Up to this point in the available recording of early Phish, this show has always stood out to me as a true gem. This is partly because this may be the first show with a complete and fairly decent recording available (might want to fact check that one). Also, the three set, outdoor energy shines through giving it a festival sound. And if that wasn't enough, there is plenty of banter (Marley!), Phish goofiness ("House Mouse Rap"!), and virtuoso jamming going on to keep any Phish fan entertained. Excellent show that honestly deserves a full listen (esp. Set III), but regardless here are the highlights:

1) Harry Hood: Gorgeous version, I think the sound of this recording really helps the tone of Trey's guitar shine, and the mix on Page/Mike/Fishman give the tune that untouchable classic vibe. Pure essence d'eau

2) The Curtain With: The band really stretches out into the ether of stellar dust for this jam. Unfettered hose swirling improvisational delicious goo.

3) Light Up Or Leave Me Alone: The whole band gets choatic on this jam, Trey screeching in non-stop psychosis and Mike's mud thud pounding through the mix. Thrilling momentum

4) Flat Fee: Being the first performance of this song that is captured on tape, this jazzy little track deserves a call out. Fun, forgotten instrumental. Bring it back in the rotation!

5) Skin It Back> Low Rider> Back Porch Boogie Blues> The Sloth: The Skin It Back jam is a prime example of this early Phish era at its best. The band is so committed and locked in, the energy is always a little bit like a mad man at the wheel, more evident by the fact that the jam literally morphs from energetic bombast to an unwieldy sense of chaos. Towards the devolvement of this adreno-jam, Trey is squealing and screaming to try to stay in key while Mike jauntily skips to a whimsical bass line in his own little microcosm of the chaos. Its a moment I love because of how unselfconscious it is, even if it isn't as refined as the band will one day become. Why are they playing Low Rider now? Tack on Back Porch and the Sloth, and its a wild 30 minutes where this lightning spark of a new band is gaining in its chops and embracing the communal spirit of live music

6) BBFCM: Subtleties in the way this song is played reveal what era of Phish any particular version originates from. I'm a fan of all of them, but these early incarnations just hit different. Trey seems amused with its humorous debut, and we learn that the song may actually be the mind child of Melanie Safka...

7) McGrupp->Stir It Up: This McGrupp is wild! And equally as thrilling is the transition into the Stir It Up jam, lead by Mike's insistent bassline cutting through the crazy heady rush of Trey's insistent guitar antics at the end of McGrupp. Phenomenal. The Stir It Up instrumental jam is just pleasant heady rasta dance time.

8) Makisupa Policeman -> David Bowie: Trey's bars may need some work, but the 'Mouse House Rap' is the essence of Phish humor and what I've come to love about Phish. The only thing to expect is the unexpected! The jam itself is kind of a trip and definitely up my alley. Eerie droning tones and weird sounds from Page's electric keyboard permeate the space all over the steady Makisupa reggae beat being variated by Mike and Fish. This dark ambient jam drones like a sick war plane engine sinking in slow-mo until the Bowie riff rises fluidly and meat chunk Mike takes a prominent spotlight. The ensuing jam continues a similar vibe to the Makisupa jam; free form and uninhibited spacey jamming with a cool Tom Sawyer tease. The jam ends with the beginnings of heavy metal riffing before transitioning to an appropriately placed Sanity