6/14/95 Mud Island Amphitheater, Memphis, TN (Rvwd 7/95) This Tweezer segues out of Poor Heart, like many other
versions before it. The opening lyrics segment is standard. The jam segment starts out very steady, but without much of anything
happening. Trey begins to develop a groovy theme (with the others), but, unfortunately, within a min or so, plays like he wants
to drop it (it's off-key at this point, not too much "jamming".. just a note here and there). By 6 and a half, though, a solid groove
arises that is also very steady with a lot of one/two note action from Trey (lots of sustained light distortion, too). No real "theme"
per se is present. By around 8 mins, Trey is skying above the others with much more emotion than earlier in the jam, but, alas,
also without a purpose. The jam is really just plodding along, through the motions, until 12:15 or so, when it starts sounding a
hell of a lot like that great Santana tune (well, the closing jam to be precise) Black Magic Woman! This sounds great!!! Mike's
bass line and Fish's drumming and Page's keys for the next several minutes provide an unusually sound, severely rockin'
backdrop to some outstanding jams from Trey. By 15 mins, though, the jam cools off a lot and drops into The Quiet Spacey
Mode (although this jam never gets as spacey as Bangor). By 17, the jam isn't AT ALL "quiet and spacey," but is definitely
theme-less, disoriented and chaotic (with serious fills from all). Then there are some quickly repeated Tweezer-theme licks from
Trey around 18:45 or so, in the midst of any otherwise foggy soup of a "Tweezer." At 19:45, Trey kicks back into the Tweezer
theme jam solidly, and Fish returns the rhythm. Within 45 seconds though, the jam -- instead of dying out as expected at this
point -- sounds like it is going to go into another jam segment. Indeed. By 22 and a half mins, the jam goes into an exceedingly
spacey mode (it sounds like there are fucking Indian tambouras strumming in the background! Where's Ravi!). That digital delay
loop thingy of Trey's comes in, and sounds cool enough (meanwhile, Fish has disappeared from the jam). Page accompanies
Trey on his loopy jam. Mike is nowhere to be heard at this time (24 mins), but he does come in quietly a min later. This whole
"jam" is very spooky and trippy. It climaxes in a raging, distorted push after a few minutes. At 29 mins or so, the jam goes into a
very laid back, gentle, melodic plateau, with a cascading, slow rhythm from Moses and soothing tones from Page primarily (and
a little from Mike and Trey). This is a really laid back "jam." Not exciting, but mellow. Eventually, though, this jam climbs in
glorious Hood and Slave-like fashion. It climaxes, and then steadily dies out, descending the scale it climbed (this takes ten
minutes, btw!!!!). At around 41 mins or so, Trey leads on a funky theme, and the jam grooves funkily for the next couple of
minutes. It dies out yet again, though, and retreats back into yet another slow, quiet, steady pattern. After a min or two of this,
Trey starts WAILING on a really kind theme with both Mike and Page, and, eventually, a truly fantastic jam develops (that
sounds somewhat akin to the glorious closing jam of the Gainesville Tweezer on 6/17/95). For a second or two, Trey teases
"Little Drummer Boy" in this SICK, FAST, really melodic and intense closing Tweezer jam. At around 50 mins or so, this
intensely blinding jam peters out, ending a minute or so later, very discreetly. A phenomenal version, that in my opinion makes
the Bangor ALO version (11/2/94) sound like just another Cavern. I'd take Bozeman (11/28/94) over this experimental
version, but it's close... I refuse to rate this version. This is one hell of a Tweezer at one hell of a show. Easily one of the best
of the summer '95 tour, as judged by those with 500+ hours. Get this show at all costs, if only for the Tweezer.