|1994-06-29||Reba||Raleigh, NC||15:27||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 again finds the band pushing boundaries and toying with all sorts of rhythmic shifts and sonic experimentation.|
|1994-06-29||Bowie||Raleigh, NC||0:10||"Bowie" -> "Catapult" -> "Bowie" in intro. Good solid summer '94 version, released on Live Bait 4.|
|1994-06-29||Catapult||Raleigh, NC||0:40||-> in from "DB." Spooky version of "Catapult" is played over the "DB" high hat intro beat. -> back to "DB."|
|1994-06-29||Bowie||Raleigh, NC||12:14||-> in from "Catapult." The early part of the jam is melodic and upbeat, but it gets typically nasty and tension-filled as it progresses.|
|1995-06-16||Esther||Raleigh, NC||8:53||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.|
|1995-06-16||It's Ice||Raleigh, NC||9:14||Beautiful piano soloing by Page.|
|1995-06-16||SOAMelt||Raleigh, NC||14:33||Starts tamely enough, but the tension and exploration improve as the jam progresses, and the ending is nuts.|
|1995-06-16||Runaway Jim||Raleigh, NC||30:36||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."|
|1995-06-16||YEM||Raleigh, NC||25:06||"Oye Como Va" teases. Boyd from Dave Matthews Band on fiddle for part of the jam.|
|1997-07-22||Taste||Raleigh, NC||9:53||Played during a thunder and lightning storm of Biblical proportion that prematurely ended Set I, you can hear the thunder crackling in the background. Clearly the storm electrified the band, and if you are a Page fan, this is a must-hear, incredibly intense version.|
|1997-07-22||DwD||Raleigh, NC||19:56||Multi-part, heavy duty funk jam -> "Mike's Song."|
|1997-07-22||Mike's||Raleigh, NC||14:34||This single jam version breaks into a thick soupy funk groove right off the bat, with lots of good variation. At 8:20, there's some shifting of instrumental sounds, but the basic grooves stays intact. Then at 10:45 the jam breaks into a new, completely different and exploratory section with a threatening, semi-evil tone. The abrubt switch back to "Mike's" is a bit forced, but all in all, that's trivial nit picking.|
|1998-08-07||Mike's||Raleigh, NC||13:53||Although the single jam segment follows a fairly standard structure, this version is a great example of Trey taking the lead and directing the jam, with strong backing from Page. With swirling and shredding guitar play, the energy ebbs and flows, before culminating in a final ecstatic peak which hits the transitional D, E, and F# chords and > to "Simple."|
|1999-12-16||CDT||Raleigh, NC||10:31||Very patient and gradual build in the jam.|
|1999-12-16||LxL||Raleigh, NC||10:29||Although this one takes awhile to get going and the "Spreadsheet" recording doesn't do it justice, Trey trills like his life depends on it in the spectacular peak of the jam.|
|1999-12-16||Sand||Raleigh, NC||22:30||Initially, the jam revolves around a menacing, effects-laden groove. Trey then hops on the keys to inject some melody and later expands on those ideas on guitar before the jam builds to a screaming finale.|
|1999-12-16||Tweezer||Raleigh, NC||21:52||Melodic, "Slave"-like jam.|
|2000-06-25||SOAMelt||Raleigh, NC||17:49||With some really beautiful and delicate major mode jamming midway through, this "SOAM" ventures into a blissful landscape unusual for this song, before eventually returning home to familiar ground.|
|2000-06-25||WTU?||Raleigh, NC||10:03||Starts with cacophonous siren loops, then collapses into a long, languid take on the tune, before dying away in a church-like hush. Longest version to date.|
|2003-07-27||Ghost||Raleigh, NC||18:25||A seven course prix fixe culinary exploration of the deliciously dank flora, fauna, and fungi of the nocturnal arboreal outback. [Dark and very improvisational. A few moments point to the customary upbeat "Ghost" release, only to be passed over in favor of more ominous exploration.]|
|2003-07-27||Caspian||Raleigh, NC||10:48||> in from "Tube." Another hard rocker with a cool transition that gets way from "Caspian" and -> to "2001."|
|2010-07-01||Boogie On||Raleigh, NC||9:52||In the encore slot. While basically "Type I", Trey provides a rich and celebratory melodic line to the basic "Boogie On" outro jam, which elevates this version considerably.|
|2015-08-14||Llama||Raleigh, NC||5:14||Debut of the slow, funky Llama. See 6/29/16, 10/20/18, and 11/30/19 for other versions.|
|2015-08-14||Moma||Raleigh, NC||8:05||Version features an atypical jam segment which modulates to major mode, giving the jam more of a feel good sense, and less the typically rocking style.|
|2015-08-14||Golden Age||Raleigh, NC||13:15||Begins with some bouncy funk work and then builds into a rocking groove. Brief ambient interlude before a > to "Reba".|
|2015-08-14||Weekapaug||Raleigh, NC||9:42||Following some deft playing by Trey, the straightforward jam peaks, then drops into some nice "No Quarter" teasing followed by a brief, funky breakdown jam before heading home.|
|2018-08-10||NICU||Raleigh, NC||9:03||Neat outro jam that prods and probes in a few different directions. > to "Thread".|
|2022-07-29||Rise/Come Together||Raleigh, NC||20:45||A long way from 17's debut (which many, at the time, felt like an extension of "Mercury," the -> was that smooth) this Trey-fav "rises" above ordinary anthemic set-closing love and light to become yet another surprising musical odyssey, more proof that post-Covid Phish is infused with fresh ideas and all songs are immune from mediocrity.|
|2022-07-29||BBFCFM||Raleigh, NC||2:55||The verses are played in a new arrangement, as @Sniff notes, perhaps more in the style of Dead Kennedy's than Husker Du, and gives this version a classic proto hardcore breakdown sound.|
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