Apparently not a definite tease, but it sure sounds like Trey is teasing the “Glo-o-o-o-o-o-o-ria” part of the Christmas hymn “Angels We Have Heard On High” at the beginning of his solo.

Really fantastic Harry Hood>Have Mercy>Harry Hood. Pure gold

Live show memory here - sitting down, closing my eyes, clasping my hands together, bowing my head, and just *listening* until they hit that peak. And good gravy, did they hit a peak. One of the strong old-school Hoods of the past few years; really great Hoods seem to follow me around, it would appear.

From the beginning, this Hood feels just a little different, in keeping with the evening's theme. Mike strikes a delicate balance between bouncy and mellow in the intro. What follows from there is a conventional bit of Hood until Page brings a little extra as we thank Mr. Minor. Then Mike strikes up that same balance present in the intro and he and Trey trade gossamer licks over Fishman cymbal work. Page charges back in and each of the boys find compelling places to build from, with Trey in particular finding his voice into the whale-call charged crescendo, from which they equally bring home an emphatic "feeling good about hood." In my humble opinion, this one is absolutely worthy of the yellow.

a nice "Dogs" tease around 7:45! We had no idea..

Easily the second best version of Harry Hood's astonishing comeback year of 2014 (if you can even call it a comeback year - precious few years in any Phish incarnation had *this many* strong or Type II Hoods); a totally reasonable case could be made for it being THE best. What's so great about it isn't just the two discrete Type II sections (hard rocking + Funk #49/Footloose funkiness), but the return-to-Hood-proper jam is so beautiful as well (with a Have Mercy tease thrown in there for funsies). 10/28 II was shaping up to be a darn good set when this Hood started up; when it ended, the set was firmly cemented as one of 3.0's best.

Gorgeous and funky and rocking.

Trey's look of bliss at the ceiling as he held that sustained note is probably my most beloved live show memory - not that I have a ton, certainly, but it still needs to be said.

While easy to overlook, this Hood is sublime and features an actual, no-joke peak. It came on on shuffle one day, and when it ended, I thought "wow, I wish Trey would still play Hood like that." I was totally taken aback when I saw the date.

Nothing exploratory here, and no exceptional length, but this is in my mind the most cohesive, moving, and realized Type I Hood of 3.0.

My pick for the finest Hood since its return to prominence in 2012* or thereabouts (yes, even over Hollywood's version, which I saw in person at my very first show); there's an elegance and even a beauty in the jam here that I don't think has been matched by any of the strong Hoods from the last few years - and there have been more than a few! Sometimes you wonder if this band can still surprise us, and then you play this Hood (paired with, oh, say, the Randall's CDT) and laugh at yourself for even thinking that.

* 12/30/12's version is *tremendous*. There were some fine versions in 3.0 prior to that one, but ever since that night the trend has been from "strong Type I's" (i.e. 7/13/13, 7/26/13, 10/23/13) to "monster versions" (the big ones from the last two years).

A really wonderful Type I version that (as noted in the jam chart entry) hits a wonderful and exultant peak. There were a lot of worries about Hood circa late 2012-early 2013 (much the same way people worry about Bowie, actually); those worries seem somewhat quaint now, IMO. Bowie, on the other hand...

wow. I really love this version of hood. it has a real tropical funk vibe to it

An extremely underrated jam and one of my favorite versions of Hood I've seen

I was there for this jam, and obviously from a personal standpoint it is a very, very meaningful jam to me. Listening to it on tape, it sounds like a pretty good 3.0 jam shoehorned in just a tad into the usual Hood jam - there's nothing wrong with that, of course, but this very easily could have come out of the Sand that night. Still, a darn fine version, and a neat bookend with the 2003 wide-ranging versions, although (as you'd expect when you compare 2.0 to 3.0) this is much less dark than the 2003 versions get.

This Hood should get some more love. The composed section is nailed. Although it is straightforward, the jam is absolutely beautiful. Dicks 2012 run will probably never be topped as far as Dicks runs go

This version was once on the jamming chart. For my money, it is my favorite type I Hood I've ever heard. Many of the themes you hear have been done before, but Trey is inspired, spry and pouring with emotion. Page lays down some great plinko and Mike dances like a ballerina around Trey's lead. Fish is transitioning into his Ringo Star phase that by now has become a hallmark of 3.0: less is more with tasteful accents throughout. Start at the 9 minute mark and hear these familiar melodies we've all heard, but recognize how glorious they are played. By 10 minutes, I was jumping up and down. There was a couple locked together BALLING in each others arms with love and joy on their faces. IT peaks around 11 minutes and the entire place went wild. Highly recommended.

All 4 band members make their own fantastic contribution here, but Mike is especially engaged. The section from 6:50 to 12 minutes is pure bliss filled butter and a top highlight of the NYE Run. At 6:17, Page drops a perfectly placed Spanish Harlem tease. 6:50: The Plinko begins with amazing interplay between all 4 musicians. We've all heard this style at some point in 3.0, but rarely this sustained and purposeful. When the crowd roars at the 9 minute mark, the band responds with several more minutes of music for your dancing pleasure and listening pleasure. Around 12 minutes, a big sustained note from Trey leads to familiar Hood territory. If you like this version, see the reprise of the theme on 9-4-2011 at Dick's.

You'll definitely want to listen just for the crowd at the end. Haunting.

Trey goes for it all and the rest of the band is with him note for note. Now that's a good hood

There are a lot of amazing versions of Hood but I always come back to this one, the peak is out of this world.

This Hood doesn't get enough credit. Maybe not strictly Type II, but there hasn't ever been a better peak played.

Ideally the pinnacle of Ambient Phish played at it's best. Hood begins in a traditional standard version before dissolving into tranquil space and ambient loopy arrangements of perfection. Returns after about 7-8 minutes of noodling and sampling the goodness of ambient phish before concluding with the traditional Hood arrangement.
My favorite show, version to date.

This is probably my favorite single piece of music Phish has done yet. It's absolutely perfect, and an emotion-filled journey.

Just heard this Hood for the first time and it is unlike any other. The slightly minor-sounding twist on the jam is gorgeous and then they bring it back to an awesome classic "Good about Hood" peak. I feel like you can't listen to this version and not fall in love with the band.

This is the first Hood I ever saw live.

My buddy was crazy about Hood, and I just nodded so I could hopefully stop talking about a song I didn't really care about.

This night stopped that attitude immediately. It was stunning.

Phish has played music that's filled me with joy, astonished me, lulled me to a dreamworld of magic (to borrow a phrase), and made me want to write essays, but as of this date they have only played one piece of music that's made me want to cry. That is the last five minutes of this Hood jam, maybe my favorite thing they've ever done. Ever.

Sorry to double-dip, but I just reread this and I'm smiling at the bit about the 10/23/13 and 12/30/13 Hoods (both darn good versions!) breathing life back into Hood. You don't know the half of it, May 2014 n00b100.

You've most likely got $4 you can do without, so why not spend it on the LivePhish mini-release of this show, of which this Hood jam is worth the entire thing by itself? It's funny how often Hood remains in its general plain-old-Hood envelope in its jam (which makes the '03 monsters and the Hollywood Hood stand out all the more by comparison), but there's enough ways to bend and twist and reshape that envelope to make something new - heck, just look at the Glens Falls and MSG versions, which prove there's still life in the old warhorse. And then there's this version, which features some particularly sweet soloing from Trey and a delicate build to the usual Hood peak, which really make it stand out. The green treatment is absolutely deserved.

The moment at roughly 13:26 on the common AUD when everyone seems to THINK Trey's about to break 'The Note,' and he falters but sssssssssssomehow holds on for just a few more bars until finally SLAMMING back into the mix...that moment, right there, where everyone in this like world-historically lucky crowd just LOSES THEIR MIND together...man, I can't get enough of that. The music is excellent, Fishman (as @DrSFJones points out) enters a wildly inventive fugue state, but for me the best thing about the AUD recording is how clearly you can hear energy being passed back and forth between players and audience. In a (perhaps; perhaps not so) unconventional sense, it's a 'spiritual' moment, and if you can't exactly be a part of it now that it's (whoa) nearly 20 years gone, I think that with an exercise of empathy, which is to say a certain species of imaginative generosity entered into as an act of faith, you can have a kind of parallel experience here, too. Or maybe all I'm saying is that this music lifts me up so high I can't believe it's only music.

This is a ridiculously great Hood. Fishman's playing during Trey's 3-minute sustain is text-book bad-ass mo-fo.

i agree with the above statement. a truly beautiful hood.

This deserves some highlighting IMO, there are certainly more exploratory Hoods and more Hoods in which Trey goes more thoroughly nuts, but to me this is such a definitive version. Flawless composed section followed by a brilliantly tasteful jam - the build, so measured you're almost unaware that it's building, is an incredible testament to patience and attentive interplay. Fantastic peak.

Thanks, Charlie! Couldn't believe this monster wasn't on here yet!

Check out 12/5/95, it's what they were trying to re-create with this version.

One of the most well performed versions to date, top 5 Hood's of all time.

This is my favorite Hood ever. The licks Trey uses each time he releases the tension are perfect!

Crazy this isn't in the jam chart. Very patient build to this one, especially Trey. Soars to great heights for the peak. Definitrly a sleeper Hood.

Hauntingly quite jam during this one, the payoff after the labor of the Mike's->Rotation Jam-> Mike's.

http://www.phishtracks.com/shows/1995-09-27/harry-hood /> Ill let you be the judge, just please listen with headphones on cranked to volume 10+ to reflect on this magical overlooked version, Page is really on.

this version needs to be on the jam chart. absolutely breathtaking interplay

this version needs to be on the jam chart. absolutely breathtaking interplay

One of the Harry Hood's remembered for in 94.
After taking it to ultimate levels of perfection and improvisation this is one of the best of the year IMO.
Deep intro bass play from Mike, as Trey walks on some improvisational noodling during the post 'thank you Mr. minor segment". Continuing to disassemble into a Trance jam led by Big Red. ( silent & almost haunting throughout, hearing the simplest cords being played). Parts of this version reflect what is ti come during the next installment of Phish. Pieced together this falls into the higher rankings of the songs uniqueness.

A really beautiful Hood jam, mainly due to the way Trey brings things down to a church-like hush before a delayed, uncommon-to-Hood build to a particularly wicked Hood climax. Certainly one of the best early/mid-90s Hoods.

Follows some of the same contours as the Mahaffey version from three nights prior, but the false peak, switchback, aggressively martial full-band crescendo, and rocket ride to the climax are flawlessly executed -- particularly the final minute, which builds such powerful momentum that there's no time (no reason) for the final shout. There are higher peaks, I suppose, but no one sane reaches the top of a mountain after a long climb and then gets annoyed that there's a higher mountain nearby. This has the place of honour on A Live One, and deserves it.

Live One Hood
Enough said.

Additional Note:
7 minutes into it, seemed to fluctuate and hover a unique rhythm coming from the band. Fishman really does some old school war like rhythm until coming to a head towards the conclusion of H.H. This version Finishes strong and is a classic.

Five minutes longer than the ALO version that (one would hope) everybody knows, which is presumably why it didn't make the album; they do put those five minutes to wonderful use. The volume-swell tricks they play here were common in 94, almost a signature -- if I remember right, Trey has said that volume-matching was one of the Hey exercises back in the day. You can hear them as ostentation; non-fans often do, I bet. But from here under the sea they seem pretty clearly to be tools by which the band syncs up not only with each other but with the room, the people present, the movement of air, of sound...waveforms as long as a jam or set or the whole night together cohering, converging on some zero point. The same with Trey's brief 'out' gestures, bringing the music out of phase (with the presumed reality of the progression; with us) for a moment and then tying up again; same too with the 'Type II' passage that foreshadows the Gainesville/ALO version, functioning both as a departure from the songform and a kind of extension or extrusion of it, seemingly revealing to the band just how far they could take the Hood jam without violating its structural integrity.

This is 'interesting' the way so much late-94 Phish is, like an elegant proof artfully written.

And it's beautiful as a baby universe.

This Hood changes the entire 1.0 version completely. The crowd clapping during the nooding of Trey seems to be a bit repetitive at segments ( but ends thank God) as the hood jam gains momentum and continues to build throughout, Powerful, improvisational and unique.

I know that for most, NYE '93 takes the cake. And I'm in that camp as well. However, the Sugarbush Hood is it's fraternal twin. And while I prefer 12/31/93 for it's beauty and ability to make my eyes water, 7/16/94 does triumph in two categories: Trey's technical execution and the band's synchronicity. In my humble estimation, this Hood belongs in the Phish canon, along with ALO, Kent State, Deer Creek '97, Went, 11/16/97, GW '14, and the aforementioned king of all Hoods: Worcester. I'd have to think really hard to identify a more perfect guitar solo than what Trey produced on this glorious July evening.

Very underrated, under the radar and passed version IMO.

Harry Hood is an amazing song, an emotional mountain climb to a triumphant peak. I have listened to so many great versions but this is my personal favorite. Please find a way to listen to this one! As Mike starts leading the jam it is noticeably different and oh so satisfying. The peak then hits all the notes you want it to without Trey being overzealous, awesome awesome. Overall a super tight, locked in, beautiful team effort. All four absolutely nail this one start to finish. I would be thrilled to see this show up on a live bait because I could use a better recording myself and I think most people would be blown away.

Listen to Trey's soloing while imagining our favorite manic, hyperactive guitarist hobbled with a sprained ankle and confined to a chair for the entire show. Amazing, bursting-at-the-seams peak in this one.

Agreed, this version is stellar. Was there and wasn't sure if I was biased, but I just listened to it for the first time in a long time and had a near religious experience. Also by the end I had my car stereo at max volume, probably near concert volume and it was electrifying. Listen to it LOUD.

Not much can be argued with this version of Harry Hood, although it is my favorite Phish song i'll go into some detail regarding the King of Hoods.
The first minute you can already feel the readers on the same page, crushing the Hood Script.
2:16 Harry where do you go?
2:18- Improvisational play, seeming to catch a bit more wind in the sails ( side note > page is 100% solid here)
3:48- trey sound is crisp, and bullseye on through the sections, mirroring Fish's play.
5:05- thanks to Mr. minor. No thank you,Mr. hood
5:50- trey's classic Harry Hood solo which seems to really speak, i often hear people say guitars can talk well, this is the case as Trey sort of touches the clouds of heaven
7.11- trey has reached the sky which separates the orbits bringing some solo of sorts repeating, speaking and encountering which IMO divides these versions from good to excellent.
8.39- apparently trey figures out that he wants to just take the ropes and win the horse race which already seemed like a win.
The band continues to follow with great force and action, it is almost like hearing a finale of fireworks
11.14- just pure guitar shredding, melting faces and stopping time in it's tracks. Pure Harry Hood uniqueness in it's most passionate form.
One of the greatest Hood's performed. Must listen, download, replay
13.00- we are all feeling great about Hood.

This is my favorite thing to listen to by this band ever. Seeing as they are my favorite band to listen to....you do the math

This one is the greatest Phish song of all time. No song can ever come close to those last 7 minutes or so of pure bliss after the Auld Lang Syne. And they nail the composed part too! This is the best version of all time.

This one is the greatest Phish song of all time. No song can ever come close to those last 7 minutes or so of pure bliss after the Auld Lang Syne. And they nail the composed part too! This is the best version of all time.

The GOAT. Featuring Trey's Aud Lang Syne Tease and the "Miracle Riff"! Simply incredible.

Much faster version of Hood, very exceptional playing from Fish and Mike throughout the build up of Hood.

Standard version, at the 6.02 mark-- very mellow noodling from Trey, as Page is tampering with the piano in a higher range then usual, mike and Jon continuously keep a solid deep rhythm as the hood begins catching on. Trey's playing is unique in this version as he is playing in a pattern which is very Divided Skyish (in the sense that it is solo-ing without solo-ing) unique and a must hear.

I was intrigued to see this version highlighted on the jamming chart, and gave it a listen. The bummer is that Trey's guitar goes out of tune during the composed section, but no such problems occur in the jam. Well worth hearing.

Toe-tapping, soaring
Hit them cymbals with the sticks
I'm closing my eyes

Dreamy intro, cool ride, Trey attack.

Clean, sweet, sunny machine gun. "A little ditty about milk."

Deep fun in a frat house.

So beautiful. My personal favorite "Hoods" all give me goosebumps at the peak, and this one is up there. It's remarkable the structure has stayed so powerful for all these years.