Recorded in 1993 during a three-night run in Atlanta, this mammoth eight-disc box captures Phish right when they were putting a spit-shine polish on the live improvisation that would make them kings of the Nineties jam-band scene. At the Roxy is a must-have for one reason: the second show on February 20th, where Phish unleashed their most experimental set to date. On Disc Five, guitarist Trey Anastasio, keyboardist Page McConnell, bassist Mike Gordon and drummer Jon Fishman play for 60 nonstop minutes, weaving sharp funk grooves ("Tweezer"), virtuosic bluegrass-esque ditties ("Glide"), mellifluous instrumentals ("I Am Hydrogen") and goofy covers (Kiss' "Rock and Roll All Nite") into one big, glorious mess. There are moments of genuine transcendence: Dig Anastasio's soaring solo on the modal jam "Reba" and the effortless way Phish weave "Tweezer" into the organ-powered groove of "Mike's Song." Phish tried to pull off a similar feat the next night, with a set anchored around the bebop-inspired "Stash." But that performance never reached the same heights — proof that the best jams are the most spontaneous ones.

“All Along the Watchtower”

Jimi Hendrix got hold of Bob Dylan's early John Wesley Harding tapes and in late 1967 recorded a version of "All Along the Watchtower" with the Experience in London. Dissatisfied with that first development, Hendrix brought those tapes with him to New York in early 1968 when he began work on Electric Ladyland. Eddie Kramer, Hendrix's engineer at the time, told Rolling Stone that Hendrix "was still looked upon by his basically white audience as the mammoth black guitar hero. There was a constant fight within him to expand himself." Hendrix's successful take on Dylan's work has long been recognized by the songwriter. "I liked Jimi Hendrix's record of this and ever since he died I've been doing it that way," Dylan wrote in the liner notes to his Biograph box set. "Strange how when I sing it, I always feel it's a tribute to him in some kind of way."