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Date:    Fri, 28 Aug 1998 18:47:45 -0500
From:    JAY R ROSE 
Subject: 6/18/94 Bowie *REVIEW*

THE STATS:

UIC Pavilion- Chicago, IL. 6/18/94

Set II: Peaches en Regalia, Bowie, Horn> McGrupp, Tweezer, Lifeboy, YEM,
Chalkdust
Encore: BATR, Tweezer reprise

Wow! What a set! I wonder how many times Bowie, YEM, and Tweezer have all
appeared in the same set! A perfect mix of jams, somewhat rare songs, and a
crowd pleasing Bouncing, what else could you ask for!?!

Source: SBD/5 This tape has got to be the best sounding fifth generation
tape I have ever heard! The mix is perfect with very little noticeable hiss.

After a perfect set II opener in the form of ^”Peaches en Regalia^‘ comes the
revealing Hi-Hat rhythm from Fishman^Ň

0:00 HH Segment- The actual HH part doesn^“t last more than a few seconds
before dissolving into a simple little descending melody, mainly played by
Page and Mike. This simple little melody slowly develops into a full -blown
jam, which continues for a while. I have heard that this progression or jam
is called ^”Mind Left Body Jam^‘ and that it somehow relates to the Grateful
Dead. I am not sure exactly what the deal is with it. The jam is interesting
and Trey does some tasty soloing over it and at 3:04  Fishman^“s HH is back
momentarily before slipping into swirling, psychedelic noise. After a few
moments of random blurbs and bleeps a menacing riff develops and gets really
HEAVY. I would go as far to say that this would be considered ^”heavy metal^‘.
Trey sounds like he is experimenting with whammy bar theatrics as random
scrapes and feedback are abound. This quickly dissolves back into the HHS
before abruptly initiating the COMPOSED SEGMENT. This is a notable HHS,
similar to the 8/13/93 Bowie HHS.

Note: I would label this as Peaches> Bowie-> MLBJ-> Bowie, not Peaches,
MLBJ-> Bowie since the supposed MLBJ occurs after the HHS has started.

5:04 COMPOSED SEGMENT- The vocals are slightly effected with a dash of
reverb, but not overly delay drenched like other versions. The pace is a
little more laid back than usual and the playing seems to be slightly more
inspired than usual, more dynamic than the ordinary CS.

8:40 THE JAM- Trey strikes ^”his chord^‘ and begins to noodle away in
representative Bowie fashion as the band settles in. Around 9:15 Mike
initiates a ^”Three Blind Mice^‘ type jam. The rest of the band quickly joins
in. The band builds on this melody and at 10:15 Trey starts soloing
melodically over the progression which has been created. The ensuing jam
which continues until around 11:25 is a beautiful little respite from the
typical jam segment. The overall sound is major, far removed from the minor
key space- jamming indicative of most Bowies. Things don^“t stay tranquil and
positive for long because after the 11:25 point things get to be more ugly
and dissonant. It is almost as if a musical reverse negative was executed.
The jamming starkly changes to a dark, jagged style and at 12:38 there is a
definite tease of DEG. Trey runs through the riff a few times after hearing
Mike play a fast, repetitive bass line similar to DEG. Trey then continues
to play a few more abstract, nightmarish melodies before to doing a little
more DEG at the 13:20 point. This is spectacular Phish improvisation,
dynamically compelling and very atmospheric. Trey continues to emit more
mysterious and maddening little musical themes and the tension is starting
to build. Between 14:30 and 15:05 there is a furious build of crazy noise
before peaking and dropping back to into the more familiar, charted waters
of the standard Bowie jam mold. The jam is still very intense, but the feel
of  ^”David Bowie^‘ is back. At 16:25 Page is slamming dissonant chords and
Trey drops a feedback bomb at 16:53 as the band bursts into the^Ň.

THE TRILL- The build to the trill was thrilling and the segue into it was
powerful. This was dynamically powerful providing a good backdrop for the
sharp breakdowns between trills. During the last two trills, Trey cranks the
distortion and his wah-wah pedal to tease Hendrix^“s ^”Voodoo Chile^‘ and
^”Purple Haze^‘.

TOTAL TIME: 18:15

SUMMARY: This version proves that some Bowies don^“t have to be monumental in
length to be great. Everything in this sounds inspired and purposeful, a
stellar version! There isn^“t a lot of superfluous spaciness that can plague
some performances of the song. I would recommend that you seek out this set
if you don^“t already own it. The rest of the set is a keeper as well and
since SBD^“s of this show circulate you shouldn^“t have a hard time tracking
down a *HQ* copy.