This show was a two-part gig that is prominently featured in some great video footage that is up online. It started circulating digitally in the early 2000's, if I remember correctly, and before that was on VHS. Snippets of it made an appearance at the 20th anniversary gig in Boston.

The only audio of this show is that which was also recorded at the same time as the video. It's unfortunate, because a few of the versions of these songs shine compared to other versions from '87.

Wilson features a long intro, but it is Antelope that is the early highlight. An 11-minute version, this building section features some serious dissonance by the whole band. A raucous screeching version, it's interesting to hear how loud the band could get and how they were intent on extending the song.

Very standard Golgi. Back Porch Boogie Blues, the Max Creek Cover, is next and it is a great take on the song, in what would build to be the best-ever 8/21/87 version. It has multiple breaks for Fish and ends nearly 3x faster than it started.

The Lushington here is, like the 5/11 version, essentially 'the Chase' and containing the 'Dog Log' bridge. Like 5/11, it moves into Possum quite well. Possum is short, but sweet. This version of Hood solidly establishes the band's parts in the song, and from this point on, the band plays all the composed parts more or less the same. Unfortunately, this tape cuts out the end of Hood.

Fish is still at this point trying to figure out how to deal with the first sections of YEM, but other than that, this YEM is strong for 87. Trey is the star of the day, and he even uses some wah for the ending jam. At a solid 15 minutes, this shows the band starting to inch outward.

Alumni Blues features some guests who were also playing that day. So as not to confuse them, there is no LTJP segment in the Alumni, although it is quite a fun, if chaotic, version.

Really, this show is much better viewed than heard, as the shots of a grungy and shaggy band are really funny to see. This would be the last show of the Spring 87 semester, and the band wouldn't get back together until August where they would play a run of shows that introduced a handful of some of Trey's best writing.

I see this show as the final notch in the band's 'very early days' period. After this show, the band would play nearly every week, and in 88, about 10 shows a month, until the Fall, before any substantial break. From then on, the band would play constantly with only 1 or 2 month breaks until 1993 when they would be off for 4 months and record 'Hoist' in the fall. From here on, the band practices much more and the gigs are playing much more professionally and the music (and recordings) seriously improve.

Another great blast from the past here, and I second the notions of the other review on here. If you have nothing else to do on a rainy day, you should watch the video of this show to see the very humble beginnings of this great band. Nice versions of some early favorites here, which eventually defined the band's sound. The YEM jam was great! So was the Alumni jam, although a little out of tune. My only complaints would be that it's too short. I wish I could hear the whole show.

Three stars for the jams and the video that exists.

One of the best 1987 shows I've encountered up to this point in the year (there will be some even better shows yet to come, looking at you 1987-08-21). Highlights:

1) Wilson: Great build into the song proper, kind of like an eerie swamp monster slowly swimming into sight (different from the band/crowd call-and-response that is typical today). Rocking, high energy version (typical)

2) Antelope: You can feel the electric energy of the band as they groove the hell out of the beginning of this Antelope, loping cheerily through the tall grass. The raging part of the jam comes screaming out like a wildcat, with Trey's soloing absolutely destroying the stage. Must hear example of an early Phish jam reaching the pinnacles of legendary versions.

3) Back Porch Boogie Blues: A rollicking and enthusiastic take on this lovely instrumental. Everyone really is playing with such pizzazz, but I was really taken away by the heavy bass thumping from Mike near the beginning of the tune. Eventually, the band speeds up and rides this little doggie straight into the motherf***ing dirt! It's a slamming, stellar, gut punching version.

4) YEM: There were parts of this band that transported me backwards in time. Not to 1987, but literally like riding a temporal wave of psychedlic guitar and clavinet funk. Great energy.