Phish

Sound Check

• Love Me Two Times  >
• Indianapolis Soundcheck Jam
• Ginseng Sullivan

Set I

• Lengthwise  >
• Llama
• Makisupa Policeman  >
• Foam
• Stash
• Ginseng Sullivan
• Fluffhead
• My Mind's Got A Mind Of Its Own
• Horn  >
• David Bowie

Set II

• Buried Alive  >
• Rift  >
• Bathtub Gin  >
• Ya Mar
• Mike's Song  >
• Lifeboy
• The Oh Kee Pa Ceremony  >
• Suzy Greenberg

Encore

• Amazing Grace
• Highway To Hell

This was Phish’s 1st show at the Murat Theatre, a historic Egyptian style performance house opened in 1910 with a capacity of 1,981. The theatre was part of the Murat Shrine – the largest Masonic Shrine temple in North America. It was Friday the 13th, tickets were $17 and the show was sold out. The soundcheck featured the 1st and only known performance of Love Me Two Times (The Doors cover) sung by Fish as well as “Page’s Hand” (dubbed Indianapolis Soundcheck Jam for release) and more work on the band’s newest cover by Norman Blake. Ginseng Sullivan was subsequently performed in set I with Trey on acoustic guitar, Page on piano, Mike on bass and Fish (who Trey introduced as “Mr. Butt with protruding arms and legs”) on Madonna washboard. Stash included a tease of Weekapaug Groove. Trey played the beginning of Fluffhead on acoustic guitar. David Bowie included an extended My Favorite Things tease during the introduction and jams based on The Mango Song and Magilla. Set II began with a “no smoking” announcement. This rendition of Bathtub Gin was immediately dubbed “The Murat Gin” and featured groundbreaking jamming (some rooted in Weekapaug Groove) that reached a level of unbridled improvisational majesty the song hadn’t approached before. The band sustained this peak with the segue into Ya Mar. Mike’s Song picked up where Bathtub Gin left off complete with Ya Mar lyrics and dynamic improvisation that developed into a Stranglehold (Ted Nugent cover) jam with screams, scatting and some lyrics before the usual Mike’s Song ending. Suzy Greenberg contained a tease of Sweet Home Alabama (Lynyrd Skynyrd cover). Taking advantage of the Murat’s fine acoustics, Amazing Grace was performed without microphones. Highway to Hell completed the light-dark dichotomy of this show and provided the perfect cap to Friday the 13th Phish at the Murat. The official tapers’ section at this show was in the last two rows of the balcony. Combining Paul Languedoc’s master soundboard DAT’s with Judd Nudelman’s audience recording of Amazing Grace, this show was remastered and released from the archives as a JEMP Records/LivePhish CD and Download in June 2007 that included filler from the soundcheck.