7/2/95 Sugarbush Summer Stage, Fayston, Vermont (Rvwd 9/95) I had a fantastic time at these shows, even though the
sound on much of the mountain was astoundingly poor. The view from the mountain was amazing (on both nights), not to
mention the view from the lot! Having the opportunity to camp in the lot after BOTH SHOWS was an event that I will never
forget (I won't forget being an aisle away from the Disco Bus/Van, either). It was one of those many moments in Phishtory that
you know instinctively has a significance and majesty that not only transcends time and space, but also gracefully fortifies your
being with the knowledge that JOY IS. THANKS, PHISH!! The opening lyrics segment of this Tweezer is fairly standard.
Outside of some ch-ch-ing, and some inaudible rumblings from Trey, 'tis a standard opening with a not-that-impressive
pre-Ebeneezer jam. The jam segment kicks in at the usual 1994-5 time, after the Ebeneezer-lyric and subsequent scream, but
blasts off spectacularly right away. Although very funky in the first minute (like usual), Trey wails away melodically, sustaining
here and there and pealing licks off the frets masterfully. Such an active opening is not the standard from him (he usually starts
off carefully, as if to build a work of art by first admiring the range of color possiblities and the variety of applicative utensils).
Mike has some outrageously funky effect on his bass turned *ON*, and the snappy stuff he dishes out in the first minute or two
is similarly awe-inspiring. Page and Fish are supportive of the groove in the opening of the jam, but do not stand out (typical for
the opening of the Tweezer jam). After the 7 min point, the jam kicks back into an almost Manteca/Camel Walk sort of groove,
which rhythmically seems to slip in and out of 3. This version is much more interesting on tape than I remember it being *live*,
for some reason (oh yeah -- SOUND QUALITY!). Everyone is still grooving heavily in this semi-chaotic, semi-structured jam
by 10 mins, but within 20 seconds, Trey picks up a theme of sorts (that I know I've heard him touch on in other versions of
Tweezer, as if to signal a return to a more structured arrangement). Trey and Mike wax Languedoctically on this centered
groove for the next few minutes, with Fish and Page providing a reasonably sound and comfortable bedding. There is no hint of
any other tunes in these final minutes, just a PHISH JAM that appears more Oriented than usual, and which sounds, imo, quite
pleasing (especially in light of the spacey, dissonant, vaguely palatable jams of some recent, unmentionable versions ... ;^). At
12:55 or so, Mike teases HaHaHa on the bass, then Trey starts jamming on it using the LESLIEEEE? effect on his 'doc at
13:15. Within 20 seconds, everyone is playing HaHaHa.. (it is the song that goes "Ha Ha Ha Ha, Ha Ha Ha Ha, Ha Ha Ha Ha
. . . Ha Ha Ha Ha, Ha Ha Ha Ha, Ha Ha Ha Ha . . . Ha Ha Ha Ha, Ha Ha Ha Ha, Ha Ha Ha Ha" or something) ... at 15:10, a
magical Sleeping Monkey engulfed the Summer Stage, and engendered a montage of yawns of disgust, smiles of glee, and
stares of cluelessness... (as this song is oft to do) This Tweezer was perhaps one of the shortest versions that I reviewed from
the entire 1994-5 period, but it is very, very sweet. Although there was no return to the Tweezer theme, the very effortless
segue into HaHaHa out of the jam segment was a fine cap to seal this version. Total time approx. 13:30, depending upon where
you officially begin HaHaHa (great segue in here!). I'd have to give it a 6.5 rating (B+) on the olde TweezerFiles/Scott Jordan
Concert Review Poll scale, which is to say that it's NOT TOO SHABBY A VERSION, but is certainly not something to hear
by any means necessary, at all costs, or f*ckin' asap. charlie "the memories of a man in his old age..." dirksen