There isn't a better live act in the world right now than Burlington, Vermont's Phish. With unmatched skill, a bottomless barrel of songs to choose from and an ever-present sense of quirky humor, the foursome manage to professionally and methodically unhinge the stage every damn night. Unbelievably dynamic, Phish puts on an entirely different show each date of its seemingly never-ending tour and thus commands a massive army of nomadic fans who loyally follow the group around the globe.

For those unwilling or too broke to join the caravan, the group has three live releases, A Live One, Slip Stitch and Pass and Hampton Comes Alive, which provide a fair representation of a Phish show. Though all three are exceptional releases, A Live One is by far the most enjoyable, jaw-dropping re-enactment of the band's abilities.

Evenly combing previously unreleased material with perennial live favorites, this double album is the perfect place for a Phish novice to begin. It starts out simply, with "Bouncing Around The Room," a three-minute tune that ends with a pop symphony of layered vocals. From here, the album quickly delves into the band's pyro-technical jams, which form bridges of whacked Zappa song structures and Deadly improvisations.

The set's first CD is startling in its range. "Stash" is the album's first awesome display of finger gymnastics put on by red-haired guitar virtuoso Trey Anastasio. "You Enjoy Myself" is a genre-crossing exploration of classic movements, post-rock noodling and damn nasty funk. And the Zep-inspired "Chalkdust Torture" gives way to a closing solo that rips out your dancing heart and roasts it in the blue flame rising from Trey's burning fingers.

It's easy to fixate on the guitar, but honestly every man in this four-member lineup warrants close listening. Phish's members don't just play well, they listen well. Therefore, they anticipate each other unusually well. Keyboardist Page McConnell issues a fast-moving stream of notes to complement Anastasio's fingerpicking on songs such as "You Enjoy Myself" and "Slave to the Traffic Light." Likewise, drummer Jon Fishman and bassist Mike Gordon exert an unbelievable amount of control over the piano and guitar's improvisational adventures.

The far more complex and rambling songs of the release's second-disc are neither boring nor contrived, as one might easily assume. An overly modal jam on the surface, the half-hour "Tweezer" is truly an impressive experiment, which could only be conducted by an incredibly confident band. The final two songs, "Harry Hood" and "Squirming Coil," waste the audience like a nuclear explosion vaporizes a house of cards. The heart-captivating crescendo at the end of the first meets its match only in the transcendent piano solo at the end of the latter. Simply amazing.

Phish has never really managed to craft studio albums as fantastic as the live masterworks they create every night. Still, with performances like these, they are easily one of the most memorable acts of the decade. Please, take the time to sample a taste. You will not be disappointed.