Yet another legendary show from the legendary month of December 1995, 12/7 in Niagara Falls is one of the band’s best showcases of that era’s sound. Tight and fast compositions (light-speed Reba), patient Type I play (Slave!), and awesome jamming in the second set Mike’s Groove.
The second time Mike’s went directly into Weekapaug that week – unlike 12/1, they modulated down into Weekapaug’s correct key during the segue. A key jam for the band’s development, Mike really shines in a rare lead role – this is pre-PLM (People for a Louder Mike), so he is inaudible for large portions of the song. While Trey is on the percussion kit for a good chunk of the song, Page steps back and lets Mike take the reins in a move not really seen pre-97. The bass and drums interplay is really something special here!
I hope you enjoy my breakdown – subscribe to the mailing list so you don’t miss any of my December Phish jam deep dives!
All timings are per LivePhish.
12/7/95 Mike’s Song
0:01 – Trey rips into riff, stop/start vibe
0:31 – Lots of momentum, Fish is tight
0:35 – Mike’s vocal has a lot of reverb initially
1:18 – Trey introduces repeating riff in between lyrics
2:31 – Jam begins, Page immediately stepping into lead role on organ as Trey hangs back
2:49 – Trey starts single-note vamping
3:06 – Trey steps out on lead
3:15 – Page playing dissonant organ
3:24 – Fish is TIGHT
3:30 – Trey tries to introduce progression, rest of band doesn’t go for it
3:47 – Page still on big sweeping organ
4:06 – High-energy Type I
4:08 – Mike is audible briefly with sick bass runs
4:23 – Page latches onto repeating organ riff and steps to the forefront again
4:48 – Trey finds Page’s riff and takes it to new heights
5:11 – Fish breaks groove for a short run of quarter notes
5:15 – TREY SUSTAIN
5:27 – Page adds Moog Source into background for extra dissonance
5:42 – FULL PEAK MODE
6:02 – Band seems to be coming down from peak
6:20 – Headed for funkier territory as Fish breaks into dirty groove
6:38 – Trey on low notes
6:40 – SLAPPA DE BASS
6:52 – Trey abruptly starts closing chord and band follows in atypical fashion with great Fish drum fills
7:06 – Second jam starts, Trey immediately whips up lots of looping feedback
7:26 – Trey hits percussion rack
7:34 – Jam is propelled by Fish and Page
7:42 – Mike steps up and introduces a riff
7:52 – Trey’s feedback quiets, rest of band has more room to breathe
8:07 – Page hanging back on Rhodes as Mike leads the jam forward
8:25 – Sounds like Trey is really going ham
8:47 – Great Trey/Fish interplay
8:55 – Mike playing lots in higher register
9:20 – Trey whips up more feedback, sounds like he steps on vibrato or Leslie switch
9:42 – Page gets funky on clav as Trey’s feedback loops go in and out
10:03 – Percussion actually kind of works here
10:19 – Trey feedback starts bending up and down
10:32 – Groove is a very sparse funk
10:46 – Page moves back to synth
10:57 – Mike hits on repeating riff that Fish plays off of
11:12 – Mike leading again, Page has dropped out
11:30 – Page is back on clav
11:36 – Jam is essentially a bass and drums jam
11:40 – Trey feedback gets louder
11:48 – Page on Moog solo
12:12 – Trey returns to guitar and plays with effects
12:24 – Harsh and dissonant clav from Page
12:33 – bliss jam is set up by Mike and Fish
12:45 – Trey emerges from soup to start hammering major chords
13:02 – Rocking jam develops with Trey at forefront on rhythm guitar
13:15 – Page playing slightly dissonant piano
13:26 – Trey introduces Weekapaug-ish progression
13:55 – Fish on steady quarter-note beat
14:10 – Jam gets blockier
14:19 – Fish picks up speed
14:26 – Page hammering the keys
14:44 – Trey starts breaking out of rhythm guitar, but not quite soloing
15:00 – Trey begins soloing in between rhythm riffs
15:28 – Jam mellows a bit thanks to Trey
15:38 – Sparse groove emerges, back to quarter-note vibe
15:51 – Page on organ and then clav
15:59 – Trey not letting go of bliss progression
16:10 – Almost a HYHU intro riff from Trey
16:25 – Page colours jam with big sustained organ chords while rest of the band continues groove
16:44 – Full hose engaged
17:06 – Trey varies riff up
17:12 – First strains of actual Weekapaug riff appear
Jam perfectly segues into Weekapaug and modulates down to proper key of D shortly after
12/7/95 set 2 is the crown jewel of december 95 to me
i like sets that are structured like a studio album and that set is a really good example