(Published in the second edition of The Phish Companion...) Okay, so everybody knows the story by now. Either because there was only a few hundred people in the Crest that night or because everybody seemed mellow or who knows what, the band...

It's always kinda funny to me how long of a torch people have carried for the return of The Man Who Stepped Into Yesterday (semantics, schmemantics - Baba O'Riley isn't called Teenage Wasteland, either); not only is the song cycle inextricably tied to Early Non-Improv Phish - it's a bunch of...

I hold this show in higher regards, not only because a day later I was born, but because I have listen to this show inside and out and every beat brings tears to my eyes. The second stands out primarily because it illustrates a picture of what Phish is as a whole. There is a massive level...

Really fluid and laid-back jamming, with Trey all but absent (relatively speaking), as if inciting the others to respond. This results in an all but total dialing down of the sound. Not so much a secret language, as a testament to the band, who, via subdued and nuanced playing, manage to maintain the structure of the jam before Trey works through a series of cool rhythmic shifts and wonderful sustain to arrive at the "note."

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