(Published in the second edition of The Phish Companion...)

"What is a band without simple?"
When I heard Phish would be playing Hill Auditorium, my first thought was 12/15/71, the date of a well-known Grateful Dead show at this venue. My second thought was Ann Arbor, MI, a small, friendly college town where my sister had attended the University of Michigan. These two thoughts, along with the temptation of hanging out with Ohioans for four straight Phish shows led me to travel from Rochester, New York.
We got to town early and hung out on campus all day. There was essentially no scene before the show, mainly because there was no central parking lot. The Auditorium is located in the heart of the campus. There was a small crowd outside before the show. I remember seeing a handful of food and soda vendors greeting us outside the doors after the show. There was essentially no lot scene in the Midwest at this time. I was shocked to see a raging scene in Syracuse, NY, less than a month later, on 11/6/94.
Stepping inside the building, I felt like I had entered sacred historical grounds. All my thoughts turned to imagining what the Dead, and the scene, might have been like in `71. The place was beautiful, with carpeting, plush seats, and a large balcony. From the ceiling hung the best theater sound system I have ever heard. I believe Phish only used the house speakers at this show. Most of the students appeared to be U. Michigan students, who unfortunately were sitting much of the time, especially in the long jam sequences.
The first set contains some of my older favorites including "Foam", "Reba", and "Fast Enough for You". "Stash" is at its full potential here, with a jam that was beyond anything I had ever heard. They deconstruct the song down to its basic elements, feeling more like a jazz band improvising rock music. It sounds like they turn the song inside out in a mathematical style. Fishman keeps the same timing, but the rest of the band appear to fill opposite holes. During the quiet section at the end of the jam, I had a vision of the band dancing like ballerinas with umbrellas while balancing on circus balls. Just when I thought they couldn't get any further away from "Stash", the main riff melted through without warning. It was brilliant! I remember commenting that I could walk out now and be happy.
The Reverend Jeff Mosier, formerly of Aquarium Rescue Unit, joined the band for the last four songs of the first set. Three of these had not been played in over a year, a special treat. Seeing the Reverend sing "Tennessee Waltz" is surely one of my oddest moments at a Phish concert. This was the first time I saw the band play a miniature acoustic set.
The second set is historic for a thirty-eight-minute sequence of "Mike's Song->Simple->jam". This one was a shocker because at that time there were only a handful of shows where Phish had jammed for over a half-hour. (One of those is the "Tweezer" featured on A Live One, from Bangor, ME.) The unbelievable jam pushes the boundaries, with multiple segments that all have a live of their own. Every time I thought the jam would end, it just took off in a different direction. We stood with our jaws on the floor for most of it. While I admit that tapes are not as powerful as being there in the moment, I urge you to get a copy and take a listen!
This show led me deeper onto the bus. What I heard on "Stash" and "Simple" convinced me to travel just about anywhere, and as often as possible, to see this band. However, the next three nights were tainted for me by the magic of the Hill Auditorium. Some of the highlights include the Beatles' "Helter Skelter" to open Dayton the next night. The Hara Arena is really a college gymnasium with bleacher seating. The venue and vibe seemed very different from the previous night. The "Colonel Forbin->Vibration of Life->Mockingbird" was a nice treat, though. The Reverend also played with the band all four nights, including a Michigan State encore of "Runaway Jim" with an extended banjo solo.

I stump for this show, and more specifically the Simple, nearly any moment where it's appropriate to do so, because I love this jam so much (and I'm slightly biased, as my avatar suggests). However, it's been a little while since I've heard the show, and since I have a hankering for some mid-90s Phish, I figured I'd revisit it and see if it deserves the status I've bestowed upon both jam and show. 11/94, as you all know, is one of THE runs in Phish's long storied history; think of the insanity of the Bangor and Bozeman Tweezers (along with the just plain fantastic St. Louis version), the Kent State Disease, all the bluegrass, the fantabulous Mizzou show, and the glorious 11/30-12/1 one-two punch (yeah, yeah, 12/1 is cheating, but it hardly matters). So let's see if this show stacks up with the best of the month.

The first set is nondescript until Reba, which has a really delicate breakdown with Page firing off his own "solo" on the ivories early on; Trey's guitar solo, also rather understated, is almost counterpoint to Page's playing. The band then builds to a typical mid-90s Reba peak, the kind where you think they're going to stop and then the jam goes on another measure, Trey's solos knottier and knottier, before Fish rattles the toms and the jam comes to a stop (and yes, they whistle). The Stash is the other first set highlight, as the jam immediately begins spiraling down a rabbit hole while staying within Stash's boundaries (Trey, at one point, solos in a way that suggests hose while the jam remains dark, an odd tonal trick that still works somehow), then gets weird and floopy (a word I made up for this jam; you'll get what I mean), Fish holding down the rhythm while Trey and Mike play notes that seem to bounce off the walls, before the jam grows more melodic and returns to the main theme. I don't love bluegrass, but it's still fun to listen to, and this short bluegrass set is no different (Swing Low, Sweet Chariot is the quicksilver highlight).

You will never go wrong with a set-opening Mike's Song (especially when they extend the opening chords an extra measure just for funsies), and even though this Mike's is bobbled in the regular section, they still get off a nice, if short, Mike's jam. And then comes the main event, the big Simple jam. It comes out of the Mike's breakdown, like it always should, and is played with real vim and vigor in the verses. The jam immediately cools down, focusing on Page, who leads the group into some haunting waters; it's really just Page going to town, Mike adding some color, Fish very sparse drum hits and cymbal shots. Then Mike drops some ugly basslines and a heavy rockout starts up, Trey snapping off fierce machine-gun solos, very much in the deep '94 style. Trey starts climbing the octave ladder and the jam opens up slightly, Mike's bass still grumbling away. We're now about 12 minutes in.

The jam suddenly starts picking up speed @jwelsh8's SOAM Russian section is an apt description), then drops out and gets kind of avant-garde free-jazzish, Page leading the way, Trey putting together some weird noises, before picking up speed again and finding a nice space for Trey to improvise a '94-style groove, less funky but still propulsive, based more on the guitar than the rhythm section (Fish's drumming is busy, not metronomic). The jam drops out again, a wall of fuzz emanating from the speakers, Page and Mike going jazzy behind that fuzz, Trey seemingly looking for every squeal and screech he can pluck from his strings, Fish thumping away to keep something resembling a backbone to the jam.

Trey's guitar then picks up steam and the jam gets menacing and dark, Page's piano notes now sounding 80's horror movie soundtrack-esque, Mike's bass throbbing and flowing in equal measures. Then the jam turns back in on itself, with stabbing guitar chords and rattling cymbals, and a hilarious, loping groove emerges from the muck (seriously, after all the Powerful Rock Stuff, this groove is really legitimately funny), and then almost like a sick joke a really sweet rock jam comes together, sort of like a Tweezer Reprise, but reminiscent of the 12/2/99 YEM jam (!!!). Trey throws in some Hendrix-style licks towards the end, and the jam becomes melodic and sweet before coming to a close. Whew. 34 minutes. What a ride.

Final thoughts on the Simple: Now that I think about it, I may have to back off my "best ever" statements a tad. It's more in line with Phish's '94 throw-shit-at-the-wall experimentation, where they'd bounce from idea to idea, almost from the second the old idea bored them, and you would just follow along and hope they went somewhere interesting. And I hate to say it, but they didn't always go interesting places in the jam (although the ending segment almost makes up for it all by itself). Is it a great Simple? Yes, of course. But I'd probably end up taking the Vegas '96 version over it (mainly because that's more my Phish speed these days). Still, the sheer cojones for Phish to try what they tried in this jam makes it worth listening, and that final jam will absolutely lift your soul.

So then we get some more bluegrass to give everyone a break (not least of all the band themselves), and upon Rev. Mosier & Co's departure the band tears off Chalk Dust (and I do mean tears off; this Chalk Dust is truly ferocious), play Fee (it's Fee), and then transition beautifully into Antelope. And this is your typical mid-90s Antelope, played at 1.21 jigowatts, Page committing assault and battery on his grand piano, everything atonal and even slightly unpleasant (this is why I like late-90s Antelopes more - the rough edges have been sanded clean by Phish's new playing style), the band slowing and speeding up the jam almost at will, and almost as a tribute to how good an improvisational band Phish is, they totally blow the transition into the "set the gearshift" section, then recover and improvise a little reggae section before burning through the closing section with extra elan. Now that's how you close a set! Amazing Grace and Suzy are just icing on the cake.

This is surely one of the contenders for best show of the month; it's almost a prototypical Fall '94 show, with big crazy jams and loads of experimentation and everything played "33 1/3 on 78 rpm" style. If you enjoy mid-90s fire and fury Phish, this is a show for you.

Note 1: the Hill Auditorium is as beautiful as others have written about, both on the outside and on the inside; it's one of those places where you almost feel honored to be watching a show played there. And, IIRC, it's an auditorium with perfect pitch; the guys could've played without microphones if they'd chosen. It's better they DIDN'T, but still.

Note 2: As an aforementioned biased reviewer, I'm very glad this show is better than the MSU show played two days later.

(first appeared on rec.music.phish on July 18, 2000, it seems, although I am not sure when it was originally written; please pardon the . . . youthful exuberance?)

On a cold night in November 1994, I my senses were opened to an experience like no other. I would have certainly called myself a fan of Phish at that point in my life, having purchased their new release (Hoist) and had begun to actively search out tapes for my growing collection. And I had seen the Dead three times, which I think somewhat prepared me for the experience. But on November 16, 1994 at Hill Auditorium on the University of Michigan's campus, I saw Phish live - and my life really has not been the same since. And it is kind of amazing how aspects of that night are clearer than memories of shows just a year ago.

When I read in the school newspaper earlier that fall that someone named Joel had an extra ticket for a Phish show up in Ann Arbor, I did not hesitate to call him. Little did I know that this music and theology major would later become a close friend of mine (and would play in his own jam band) - I just knew he had a ticket for me. I was going to see Phish!

The drive from South Bend wasn't too bad, and when we arrived at the venue, fans were milling about everywhere. I can still picture all of the tossle caps and wool sweaters filling the halls of that great venue in the center of the campus; I don't remember if I knew that the Dead had played here 23 years before, but I did feel a bit of awe entering the doors. We worked our way up the stair-wells, stepping over fans who were relaxing and chilling, and made our way to our seats - in the front row, upper balcony!

Looking back, I don't know if I could have asked for a better show. This had a bit of everything and anything, in just the right doses to get me hooked - first set Reba, an acoustic bluegrass "set" with Jeff Mosier, an amazing Mike's->Simple->jam to open the second set, Fee (with megaphone), Antelope, and an a capella Amazing Grace. It certainly was enough to hook me, that is for sure.

Set One: Sample In a Jar, Foam, Fast Enough For You, Reba, Axilla part II, Lizards, Stash, Pig In a Pen*, Tennessee Waltz*, bluegrass jam->Swing Low*

I look back on the Sample opener and laugh - I remember groaning to myself, thinking that they are just playing Sample to support Hoist and cater to the frat boys at U of M. What the hell? This was my first show and I was thinking this?! I really don't remember what I would have rather had as an opener, but I can't help but laugh at myself . . . Listening to it now, it was actually well played. A nice and rocking version, it worked well in getting everyone into the show.

The Foam that followed was my first taste of the "experience". From my balcony perch, I remember watching the light rings that Kuroda sent floating around the hall, gliding along the walls as Phish played Foam in the background. It really was an amazing site, and I felt myself getting sucked in . . .

The Fast Enough For You was just enough of a break, letting me catch my breath and get some air, before Reba would again pull me under. This Reba featured a nice quiet jam by Trey and Page - the playing was so subtle, making the most of the acoustics in the hall. This built and built, spiraling into the climax - whistling included (almost 15 minutes in length).

Axilla, part II was a nice rager. It is actually my only Axilla, part II - I have seen part I, though, three times.

Lizards was nice and fun, and features a really good Page piano solo in the middle which seems to contain a bit of the I Dream of Jeannie theme.

Picking up where the Reba left off, the Stash contained some quiet and subtle playing by Trey, only to be interrupted by synchronized hand-claps and "woos" from the crowd. ; ) As the "Maybe so, maybe not" section faded away, Trey quickly jumped in with a repetitious and dizzying jam, spinning around the main Stash theme. Around eight minutes in, the jam dropped into a minimal, droning jam, similar to the Jam out of Simple that would follow in the second set. Page and Trey set about to playing some staccato notes as Fishman works the cymbal. Similar to a jam you might find now in 2000, without the delay loops. As with the other jams this set, this got a bit quiet before the main theme bursts through. My love of Stash must have with this version.

While I am sure it was planned, the bluegrass set that followed was a great breather after the Stash. I had never heard of the Rev. Jeff Mosier before this show, but the fact that he was a guest and they were jamming out bluegrass tunes during my first show was enough for me. As the band stayed on their electric instruments, Jeff sang and played banjo. Pig in a Pen featured some nice solos by everyone in the band, including the "World's premier bluegrass drummer!" Again, Trey and Page took some nice solos in the slow, uh, waltzing, Tennessee Waltz. A nice and tight bluegrass jam segued nicely a rousing, set-closing Swing Low Sweet Chariot.

Wow. I must have had the biggest grin on my face at set-break! I went and purchased the token Phish shirt (plum colored, with the logo on the front and the tour dates on the back in orange) as Joel went to meet a taper. He had brought tapes with him to give to the taper - I would soon get 2ndGenAud's of my first Phish show! (I have only recently upgraded those tapes to CDR; thanks again, Greg!)

Second Set: Mike's->Simple->jam, Blue and Lonesome**, $2.00 Bill** , Chalkdust, Fee, Antelope
encore: Amazing Grace, Suzie Greenberg

I really didn't know what to expect for the second set; I don't think I was prepared for what was to come. Not in my wildest dreams was I expecting a Mike's to open the second set! Even then, at my first show, I felt the glory of Mike's Song - I was jumping up and down, yelling and smiling and hugging everyone. I probably looked kind of silly. I vaguely remember the trampolines (about 3:30 into the song), as they were still bouncing in 1994 during Mike's. Soon after the tramps segment, things got a bit dark with some held, distorting notes by Trey.

Through talking with Joel and my limited exposure to phish.net at the time, I knew that they were typically playing a new song called Simple out of Mike's Song. I hadn't heard it up until this point, but as they cleanly segued into it, I was able to ID from the lyrics. I still think today that this is one of the greatest versions of Simple played by Phish (I also enjoy the 11.08.96 version - from my second show, lol). After the last verse ("Skyballs and saxscrapers"), Simple takes on this glorious feel for about a minute or two - high and sailing above. And like with the Reba and Stash, it turns quiet and minimal - for just a bit. At this point (6 minutes or so), it slowly becomes dark. I remember somewhere in here Mike put down his electric bass to pick up this Rob Wasserman-looking bass; I don't know if it had just two strings or what, but Mike started to play this low, rumbling bass line. This really turned the jam dark. The slow jam quickly picked up with some quick playing by Page on the piano; Mike followed, and then Trey, and then Fishman. Faster it started to run; all the while, Mike was still on this bass. Trey started to repeat these higher, trumpet sounding notes, over and over. After a faster section, the jam progressed to something similar to the SOAMule Russian section. Phish was just moving from improvised section to improvised section - nothing was wandering, like we find in some of the more recent jams. It seemed as though each move had its own purpose. After some great keyboard work by Page, both on organ and piano, the jam progressed to a bit of a dissonant, distortion-filled section. This was sped up by Trey, and then slowed down, and then sped up by Fishman, with some piano by Page. Like we were getting yanked this way, then that. And then a new little melody was sounded (25 minutes into the Simple!) - so many textures, so many landscapes. They were flying all of us around and into every corner of the music hall. The jam closed with a Trey-led rocker, playing Clapton-e riffs, a bit like a slow Antelope jam, wrapping things up all very nicely as they just slowed down and stopped. Whew! 30+ minutes of aural landscape.

What better to follow this epic jam than with an acoustic set of Blue and Lonesome and $2 Bill, the first time played for each of those tunes. The band moved to the front of the stage, all on acoustic instruments, and played very good renditions of the two traditional songs. Even without Jeff Mosier, they showed their pickin' chops - and it was fun to hear their voices morph into a Bluegrass-y drawl.

After the brief interlude, Phish plugged back in and played a rockin' version of Chalkdust Torture - the version that appears A Live One, complete with yelps from Fishman.

The identifiable drum-beats of Fee quickly followed; I was very happy to hear this song, as it was actually the first Phish song I had ever heard (on WYEP here in Pittsburgh, in 1992, as they promoted the HORDE tour). I really enjoyed the fact that Trey used the megaphone that was sitting on one of his amps.

The beginning of Antelope actually began during the ending jam of Fee (a > rather than ->) to the delight of the crowd of 4-5,000. The song quickly picked up into the rockin' section; Page's piano worked well intertwining with Trey's blistering solos. Right before the "Set the gear-shift" line, there was a brief reggae break-down (I guess you can call it that). Great closer, with Trey thanking everyone, telling us all to drive safely (I would guess a number of the fans in attendance were U of M students . . . )

After much applause and cheering, they came out to do an Amazing Grace without mics. For the most part, people were quiet; not too many "Shhhs". And to wrap up a perfect show, well, Suzie Greenberg of course! Trey's voice is a bit tattered and scratchy, but that really didn't matter.

What else can I say? With Satchmo over the PA, we made our way out of the Hill Auditorium, finding an emergency exit in one of the stair-wells. It put us out in a service alley-way, and we debated for a bit if we should try to find their buses. But it was cold, and we didn't want to be a bother, so we headed back to the car.

I don't know if I realized my life had changed that evening, but looking back, listening to the show again, I can understand how I was hooked.

(posted to rec.music.phish back in 2001)

Wow...I've had 11/16/94 Set II in my car (Mike's>Simple>YEAH!) all week,
it's pretty much the only Phish I've listened to recently. That jam
is...well the only way I've come up to describe it it just simply Phish.
This is what these guys do...beginning with your typical (yet somehow that
seems such an unfair word for this playing style) Fall '94 rythmic jamming
(akin to Tweezer on ALO -- infact the Chalkdust from this show is on ALO)
and includes brilliant navigation through an intense metal section, then a
change to major, and jamming indicative of the more balladesque songs Phish
would write in the years to come. And this is just side A! Then there's
bluegrass with Rev. Jeff, the aforementioned Chalkdust, a short Fee (w/
megaphone, and where the audience's singing eclipses Treys on the final
chorus) leading into a blistering Antelope, and the encore: acapella
unmiced singing of Amazing Grace (on the very stage many of us have
performed) followed by a Suzy!

Top to bottom, this show showcases all the best of what Phish sounded like in November '94, from incredible setlist flow to bluegrass jams with Reverend Jeff to hyperactive, hard-rocking jams that can be found here in such masterpieces as the Simple and Antelope. I do not usually like to do song-by-song reviews of shows, but I think that this one completely requires one:

Sample in a Jar - this song is one of my very favorites to find in the first set, and as the opener it is quite a treat. This is a rocking near-perfect version with a raging Trey solo, just like it should be. 5/5. Only a few seconds go by until Fish starts the drumbeat of...

Foam: Echoing the masterful version in Bangor 2 weeks before, this version has a perfectly nailed fugue section before getting very quiet, with lots of atmospheric Trey plinking, gradually building to a blazing peak. Again, 5/5.

FEFY: Great ballad, so refreshing to hear a good '94 version of this one, especially after a raging opening combo. 5/5.

Reba: For some reason, in the midst of such an (already) great show, I do not dig this Reba. Maybe it's just coming off the incredibly monumental Halloween version that my expectations were too high while listening to this one, but the band members are not really in sync with each other. By this time in this song's history, it had become customary for a quiet start to the jam with a huge peak, and that basic structure remains intact, but everything (especially Trey's high distorted notes and Mike's weird bass notes) seems somewhat out of place. Without a doubt, another dynamic Reba from '94, but nothing that needs re-listening. 3/5.

Axilla II: This absolutely rages, and it is kinda cool to go back to '94 and '95 and listen to the alternate versions of this song (notice the "II"). The trippy ending is pretty cool. 5/5.

Lizards: While I love this song, this version is standard - which, of course, in '94, means AWESOME. But still, doesn't stand out in any way. 4/5.

Stash: Masterful, tense, and melodic. One of my favorite Stashes. Enough Said. 5/5.

Bluegrass Set: Bring out the Reverend! This is super-cool to hear such a great bluegrass musician as Jeff jamming with the dudes, teaching them the tricks of the trade. Tennessee Waltz I would say is the highlight, and that breakdown jam before Swing Low is pretty fiery. 5/5.

Overall, a great first set, with the two main jamming vehicles being the high (Stash) and low (Reba) points. 4/5. But the low points were all done for this show, as seen in the amazing second set

Mike's: Rages, just a rock powerhouse with an unexpected yet perfectly placed -> into Simple. 5/5.

Simple: The magic of Phish's Fall '94 jams are something that I have only recently latched on to, and this jam brought me there. The improvisational passages speed up and slow down, louden and soften in matters of seconds, and it seems as if the band is eager to explore as many themes as they can fit in 34 minutes. All of these themes seem to work, though, and Mike, Page, Trey, and Fish can pick up on any hint another one picks up, having an almost telepathic sense of communication. After about 28 minutes of this mastery, they latch on to the single longest-explored theme of the entire jam: a blissful, rocking groove that will send any listener's happiness through the roof. Just joyful improvisational music. Nothing more to it. I do not use the term "epic" lightly, but this jam is completely that. There are not enough stars. 6/5.

Bluegrass: Bring out the Reverend again! 2 of the greatest acoustic songs phish played, following perfectly in the heels of a masterpiece. 5/5.

CDT: Found on ALO, it is concise, rocking, and utterly perfect, as far as live music goes. Trey's solo is out of this world. 5/5.

Fee: More of a first set tune, but so great to hear it in what is already such a great second set. Very cool. I dig it. 4/5

Antelope: Continues the epicness of the Simple jam, with raging passages and sudden reggae breakdowns that are just so fun to hear. Hot Hot Hot, to close out a Hot Hot Hot set. 5/5.

Such a great second set, one of the unsung greats. And for an encore, I can only imagine how special it would be to be there as Phish sang without microphones the classic spiritual Amazing Grace. Sharin' in the groove, alright. Pure transcendence. 5/5.

Suzy Greenberg: Perfect for an encore, with a Page piano solo that just makes you want to get down. This show is definitely one of my favorites, and I can say that the Simple is the greatest version of that song ever played. Give this show a listen - you will be glad you did.

What an awesome auditorium playing possibly one of the greatest jams by phish ever. Mikes Song>Simple> goes into one of the most epic pieces of music you will ever listen to! This Second Set is must download

Really fantastic and diverse show. Reba moves in a few unique directions, varying harmonic tension and rhythmic play across the band and working in a grand, jagged climb to the top. Stash likewise strays from the beaten path, remaining recognizable only thanks to Fishman's steady hi-hat. This one has a very '93 summer feel to it with its more fragmented and communicative jam-style, some really great stuff. Out from a gloomy and morbid droning oscillation, the main Stash theme returns unexpectedly and serves an incredible finish. The bluegrass tunes play really nicely for an atypical finish to the first set.

Second set Mikes->Simple is what it's all about. The Simple jam is one of November '94's greatest moments, delivering what I believe is the first truly jammed-out version of the tune. Like the other big hitters of the time, the jam follows the riverbend through a number of different sections. Some of these offer more ground than others, and in the moments where the band is feeling it, they are REALLY feeling it. 8:40 - 11:30 is a great segment. Of course, the ALO CDT is one of the community's favorite versions of the tune, even if understated. The musicianship is just pristine. Antelope acts as a final highlight, complete with '94 ferocity and borderline BBFCM-level chaos. The segue out of "Spike Man" gives the band a bit of synchronization trouble, leading to a quick jaunt through a reggae beat to save face. Fucking great stuff from this show.

Much has been written about this show so I’m not going to get into too much detail. But having listened to this fantastic tour from its start to this point, it’s worth pointing out the significance of this Simple as this is the first really jammed-out version. Although the band took it for a little spin on Halloween, for the most part this tune at this point has been either a short stand-alone one, or has followed Mike’s Song, often returning back to Mike’s once the song ended.

But on this day that all ended and the Simple floodgates we’re busted open. The song would never be the same as it had now transformed into a significant jam vehicle. There have been many amazing versions since then but those who are fans of this tune can thank this version as being the origin of them all.

I don’t think this is the best ever version of Simple (my top choice to date is still 8.6.17) but the importance of this version moving this tune to the next level cannot be overstated. Also, for those keeping track, as far as I can tell, this is the longest version the band has played.