Maybe the closest Antelope's gotten to 1994-96 since, um, 1994-96, with an Antelope jam that twists itself into knots so tight even Alexander the Great's sword would have trouble piercing them. MPP's Antelope is more fun, but this one's serious business and my favorite of the year.

One of the funniest versions they've played since, like, 1992 (well, at least if you don't think the "woo" is played out); some of the "woo" moments in this one are slap-your-thigh hilarious, and you can clearly tell Trey thinks so, too. 7/31/13 II is a pretty sweet listen the whole way through - even besides, you know, that one jam.

A busy, *intense* version, the sort of wicked version you'd expect if you subscribe to the theory that Phish plays Antelope when they want to cap off sets they're particularly chuffed with (and 10/20/10 I would certainly qualify). The go-baby-go regular Antelope jam is exciting as hell, the dive into the abyss is particularly inspired, and they peak as well as they ever do in 3.0 - and the Guyute callback is just the cherry on top. It's rare that Antelope is the highlight of a set, but even in a set replete with highlights, that is most certainly the case here.

I honestly really like this jam. It's not the best Antelope ever, but it's solid. Big frenetic finish in the jam before the lyrics section. Page gives a mini Girl From Ipanema tease in there too.

This was my first and still my favorite antelope. It has '98 written all over it.

My own personal favorite Antelope, maybe because it's *so* different from your typical Antelope, which leaves DeLorean-style flaming tire tracks across the stage. Instead, the opening Antelope jam is relaxed almost to the point of self-parody...but "almost" is the key word here, as the gentle arrangement turns out to suit the song just as well as the usual hurtling pell-mell through time and space arrangement does. Plus, the peak is really good on top.

Yellow status required. Start/stop jamming, reggae jamming, fantastic build up from intro to Dminor section. Smoking E minor section. It's got everything.

A companion piece to 10/20/10's version, both in the fact that it comes out of a genuine segue, and in the fact that they're both swell versions. However, while the Guyutica version actually goes places Antelope doesn't really go, this version pretty much *is* where Antelope goes, as it's a bog standard version that gets added points for just how damned ferocious it is, which you'd expect as the release from the mega-tension of the preceding Crosseyed & Painless. The model of what Antelope used to be, and one of the best.

I don't miss *too* much from the mid-90s, but I do kinda wish they'd play an Antelope like this again. Shit, though, I'm not sure they could have played an Antelope like this in 1997...

Chris Shapiro played this for us at Bonnaroo, From the Archives. I concur, it freaking rocks. They really wrench it up nicely and add lots of tasty bits.

Too many other great versions of RLAA from Fall '94 for this one to make the jamming chart, but it will still make you want to find an open field and sprint around it. :-)

I suppose this comment applies to the whole song, but the second half of this Antelope cements this version as *the* wildest and craziest Phish performance ever. When Trey screams, "Set the gearshift for the high gear of your soooooouuuuuuullllll!!!!!", I never fail to get chills down my spine. Who among us has lived one day, or even one moment, of our lives with as much exuberance and abandon as Trey during this Antelope? Not I.

Wow! This version of Antelope will knock your socks off. I wanted to check it out because in Chapter 22 of @Zzyzx's excellent book about Summer 94 This Has All Been Wonderful he speaks very highly of it. At 12:23 it clocks in a full 2 and a half minutes longer than the Lawn Boy version, and the jamming - as it should be in Antelope - occurs in the extended build up to the concluding lyrical section. The beginning few minutes are fairly standard although extra energetic, but at about the 4-minute mark a darkness and dissonance begin to creep in. Then a couple of minutes later around 6:20 they begin to inject a wildness and intensity into the dark dissonant jamming. This builds in a perfect gradient toward the pure frenzy that ensues at the 8-minute mark, and less than a minute into this frenzy Trey and Fish completely shred any tranquility left in the room. Finally around 10:08 they begin the Rye Rye Rocco section. There is no doubt that this version will set the gearshift for the high gear of your soul. Thank you @Zzyzx for the recommendation!

I fell in love w/ Phish after this Antelope. 1st Faht kinda freaked me out. Then the 'Lope intro had me hearing the antelope running(Fish on his wooden blocks). Then Trey blew the top off! Wow. It was also my 1st show being up front. Right in front of Page's piano. Sat on the edge of the stage at setbreak. Page high five'd me coming out for encore. Very laid back scene. I haven't seen or heard a better Antelope since.

This is the sort of jam I think of when I think about pre-93 Phish - they weren't quite ready to go full-fathoms-five deep yet like they would by August of that year, so instead they pile on the weirdness, leap into BBFCM with a wink and a nod, goof around with the Hawaii stuff, and then roar back into Antelope with nary a pause. It can certainly be off-putting if you're as much of a late-90s fan as I, but if you go for weird/goofy/musical genius Phish, this should be right up your alley. And even for myself, I can certainly appreciate how remarkable the whole thing is. I wouldn't want them to go BACK to that, though...