Can you visit it? Maybe. It’s mostly private residences but their website states you can camp on the land
This venue is home to Vermont’s oldest alternative living community. Trey recalled this show in a 1992 interview as the weirdest gig Phish had ever played. Out of respect, I’m going to leave it at that but Phish.com has the full quote.
Set 1: Funky Bitch, Possum, Peaches en Regalia, Makisupa Policeman -> Fluffhead
Set 2: I Know a Little, Golgi Apparatus > Slave to the Traffic Light, Shaggy Dog > Light Up Or Leave Me Alone -> Camel Walk, Jam > Swing Low, Sweet Chariot, Back Porch Boogie Blues, Icculus, McGrupp and the Watchful Hosemasters, Good Times Bad Times -> Skin It Back -> Cities
Set 3: Mike’s Song -> The Little Drummer Boy > Whipping Post, She Caught the Katy and Left Me a Mule to Ride > AC/DC Bag, David Bowie -> Clod > David Bowie, You Enjoy Myself, Dog Log, Tush > Sneakin’ Sally Through the Alley, Prep School Hippie/
 First known Phish performance.
 Steve Drebber on vocals.
Ah, we’ve come so far in just 3 years. The final lineup is formed. Gamehendge is creeping its way into sets. Covers are become more unique and crafted for the band. The band has a dedicated sound man on their crew. To quote Penny Lane and the Band-Aids, “it’s all happening”. This final recording of 1986 brings us to the Ranch. The Ranch, also referred to as Mead Ranch or Mood Ranch, was a house inhabited by Eric Larsen, Kent Moore, and Wayne Stout. It was located (and still may be) on East Dorset Street out in the wilds of Shelburne. Most people hear Dorset Street in Burlington and think of the South Burlington shopping district but if you keep going, it becomes quite rural. This would set the tone as a house party is a different animal then a bar or university gig. The band could get weird and the folks in attendance would most likely go along. Also a great place to test some new tunes and in this show we get a lot of new covers, some of which the band would craft for many years.
Phish opens with a new cover, Son Seals’ “Funky Bitch”. While today this probably one of the most loved covers of the band, it’s an interesting choice because it’s the first straight ahead blues song that we’ve heard so far. On Seals also marks the eclectic musical leanings of Phish. Another band would go Muddy Waters or BB King but Phish picks out the obscure 70s blues man. I saw Son Seals play the Discover Jazz festival in Burlington on June 6, 2002. Full disclosure was I went in hopes of a Phish sit-in, but was pleasantly surprised to see authentic Chicago blues. Son Seals had serious chops. This version is not terribly notable other than it is first. The band fires up “Possum” but they’re not clicking too well early on which continues into a slow, static “Peaches en Regalia”. Mike again teases Rufus’ “Tell Me Something Good” going into “Makisupa”. “Makisupa” has a very half-baked reggae jam that goes nowhere fast. The mellowness continues as the band plays one of the slowest “Fluffheads” I’ve ever heard. I almost would think the tape was dubbed but they sound in the right key. It almost painful how slow it is. It’s a must listen if only to hear how weird it is.
Set 2 opens with another new cover, Lynyrd Skynyrd’s “I Know A Little”. The tape quality certain picks up with clearer vocals. It’s a pretty smoking cover and one I’d like to hear then bring back. I also like how the song again reflects the jazz influences that are creeping in. It doesn’t differ much from Skynyrd’s version but it’s a delight to hear. Following up is “Golgi” and the band returns to a slower than normal tempo. This time however, they nail a standard version. “Slave” comes next and it’s well done. The peak is still not finished yet but it’s inching closer. It definitely has more of that feel as Trey lays back at the end instead of playing wildly.
We get another fun rendition of “Shaggy Dog” which segues into yet another new cover, Traffic’s “Light Up or Leave Me Alone”. “Light Up” is significant because we finally hear Page on vocals. He’s not quite the powerhouse he will come to be in Phish’s arsenal but it’s still interesting to hear such a Phish staple in it’s early form. It’s also the first good jam of the show. They take the song out for a walk and all members are on fire. Mike’s bass intertwines with Trey’s guitar and Page’s keys set the tone while Fish keeps it steady. It’s a great early jam. The jam however doesn’t stick the landing and we get a rough transition into “Camel Walk”. However, once in “Camel Walk”, it has a very nice little jam at the 3-minute mark that’s worth the time. After a brief pause, the recording goes into a jam in progress. The poor sound quality returns making it a little difficult to hear. The jam is quite nice. Trey mostly shows off but Page finds a really nice groove on the keys that Mike locks into for a very nice layer. For a band only 3 years in the making, it’s pretty impressive. Definitely worth the listen even if the quality’s not fantastic. The jam kicks into “Swing Low, Sweet Chariot” but it’s not the usual version we’ve been hearing, the band actually plays a Allman Brothers “Ramblin’ Man” jam before hitting the main tune. It’s fun to hear. The southern rock vibes continues as “Back Porch Boogie Blues” gets another go round, the end of which is pretty smoking. “Icculus” gets cut off before the ending and is rather worthless here. Another new cover follows it up as we get to hear Phish do Led Zeppelin with “Good Times Bad Times”. It’s a great early version, if only to hear Trey go off, but it also has a very clean segue into “Skin It Back”, which in turn segues into the set-closing “Cities”.
“Mike’s Song” opens set 3 and it’s interesting because Mike plays with the phrasing of the verses, giving it a jerky, David Byrne but stranger feeling. The band also starts the song of really slow and picks up tempo as it goes along. It also as a nice jam which goes into “The Little Drummer Boy”. Well, I’ll give them it’s the holidays and they have a little drummer boy in the band technically. Not like other times as we’ll see in the future. The Allmans’ “Whipping Post” comes next and while very good, it’s not the most barn-burning edition. Another cover and another blues standard, busting out Taj Mahal’s “She Caught The Katy”. Prominently known for it’s opening the Blues Brothers movie, this is more of the blues standard I was talking about earlier as an alternative to “Funky Bitch”. It’s a respectable copy. “AC/DC Bag” follows and is fodder leading to a real highlight. “David Bowie>Clod>Bowie” is pure dynamite. It leads off with some cowbell and fun riffs from Trey before hitting the main groove. At about 1:05, Trey hits a cool speed jazz riff that’s unlike any other “Bowie” I’ve heard going into the UB40 verse. The seque into “Clod” feels little bit like Pink Floyd or Yes’ “Heart of the Sunrise” which is cool. It’s also interesting to hear music associated with “Fluffhead” sitting in the middle of “Bowie”. Apparently the end of this “Bowie” must be heard. The problem is that on PhishTracks.com and Phish.in only repeat the first part of “Bowie”. Luckily there’s a great new sounding transfer of this third set on Etree. So, I downloaded it and it’s pretty amazing. It does have the described Allmans vibe but to also, just sounds like really great Phish.
Trey noodles a bit with a song about a camera but how do you follow a smoking “Bowie”? With a tight “You Enjoy Myself” obviously. It’s a pretty legit follow up. “Dog Log” is next with its alternate title “Doggone Dog”. It’s a hot version and probably the best so far in the band’s career. I recommend a listen. Someone asks for Barry Manilow and Trey introduces the night’s final new cover as such. The joke being the song is actually ZZ Top’s “Tush”. It’s pretty faithful but cooking nonetheless. A funky “Sneakin’ Sally” follows and then “Prep School Hippie” closes the set. “Hippie” has a nice soaring jam in the middle and increases in tempo as it builds to the finish. Thus ends 1986 on record. Onto the bigger and better (and more work) of 1987!