From: Charlie Dirksen
6/11/94 Red Rocks Amphitheater, Morrison, CO I posted this a month or so ago in response to a non-Rosemary-
Digestible remark on Trey's finger in the Billy Breathes insert, so, this might be old news to some of you. Please comment if you
disagree, though. This really is one of my personal favorite YEM jam segments, primarily because of Trey's soloing, which
continues to this day to really move me. There are some personal favorite YEMs of mine that don't warrant an "A" rating in my
opinion (like 11/16/91 and 6/16/95, to name two of many), but I believe this YEM truly deserves the significant community
esteem it receives. DFM's of this show, that are ENORMOUSLY superior to the Ball DFM's that are circulating, are available
out there. I have made around 70 copies of this show for people. If your copy has 'Zero' 5/5/92 filler (an "instrumental" called
Berm) and Jerry 11/26/83 Cats as set one B side filler, then your copy is directly or indirectly from my copy, which is excellent
quality (no hiss; thanks again, Brendan O'Neill!). Even after all those dubs, my copy still doesn't have much hiss. =^] Anyway,
high quality copies of this show are out there massively. Opening standard (great). The pre-Nirvana section is typically
enchanting, but ominously and darkly so, with many eerie noises from Trey and Mike (Mike's noodling a bit, repetitively, too).
Nirvana at 4:11. Trey appears to giggle during this section into his mic (barely audible, though). Otherwise a beautiful segment.
Mike's solo-section at 4:54 is active, reasonably melodious and funky!! Very nice stuff from Mike, considering how dull &
dreary this section can be. The pre-charge is **GREAT**, as is the jamming around the first shot at the Note (6:14 or
something). The second shot at the Note around 6:58 is flawlessly sustained by Trey, even though Trey's work preceding it isn't
unusually active. It is still good.. "Boy" at 7:32 after an enthusiastic scream from Trey. A very active, upbeat BMGS/WUDMTF
segment.. lots of great fills from everyone. Well, Trey is rather repetitive before the second chorus of WUDMTF chants.. and
after them.. just some double-stops it sounds like. Not that much. Could definitely have been better (but so what, read on). At
9:42 the tramps jam segment **COMMANDINGLY** begins, with serious signals from Mike (and lots of audience screaming
bleeding into the mics). Page's jamming in here is Extremely Agreeable -- lots of activity from him in general. Not much of a
climax, however.. At 11:14 the jam segment begins, and I get shivers whenever I hear this. I'm getting serious shivers right now.
Trey's noodling is magnificently mellifluous and mesmerizing.. just incredibly so! He pulls you right in from the very start, perking
your ears, exciting your curiosity... And then around 12 minutes, he breaks out into this spectacularly repetitive but all-hallowed
and downright spiritually moving little groove!!! =^] =^] =^] Fans of 12/9/95 ought to check this version out!!! At 13:10 Trey
returns more darkly to this same little melodious, repetitive but intriguing theme and begins at 13:28 to just milk it!! He just starts
slowly and steadily building this somewhat Santana-esque groove using this spectacularly joyous theme as a base!!! By 14:30,
Trey is soloing in the upper reaches of the 'doc, just dancing on the 'doc.. soloing in above-avg YEM fashion! Mike's funking
and Page's key-pounding are just saaahweeeeet!!! Fish is there, of course, but I think he's got his head moving side to side and
is just as entranced by Trey's prowess as I am.. and so isn't adding too much (why bother!?). And the concluding jamming is
also quite grand.. A wondrous jam segment, to be heard by all at all costs, imo! 15:37 it is bass and drums, and Mike opens the
segment up HUUUUUUGELY, just funking that damn thing!!!! "Yeah!!!" from Fish, not to mention other noises. Mike just
mightily funks in here.. just grooves in a huge way. But this is short, to be sure. :( Closing segment at 16:33 with vocal fills
(instead of drums) from Fish that are powerful and accentuated unduly well. The vocal jam kicks in right after as usual, and
begins actively.. a danceable vocal jam. At least until around 18:15 when it changes into the More Psychotic Vocal Jam mode,
and loses any rhythm (any danceable rhythm, at least). Lots of mumbo-jumbo around 19 minutes.. lots o' lip action.. then typical
vocal harmonizing, and then at 20:22 or so, Rift segues in. (and the very opening of Rift contains a little vocal jamming) This Rift
is pretty damn serious, too, I might add.. very upbeat. Well, the only flaw with this version was the segue into Rift. ;) As you
may have expected, this version gets an "A" rating easily, and I honestly think that anyone who doesn't like this version should
be tied up and mercilessly compelled to listen to the Jones Beach Tweezer over, and over, and over again, until they swear to
the Majesty and Grace of this Almighty YEM. two cents charlie