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Saturday, 02/20/1993
Roxy Theatre, Atlanta, GA
Set 1: Golgi Apparatus, Foam, The Sloth, Possum > Weigh, All Things Reconsidered, The Divided Sky, The Horse > Silent in the Morning, Fluffhead, Cavern
Set 2: Wilson[1] > Reba[2], Tweezer[3] -> Walk Away -> Tweezer > Glide[4] > Mike's Song[5] -> My Mind's Got a Mind of its Own[6] -> Mike's Song > I Am Hydrogen[7] -> The Vibration of Life -> Kung -> I Am Hydrogen > Weekapaug Groove -> Have Mercy[6] -> Weekapaug Groove -> Rock and Roll All Nite Jam[8] -> Weekapaug Groove, Fast Enough for You > Big Ball Jam > Hold Your Head Up > Terrapin[9] > Hold Your Head Up -> Harry Hood, Tweezer Reprise
Encore: Sleeping Monkey
[1] Simpsons signal and, towards the end, a freakish jam that included an Iron Man tease from Mike.
[2] Woody Woodpecker theme tease.
[3] Low Rider jam and a “Straight From the Sewer” rap.
[4] Tweezer teases.
[5] Minor lyric changes, three different Tweezer teases, two different Wilson teases, and other teases of Reba, Lizards, and Stash.
[6] Not played in its entirety.
[7] Esther “circus” theme tease from Mike.
[8] Chorus sung by Jay von Lehe.
[9] Band intros and lots of chatter from Fish, prompting a hurry-up HYHU tease from Page.
Notes: This long version of Wilson included a Simpsons signal and, towards the end, a freakish jam that included an Iron Man tease from Mike. Reba included a tease of the theme from Woody Woodpecker. Tweezer had a Low Rider jam and a “Straight From the Sewer” rap. Glide subsequently included Tweezer teases. Mike’s Song featured minor lyric changes, three different Tweezer teases, two different Wilson teases, and other teases of Reba, Lizards, and Stash. During Hydrogen before Kung, Trey began the Vibration of Life, Mike teased the Esther “circus” theme and then began quoting from NO2. The Rock and Roll All Nite jam was for fan Jay von Lehe, dressed as Kiss’ Gene Simmons, who the band brought on stage to sing the song’s chorus. Terrapin featured band intros and lots of chatter from Fish, prompting a hurry-up HYHU tease from Page. Fish also performed a lengthy vacuum solo during this tune. The HYHU outro segued into Hood as Fish and Trey switched places. Neither Have Mercy (first since Halloween, 1986, or 671 shows) nor MMGAMOIO were played in their entirety. Walk Away was played for the first time since November 2, 1991 (159 shows).
This show was part of the "1993 Winter/Spring Tour."
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5 Phish.netters attended.
This is one of the great highlights of the early-90's period before the members of Phish fully figured out how to get beyond their own virtuosity. The second set is as weird and wonderful and funny as its setlist, with a magical Harry Hood near the end; and yes, everything from Tweezer through Weekapaug is a single indispensable free-flowing Comedy Jam. But sixteen years after the fact, some of the seams are showing, e.g. the forced transition into MMGAMOIO and the awkward Trey-on-a-pedestal showoffiness that pervades Mike's Song. That said, from Hydrogen through the end of the run it's unforced and joyful, and only a serenely confident (or is that 'arrogant'?) band could produce the hybrid beast that is this version of Glide.
You can skip the first set without regret, but if you fall in the middle of the TMBG/Ween/Phish fandom Venn diagram, Set II is pure uncut musical cocaine. This one's in line with later experiments like 5/7/94 II (the essential Bomb Factory Tweezerfest), though the breadth-to-depth ratio is at the high end here, so caveat emptor. It's an official release, but high-quality SBD recordings have circulated for 16 years and should still be readily available.
(Published in the second edition of The Phish Companion...)
No review can do justice to this experience, but I'll try. It was my 22nd birthday, and the night of the first Phish.Net gathering, so the atmosphere for me was particularly giddy. But anyone there at the time would have been thrown by the relentless spontaneity.
The second set of this show is routinely listed among "must have"
recordings. There was magic in the air starting with the first set the previous night. But mere minutes into this set, it was clear that things were going a step higher. It is perhaps the most debated of Phish setlists, with so many overlays and reprises that any two fans probably list it differently. For its time, the twists and turns were religious. A cadre of diehards, front and center, scrambled with pens and scratched their heads trying to keep track of the setlist. One Matt Laurence ultimately gave a blank stare and tossed his paper into the air.
The show so stood out from others of its time that its popularity inflated its status for many years to follow. (The availability of high-quality soundboards furthered both the popularity and the status.) In retrospect, the improvisation was relatively tame, and the energy (as conveyed on tape) was higher at other shows of the same era.
Granted, many aspects of Phish shows (and life generally) are impossible to record. But the site of Fishman naked, or the band exploding a drumkit, are imaginable. For anyone who has seen Phish in recent years, the mystique of restless song shifts is probably more confounding than compelling. But for anyone who was there that night, or who saw shows or has heard tapes from that era, the flow is laudable. It wasn't the best Phish show ever, but itwas one of the best ones to experience - a beautiful buzz.
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