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 1991 charts
122 entries · 64 nightsFirst "Tweezer Reprise" (aka TweePrise) followed this Tweezer.
Debut.
A rhythmic composition carved from a great, grooving vibe finds Trey leading the band through a jam featuring "Dixie" teasing, warm and graceful shifts in tempo, super huge notes bent and sustained, all of which builds into inspired "Dave's Energy Guide"-like playing.
One can debate when the finest theme emerges, but 7:30 seems to account for "must-hear" playing, with Trey's dazzling, "DEG"-esque soloing dizzying, offset by super play from Mike (who sounds great across the entire recording). More great guitar follows, with Trey working up and down a series of sc…
A very good jam with several different grooves, well beyond standard fare. Great Mike!
Mean and nasty spirited beast of a jam with extreme tension.
"The Sounds of Silence" ->'s into a wonderfully noisy version, featuring improvisation that marks the very best "Bowie's," and, in spirit, Phish, generally. Following great composed play, hear a radical departure from the song, proper. Here, too, is a jam that is somehow both of (crazy changes and…
A fun and spirited early take on the song. Page's organ sounds like he's playing at Fenway Park and Trey's excellent soloing features a "Happy Birthday" tease.
Fast as a Fall '95 "Reba," this centerpiece "Bag" is an improvisational bonanza, showcasing truly unusual and adventurous play. A series of stop/start passages invites inventive exploration (read: Mike) before Trey lays into some seriously crazy sustain; this builds to intense soloing which somehow…
A "Hood" that doesn't sound like most early 90s versions. The first half is driven by powerful bass play from Mike. Then, Trey takes over with amazing riffs that sound like he never wants to stop playing.
Good intro. Raging "Type I" version with an unusual stop mid-jam (possibly the power went out).
Beginning of the jam is very cool with several near stops by the band. Then there's piercing, ear-splitting playing by Trey.
Page-written, Trey-driven. Or so it often seems. Here, Trey works in a "Theme from the Flintstones" tease before easing through a series of slashing, jazzy chords, and a bright, melodic line. Fish solos, making for a great outro. "Fire" follows to cap off this cool encore.
Listen to Fish HOWL.
Jam begins with heavy "Manteca"-like jamming, then grows extremely shrill and dissonant.
Aggressive Trey in a dissonant jam with strong Evil Mike in a slightly jazzy mode.
First version that really stretches beyone standard "Stash." Somewhat dissonant, with interesting Trey soloing.
INSANE version, with an extra guitarist and a trombonist from Aquarium Rescue Unit. Includes "DEG" with Trey uttering McArthur Park lyrics.
-> in from "Tweezer." "DEG" is sandwiched inside "Tweezer" with ARU playing alongside.
-> in from "DEG" to complete this "Tweezer."
Unusual jam in which Trey plays a series of descending melodies, then ascending, descending, etc. Good dissonance too.
Cool intro. This leads to a really "chilled out" and relaxed vibe, with Trey's solo particularly nuanced, strikingkly hushed, and patient. Near reverent. Super Page and strong percussion lead to a fiery close.
Really good and unsual vocal jam in the intro, followed by a pugnacious jam with sick Mike and Trey.
Great jam with some cool, repeated licks that Trey lays out, and with Page on the B-3 for much of the jam.
Teases and signals in the jam (see Setlist). Definitely an odd, off-kilter sort of jam. (*Recording runs out before ending).
Trey starts the jam in the low octave range, giving the jam an evil tone. As he works up the register, the tension ratchets up, and the trill section is a shred fest with Fish also going berserk.
An upward spiraling, malevolent jam, as demented as they get, eventually gives way to insane shredding by Big Red.
"Magilla" in inverse, with Page in the lead-off solo position and Trey adding fills. The two swap roles, and fantastic playing ensues. Everyone is on point, and everyone solos. Sunny. Bright.
Mike and Fish establish a good groove over which Trey adds layers of dissonance, including ear splitting wailing.
Terrific, soaring Trey, complimented by full-band play with the musicians working in concert through a calculated passage of metered time and measured space.
Solid, mildly dissonant jam that picks up a serious head of steam.
Cool intro with "Wipeout" teases. Jazz-like jam early with pulsing rhythm. Great Machine Gun Trey action follows.
"Sweet Emotion" quote/jam.
Another example of what makes the band so special. Tight, full-band play, featuring truly dynamic percussion "within" wonderful phrasing and a wild, vivid, yet wholly controlled array of notes from Trey. Cools > "Tela".
Great VJ!
Dave Grippo on saxophone. Horns and jazz go hand in hand, and so horns with "Magilla" are a logical and terrific way to add colorful texture to the soundscape. Here, Grippo provides a new twist on this "standard," inspiring strong playing by all.
With the Dude of Life on vocals and Dave Grippo on saxophone. The Dude adds several verses and is hysterical. Grippo is excellent, making the jam far more interesting than most versions from late '88 - late '91. Even the little 2nd jam is great. Check it out!
A brief blackout occurs during this version. Fishman continues playing, and is joined by Carl Gerhard on trumpet. Power comes back and a jazzy jam ensues.
Carl Gerhard on trumpet. The sound of a trumpet is qualitatively different than saxophone, but both sound terrific with "Magilla." Fun "Flintstones Theme" teasing by Gerhard is icing on the cake, and Fish has some great action too.
Giant Country Horns (who also played on 7/14/91, 7/21/91, and 7/25/91). Horns are a great addition. This version was released on Live Phish Vol. 19.
Giant Country Horns version, definitely worth checking out if you haven't heard "Mike's" avec horns before. GCH also performed on "Mike's" in 1991 on July 11, 14, 15, 18, 21, 23, 25, and 27.
Great jazzy Mike in the intro, then from about 3:00 - 3:45, the jam takes on an atypical but melodic and uplifting feel.
Trey's poised and passionate soloing belies this stellar show-opening version's early date. After weaving through multiple expressive phrases, he heartily peaks the jam with a strong assist from Fish.
Awesome and very improvisational version with a different approach to the jam, a "DEG" tease and a roaring peak.
Giant Country Horns. This fun version includes great Page soloing with strong Mike backing, then Dave Grippo leads the horn section. And Fish seems to love the jazz drumming action. Other horn versions not included on this chart: 1991 - 2/8, 4/16, 5/16, 7/19, 7/25, 11/20; 1994 4/15, 5/4.
A little "Theme from Jeopardy" teasing kicks off a strong jam with creative playing by Trey and solid backing from Page and Mike.
Giant Country Horns, and Fishman vocalizations (and improvised lyrics) over the jam, help make this an atypically fierce version.
With the Giant Country Horns, this widely-circulated Arrowhead Ranch version is must hear.
With the Giant Country Horns! "Wilson" teasing from Mike.
Different intro, different sort of jam. In other words, another solid '91 "Possum."
Fantastic jam segment with the Giant Country Horns!
Strong version with the Giant Country Horns.
Excellent early version from Amy's Farm. Delicate meanderings by Trey followed by a great full band peak foreshadow the epic version from 12/14/95 that would happen 4+ years later. Thanks to @Curtiss for unearthing this one.
Trey's wonderful tone in the jam proves the perfect antidote for a minor flub in the composed section. Fish drives a fiery jam, with Trey riffing through a set of wonderful ideas, delivering cool blasts of notes markedly sustained, culminating in more "DEG"-like playing.
Debut. First version includes some pretty ferocious, intense playing by Trey.
Debut in Keene, NH. First version includes Page-led, band-wide jam following the descending chords indicating the lyrical skater's fall through the ice.
Good pulsing, exploratory early part to the jam that gets very rocking. "Rhapsody In Blue" tease and signals too.
Good rocking and somewhat dissonant jam section with great Fish.
Some excellent tension building by Page and Trey in the jam segment.
Great rock-the-house version with excellent Mike and Fish. While not highly improvisational, it's just solid through and through, and includes amusing banter before the song.
Great Page and Fish on this rocking version, who briefly drive the ship into out of bounds territory. Timing may be longer due to a cut in the recording.
Thanks to @OrangeSox for pointing out this ripper, in which it sounds like Frank Zappa temporarily possessed Trey's body and soul.
Page opts for his organ to employ cool, spacey effects. A cosmic, studio sort of sound, which greatly enhances the jam. Trey modifies his tone, accordingly. Page reverts to a more traditional sound and solos ensue before the band makes a nice > into "David Bowie."
Almost immediately breaks from the standard. Strong and dissonant improvisation, with an unexpected section of quiet space before the storm rebuilds. Short but powerful.
Although it starts off a little tamely, this version quickly kicks into gear with all the elements of great early versions - wild jamming, exotic texture, and dissonance with a capital "D."
Nice bubbly flow to the beginning of the jam. Trey adds some great soloing, then the jam builds up to a solid peak.
You can hear Trey say "Hey Fish, let's really rock it" right before they start this one. This is a classic with insanely nimble guitar playing, loads of shrill dissonance, and some mind bending, shrieking guitar effects.
The jam, very much based on "Cavern," is pretty cool. Returns to "Bowie" for a solid wrap-up.
Artis the Spoonman as gueat artist. A very different "Brother" with Page taking the lead on organ, and some very cool percussion work from Fish and Artis the Spoonman on spoons. Trey is very restrained until the end when he cranks it up.
Mike and Fish lay the foundation for a really great, groove-based jam. Nothing over the top. Just really thoughtful and attentive playing, with Page providing on-point fills. Trey's playing is patient and plucky, which affords room for a great build and a huge payoff, if not quite traditional "peak…
A dissonant and exotic sounding jam, almost like Trey is layering the "Brother" jam on top of "Weekapaug."
The Great American Music Hall provides the stage for one of the greatest examples of an emerging Phish staple, the affectionately labeled: "Runaway Foam". First, Fish is awesome. Second, Trey makes a number of subtle and savvy moves that lay the foundation - or at least functions as illustration -…
Once this one kicks into overdrive, it's really excellent with chaos and screaming guitar sounds.
Excellent intro (which begins at 1:18 on "TMWSIY" on the Spreadsheet and PhishTracks versions). Nice rocking and ripping jam is followed by an insane trill section which lots of wild screaming.
First version to include the customary guitar solo to end the jam.
In its final appearance for 2 years and 241 shows, "Slave" hints at its innate and powerful potential. Beginning with Page leading on the keyboard, Fish and Mike bring the power up, while Trey's initially soaring play turns to powerful trilling, a perfect template from which the band would expand.
-> in from "Fee." Hits a melodic, major mode groove briefly before descending back into darkness.
Fish plays or tries to play guitar, and the others join in with Trey presumably on drums in this stand-alone jam which kicks off the encore and > to "HYHU." This ghoulish sounding jam seems appropriate given the impending Halloween holiday.
Siiiiiiick jam segment.
A hilarious intro with elements of "Wait." Doesn't take long for Trey to get hooked on a repetitive melodic theme, but once the band tires of it, semi-dissonant "type II" improv ensues, though an "Oom Pah Pah" signal puts a stop to it and they return to a traditional "Bowie" jam.
A fast and frenetic composed section gives way to an awesome jam which, among other attributes - great shifts in rhythm and tempo, "Dave's Energy Guide" teasing - features playing evoking elements of "Divided Sky" (7:50). Compact, energetic, and experimental, a noticeable step forward in the song's…
The Aquarium Rescue Unit joins the band. Great version with awesome scat singing early on followed by "DEG"-like jamming and an explosive ending.
Familiar "HYHU" intro includes members of Aquarium Rescue Unit, and -> to an improvisational take on Syd Barrett's "Love You."
The band departs "The 'A' Train" having picked up members of The Aquariam Rescue Unit. The musicians lend color and character to the usually predictable "HYHU" jam, and the playing that ensues may leave you surrendering to the air, or simply tapping your foot. Fish's spoken-wor…
> in from a wild "Love You," which includes members of Aquarium Rescue Unit, to complete the traditional Fish-out-front comedic moment.
"Barney Miller Theme" tease, signals and some brief but really cool key changes near the end of a seriously raging jam. Archival release from Live Phish.
The Wailing Banshee version. With "Brother," more twisted and mind exploding = better.
An improvisational jam for this period includes contrasting dissonant/upbeat sentiments and a cool swinging section beginning at 5:20, which includes Trey chanting "A slice of pizza" and "A bucket of lard" several times. Charlie Chan and Simpsons signals taboot.
> in from "JJLC." Dissonant intro jam for the Dude of Life (Steve Pollak) precedes the Dude singing vocals on "Self."
Few versions of this incredibly challenging song approach perfection, but this is one of the few, and for that reason is must-hear. The early, technically challenging sections are nearly spotless. Then the entire band gets on a red-hot tear working through Who Do? We Do! In Clod, Page and Mike are…
Several quick "Band on the Run" teases from Trey.
In addition to the customary dissonance and sick playing by Trey, this version also includes lots of great Page on the B-3, and some excellent playing by Mike.
Cool version with Trey's solo featuring a theme similar to "All Things Reconsidered," earlier teased. Laid-back and breezy full-band playing.
A prototypical early '90s version with an excellent, signal and tease-infused intro, a searing, intense, tension-loaded straightforward jam, and a raging and shredding trill section.
Brief Page solo, then the whole band gets rocking. Sweet!
Good early "Gin." The jam (like most from pre-August '93) is grinding, decelerating and somewhat dissonant. Nothing like the melodic hose jams that would emerge later. This one also has amusing screaming and yelling at the end.
Some unusual bass lines from Mike and organ playing by Page create a strong sense of tension in this ripper.
Must-hear jam segment; legendary "Mrs. Pizza Shit" YEM.
Melodic jam includes teases of "Bewitched, Bothered and Bewildered" (really more of a jam) and "Divided Sky," as well as expected Machine Gun Trey action.
Carl Gerhard on trumpet. "Brother" already has an exotic sound to it. That sentiment is only enhanced with the addition of a trumpet to the mix.
An especially thoughtful and busy intro sets the foundation for a strong version featuring dynamic playing and impressive modulation, with particularly strong contributions from Page and inventive soloing from Trey.
First "Weekapaug" to really break out into an extended improvisational jam, with significant exploratory play, an excellent tease/jam of "On Broadway," signals, a fiery peak, and multiple endings.
While it's far less dissonant than most early versions, there is some truly amazing playing by Trey in this one. Fish and Mike are also strong.
Unusually long jam for this period. Trey is absolutely on fire in this one.
Right around the 3:40 mark Trey alights upon an incredible groove, which he works through any number of nuanced, melodic changes. Incredibly, Page keeps pace, and the version builds not so much to peak as to crest upon the strength of really strong play before, eventually, Trey goes off.
Long intro with signals and banter while Trey hands out bathrobes to crew members. The largely straightforward jam includes spiraling tension and "DEG"-like jamming.
Easily among the sickest versions of YEM before 1993, every segment is tight and fierce, with the jam segment containing an almost Tweezer-Reprise-esque groove for awhile, as well as a "Waiting So Long" jam at one point, and it dissolves slowly and steadily and then an insane vocal jam begins...an…
Unfrickenbelievable.
After a gentle, settling "Squirming Coil", we have something akin to a combination of "Carini" and "46 Days" on steroids, except that this "Brother" was performed 6 years before either of those beasts were hatched.
Wild VJ.
Great and playful intro. The jam is excellent and rocking, and Machine Gun Trey's playing is simply incredible.
Another version in which the whole band kicks in after letting Page shine briefly.
Super, compact, and tease-filled (see "show notes"), Page powers through this fun, dynamic version, which modulates nicely before a > into "The Landlady." A really great version, and a really great pairing.
Extended hihat intro, during which the band repeats "Wait" over and over for 5:30, and then play Simpson's language. Fish asks the crowd, "Can I hear you say yes? Can I...Boner?" At 8:53 they return to Possum, teasing "Wait," and engaging in the "stop and start" style of improv, and trey teases "Bu…
Still tinkering, this "Reba" is notable for a very cool and unique jam, which finds Mike out front early, creating a bouncy, infectious beat. Trey modifies both his tone and the intensity of his playing, before alighting upon a jazzy sort of theme. He then runs rapid-fire through a series of notes,…
Another great early version that stretches the "Type I" boundary and is well-played and loaded with tension.
> in from "Esther." Page is sick; Trey is very demented.
Eons before there was life upon a "Soul Planet", there was "Runaway Jim". > from "ALS", this New Year's rocker blends some imaginative aspects of the year's strongest versions, before, as was so often the case, bleeding into crazy, frenzied play from Fish and Trey. A fitting finale for one of 1991…
Highly praised, this version's jam features Trey mellifluously leading on his 'doc.
The first jam is solid but typical for this period. But the 2nd jam, which breaks into a great percussive and rocking groove is really the first noteworthy instance of the 2nd jam. In nearly all prior versions, the 2nd jam had been little more than chaotic, dissonant playing.
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.