The Jam Charts · phish.net's good stuff

Full band jam featuring Page on the organ instead of piano. Almost sounds like a "YEM" jam for a measure or two.

Debut is played at a slower tempo than later versions, and Page's solo features the piano rather than the B-3.

Debut.

"Stash" starts to get interesting in 1992. First version of the year is a good one, with lots of tension and the beginnings of pushing the jam beyond convention.

Twangy country-like jam becomes more typically high powered. Several signals taboot (see Setlist).

A fantastic version which finds Trey exiting the composed section and bending a series of strange notes, a means to either augment - or create - a wonderfully strange and demented tone. This section yields to dizzying, relentless playing, which runs though a powerful build up to the "note."

Anything but "Lazy," this inventive version finds Trey taking a bluesy sort of solo, coloring his play with Deep Purple teasing, before entering customary blistering play.

Another great organ focused jam from the Flynn in Burlington.

Holy smokes, another scorching "Fluffhead." But before you jump to the soaring and exuberant Arrival, pay close attention to this awesome Bundle of Joy (as well as everything preceding it). Only thanks to all the tension building and rhythmic push and pull in this penultimate section can the sweetn…

"Antelope" -> "BBFCFM" -> "Antelope." Intense, dark and exploratory jam in "Antelope" morphs and segues, then morphs again into Hawaiian/Three Stooges humor before return to "Antelope" to conclude. One of the best "Antelopes" ever.

-> in from "Antelope." A crazy and humorous version with Hawaiian and Three Stooges humor and other good stuff -> back to "Antelope" to conclude this incredible version.

-> in from "BBFCFM" to conclude this epic version.

Notable playing in the composed section, featuring incredible percussion and spot-on syncopation. Mike and Fish maintain a cool vibe, with Page providing great fills. Fish is the star here though, with Trey seemingly soloing in response to Fishman's pinpoint persistence. Trey locks on to a great li…

A very tight, well-played version with solid contributions from all four and great cohesion. Nice, crisp sbd recording taboot.

Excellent intro to 4:24 with Page on the B-3 and strong Mike. The jam includes a sweet "Follow The Yellow Brick Road" tease and then builds up in a very rocking manner with solid playing by all four.

Almost sounds like 1997 five years early with Page's funky sounding organ. Must-hear.

Excellent "Alligator Pit" banter. Actually sounds like Trey is firing a machine gun at the audience!

An excellent, riveting and intense jam is followed by Fish on trombone in the pre-"Marco" section. Awesome version!

A wild and improvisational version with all sorts of good stuff: strong Mike in the intro, unusual play and a vocal jam of sorts, exploratory play that gets well beyond standard fare, signals, an "On Broadway" tease, and sick, sick playing by Trey.

Nice swinging groove on this jam. "Call To The Post" tease by Page.

Yet again, Trey reigns supreme, locking in on another great theme. Totally in control, he deftly adds to this motif an array of surprising riffs, a sprinkling of sparkling notes, and the perfect blend of intensity. This strong playing bleeds into, and through, a soaring peak.

Mike funks up the house. -> to "Setting Sail" in the vocal jam.

-> in from "YEM." Fish sings the "Setting Sail" lyrics while the others continue the "YEM" vocal jam.

Fish is noticeably aggressive in this straightforward, ass-kicking jam.

> from "Dinner and a Movie," Trey takes a cool line and really plays up the melody. Page takes over, his solo unique and varied, a sound awash in waves.

Unusually long version for this time period. Although largely straightforward, the jam features some great stacatto plucking by Trey and great tension building.

This is an excellent and far-ranging jam for a "Possum." Not "Type II" or anything, but Trey mixes it up quite a bit.

Unusual and improvisational jam works its way back to blistering standard "Antelope" fare.

Brief full band "Landlady" jam, plus teases and signals (see Setlist), and Mike sings "Crossroads." Awesome jam.

In the first section, Trey opts for a more melodic jam, which become very rocking and driving. Fish and Trey add exclamation to this sentiment in the brief 2nd jam.

Page on the B-3 again. Great Mike. > to "Fee."

Great version if you want to hear how Mike plays "SOAM," because the recording boosts his sound (mostly at Page's expense). The jam has some really cool and unusual Trey early on before he lets it rip.

Roger/"My Girl" VJ.

Following an extended intro with a number of signals, the jam section immediately breaks into a flowy groove. Gradually adding energy and some expected tension, the playing latches onto a "Tweeprise"-like theme, adds more tension, settles into some quieter rhythmic play, then cranks back up for a f…

Cool Fish throughout the composed section, with fun fills from Page. Mike and Fish create a very musical, yet laid-back foundation, which Trey uses to great effect, his playing concentrated, focused, and somewhat subdued. Cerebral. More great percussion propels Trey to enter a passage akin to (but…

Very cool and very exploratory jam unfolds that gets far, far away from "Antelope" before spiralling into a sick peak.

Some fun, "Makisupa"-like teasing in the lyrical section. Like many spring 1992 recordings, Mike is way up in the mix on this one, so it's a great version to listen along and follow Mike's parts throughout, paying special attention to the latter half of Who Do? We Do! and all throughout Clod. By th…

Bad Ass Mike early in the jam, followed by some excellent "Smells Like Teen Spirit" (Nirvana) jamming. The short 2nd jam is a nice kicker.

> in from "Buried Alive." Smoking hot jam plus signals that were customary in this period.

Following "Buried Alive" and a smoking "Possum" opening this show, this excellent version keeps the joint rocking.

Dissonant, intense and tension-filled jam with a scorching hot peak.

Extra jamming from Page and Trey. Recording has the bass cranked up, so check out the Mike action - sweet!

More great Mike early in the 1st jam. When Trey jumps in, he begins with rocking/dissonant play, which was typical in this period. Then his play gets more melodic, before jacking up the tension and dissonance again. The 2nd jam is short but pretty cool and rocking. Go Mike!

Unusually restrained, sublime and enchanting playing by Trey. Mike is louder in the mix, and this interesting combination makes for a spellbinding version.

Progressive and dynamic, this "Reba" features excellent full-band play. While great in a vacuum, the notable rhythmic shifts, accentuated by marked and exploratory syncopation, provide a crystal ball glimpse into the improvisational future of this most Phishy of songs.

Nice jam that gets out there, then -> to "Catapult" and -> back to "Bowie" in the trill section.

-> in from "David Bowie." Performance debut of "Catapult" occurs in the trill section of "DB." -> back to "Bowie."

-> in from "Catapult" to end this solid "Bowie."

Page's brother appeared on stage in a bathtub for this second set opener. Sick Trey. Everyone excels in this version, but especially Fish. (timing is estimated because tape begins about 45 seconds into the song).

Ninja Custodians VJ.

Among the better pre-1993 Tweezers.

Inspired from the jump, Trey works with Mike to inform a highly musical passage before breaking to solo with great intensity.

The jam begins in customary fashion, with Page out front, but then Trey sneakily leads a -> to "Mind Left Body Jam."

The Phish debut of this classic descending chord riff/jam is the main even of the "Ice" jam on this 1992 occasion.

-> in from the Phish debut of "Mind Left Body Jam" to close out this version of "It's Ice."

Intense and exploratory jam with awesome Mike.

First exploratory "Gin" with amusing Trey vocals, a jazz-like breakdown that gets rocking, and returns to "Gin."

There's almost a melodic section to Trey's solo before his fingertips ignite at about 4:00.

The famed "Linus and Lucy" version pays homage to the "Theme from Peanuts" during the jam.

Great version where the notion of the standard "Stash" jam is tested repeatedly. Trey moves horizontally in his melody rather than vertically several times which adds good tension.

A less dissonant, more melodic approach to the jam began to flourish in April '92, and this version is a great example. The jam here is very rocking and percussive, while the 2nd jam makes good use of tension, but without so much chaos and shrill dissonance.

The first segment begins in familiar style but also includes an atypically tense movement to go along with impressive straightforward jamming. Then, a settled, quieter section develops in the middle before blasting back into "Weekapaug" proper and closing with a vocal jam.

Oh HELL yeah! Among the earliest versions to jam.

> "Cold as Ice", this hot show-closer features playful and melodic Trey, with a pinch of verve, and a whole lot of swagger. Pushing boundaries, the version lays the foundation for future jamming here, there, or anywhere.

Very improvisational and exploratory jam with excellent dynamics modulation. Awesome Mike and Trey.

Extended intro with many signals and "DEG" teases. Great jam that has a nice swingy feel to it before going full throttle.

Good jam and nice work by Page on the Hammond B-3. Segue to "Eliza."

Very melodic, enchanting jam in part. Still among the coolest versions in history.

Played at slightly slower tempo, the jam includes great Mike, "HYHU"-like jamming, then a tense, spiraling jam. The 2nd jam has some unusual descending riffs, dissonance, and more spiraling tension.

Simmers at a rather low intensity early on with Trey's playing noticeably restrained. The jam works its way into an improvisational segment with building tension, after which the expected musical fireworks go off. Includes teases of "Happy Birthday to You" and "Linus and Lucy" as well as a birthday…

> "Harpua", a unique version loaded with tension and a particularly beautiful segment when Trey syncs with Mike (around 5:36) before spinning off into orbit.

The first seriously exploratory version with rhythmic gyrations, unusual melody from Trey, and experimental playing.

While the first section is another solid April '92 showing, the real meat here is the 2nd jam, which has unusually exploratory and improvisational play for this period, even jazzy sounding Mike and some carnival-like melodies from Page and Trey.

An unusual vocal jam occurs alongside "On Broadway" teasing, followed by a rocking and intense jam, which is unfinished, and -> to "The Mango Song."

What do you call it when the sick get sicker?

"Chariots of Fire" VJ.

Another good organ rocker with great Mike.

A very good version with brief departures beyond standard "Stash," and lots of tension and dissonance.

Improvisational jam that gets well beyond typical "Antelope." Machine Gun Trey and Mike rip it.

Hysterical, must-hear opening segment. Colonel Bruce Hampton on trombone.

"Welcome Christmas" (from How The Grinch Stole Christmas) VJ.

Begins with Fish playing the "Bowie" hi-hat intro, and Trey in the wrong key, but the Page-led jam is strong.

Incredible VJ!

It's shorter, but it's pretty damned sick!

Long B&D segment! -> to "Shaggy Dog" during the vocal jam.

-> in from "YEM." Hysterical vocal version of "Shaggy Dog" is performed during the "YEM" vocal jam and includes great dog howling sounds.

Cool and atypical jam that includes a stop, some key changing, rhythmic change-ups, a quiet calm, and an explosive and raging return to the typical ending.

A fantastic example of improvisation and exploration. Launching into the jam section, Trey fully modifies his tone (think "Esther"). Page colors the passage with creative fills, which results in a hushed, sonic soundscape. A strong build develops into concentrated "DEG"-like playing, before Fish to…

Hysterical VJ!

Creative version with an unusual (for this early period) shift to major mode in the jam, followed by dissonant playing and some incredible trilling by Trey near the conclusion.

Trey hits on a cool theme in the jam that is repeated a bunch with Mike. Excellent pre-94 version. "DEG" teasing from Trey, Mike and Page.

Strong jam segment.

Cool, funky breakdown jam in the intro. Then Trey plays around with several "Dixie" teases early in the jam. Fiery ending.

Very strange jam with each band member seemingly trying not to blend until its final few measures.

Loose opening, but Trey channels Carlos Santana in the jam!

If there is any single section that has tripped up the band over the years, it is The Chase, and this version provides a nearly flawless example, proof that it can be done. Meanwhile, you may notice a bit of a wobble at the end of Who Do? We Do! This song is merciless on the performers. Some awesom…

Mike and Fish kick it off nicely, then Trey provides some great variation in his playing, including some rapid-fire trilling. The short 2nd jam gets intense and electrifying, with more solid machine gun action from Trey.

Very cool jam, with a "Jimmy Crack Corn" tease/jam, then a -> to "Wait", which is excellent and includes a "Call To The Post" tease, followed by a -> back to "Weekapaug" to wrap up an improvisational and excellent version.

-> in from an excellent "Weekapaug." Great version of "Wait" with a "Call To The Post" tease and -> back to "Weekapaug."

-> in from an excellent "Wait" sandwich to wrap up a great and entertaining "Weekapaug."

Trey and Mike offer great backing to Page, especially Mike as the jam section progresses, and Fish keeps the engine clicking along nicely throughout.

Running 8:42, this "Jim" is one of the longest versions to date, and the band capitalizes upon every possible moment. Anchored by typically strong percussion, Trey swings through two separate, yet equally strong runs, his inspired play complimented by great bass and on-point Page.

Fantastic medley of signals and teases/little jams including "Rocky Mountain Way," "L.A. Woman," "China Grove," "It's Ice," and "Divided Sky." The jam is typically strong '92 fare and features incredible shredding by Trey.

Everything about this version stands out - it has an exotic sound to it, Trey shreds unbelievably, there is extensive dissonance, a brief rolling calm, more dissonance, more Machine Gun Trey action, capped off by a wailing, brain splitting cacophony before the end.

The jam has an unusual dark, minor mode section from 7:15 - 8:45, making it the first truly exploratory "Hood." From here, the jam builds to a strong, shred-filled peak.

Fish rules in this pounding, percussive, and intense version with rhythmic gyrations and a "Tweeprise"-like peak.

Great Page section with awesome tension. Trey's playing is so lightning fast here, they should have nicknamed him "Flash." A standout even on this chart. Must-hear.

Awesome early version which breaks into a cool, staccato-infused groove. The intensity builds to a fever pitch, with great comping B-3 action and strong rocking play. The little 2nd jam, with solid stop/start playing, is icing on the cake.

The jam is creative and very different, including solid use of tension and dissonance to help make the peak all the sweeter.

Pounding percussion from Fish, screaming guitar from Trey, and loads of dissonance make for an excellent version.

Forget "Jim", Trey runs away on this one, his play informing, arguably, the most blistering version to date - and, quite possibly, ever.

Awesome "Type I" version proves "SOAM" doesn't have to leave the song structure to be electrifying and riveting.

Awesome ripper of a jam with great tension and release, then tension and dissonance reloading.

Excellent straightforward "Stash" with great playing by Trey.

The jam begins in an exhilarating and surprisingly gentle and graceful manner for '92, but consistent with the year, Trey kicks into high gear and rips the ending.

"Blue Bayou" jam, followed by a nice swinging, blues tinged jam that sounds remarkably similar to "My Soul." Rages after that.

1992 is a solid year for "Weekapaug." Just check out this excellent, improvisational version which includes a "Blue Bayou" tease/jam and lots of other good stuff.

French hairdo VJ.

Mike and Page are awesome! Actually, Trey and Fish are pretty awesome too. A rock solid version.

Santana jams with the Phish!

Carlos Santana on guitar and Karl Perazzo and Paul Rekow on percussion. Excellent version. First Carlos, then Page, then Trey. Carlos and Trey both tear it up, but have very different styles.

Very strong pre-'93 version, released by Kevin Shapiro on LiveBait 07.

A brief jam dedicated to some legendary Boston Red Sox players in attendance is played while Trey fixes a guitar string.

> in from "The Squirming Coil." Trey is sick as expected, but Mike and Fish are awesome and add a lot to this ripper.

Extra long introduction with rambling Fishman fills, horror movie bass hits, atonal Trey trills, and secret language cues interspersed throughout. Directly before chanting, they get into a funkier, "Alumni Blues"-like mode.

Jam grinds to a near halt around 7:25, then builds back up with excellent tension/dissonance.

"Tweezer Reprise"-esque jam.

Awesome version with dynamic, full-band play, and, unsurprisingly, especially strong Trey.

An excellent quiet section is colored with mildly dissonant play by Trey, strong rhythmic fills from Fish, and good interplay with Page. Then tension builds before bursting into a ripping straightforward peak.

Great, rapid-fire playing by Page is followed a shortish but demonstrative display of Trey's machine gun-like guitar skills.

Some very good exploratory jamming midway, with lots of descending melodic lines from Trey. Great tension as the jam builds up with excellent work by Trey.

Excellent and unusual version. A great quiet section and good improvisational playing.

With Gordon Stone on pedal steel guitar who trades riffs with Trey and gives this version a great extra bluegrassy flair.

Beautiful debut with Gordon Stone on pedal steel guitar to match the "Rift" take, the only version thus far to do so.

The last song of a memorable sit-in by Gordon Stone, who once again puts a unique stamp on a Phish tune with his pedal steel guitar, this time in the midst of a predictably hot '92 "Llama".

Extended version played in a reggae style, Fish (and the band) are clearly having fun. Throw in some "Yeaaahh"s, and a vacuum solo, and this makes for a memorable debut.

The first "Stash" with an extended section that breaks away from the song proper. While similar to 10/30/92, this one is more developed and spellbinding, and includes "Linus And Lucy" teasing. Returns to high tension, standard "Stash" to conclude.

Strong early version with nice organ work by Page. "Buried Alive" tease from Trey.

Debut. Played at a faster tempo than later versions, with Fish on washboard.

Very improvisational ("type II") version that includes a "Big Ball Jam." Check this out!

-> in from "Tweezer." "BBJ" is sandwiched in the "Tweezer" jam.

-> in from "Big Ball Jam" to complete this "Tweezer."

"Eleanor Rigby" teasing. Hilarious VJ.

Outstanding version, an anomaly that jams far longer than any other performance prior to 10/31/94. Of course Trey is blistering here, but this also has a distinctly quiet, settled section that anticipates the band's less rocking, more restrained sound in the later '90s.

Very cool and exploratory jam includes a nice quiet section and some good, rhythm-oriented jamming.

Great tension building, multiple peaks and shredding Trey in a roaring "Possum."

Jam starts in a quiet, pensive style, but picks up a head of steam, getting nasty and intense.

Awesome build-up section with Machine Gun Trey taking a strong lead position.

Great, inspired version which gets out there and has very good Fish/Trey teaming.

Beginning with excellent "Walk This Way" jamming, the energy builds up to the first break. After a momentary cloud of dissonance, a percussive, exploratory groove expands nicely. A great version with 2 equally strong jams.

Blistering, ripping version. Trey is sick!

Strong Page and a percussive bent highlight the composed section. Trey scratches the band into the jam and fires off a series of singular, laser-like notes, before the playing settles into an unusual and delicate passage, both incredibly musical and wonderfully subdued. Fish permits the playing to…

> from "Buried Alive", this deep, throbbing version sees the band shrugging their youthful exuberance, the musicians coalescing to concentrate upon an excellent, protracted jam which sounds a couple years before its time.

Cool beginning to this version. Training the machine gun at the Dennison College crowd, Trey fires at will.

"Bowie" -> "Baby Elephant Walk" (debut) -> "Bowie" in intro. Excellent and riveting jam with syncopated playing and cool rhythmic shifts.

-> in from "DB." This debut adds a little something special to an already strong version of "Bowie."

-> in from "Baby Elephant Walk." This is a thrilling and riveting "Bowie" well worth checking out.

The intro to "Wedge" is in the jam segment!!

Interesting start to the jam leads to a tense, somewhat dissonant remainder with great playing by Trey.

Weird jam, that was a "Big Ball Jam" at one point. Goes from beautilful/melodic to thrashing "Tweezer" jam off and on.

Another creative and different '92 take on the "SOAM" jam. And being that's it's 1992, there is sick shredding taboot!

Some cool "Cities" teases in the intro (last performance 9/13/88). The jam starts with a brief jam on Santana's "Gypsy Queen," then breaks into several distinct sections of perhaps not beautiful, but VERY exploratory jamming. Returns to "Antelope" with several peaks and Trey shredding.

Although essentially straightforward, it has a cool quiet section, then atypical melodies from Trey which serve to crank up the tension as the jam builds to a frothy peak.

Mostly straightforward, but the jam has multiple sections, and with each, Trey alters the riff or jam style. Solid.

Busy and bouncy, Mike and Trey lead the band through "Reba" and into an "I Walk The Line" sandwich. In "Reba," the band modulates intensity, with Trey slashing and shaping his tone, and Mike laying down a great, infectious groove. Fish offers much by way of syncopation, and Page lends colorful fill…

Mike leads the band through a fun and wholly serviceable rendition of the Johnny Cash classic.

Typical "Reba" whistling serves to complete the "I Walk The Line" sandwich.

A really great breakdown jam occurs between 3:45 - 6:50, with Page on the B-3 and Fish nicely accenting the rhythm. Builds intensity, returns to the norm, and -> to "HYHU."

> in from "The Squirming Coil." Great Page section, the funky calm before the ensuing blitzkrieg. Trey rips, but the whole band just hammers this one home.

Although mostly "Type I," this one has a great quiet early section to the jam, cool strumming by Trey, and some rhythmic shifting near the end.

"Possum" -> "Vibration Of Life" -> "Possum." Just the 2nd time "VOL" had been performed. Predictably intense jam.

-> in from "Possum." "VOL" is performed for only the 2nd time, occurring during the jam in "Possum." -> back to "Possum."

-> in from "Vibration Of Life," which occurs during the jam in "Possum." From here, the jam is a predictably intense '92-style one.

Santana-esque jam.

A big boatload of energy underscores a goofy composed section rife with screaming, yelling, and fan interaction. Mike's playing is particularly strong, with Trey responding in kind, the musicians bouncing ideas one off the other with great verve and tenacity, but never at the expense of sheer music…

-> in from "Fee." Unusual breakdown at 10:27, followed by "Manteca"-like jamming.

An extended intro with extra silence and space hints at the quiet, yet potent, improv ahead. The band stretches out what is usually a short vamp preceding "BLAT BOOM" into three minutes of avant-garde, atonal, knotty, bizarro Phish interlaced with secret language cues (the "Aww F**k" signal is espe…

> in from "Wilson." Danger: listening to this version could cause your brain to involuntarily explode.

Trey is like a demon possessed here. Doesn't matter that's it's inside the box, it's a great version.

The jam has a bit of a darker sentiment, amplified by some "MLB"-like jamming towards the end of the first jam. The 2nd jam features repetitive, heavy metal type playing, which transitions nicely back to the typical closing sequence.

Wonderful, somewhat restrained drumming (even the vocals feel hushed) creates a terrific pace and works to steer the jam, which seems carved from space, with Trey creating an incredible droning, echo-like effect atop some really great bass. The band, ever dynamic, modulates intensity, with Page way…

Strong early version. Page whips things into a frenzy before Machine Gun Trey blows the roof off.

"Flat Fee"-like playing early, then the jam takes off, getting more and more rocking with multiple peaks. Intense ending.

Exploratory version with great melodic variation by Trey. The jam just gets better and better as it progresses.

Very heavy and punishing.

Davey Crockett teases in jam and VJ.

Lenghty intro and Simpsons and All Fall Down signals plus other creepy shenanigans before BLAT BOOM.

An unusual, somewhat mean-spirited jam shifts at 8:25 to something akin to "Tweezer Reprise." Returns to normal "Bowie" and concludes with a hard rocking trill section.

> from "Fluffhead." This version has a fun intro that sounds almost "Possum"-esque. The jam is full-speed ahead and builds and builds. Fans of banter should stick around after the song for Trey filibustering while Page gets a string repaired.

Gorgeous opening segment.

A little vocal jamming in opening section. Rhapsody in Blue and Donna Lee teases; brief PYITE tease. There is also arguably "Who Knows" teasing for several measures in this version (it's not quite "Who Knows" but it's close and it lasts for several measures.)

The first "Mike's" since '88 to have something other than "Hydrogen" follow. The 1st jam gets way out there into serious improv, including twisted "On Broadway" teasing. The short 2nd jam is rhythmic and has "Blue Bayou" teasing and a drum outro. After a brief stop, the band decides to play "Blue B…

The intro -> the only performance of "Timber (Jerry)" between 1990 and 1995, and it's a strong version.

-> in from "David Bowie." The only performance between 1990 and 1995 is sandwiched inside a solid "Bowie." This fine "Timber" packs the usual Trey shredding, great Fish and strong Page and Mike. > to "Bowie."

In addition to the bonus "Timber (Jerry)" sandwich, this version includes a solid if earthbound jam, with spiraling tension and very cohesive interplay by all four. Some excellent Trey shredding before and during the trill section.

Auld Lang Syne tease in opening.

Beginning around 4:00, the jam settles into an improvisational section with excellent contributions by all four. After returning to the standard, the jam features intense and top notch "Type I" rocking.