Location: Hunt’s - Burlington, Vermont
Set Placement: Set 1 of 2
Section A: 1:39
Section B: 5:32
Section C: 3:18
My Rating (out of 5): 2.5
Notes: The second performance of Hood comes about five months after its debut but at the same venue in Burlington. Section A is short and sweet. Section B is not only quite a bit different from the debut performance of the song, but different as well from probably every other version the band has ever played as it does not include the “thank you Mr. Miner, thank you Mr. Hood” lyrics. Instead Page overlays some atmospheric swirling “wind gusts” in their place.
The jam is solid, much more solid than the first version. All in all, while it may still not be completely polished, it is clear they have rehearsed it quite a bit in the five month span since its inception. This would however be the last version ever played with Jeff Holdsworth in the mix as he was to leave the band the following month.
Side note: Trey says something at the end of the “where do you go?” segment. My best attempt at exactly what it is he says is “here’s one, Peter.” If anyone else thinks differently or thinks they know for sure, by all means let me know!
Outside Review: by Zachary, from Phish.net’s fan review archives:
0:00 - Good segue from Have Mercy. The reggae beat flows well into the reggae-ish beat of the intro. They obviously planned this segue because it is excellent. The whole band drops right out of Have Mercy on a dime and begins the Harry groove. This intro, like many early intros, has a swinging feel to it. I think that it’s mainly due to syncopation from Trey and Page. Also, early intros, including this one, are rarely sparse or spacy (compared to later intros like 10/23/94 which I just reviewed). Mike does some nice work in this one (as he usually does). 1:08 - Harry chorus. 1:40 - Trey says something after the final “Where do you go?” but it’s hard to understand. “Here’s one Peter” maybe? Oh well, not a big deal. Composed section follows. Page isn’t as active here as usual. Maybe it’s just my version, but he’s hard to hear throughout the composed part. 4:15 - Sounds like the Mr. Minor heavy metal part, but slightly different. Not as quick, and a different melody from Trey. Tension build and release, but Mr. Minor is said in the “wrong” place at 5:10. Obviously not wrong, but not where I was expecting it. Trey plays a little run of notes up the ‘doc (almost sounds like a signal), and then everyone gets quiet and says “Thank you Mr. Minor” softly. It sounds strange to my ears, but that’s because I’m not used to it. All during this segment someone has a weird effect going on that sounds like a spooky wind or something. It could be someone blowing into a mic. Actually, no, it can’t be someone blowing, it has to be an effect of some kind. I have no idea what though. In total, it’s definitely a different Mr. Minor segment here. A longer buildup, but not as heavy as more recent versions, and then there is this little run of notes from Trey, followed by the TYMM. Oh yeah, no “Thank you Mr. Hood” either. Luckily, they didn’t leave out this last part… 6:55 - Jam section begins, standardly. Everyone is feeling each other out at this point. Now Trey clearly takes the lead. 7:55 - Nice harmonizing by Mike with Trey. 8:05 - Trey is starting to bust loose, he’s really wailing. Page drops out for a little while. Wow, Trey is a rock star! This is the Trey we see less often nowadays. 8:45 - Oops, a little fuck-up from Trey, not too bad. Just lost his place in the solo for a sec. 9:00 - Trey repeats a cool lick for a while. He’s soaring. 9:35 - UN-smooth transition into the final lyrics. “You can feel good….” Total Time = 10:20 Grade: D+. An interesting version, but not by any means spectacular. The Mr. Minor section is clearly different than recent versions, so if you’re really into the evolution of Phish, it might be worth hearing for that alone. I’m curious to see when the Mr. Minor section changes over to what we’re more used to, and when they start singing, “Thank you Mr. Hood” at the end. I do like Trey in these early Harry jams, but he is not at his best here.