complete this strong "Tweezer."

Rhythmic-oriented jam that is ripe with great tension and dissonance.

Set II opener. Overshadowed by the huge "YEM" later in the set, this version is dark and twisted, an impressive and musical "wall" of sound, but is also very well played.

An incredibly melodic and beautiful jam segment makes this among the finest and most adored YEMs in Phish history. Also a "silent jam" and Shaft quote. Vocal jam includes quotes from a talking Beavis and Butthead doll. (No B&D section.)

Haunting, ghoulish and riveting version that includes a long intro. Fish kicks ass! Maybe not as exploratory as the summer '95s, but it compensates with twisted psychological tone.

More of a full band jam, as the separation between Page's solo and Trey's was not clear at this stage.

Vocal and guitar response by Trey is hilarious and wild. Page responds back with another long and dramatic solo; the klezmer, and more weird chanting from Mike.

A good mix of quieter playing leads to anticipation as the build develops, then the peak delivers a celebratory release.

Extremely improvisational, experimental, "Type II"-on-steroids jamming. Musically, it's all over the map. But "DwD" fans should give this a listen to experience the band taking a fearless plunge into the abyss. -> to "Lizards."

> in from "Horn." An overlooked standout from a show loaded with noteworthy performances. The balance and modulation of intensity is stellar, from the subtle, delicate musings during the solos, to the thrilling crescendo jam finale. Mike and Fish masterfully modify their texture as this one undulat…

"Type I" until 8:50 when the jam breaks into a pulsing, percussive bent, which is followed by a wacky silent jam section.

Another must-hear version. "Slip Knot" tease in the segue into Timber.

Awesome -> in from a serious "Tweezer", the jam is typical high quality '95 "Timber" fare, followed by another fantastic -> back to "Tweezer."

-> in from "Timber" as this classic "Tweezer" continues.

The first truly jammed-out version. Following the typical outro jam, the band breaks into an upbeat melodic groove. The pulse quickens, then settles into an eerie, on-off style jam. Fantastic segue into a stellar version of "NICU."

-> in from a jammed out "Halley's." A rhythmic oriented outro jam morphs into a beautiful Page solo which -> to "Slave."

-> in from a jammed out "NICU." Extremely powerful version. Fish and Trey lay it all out to end Set II of an epic show.

Very spacey jam segues into a creepy, Fish-driven groove with unintelligble, bizarre vocalizations from someone (?), as Page teases the "Pink Panther" theme a few times. "Odd" doesn't even begin to describe this.

A very good "Type I" jam breaks into some percussive, deep exploration at 8:30 and then -> to "Rotation Jam" (one of only 4 such performances during which the band members all switch instruments but continue playing).

Jam almost immediately breaks into an unusual groove. Not way out there, but uniquely excellent.

More '95 style "Mule Duel" wackiness, with the expected Trey guitar/vocal response, more Page soloing, and Mike chanting with a brief snore.

Short but sweet. A high octane "Simple" nicely -> to a great "Weekapaug."

Features a long percussive jam with Trey on the mini-kit, giving Page a chance to take the lead. Eventually winds down into ambience before > to "Coil."

One of the most spirited, cacophanous versions from '95, even though it's straightforward. Fish and Page go ballistic.

While typically dissonant and tension filled, there is rich melodic variation from Trey compared to "standard" versions, and his yelling and screaming at one point adds to the mind-numbing aspect of this beast.

Another strong December '95 version. Fish is the star as he expertly intensifies the percussion as the jam progresses.

Page solo segues into a "Tweeprise" finish. WTF.

-> in from "Tweezer." The second notable "Tweezer" -> "Tweeprise" combo.

Set II opener. The jam has an even more dark and ominous feel than most versions. Fish's playing is fantastic.

Rocking, tension-filled version with a psychedelic edginess to it, including a dissonant ending.

Another incredible 1995 "Tweezer." Definitely check this one out. Mike practiced part of the "bass jam" he'd engage in the following night.

Very improvisational version. Both Trey and Page repeatedly voice dissonant chords in the build section, creating an eerie tension. Trey's melody lines are also unusual at times. And Fish's drumming is thunderous.

Very improvisational considering this version largely stays in bounds. Like many versions from '95, the band stretches the duration, creating a psychological thriller, but the music is less exploratory than '93 - '94. Not a good trend for "Stash."

Fish is the superhero in this exceptional version. A great Fluff's Travels gets the ball rolling, while safe passage through the Siren-like perils of The Chase leads to a great Who Do? We Do! It's during this section that Fish really cranks up the intensity of his highly precise rhythmic base. From…

"Gin" -> "The Real Me" -> "Gin." Fantastic, inspired and rocking version. The "Gin" sections that bookend the Who classic are improvisational fare, but all fit together seamlessly into one flowing jam. -> to "McGrupp."

-> in from "Bathtub Gin." Following their 1995 Halloween costume, the band surprisingly revisits this Who classic in the middle of a fantastic, rocking and "Type II" Gin. "The Real Me" includes more exploratory jamming than its debut 3 months prior. -> back to &q…

-> in from "The Real Me" with more great improvisation before returning to the "Gin" theme to conclude and -> to "McGrupp."

-> in from the historic "Real Gin." "McGrupp" features an airy opening, replete with Trey's signature '95-style, Leslie-infused shimmering tone. Wonderful playing throughout. Page breaks for a dark calm, marked not so much by eeriness, but a general psychedelia, enhanced by a…

> in from "BBFCFM." An excellent bass duet jam with Mike and his instructor, Jim Stinnett. The duet includes teases of "Keep It Greasy" and Bach's "6th Brandenburg Concerto" (aka the "Masterpiece Theater Theme"), and -> to "La Grange."

Another "Kung" sandwich makes up the meat of the "Ice" jam.

-> in from "It's Ice." Following "Kung," -> back to "Ice."

-> in from "Kung" to complete this version of "Ice."

A magnificent jam in this version ends a stellar year for "Hood." Released on FTA Superball IX, Part 2.

Great Page > Trey guitar/vocal > Page piano with Trey backing on guitar > klezmer > Mike singing high, then really low.

NYE's huge "Reba" finds the band recovering from a botched composed section to create a classic. Measured and magisterial, Trey leads the band as they blaze from one side of harmony to the other, the musicians collectively working their way through starts and stops - and all points inbetween - to b…

A top highlight of this glorious and storied concert. A careful listen reveals extended "Fire On the Mountain"-like jamming from Trey in the post-"Drowned" section, as well as a bona fide tease near the ending and -> into "The Lizards."

Fish is phenomenal in this grand, melodic and driving jam that turns '95-style funky before rebuilding to "Jim."

Wrapping up a historic 2nd set, the 1st jam segment is strong but fairly pedestrian until Page starts to signal the impending "DDL Jam." The 2nd jam begins with a slightly funky tone and strong Fish. The sentiment grows dark as Page shifts to piano, and the foreboding sense of impending doom is ren…

-> in from a stellar "Mike's Song." The dark and brooding nature of this jam serves as a fitting close for this historic Set II, before an improvisational and uplifting "Weekapaug" opens Set III.

"Mike's Song" and "Weekapaug" separated by a setbreak. Masterpieces, both of them.

Two awe-inspiring jam segments. A fucking masterpiece! (No B&D section.)