The Jam Charts · phish.net's good stuff
The phish.net curators flag the versions that go somewhere - the ones worth pulling the tapes for. This is all of it, counted our way. Tap a song for its history, a date for the night.
Chartings by year
When the good stuff happened, by the curators' count. Tap a bar (or a year below) to read that year's charts.
The 1988 charts
61 entries · 26 nightsStraightforward, somewhat dull jam up until the trill, but THEN, the band embarks on 6 minutes of exploration that gets well beyond "Bowie" proper before circling back to the basic theme.
Frenetic high-paced playing by all. Fish is great keeping chaos in check.
This impressive version begins with a nearly flawless Curtain section, led by intese Fish action. In With, Trey's tone is measured and confident, bolstered by strong support from Mike and Fish. After reaching a peak, the jam takes on a more rocking, almost "DEG"-like vibe, beginning at about 12:55,…
Intro is slightly extended, providing some groovy interplay between the band members. The band finds time to sneak in brief passages of inspired improvisation between sections, with some particularly jazzy work from Page.
Insane trilling from Machine Gun Trey as the jam reaches a peak, but also a very strong version all around.
Some excellent interplay between Trey and Page kicks this jam off. It culminates in screaming play from Trey and some classic, early Phish tension-and-release.
Only a few months after the emergence of the complete, modern song, even in that brief time, the quality and tightness of the performance here has already improved significantly. Sections like The Chase and Who Do? We Do!, which would give the band performance fits right up to the present day, are…
The second jam has a very unusual dissonant tone, and so it's no surprise that this dissonance leads to some "DEG" teases and jamming. Maybe it's not beautiful music, but it's certainly an improvisational take on the ABB classic.
John Carlton on drums and Fishman on trombone. Fish is actually pretty damned good! Awesome vocal jam. Check it out!
Although The Curtain seems to hit a few minor bumps, these are offset by a strong, lift-off type jam in With. Beginning with a light, weightless sense, the jam becomes more grounded and intense as it develops, with Trey's spiralling soloing reaching an intial peak. "Fly Famous Mockingbird" debuted…
A well-executed Curtain - not spotless, but few, if any, are. This With jam is evocative and captures a sense of weigtlessness, soaring above the musical clouds. Many of these early With jams move beyond this uplifting section, exploring more dissonant, rocking terrain. Not so here, as the band see…
Preceding the famed Slip Stitch and Pass version by 9 years, and longer by more than 2 minutes, this jammed out version includes Page rocking first the piano, then the B-3, and a great Trey solo leading to an extended band-wide blues rocker. Part of a 3 song set! ("JJLC", "Fluffhead&…
The straightforward first jam section is very extended, to 17:00, and includes great modulation of intensity and lots of Trey shredding. The second jam features Page on the B-3, followed by solid, rocking, but much more in-the-box jamming than some of these versions.
Awesome version which transitions to a reggae party with Jah Roy.
With Jah Roy n vocals. An excellent reggae medley is led by Jah.
The first truly "Type II" version (beginning about 10:00) has a settled section with some "DEG"-like jamming. This version also has sections of intense, chaotic dissonance and great Machine Gun Trey action.
With a slowed tempo, this "mellow" version still packs all dissonance, albeit more patiently.
After starting "Antelope," Trey says "Aw Fuck That!" Good call. The first jam is predictably intense. The second is more restrained, with Page switching keyboards, Mike sounding like Berry Oakley, and Trey only gradually bringing the heat. Great quiet before the final storm - 14…
On this recording, Page is more prominent in the mix, which provides a nice audio record of his important role with this song. While The Curtain is generally tight, minor bumps here and there point to the difficulty of performing this highly composed section. The With jam begins with some nice, qui…
Excellent jam that has a very bluesy feel to it, plus nimble and nasty guitar licks from Trey.
Very soulful playing by Page, soaring guitar by Trey as the jam builds, and some great jazzy keyboard action.
Segues into Reggae Fest Vol. 2. with Jah Roy
With Jah Roy on vocals. Reggae Fest Vol. 2.
High power bridge with some great Trey. Long vocal jam with more animal-like screams, howls and other weird sounds.
Definitely stretches the boundaries of "Type I" jamming, especially after 9:00, then at 12:00 it really gets out there into some interesting exploration.
Fantastic Trey as he builds the jam from low-down, mournful blues to church service-like inspirational rocking.
The extended first jam is unusually improvisational, seems to come back to normal "Whipping Post," then breaks into dissonant "DEG"-like jamming, and then more exploration. The second jam features Page on the B-3 and is more soothing and straightforward than the first.
Extended bridge with some great Page/Trey interplay. Long vocal jam is "YEM"-like, it gets way beyond "Sally." Must-hear, it's crazy.
Loose jam that simmers in a slightly sinister way eventually winds back up for a big finish.
Unusually long version for this time period. Page is great on the electric piano and organ. Trey shreds impressively in the big, full power finish.
A really good and rocking stand-alone jam opens the show. Almost has an Allman Brothers or Grateful Dead-like vibe.
With an unknown percussionist, there's a cool little intro section. The jam is really the first version that starts to sound similar to the modern "Mike's" jam. There's decent improvisation within the jam section, as well as a nice spirited peak leading to the closing.
Debut. First version is played at a slightly slower tempo and includes an additional, unknown percussionist. Nice Trey shredding on the first go around, plus a "Mike's Song" vocal refrain and jazzy ending.
Unknown additional percussionist. The jam begins in a low-key manner, with nice added texture from the percussionist.
An unprecedented and highly improvisational version, which includes an unknown additional percussionist. Following a strong run through The Curtain section, the band breaks into the familiar With jam. However, this jam quickly takes on a more dissonant and frenetic character, with "DEG"-like undert…
With an additional percussionist. -> in from "The Curtain With." Includes both "DEG" and a lot dissonant, "DEG"-like jamming that makes up a good chunk of this unique, jammed-out version of the "The Curtain With."
-> in from "Dave's Energy Guide" to wrap up this stunning, improvisational version.
Great version with strong communication and interplay among the four band mates. This one really lifts off after 10:30.
Great quiet interplay at first between Trey, Mike, and Page. Then at 5:15, Pete Danforth kicks in on saxophone, and the result is a super and unexpected combination, with an impressive and fiery peak.
Bridge starts with some great Page, then it's Machine Gun Trey's turn. Very good interplay between the two. Another long and excellent vocal jam.
Some low down, downright nasty guitar playing by Trey. Great peak with all cylinders firing.
Jam builds up in conventional form until 7:30 when it breaks down into a low-key groove with great Mike and Trey. The energy rebuilds into a standard "Antelope" jam, but with an Allman Brothers-like vibe, then the tape runs out near the end.
Band jams out in customary fashion, then breaks into a second, more upbeat jam coming out of the first groove. An excellent recording of this is available from LivePhish on the Colorado '88 release.
Sweet Mike in a straightforward jam, then hilarious Trey banter near the conclusion referencing Fish's mysterious and unexpected absence earlier in the show. Excellent quality recording available from Live Phish for $0.99.
Another very improvisational early version with jamming that goes all over the place. Perhaps a bit noodly at first, after 6:55 the quality improves markedly. Mike is also notable for excellent play throughout. Recall that this was just 4 guys in an empty bar in Telluride, CO.
Colorado '88 version. Excellent segue into "Cities."
"Dave's Energy Guide" ("DEG") is played towards the end of the song before a brief return to "Cities." "DEG" would be played within "Cities" again on 8/22/88, 9/8/88, 9/13/88, and 3/1/89 in a similar manner.
-> in from "Cities" and -> back to "Cities."
-> in from "DEG." Returns to "Cities" briefly to conclude.
Great version which includes the complete composition, which was played in full several times in 1988 before being scaled back in subsequent years.
The second jam has some great strumming action from Trey, B-3 and keyboard musings from Page, a near stoppage, then Trey sounds like a demon possessed as they bring the jam back to "Whipping Post" to conclude.
Debut version. Original lyrics alter the song's now familiar structure.
First full length version is a real standout. Trey teases the "Popeye" theme several times and his trilling throughout is amazing. It's also one of the longest jam segments until late 1994.
> in from "Fluffhead." Solid early version with great playing by Trey, especially near the conclusion of the jam.
Good intro. Although essentially "Type I," the jam is very good and there is ferocious and dizzying tension building as it progresses. Good trill section also.
Rousing and uplifting straightforward version. The "Mike's Song" refrain near the end has been dropped, and the modern closing chords appear.
Similar to 11/5/88 with excellent and angry tension building. Good dissonance in the trill as well.
The second jam includes some really cool spacey effects from Page and Trey, almost more Floyd than ABB-like, followed by a brief, intense return to "Whipping Post." This space jam is way, way out there for '88 Phish.
Strong early version has the three essential components of the "Foam" jam: 1) Page-oriented solo; 2) Trey-oriented solo; and 3) band build-up to a peak before the final verse and ending riff from Scott Joplin's "The Entertainer."
Most charted songs
The vehicles. No surprises up top, which is exactly the point.
Freshly charted
The latest versions to earn a flag, newest night first.
Unidirectional and cohesive, the jam here is focused and the band is locked in from the start with little deviation to deliver a grin inducing and arm raising ride that accelerates to a very satisfying peak before crashing > into Llama.
Thematic jamming that bounces along at an even pace with little deviation and only slight modulation but stays focused without wasting time searching and delivers a steady stream of memorable moments that accumulate rather than peak.
One last 20-minute jam before the run ends. The jam starts out energetic, as most “RW” jams do, and keeps its pace for a while until it turns into time to try and see if the aliens can be summoned. Fish seems not ready to stop rocking, so he finds a way to get the rest of the band back on that path…
Rocking outro gives way to a fairly propulsive, beguiling groove textured with thick bass and then winds down over the course of several minutes in a decidedly off-kilter manner.
Trey’s relaxed comping immediately sets the tone of the jam from the onset, establishing a hazy low-key vibe. Mike then introduces a tonal pivot towards minor key territory which platforms a harmonically-rich and at times sci-fi textured atmosphere. As Page moves to the piano, more organic/clean pl…
> from a “Seven Below” you’ll want to check out. Clearly comfortable in the venue on the penultimate night of their run, the band drops “Plasma” in the two-hole of a four song suite lasting around an hour. The band toys with effects as the jam flows along effortlessly before > into a massive “C&P”.
Emerging from the song proper into a melodic take on the main Crosseyed riff thus setting the table with an emotional build. HEROIC riff from Trey around 840 channels Eno's St Elmo's Fire. We shift around 12:25 into an overdrive rock jam before fading back into an minimalistic groove. The return to…
This version earns its “noteworthy” status by way of a comical instrument switch-up between Trey and Fishman, as Trey takes on the drum chair to allow Fish to blow sweet music on his vacuum. Trey then introduces Fishman by a few of his famous aliases before ending the tune.
Shifts into minor at 6:30 and becomes darkly atmospheric with extensive Trey soloing as it builds dramatically to a final chorus of "breathe".
2026 picks up where ‘25 left off in regards to the extended intro section of this classic rocker. The band remains committed to ‘punching up’ the play here with synth effects as well as some additional clean leads from Trey to guide the affair into the song proper. The “Landlady” section still sadl…
Swampy murk-rock typical of “ASIHTOS” gives way to a patient, dreamy vibe at the 5:00 mark before quickly pivoting back towards psychedelic minor-key space rock. The band holds tight here as the music blooms inward, highlighting a loose but but directional vibe. The jam then threatens a full-on fun…
A laid-back opening then turns briefly darker for a minute around 11:00, after which the intensity picks up and the jam crests with a powerfully sustained peak, and finally washes away in a disconcerting ambient deconstruction which eventually > "Caspian".
Standard “Jim” play begins to hint at something more as Trey briefly abstracts his tone with effects towards the front of the jam. As the harmonic range opens up a bit, a downshift just before the 9:00 mark takes the jam into a murky zone. Fishman’s skittering rhythms underpin an almost futuristic…
39 years after its debut, "The Sloth" makes history with its first encore appearance and first version to feature a bonus segment of hard rock jamming tucked inside of the composition.
After warning some hot dogs to get out of his face, Trey is primed and ready to take Axilla deep again. The band is comfortable hanging in the murk of the song and doesn’t rush towards any of their “comfort jamming zones.” The jam feels gooey as it oozes along. Those who don’t need their jams to pe…
Cosmopolitan jam that stays fairly close to home rhythmically but departs melodically under Trey’s lead, brightening and decorating the neighborhood with a brisk and buoyant optimism and a gentle uplift before returning to the song to conclude.
Steps out of the box with low-key minor jamming which then becomes more mellow and dreamy as it transitions to major with synths and then > "Blaze On".
A dark, spooky, and contemplative affair that maintains forward momentum thanks to Fish’s pushing before shifting efficiently to an upbeat melodic climb with familiar motifs and a crushing climax that decays into an ambient sample laden froth.
Bliss-rock at the front gives way for more assertive, rocking play before a series of modulations begins a push and pull between major and minor key tonalities. Settling towards a funky rock zone, the band finds stability and turns the jam into am ebullient, funk-rock rave-up with a smidge of space…
The jam vehicle of the mid-2020s drives forward in a thick groove space right out of the gates. At 10:20 Trey moves into a rawk space before sliding into a Page/Trey duel that brings back memories of Fall 2021 Phish. Trey's chordal bursts at 16:15 push the jam into a new direction before building t…
A true slow build Piper, the jam builds like all Pipers do before locking in around a Trey and Fishman duel. A chordal peaking jam, this never strays too far from what Piper does best, but it's worth hearing all the same.
Momentarily bordering on plinko to kick things off, the jam becomes echo laden and accented with a dark groove as Trey briefly plays on the low end and Mike’s effects cast a shadow that serves as contrast to what follows. Trey’s lead becomes more linear and Page responds in lockstep. The whole affa…
Opening with snarling leads from Trey, this shifts at 9:40 into a more open terrain before Fishman takes command of the jam's direction. Wall of sound Mike and Page moves into a late-nite ambient space highlighted by Trey and Page trading delicate riffs around 13min. Moving deeper into the ether, t…
Emerging from a swirl of abstract sound, the world's lone Dark Puddle is vibrant and free of form; high quality abstract jamming. Building to a major-key peak around 1045 we descend into Mike-led Fuego quotes before another build just after 13min. We hear the road not taken at Sphere where the visu…
Moving into a familiar hypnotic groove space we shift at 9:15 to a deeper groove which thus opens the space for the jam to blossom. Mike and Fish dominate here before Trey shifts the band into Fuego.
Jam chart entries and descriptions are curated by phish.net, a project of the non-profit Mockingbird Foundation.