From cdirksen@earthlink.net Sat Sep 12 23:35:41 1998
Date: Mon, 13 Jul 1998 06:35:02 GMT
From: cdirksen@earthlink.net
To: dan@netspace.org
Newsgroups: rec.music.phish
Subject: 11/22/97 Mike's Groove

11/22/97 Hampton Coliseum, Hampton, VA

It's amazing that Phish hasn't been banned from playing here yet.  A
relatively small, gladiator arena, the sound ain't that good.  But
it's cozy and homey and I'd recommend trying to make it there this
Fall if Phish books it.

Mike's Song opens on the slow side, even moreso than usual for the
last year or two.  Tramps segment doesn't kick in until 3 mins.
(usually kicks in around 2:30). Trey's very mellow.. just funky chords
that groove along with the band in the first few minutes.  No real
soloing to speak off.  Trey starts repeating an amusing little riff
around 5:15.. repeats it for a few measures, before returning to funky
rhythmic chording.  Good, funky BEK/Moma Dance sorta groove around 6
mins, but nothing toooo funky.  Page starts noodling a wee bit on the
clavinet around 6:40. Trey sustains a chord and employs the digital
delay loop effect, letting it cascade over the jam in waves.  Trey
then starts "soloing" more/less -- noodling around in a funky manner
in the lower octaves, but with a theme more/less in mind (which he
repeats every measure or so).  Definitely a catchy, groovy jam
segment.  No doubt about it.  Sure beats those old, knarly, in your
face, off-key Mike's Songs.

Jam picks up in intensity after 8 mins.. Trey starts playing in higher
octaves than those he'd been jamming in.  Semi-melodious playing from
him with strong, consistent accompaniment from the others.  This is a
strong Mike's Song, but it still doesn't have the melodious majesty of
the truly spectacular versions -- the jam doesn't seem to be headed
anywhere in particular (10 mins).  Trey stops soloing around 10:30..
just drops out for a few measures... he returns after about 30 seconds
lightly noodling.  As if on cue, around 11:17, he starts repeating a
lick that the other band members immediately key in on.  Fish alters
the rhythm in accompaniment (slows it down, cools things off a
bit..).  Page tools around a bit on the piano.. No real direction or
purpose to the improvisation, though.  Page's piano playing becomes
more prominent around 12:15.  Trey starts soloing a la David Gilmour..
soulful licks from him, actually.  I suppose some would call this a
"spacey jam" but I'd say it's only getting there.

Unusually soulful (for Mike's Song) improvisation at this point in the
jam (13:15)... and it lasts.  Trey and Page complement each other
rather well, while Mike and Fish keep a perfectly thoughtful, mellow
bottom moving. Nice improv.. unusually soulful for Phish.  This jam
does get more and more spacey, actually, until at 16:12 Trey begins
Hydrogen-> nicely out of the jam.  Awful feedback.

Hydrogen is unusually slow, too, and as a result lasts ahell of a lot
longer than the usual three minutes.  The opening is also drawn out a
bit more than usual.  Trey even noodles around a bit before he begins
the Hydrogen melody.  This is extraordinarily unusual!! =^]  Page
improvises a bit as well!!  Very gorgeous Hydrogen.. At 17:51 Trey
finally begins playing the Hydrogen theme (this will easily be the
longest Hydrogen I've ever heard, folks).  Trey very, very patiently
performs Hydrogen.  Easily the slowest, longest Hydrogen ever
performed I bet.  It isn't flawless (a bit too loose in places), but
it is very pretty... (Trey stretches a bit too far in spots)

Weekapaug kicks in at 20:36 with an ugly chord from Trey.  Mike's
opening solo section is snappy, funky and quick (and AWESOME) as
usual.  Trey's soloing is standard for 'paug for the first minute or
two, although he sustains a note for several measures.. which he
hasn't usually done in 'paug.  Good stuff!  At around 25 minutes Trey
finally starts tearing it up!!  Sounds warmed up by NOW!!! =^]  Crowd
roars in approval, too!!  God I love this song. Not sick of it at
all.  I'd love to hear it AGAIN at Shoreline this summer.  Trey keeps
soloing in a markedly more dramatic manner than he had during the
soulful Mike's Song... just working it and working it.  The
accompaniment from Mike, Page and Fish is typical ass-kicking 'paug.
Trey just keeps ripping it up!!!  (27 mins now)

Jam cools off at 27:20.. the "quiet segment" as I often call it.
Hasn't been too prevalent in recent 'paugs though.  (28 mins)  In the
midst of the quiet jam segment now.. Trey, Mike and Page lightly tool
around.. cool interplay.  Fish keeps the 'paug rhythm steady, but he's
just quieter. At 28:30 Trey finally repeats a chord in a rhythmically
complementary fashion.. Yes!!!  He gets a bit more melodious with the
chords around 19:15! And Page has picked things up on his piano!  Mike
is just chilling in the background (no bombs).  Trey just groovily
funks along with Page in here (30 mins).  Page takes off on the
clavinet around 30:10.. =^]  The jam is still pretty relaxed and quiet
in here.. Fish alters the rhythm a bit.  Great stuff from him (31:20)
and Mike becomes more prominent. But nothing much happens.. where's
this thing going, guys.  Page and Trey aren't doing much at all...
Dead stop at 31:44.  Where the hell did THAT come from!!?!?  I didn't
hear any signal for it. And at 31:56 they all just RIP back into
Weekapaug!!!! (I heard a count from Trey)  Blazing jamming to close
this SOB out!!! =^]  KICK MY ASS TREY!!  KICK MY ASS!! Closing 'paug
chords at 32:58 and the lyrics begin at 33:12.  Total time: 33:55.

WHAT A GOD DAMN SET OPENER!!!!!!!!!

Easy must-hear "A-" rating for this Mike'sGroove.  The Hydrogen is the
longest on record, and is unusually improvisational (in a good way,
even though it isn't flawless).  Weekapaug has some excellent soloing
from Trey in it (but I've heard better from him in 'paug).  And
there's a good soulful jam out of Mike's Song.

I can't give it an "A" rating, though, because it doesn't have the
PUNCH and the truly spectacular improvisation that the "A" versions
have (the versions I've given "A" ratings too are either magnificent
throughout, or so awe-inspiring in parts that you'd have to be deaf as
a stone not to Worship them).  For people keeping score, I like
11/13/97's Mike'sGroove much more than this version, but they are both
worthy of A- ratings, imo.  They are definitely in the "must hear"
range.

If you haven't heard already, 11/22/97 Hampton is one of those shows
that you simply must have in order to have a credible Phish tape
collection. That's right, your collection isn't shit if you don't have
it.  It is without a doubt one of the greatest Phish shows that I have
ever heard, and not simply because of the magnificent improvisation
out of Halley's Comet in the second set.  A Mike'sGroove to kick open
the show!?  Izabella to close the first set!?  Harry Hood in the
middle of the first set!?!?  Sure, the Bouncin' Tweeprise encore
isn't all that, but if you look at many of the most incredible shows
in Phishtory, the encores were pretty weak in light of the show as a
whole (if not frighteningly weak).

Anyway, get this show at all costs.  It is a much better candidate for
a double live CD than the 11/17/97 show, that's for damn sure (and if
the band doesn't realize that, then the band is deaf..;).

two cents
charlie