Posted to rec.music.phish and/or submitted to Phish.net, many moons ago...

At first glance, the setlist speaks for this show. Wonderful selections all beautifully performed. This was the second time that PHISH had played The Valley Club in 1989 and they appeared quite comfortable with their surroundings.(I believe there was a February show in '89) Rutland is not far from Hebron, NY, so there were many friends of the band in attendance.

ON WITH THE SHOW: The first set absolutely rocked!! A guest appearance from Nancy (Halley's) is an obvious highlight, as it always was. I was so sweaty from this set, so I decided to race home and took a shower during the break. I arrived back just in time for the highhat intro of David Bowie. This night, however, the song was named as "Lazy Lester." I recall that this had to do with a poster on the wall referring to an actual performer known as Lazy Lester. They had a blast in chanting his name. After "Mango," Trey introduced some of the numbers "a new song followed by an old song" or something like that. He also made references to watching the NHL playoffs and how "Spilt Open" reminded him of playing hockey.

Set three began with my personal request "Slave," and ended with "Shortage," which was an adlibbed number inserted as to prolong the last call and to extend their playing time. "Possum" also found Trey borrowing Molly's hat so he could wear it while he played.

All in all, one to look for.

This show is an early-era scorcher that took place only two days before the legendary Ian Hebron's Farm

After the excellent Bold as Love and Bag opening twofer, a few people call for Bathtub Gin, so some of the band's friends have clearly heard the song this performance, the earliest version that circulates. Between songs some amusing banter includes Trey complaining that the drums are too loud.

The straightforward Mike's Groove that follows starts with a lot of bass and drums in the first solo before Trey enters. Mike's backing vocals on the Weekapaug adds the only truly unique touch to a solid early version.

A girl requests Sanity and they play that early fast version, which sounds like a completely different song than the traditional powerhouse we're used to. Page takes the lead during the last two jam segments and it's a refreshing change.

Trey invites Nancy Wright up to sing on Halley's, which is the second to last version before the song's 4-year retirement.

The YEM has to be heard to appreciated, with Trey getting completely enveloped by the song, his fiery soloing eventually building up to machine gun bursts that include brief teases of the theme to "My Soul".

More amusing banter precedes "Lazy Lester", which appears to reference a person/band that is going to be playing the venue the following week. Though it doesn't go really deep, this Bowie has smooth, sharp playing by the entire band, especially Trey.

The intro to this early Mango Song is slightly different than later-era versions, but it cuts just before the end on the tape I listened to, cutting to Melt at the first chorus.
The Gin is very straightforward as is the remainder of the show. Worth a listen for sure.

This is a pretty strong show. It really does have a lot to offer, far more than other shows from this era.

You have a lot of funny banter as is pretty normal in the early days. But you also have some nice goodies music wise. You have a very long David Bowie from this era, of course with the lyrics changed to “Lazy Lester” you have a pretty damn strong YEM. And Weekapaug is fire as always.

And to add to all that one of the strongest front to back sets from this era in Set 3.

The only real downsides are the early incarnation of Sanity which is kind of boring sounding. And a very infant Gin. It says this is the very first version. But early in the show you can here people in the audience requesting it so I doubt this is its debut.

Overall a pretty stellar show. It gets a very rare 4 Stars for me from this era.

The SBD source for this one sounds fantastic! I wonder if this is an “On Stage” recording as the overall sound is a lot brighter than what you’d expect from a straight board recording. Unfortunately there is a cut on the backside of Mango and picks up halfway through Melt.

Great banter among the band throughout the show. This source picks up their on stage conversations nicely. There’s also lots of great banter with the audience as well,
most notably during the hi hat hijinks intro to Lazy Lester.

This show is pretty darn good, but the 3rd set is perfection! Check out Mike’s bass tone during Slave and Funky Bitch! The Curtis Lowe is beautiful and the Possum brings back some of the silliness we heard the other night on Spear Street. Incredible version of Possum! The band had to wrap it up after that due to the venue shutting things down, but ended with the second and final version of the short little ditty, The Practical Song. The version here is much better quality than the debut on 9/12/88.

Set 1 had a smokin’ YEM with Trey and Fishman teaming up in the jam section while Mike and Page take a breather. Definitely a must hear version!

Mango in set 2 sounds different than previous versions. Unfortunately it cuts out prematurely.

Highlights: Weekapaug, Sanity, YEM!!!, Bowie!!, Antelope, Slave!!! and Possum!!!

Standard, well-executed set up thru Mike’s Groove. I’ve only heard Fast Sanity a few times and those seemed sloppy - but this one is tight & funky. Nancy singing Halley’s with them makes a silly song sillier and still they rock it. Interesting to hear this ending to Sloth - before the counting up to “onze!”

And can we keep talking about this YEM? Great buildup to BOY, straight out of Washa Uffizi Page lays a quiet jam and you can just feel Trey itching to take over. Page has no problem with that. Trey’s off the hook, all the way through. I’m telling you - Trey went back & listened to this jam when writing My Soul & Guyute. So good.

Talking all about their new songs, playing with the audience, the bet you didn’t notice our new gear rant before Lazy Lester - messing around and having fun. This is the banter you love. They’ve always loved communicating with the audience. Not a shabby Lazy Lester taboot!

Early intro for Mango that they eventually scrapped for Trey’s melodic intro - good choice. Similar to the Sloth outro in set 1. On Relisten Mango fades out, then back in on the steam dream part of SOAM. The first Gin ever (“you heard it here first!”) - has a kind of From the Bottom from the top / limb by limb by limb vocal outro. Cool to hear their excitement about this new batch of songs - they never really stopped writing after releasing Junta

More great banter from Trey tying Antelope to playing hockey - being a musician and pro hockey player sometimes not being very different. And teasing the audience before Golgi (“We won’t play it if you stay, but we will if you go”) - lots of playing around with timing of the Golgi melody too - all over this show are traces of Trey’s ability to take the songs to the next level.

Set 3: Slave has a powerful minimalism that builds the tension in the first half - maybe from a slight misstep, then Trey jumps in with a weird fuzzy filter that sounds out of place, which Mike’s co-opts around 4:30-5:00. And then the song ends with heavy & deep organ & bass, lifted by Trey’s fire jamming - on par with this show’s theme. Nice spots for Mike & Page in FB & Cutis - Mike sticks with the fuzz & Page sounds like he’s had a fifth of wine singing lead. Cute riffs from Trey.

Trey wants Molly’s hat for Possum. They’re all pretty loose at this point. Trey gives Possum the Johnny B Goode treatment. Mike gives the vocals the ....loose treatment. The only logical encore is Practical Song - prescient, singing about goods shortages years in advance of COVID