From: Charlie Dirksen
3/27/93 The Warfield, San Francisco, CA
(Rvwd 6/95)
 
I envy those of you who were at these shows!  In 1993, and/or 1994 !
MMmmmmm.. This version of MikeSGroove was another reason why I had to
create a new rating system.  There is a lot of bewildering, fantastic
jamming in this version. Trey smokes and styles left and right.  It
isn't "typical" (for those of you who think Trey ALWAYS smokes... I
imagine that he would be the first to tell you that he has nights were
he is less interested in tearing the house down, and more interested
in PLAYIN' in improvisational, Derridean fashion).  Don't you just
love words with multitudes of meaning?  It is soooo much fun to
attempt to cybernetically convey intended meanings, when the
conditions for the possibility of unsuccessful meaning-intention
transactions exists so profoundly.  But I digress.  The beginning of
the post-tramps re-invigorated Mike's jam at just after 5 mins sounds
frighteningly similar to SIMPLE in this version, at first, folks.
Don't get me wrong -- this ain't no Simple "tease," really.  It is
just that the jam at this point sounds JUST LIKE most pre-SIMPLE jams
do (I guess it could be successfully argued that Simple is merely
"hinted at,"  (or something)).  GOD DAMN Trey really tools around with
this version, as do Zeroman, Page, and Marco Es (everyone is just
REALLY HIP in this version of Esquandolas' song.. (btw, I'm into the
school that keeps the faith that MIKE is Marco, and not Fish, given
6/30 CLASSIC AMPHITHEATRE sorts of experiences)).
 
At around the 6:40 point the jam gets really disoriEnteD and trippy --
no solid rythym until 7:15 or so.  just kinda FALLS APART.  Really
very freakish licks from everyone.  Just %CRaZy%, until about 7:50 or
so, when the Mike's finale jam kicks in.  Man, what a f@cked up BUT
GREAT version of Mike's Song (aka MikeS).  Hydrogen kicks in at (aka
"also known as") 9 minutes or so.  The theme doesn't come in until
9:45 or so (Trey and Page tool around a lil while in the opening).
It's great as usual (i.e., go ahead and fast-forward, those of you who
practice this highly unskilled, astoundingly lame art).
 
Weekapaug comes in at 11:57, approximately (of course), and THERE IS
NO OPENING FROM MIKE!  No opening Mike's bass licks! [Editor's Note:
Andrew Foster informs me that Mike broke a string.] Trey comes right
in jamming with Page, Mike and Fish REALLY FIERCELY (as if this were
planned.. ;^0  ).  Mike DOES become a little more pronounced after a
min or so, but only for about five seconds  (!).  He AIN'T soloin,
friends...  the first verse kicks in and WHOOOA NELLLIIIIIIEEEEE is
this an upbeat, QUICK version! It is the usual "great," but Trey seems
to take longer than usual to really start wailing (he is still
maintaining His Coolness around 15).  At 15:22, though, an ON BROADWAY
JAM begins, and, well, LOOKOUT!  They really rip this out!  All of
them jam on this theme solidly for about two minutes or so, when a
straightforward Week-groove returns.  Trey kinda fudges the Broadway
theme at a point, but, otherwise, it is well-jammed and very
enjoyable.  At 17:45 pie jesu the jam goes into one of those
sorta-quick modes, even though the Moses-driven rythym hangs in there
in true 'Paug fashion.    This whole jam is MIND-BOGGLING at this
point, and the jazzy interplay between Mike & Page & Henrietta is HOT
(Trey is rather flaccid at this point).  The jam climbs out of this
valley verrrrry steadily, and, eventually, exPLODES! back into a great
finale Weekapaugh jam.  At 21:15 or so, though, just prior to the
finale, I ought to re-iterate that the jam is VERY INTENSE.  In fact,
it really f@cking smokes, and majestically builds and builds, but
doesn't turn into Week for a few mins. The final verse doesn't come in
until around 23:30 or so!  Just a great ending jam! The ending
verse/close-out, though, is uneventful. 24:27 total time (or so).
A-/B+ rating.  I pity you if you have not heard this.