And, more recently, at SPAC on 7/6/13, Phish made вЂњSOAMвЂќ rattle and rage, and then dissolve-no, melt-into a spacey, wondrous soup in a manner that hearkened back to вЂњold schoolвЂќ versions.

The version at Coventry 8/15/04 is particularly astounding, as the emotions of that memorable weekend explode from the bandвЂ™s instruments during its jam. While вЂњSOAMвЂќ has certainly had its ups and downs over the years, it usually will produce some majestic and mind-bending improvisation once a tour. In fact, the band thought so highly of this change and the version that sparked it, that they used the 4/21/93 вЂњSOAMвЂќ jam as part of HoistвЂ™s finale, tacked onto the end of the otherwise stunted вЂњ Demand.вЂќ вЂњSOAMвЂќ then became a regular part of PhishвЂ™s tours, having been re-invented to explore greater improvisation. On the night of 4/21/93, however, the band played an awesome, extended вЂњSOAMвЂќ that forever changed the way the band felt about the song. 'Split Open and Melt' вЂ“ 11/6/98, Madison, WIДuring the early 1990s, Trey explained that вЂњSOAMвЂќ dropped out of their live rotation because, in his view, it had not been meeting its potential. The Lawn Boy вЂњSOAMвЂќ is also the first track on a Phish album to feature musicians outside of the band, namely, Joey Sommerville on trumpet, Russell Remington on tenor sax, Christine Lynch on vocals, and Dave вЂњThe TruthвЂќ Grippo on alto sax. An excellent live tune, even the studio Lawn Boy version is remarkable: the band recorded both it and вЂњ Bathtub GinвЂќ with the money and studio time that they won at the 4/21 and 4/22/89 вЂњRock RumbleвЂќ in Burlington, a local battle-of-the-bands-style competition. вЂњSOAMвЂ™sвЂќ complex improv segment is legendary for its time signature, which involves three sections of eight eighth-notes, and then a fourth section with nine eighth-notes in a steady pulse вЂ“В listen to FishmanвЂ™s hi-hat.

Since entering Phish's repertoire in early 1989, вЂњSplit Open and MeltвЂќ (вЂњSOAMвЂќ) has thrilled fans with its ferocious jams.

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