The Jam Charts · phish.net's good stuff

> in from "PYITE." An excellent, far-ranging and mildly dark jam emerges from the post-"PYITE" haze.

The early part of the jam includes warm, delicate musing. As Fish increases the percussive dynamic, the power gradually builds. Rather than rushing to peak, the band takes it time getting there, but with the power continually building, adding to strength of this quality version.

Very intense jam. While mostly "Type I," solid Fish percussion pushes it beyond here and there.

Debut.

Inspiring, upbeat jam develops some filthy, funky legs before -> to the astounding debut of "Carini," which -> "Taste" -> "DwD" (the closing section). Viewed as a single piece, it's 47 minutes of incredible, must-hear jamming.

Debut is a masterpiece of improvisation, the centerpiece of a "DwD"->"Carini"->"Taste"->"DwD" suite. A mix of upbeat jamming, raging psychedelic rock, rhythmic stop/starts, quiet space, and more. Absolutely must-hear.

Straightforward "Taste" version is part of a much larger "DwD" -> "Carini" -> "Taste" -> "DwD" song and jamming combination.

Closing section of this epic "DwD" -> "Carini" -> "Taste" -> "DwD" combination.

Smooth start with a fiery peak in the first jam. Second jam is a "Sex Machine" funk face puncher. Clear dancing room.

This is really an exceptionally strong "Hood" with great Page/Trey interplay, great melodies from Trey, super peak, etc. etc.

Nice melodic departure from the standard that grows increasingly funky as it progresses. Great Page B-3 action.

Finally played in Firenze, a feisty, typically strong "YEM" strengthens after the 10:00 mark to become outrageous. Similar to the Holiday Run's "Izabella," Trey outright attacks, and then goes off, as if goading the others to keep up. Play "cools" through a righteous "Bass and Drums" section.

The heaviest of all the Heavy Metal style Wilsons comes bursting -> out of a gnarly unfinished "Antelope" jam with a transformed thrashing arrangement and properly gutural vocals from Trey.

Somewhat unusual jamming with great Mike and Trey teamwork.

A great version which bristles with energy. Despite some minor wobbles in The Chase and Who Do? We Do!, Page offers some great funky keyboard action in Clod, while Mike is noticeably strong. Rounding the final curve, Fish and Trey lead a rocking and powerful Arrival, underscoring a top notch perfor…

"Suzy" gets some funk!

Solid Page with some dissonant chords. In Trey's section, there are a couple of false peaks which add to the tension.

The 1st jam of the first '97 "Mike's" is actually less funk-infused than many Fall '96 versions, and is straightforward but fairly intense. The serene and soothing 2nd jam portends the ambient sounds that would emerge in '98 and '99, and has a melodic feel akin to "Blue Bayou."

> in from "DwD." Great, full band, rocked out jam section is followed by a "Coil"-like Page piano solo coda.

The usual wacky stuff one would expect, but this version also has a nice 2-minute Trey and Mike-led jam which emerges on the back end of the song proper.

"Get On The Good Foot" teases. Nice segue into "Kung."

Page > Trey guitar/vocal > whole band jazz jam with "Take the 'A' Train" tease from Mike -> "Magila" > klezmer > chanting and conclusion.

> in from "SOAMule." A whole band jazz jam with a "Take The 'A' Train" tease comes in the middle of an excellent, extended "Mule" and -> to "Magilla."

-> in from an awesome jazz "Jam" in the midst of an extended and excellent "SOAMule." -> back to "Mule" to conclude.

-> in from "Magilla" to conclude an excellent and jazz-infused "Mule."

Game changing version launches "Wolfman's" as a jamming vehicle. The improvisational jam works through several sections of serious funk, gains rocking legs around 12:00, before more funk and a masterful -> to "JJLC."

Great -> in from "Wolfman's Brother." Strong modulation of intensity in this stellar version. Huge peak at the end of Page's section is followed by near silent soloing by Trey, which gradually builds to a roaring, bluesy crescendo.

Heavy metal jamming in the intro and more in the jam itself.

Some funky sounds and good variation away from the standard underpin the 1st jam. The 2nd jam breaks into an easy going groove and features some crazed lyrical and musical references to the Doors and Pink Floyd, including quotes of "The End," Peace Frog," and "Careful With That Axe, Eugene."

Amusing lyrical improvisation from Trey, as he parodies the Doors' classic "The End", followed by "CYHMK" teases in the jam and a "CYHMK"-like ending. (This version is on "Slip Stitch and Pass.")

SKELTON VJ. (No B&D.)

This majestic and graceful "Hood" is very powerful and moving, with soulful, delicate teaming by Trey and Page. The peak rises to lofty heights without ever losing its elegant beauty. Live Phish Archival Release.

Extended, jazzy jam with Dave Grippo on alto sax and James Harvey on trombone.

Version benefits from excellent contributions from musicians Grippo (alto sax) and Harvey (trombone), but Mike may steal the show, here. Fun, Funky, Phish.

Debut. Band sounds a little shaky trying to get this new song right, especially Fish with the complex rhythm.

Played twice during "Bradstock" (6/6/97), "Vultures" properly debuts in Dublin, a month before the band's historic 1997 summer tour. While the song will be reworked over the coming years, its essential elements are place, namely super intra-band improvisation, working within the "context" of the so…

Jam breaks into a nice funky-but-rockin' groove. Unfinished with -> to "Ghost."

Cursory initial inspection of form and function...healthy purr from the motor...let's rev this thing up. [Debut.]

The new or modern "Free" jam is hatched with funky, bass-led sound. Great Page on clavinet, organ, synthesizer and piano.

Debut. Straightforward jam structure, but includes a nice funky Page-led section beginning about 6:00.

Debut in Dublin. Many '97 - '99 versions follow this format, that involves (1) a long, harmonic, building intro, (2) a high energy lyrics and "Type I" jamming section, and (3) a short settling coda, but no exploratory jamming or improvisation.

Strong playing by Fish helps this fiery and tempestuous one get outside the box several times.

A low-key but VERY funky "Cavern." Check it out!

> in from the rocking debut of "I Don't Care," the jam, here, offers a stark contrast. Trey works great, melodic soloing into a beautiful passage of quiet restraint, Page's fills matching the "Doc's" warm tone. Trey, via an impressive array of styles and ideas, slowly rebuilds intensity, and the ba…

Straightforward until 11:30 when the sounds of funk start to creep in. Becomes a full-blown funk jam after 14:50. Unfinished with a -> to "Ghost."

> in from "JJLC." Long and beautiful intro (to 3:35). Jam section features great Trey/Page interplay, as well as more melody line variation from Trey than has become typical. Fish and Mike are rock solid here.

> in from "Taste." A weird, funky jazz-like jam which -> to "Cities."

> in from "Cities," this is a standard, well-played version, except after the song proper ends the band spends the final minute in a calm, quiet space with prominent Mike that sets up perfectly for a -> to the debut of "Ain’t Love Funny".

Very good segue out of "Horn" leads to the Phish debut. After the song ends around 3:00, play continues for another 3 and a half minutes. Starting in a delicate, pretty space, the mood and tempo shifts at 4:15 and leads to Trey finding a theme a minute later that carries the band -> to "LxL."

A straightforward, but funkified jam breaks around 8:00 into a low key, funky jam that at times sounds similar to Santana's "Oye Como Va" before returning to "Twist." The "Oye Como Va" connection would solidify with time.

The jam breaks to funk early, returns to "Twist," then a very good funky-blues jam develops which gets energized and upbeat. A quieter, spacey section follows before a return to the funk-blues jam and > to "Cavern."

First of many very strong '97 "standard" versions. Lots of "NICU"/"Norwegian Wood" theming. Quality sbd recording on the "Spreadsheet."

Nice funky jam that gets pretty rocking. Great Mike and Trey.

Bad-Ass funk with awesome Mike, and great Page on the B-3 and other keyboards. Starts to settle out of funk mode, then gets into some rocking, growly Trey-led jamming that eventually mellows and > to "Reba."

Bust out the funk!

The jam cuts into funk mode pretty quickly, gets more rocking, then back to more funk. After a brief settle, there is a -> to "Piper."

The ending section of this "DwD" -> "Piper" -> "DwD" combination includes "CYHMK" teases and -> to "Meatstick."

Short debut version is essentially the "Meatstick" lyrics being sung over the jam out of "DwD". -> to "McGrupp".

-> in from "Meatstick." A very unusual version. It starts in a swirly, funky mode, then shifts to a reggae style when the lyrics commence, and includes "Makisupa" teases. Trey narrates the lyrics in a style similar to the earliest versions (pre August '87). Page's solo is unu…

Melodious "Back of the Worm" madness. [Funk flows to "Back of the Worm" jamming, then opens to serene and melodic grooving, which eventually grows funky and percussive again. Helluva show opener!]

Worm banter. Great short jam and drum solo. Page rocks!

Two weeks into its life, the band has got this song nearly nailed. This version is very well played and includes a delicate, almost silent coda that leads to a -> to "Ain't Love Funny."

After an ugly composed section, the jam moves from a familiar, quiet sentiment to become both melodic and spacey, with great effects from Page offset by playing upon his acoustic. Trey solos thoughtfully and deliberately, the jam both driven and breezy, a great groove driven upwards towards a "Slav…

Fish kicks off Set II of a storied show playing the piano, solo, and is joined by the others while he switches to his drum set.

An extremely well-played version kicks off the second set of very popular and highly rated show.

Really great version that begins with an old-school (pre-August '93) style "Gin" jam, then morphs into a dark and growly power jam with a "Little Drummer Boy" tease. Gets mellow and funky at the end and -> to a HUGE "Cities."

A super slow tempo, groovy straightforward "Cities" -> to an incredible "Jam."

-> in from "Cities." Super slow and groovy. Jam breaks down into an extended, meandering groove that patiently and sedately coasts along. Includes "Worm" banter, "When The Saints Go Marching In" and "Santa Claus Is Coming To Town" teases, and gradually builds some energy and pulse towards the end.

-> in from "Simple." Page deploys multiple keyboard weapons, and then it just gets blistering hot.

This set-closing version takes a funky and gooey ride through the sewers of Amsterdam.

Unusual intro with delay effects. The jam breaks from standard at about 15:07 into a rocking groove which then morphs into a melodic, upbeat groove capped with a bass solo. Dissolves into dissonant space and -> to "Llama."

-> in from "Stash." Incredibly funky Page section and an intense Trey section. No final refrain as the music cycles down, then rebuilds into a dark, ominous "Wormtown" Jam played to the melody of Steve Miller's "Swingtown," but changing lyrics to "Wormtown." Lots of Trey and Fish "Worm" banter. ->…

-> in from "Llama." A dark, ominous jam develops that is played to the melody of Steve Miller's "Swingtown," but changing lyrics to "Wormtown." Lots of Trey and Fish "Worm" banter. -> to "Velvet Sea."

Slow, syrupy, yet anything but saccharine, a dizzy, patient performance perfectly encapsulates an important side of the band's Euro '97 sound. Triumphant, yet melancholy, fans of the song, or Trey, generally, could do worse than to start, and end, here. A masterpiece.

More of the modern "Free" jam, with a great bass-led breakdown and some good delay/resume action.

Trey shreds this one, and adds a lot of "wah" effects in the middle section. Great band-wide interplay at the peak.

Flowing, passionate, near symphonic excursion with a "Ghost" vocal reprise. [Heavy funk turns quiet and introspective, builds energy, then follows a mildly dark, funky path before brightening into percussive, rocking jamming with "Ghost" vocals.]

The jam starts to break from the standard around 5:45 and by 7:25 has morphed into a good funky groove from which a jam on Deee Lite's "Groove Is In The Heart" emerges. Settles and > to "Piper."

Groovy version with a "Walk This Way" flavor and extended Trey shredding on the backend.

Page shines throughout this single-set, free, outdoor gig, so it arrives as a bit of a surprise that it's Trey who steals the show during the course of this patient and serene encore. To be sure, Page's play is confident and assured, but Trey's late (7:00) play is as unusual as it is welcome, his t…

Another version where the jam has a funk section (9:40 - about 14:30) which is quite good and different.

Page > vocal/guitar by Trey, with Mike and Fish joining in, and then Page in a funky jam > klezmer > conclusion.

Slow tempo, very funky jam with Trey taking the lead.

Long jam. No B&D, no VJ, segues into "Waste."

Good combination of a nice intro, varied and interesting soloing by Trey, then a chill-out Page section before the closing.

Powerful Page solo. Like 7/3/97, very good Trey/Page interplay, similar to a good "LxL". And strong Trey. One of the first versions where the "NICU" riff appears immediately preceding the closing sequence.

In one of the longest YEMs since 1995, Phish jam with jazz/fusion quartet Bela Fleck and the Flecktones. The jam consists primarily of individual solos from each guest, eventually culminating into an ensemble -> to a jam on "Trane to Conamarra." Phish may not have found Pierre, but they found the…

A magnificent "YEM" jam with Bela Fleck and the Flecktones continues -> with elements of their tune and funkily works itself -> to "Ghost".

Two bands join in deftly dealing with each other's newest material when Trey calls an audible in the midst of the Flecktones informed segue jam, counting off the guest-studded ensemble into a highly improvisational take on Ghost. Featuring, in the first place, Victor Wooten's virtuosic bass work a…

Featuring the Flecktones including solos from Bela and Jeff, a bunch of false endings and teases, a big "Freebird" style ending, and Pierre chanting.

Another '97 that revisits the cast-aside, old "Gin" jam with a little added funk sound, then breaks into full-on disco funk mode. Briefly returns to "Gin" proper, grows spacey and > to a seriously jammed-out "Llama."

-> in from "Bathtub Gin." Following the final refrain, the band breaks into a excellent heavily funk-infused jam that grows darkish towards the end. -> to "Velvet Sea."

A funky and blues-infused jam is played on its own in Set I. At 4:24, the jam develops a theme similar to "The Lizards."

Outstanding banter gives way to all time flame throwing funk upbeat ass kicking version. Zero messing around. "Super Bad" jam and "Start Spangled Banner" finish.

Jam starts out conventionally, but then the band brings the volume way, way down. After playing quietly for several minutes, the intensity builds. Unusual ending with -> to "Magilla."

Just an incredibly cool -> from "Julius." Page sets the tone, with Trey laying way back, and Fish and Mike offbeat and on point. A building sort of jam dissolves into a great bass solo. And this into a super percussive bit of music with an extended, fun conclusion. A fan favorite. And for good reas…

Short but sweet - Fish/Page duet (drums and Hammond B-3), then Trey/Mike duet, then Fish/Page duet (high hat and clavinet), then Fish/Trey duet (bell and low guitar), then Fish/Page duet (ka cymbal and Rhodes), then foot stomping (all). "Magilla" and "St. Thomas" teases, vampire children references.

-> in from "Ghost." The Phish take on this Rev. Al Green song, popularized by Talking Heads, begins in familiar manner, then slows to classic '97 funk. Then the jam rebuilds energy, becoming rocking, and includes reprise vocals from Fish and Trey.

Extended funk section which continues until 12:00 when the jam loosens into rocking mode and > to "Johnny B. Goode."

Brilliant, exploratory "Gin" that includes funk, "Drowned" jamming (9:25 - 11:55), syncopated, blues-infused rocking, and stops. At 18:30 with the others still playing, Trey addresses the audience, talking about new songs.

Summer 97's brilliant Creature Double Feature. -> from "Wolfman's Brother," the intro features Trey's signature sound, before a more traditional "Magilla" takes shape. True to that summer's form, the version veers into more exploratory ground, with Trey trading solos with Page and lending a funky e…

The solo section begins all the way down, allowing Trey to expertly switch between sparkling chord arpeggiations and soaring single note lines with supreme patience, before his cathartic, Leslie-affected chording brings it home.

At 7:10, the jam veers into a nice funky groove. Then at 8:30 LeRoi Moore pipes in on the saxophone. He plays a tease from the "Theme To Woody Woodpecker" and then he and the band embark on a funky, jazzy exploration. Page switches keyboards several times and the jam grows weird, dissonan…

-> in from "Theme." The "Jam" leaves "Theme" and veers into a nice funky groove. Then at 8:30 LeRoi Moore pipes in on the saxophone. He plays a tease from the "Theme To Woody Woodpecker" and then he and the band embark on a funky, jazzy exploration. Page switches keyboards several times and the jam…

Trey's playing includes some subtle and effective melodic variation. Meanwhile Page and Fish add really nice color and texture, transforming this lazy summertime version into one with a powerful sense of grandeur, reaching lofty heights in its strong conclusion.

Played during a thunder and lightning storm of Biblical proportion that prematurely ended Set I, you can hear the thunder crackling in the background. Clearly the storm electrified the band, and if you are a Page fan, this is a must-hear, incredibly intense version.

Multi-part, heavy duty funk jam -> "Mike's Song."

This single jam version breaks into a thick soupy funk groove right off the bat, with lots of good variation. At 8:20, there's some shifting of instrumental sounds, but the basic grooves stays intact. Then at 10:45 the jam breaks into a new, completely different and exploratory section with a threa…

Arguably the best "Type I" version ever. The jam proceeds through the customary progressions, then, just when your ear is expecting the final refrain, the band veers off into a fantastic, swinging, stylistically well-played extension.

An excellent version which showcases the dynamic interplay between Trey and Page, while Fish and Mike keep the intricate rhythmic pattern steady throughout. Also has a fantastic peak and gradual settle.

Straightforward, but so loaded with the funk that it could only belong to 1997.

The band remains in a lockstep groove as Trey tears through this Phish staple. The jam threatens to break away but then returns for a rousing conclusion and shoots off fireworks to close the first set of a highly regarded show. H/T @Tweezingspaceranger

Raging porno-funk that slides into a very mellow midi horn laden outro. [A multi-section masterpiece of funky '97 styles highlight this strong jam. Page skillfully deploys multiple keyboards, and the jam energy ebbs and flows repeatedly.]

Unusually weird jam. Jeopardy theme tease. -> to "Rocky Mountain Way." (No B&D, no VJ.)

-> from one of the summer's marked musical surprises, Lakewood's supercharged and super weird "You Enjoy Myself." "YEM" culminates not in the characteristic vocal jam, but rather, a dense passage of shoegazing noise. As if the band is channeling their inner-Europe, this outro…

Lots of good funk, then the jam starts to uncork, but cycles back to more funk. Around 11:00, the jam breaks out into some great "C&P"-like jamming before settling and > to "Maze."

> in from "Wolfman's Brother." Frenzied chaos run amuck.

A classic "Type I" jam drops into funk mode for a good 6 minutes before returning to the "Gin" theme. -> to "Makisupa."

A strong jam emerges beginning at 6:20. It's bluesy at first and then moves to a gentle, down-tempo rock jam, typical of '97 Phish, beginning around 7:27. Nice -> "AC/DC Bag."

-> in from "Makisupa." Similar to 8/13/96. Intense, stretched-out version where the band just keeps it going and going.

Bob Gullotti on second drum set. The band really stretches this version out, then at about 9:45, the jam mellows into a rhythmic and bluesy groove that eventually hints back at "CDT" before -> to "Taste."

Joined by the late, great Bob Gullotti, this unique rendering (unsurprisingly) finds a percussive, pulsating groove, but just as the jam is about to peak with the traditional late-'90s "Taste" outro, it instead segues seamlessly into -> "Ya Mar."

Bob Gullotti on second drum set. -> in from "Taste." Big two-way drum solo. -> to "Ghost."

In addition to hosting Bob Gullotti on a second drum set, the boys bust out the Funk towards the end of this version - an extremely rare style for a "Limb" jam.

"Willie the Pimp" tease just before the segue into "Izabella." (No B&D, no VJ.)

Bob Gullotti on a second drum set. Set II opener takes the typical "Timber" jam, extends it and cools it down a bit to a more mellow groove while maintaining a good rhythmic pulse. Never loses the dark "Timber" vibe.

After an amazing start to the II, it becomes clear that Trey has little interest in the "Hood" he dialed up following a great "Bowie." Check out the show for more details, but in lieu of "thanking" Mr. Minor, Trey aborts the song and ->'s into "Free". The band unleashes, resulting in one of the fin…

The first jammed out "Gumbo" features a funky jam with Trey laying it down on his wah pedal. The jam begins to get spacey while Trey starts high pitched noodling out of a which a 4 chord descending pattern (not MLB) develops, with some beautiful work by Page (which sadly doesn't last long).

Mellow "C&P"-like groove into Monster Funk ending in Went "Gin"-like jam. [A typically funky '97 version releases and then breaks into an excellent upbeat and hose-filled groove.]

Another rager to close the first set.

Awesome, extended, and uniquely remarkable version that departs into a low-key, melodic and exploratory groove that has moments of really beautiful, major mode jamming before working back into nasty old "Antelope."

Exploratory version with some variations on the "Twist" theme through 9:10, when the jam breaks away. After some brief engine grinding, a dark, dissonant section emerges, before eventually brightening and -> to "Taste."

-> in from "Twist." Pretty intense section towards the end of Trey's solo where the whole band is just hammering away. Great Mike on this one.

Brother to versions from 6/20/95, 7/30/03 and 7/16/13. Incredible improvisation packed into this 10 minute version.

Although largely straightforward, there is a nice shift to major mode at about 7:42, plus a very gradual build up to the peak.

Features an epic, mid-jam "Bowie" -> "Cities" -> "Bowie." And interspersed among a substantial amount of tight, well-played "Type I" jamming are several forays that get beyond "Bowie."

Fantastic -> in from "David Bowie" and -> back to "David Bowie."

-> in from "Cities" to conclude this heavy-duty "Bowie."

First version since 6/20/88 that really breaks into a jam outside of typical "Ya Mar" structure. Not too far out there, but definitely a quality version.

Band-wide cohesion on display here, as all four deftly contribute to this complex and well-played version.

Magnificently intricate, spell-binding, hypnotic jam (with strange "Santa Claus Is Coming To Town" teases). (No B&D.)

Multi-faceted improvisational version that includes funk, power jamming, quieter space, punchy, rhythmic funky stuff, and more space with a -> to "When The Circus Comes."

The 1st jam begins in moderately funky mode and the power intensifies as it goes, but otherwise is straightforward. The 2nd jam starts in rock mode, then settles down to quieter, contemplative play. Finally, the power throttles up into a slightly dissonant and intense peak.

Only played 4 times in 1997, Trey's restraint in this soaring, sunset version from the Gorge (released on Live Bait Vol. 4) allows the others to shine, and being that it's 1997, Mike surely does.

Sure, you can characterize this as "Type I." But within that, you get 6 solid minutes of '97 funk and 6+ minutes of power-rocking release action before returning to "Wolfman's" to close.

All kinds of good funk in this strong version that -> into "Tweezer," after which "DwD" arguably returns for a minute or two.

Segues out of "Disease." Brief "DWD" tease near the end as well. Very laid-back, slow, funk-ish version. Weak at times, though.

After Trey asks CK5 to kill the lights so fans can enjoy the Gorge starlight, a stunning and sublime jam ensues.

> in from "Bathtub Gin." Very cool, exploratory Page solo. Trey's solo is enhanced by an echo-like effect. A bass and percussion rich build-up leads to a soaring finish. If you aren't on the edge of your seat when the final verse starts, your soul has gone missing!

> "Dirt", the version demonstrates considerable growth over a short period of time. Page's fills fall like scales between Fish's off-kilter percussion, the jam itself a revelation. Trey's riffing and soloing is forceful, with each musician acutely attuned and playing "out" as if a means to somehow…

A good, rocking and bluesy jam develops at 7:30 and continues until -> to "Jesus Just Left Chicago."

-> in from "Twist." Great version from the Gorge with Page switching keyboards and a fiery ending to the jam.

A very different version from 7/31/97, with more staccato playing by Trey, and minor key fills from Page at points.

Jam begins in a great, bluesy groove with Page on the B-3 for a few minutes before he jumps to the piano. Trey is relaxed in his playing, gradually building this one up, but never loses the swinging feel.

Beginning in 1997 and forever since, "Fluffhead" has suffered from some performance malaise. Whether due to lack of practice, fewer live performances, or other causes, the band's precision has declined. Yet this summer 1997 version is an anomaly, a nearly flawless rendering. Thank you Kevin Shapiro…

Around 6:30, this version comes very close to breaking free of "Taste" altogether into free form improvisation. Fantastic peak and finale.

Jam settles around 6:50 into some glorious melodic space, rebuilds around 10:00 with some nice blues licks, settles again, then morphs into a serious blues jam with a -> to "My Soul."

Not way out there but has several sections that stretch beyond the typical structure, including a great "Makisupa" jam in the "Rocco" section with Page on theremin and Mike on a mini-drum.

Not a funk fest like most '97 "Gumbos." Trey-led soloing over a funky groove leads to a more rock and roll jam with a repetitive riff from Trey.

Weird, spacey, Trey-Mike-led jam.

Multifaceted jam that works through several funk sections, quickly lets loose to rock mode, then returns to more funk and more rocking before -> to "Free."

Great -> in from a very solid "Wolfman's Brother." The jam while similar to the post '95 - '96 jam is its own beast; very cool.

In addition to (typically '97) adept playing, this version also has a cool build to the big peak, starting at about 7:40.

Raging version that keeps rising from one peak to the next.

Very strong group interplay, between Trey and Page in particular, but also between Mike and Fish, gives this version a sound and dynamic almost like "Taste" or "Limb By Limb."

Big bass techno-funk. Fine segue into "Taste." [Funk -> release as expected, but the release is short before delving into more funk, then settling to some excellent, quiet introspective play which -> to "Taste."]

-> in from "Ghost." Powerful version in which the whole band keeps rocking full tilt throughout the slot where Trey customarily takes the lead. Fish is the hidden gem holding rhythm in check while Trey and Page frenetically spiral up and up the scales.

This super, Summer '97 version received recognition when released via Live Bait Vol. 11. Trey ignites a bouncy, infectious groove, which, in time, morphs into more metered jamming. Mike's playing is particularly strong, offset by great percussion, which bleeds into a heightened breakdown, the band…

Unusual second set placement. Listen to this one back-to-back with 8/3/97. Both masterpieces. But very different performances. Here Page's solo is less adventurous, but finishes in a rousing manner. Trey deploys very different effects from the preceding version, with surgical precision. And of cour…

Page > guitar and bass duet as a response > whole band in a cacophony of noise > pause > more noise > straight to final verse with no klezmer.

Such a graceful version. In 1997, the band was in no hurry to rush things. Here the patient building makes the eventual, huge peak that much sweeter. > to "Weekapaug."

-> in from "Slave," capping a nearly set-long "Mike's Groove." After a percussive start with hints of "CYHMK," Trey hoses down the crowd beginning at 3:30. The jam climaxes with "CYHMK" teases, and Trey bids good night while the music rolls on.

Improvisational heavyweight version which breaks into a full jam on King Crimson's "Larks' Tongues In Aspic Part II" around 10:25. From there, it settles, then rebuilds into "SOAM" with a quick tempo and "Third Stone from the Sun" teasing. Released on Live Bait 12.

Reaches a near-transcendent peak, and closes the first set in a brilliant fashion. Practically "HOSE." IT.

Amazing jam that begins in heavy funk mode and transitions to a more quiet vibe before shifting into high gear with some serious rock and roll. The jam then breaks into some beautiful, peaceful and textured playing ("HOSE") before rebuilding into a powerful groove. -> into "GTBT.&…

-> in from "Makisupa." Many of the later '90s versions are extended, but don't carry nearly the same punch as those from the '93 - '96 era. Not here though, this one is like getting teeth extracted, one by one and without novocaine: long and painful.

The jam veers away from the normal structure several times, adding tension and anticipation when it returns to "Antelope."

The band still toying with set placement, here, "Vultures" anchors the second set for the second time, and with great results. While a true appraisal will only coincide with the arrival of a crisper AUD (or SBD!), what IS clear is that Trey has grown comfortable playing within the "confines" of th…

Weird jam segment and vocal close. (No B&D.)

The longest version to date starts off with a loose funk groove that develops into an air tight polyrhythmic groove which Trey eventually starts to solo on top off before fading out into "The Horse."

The song portion is played slower than normal. The beginning of the jam is vintage '97 funk, goes into some classic "crosseyed-esque jamming" before drifting into some spacier realms.

Christmas comes early to Star Lake when the full band delivers a "Little Drummer Boy" jam in the post "blat" section.

Incredible, straight-forward set-opener. What the jam might lack in terms of inventive improvisation (evinced earlier, and throughout Summer 1997's tour) is more than compensated for by way of tight, full-band play, and absolutely incendiary Trey, who puts on a clinic.

Big deep groove, with some sweet staccato patterning from Trey in the second jam.

Gets beyond "Antelope" at several points, including brief major mode action (5:40 - 6:30), rhythmic variation, a brief settle, and good tension building before mounting a serious and dissonant peak.

-> in from "Hood." An ambient jam starts as "Harry" ends, morphing into an exploratory funk-based one. > to "Forbin."

Great example of why '97 is such a pivotal year in Phistory. Here they stretch and expand the music everywhere possible without ever really getting beyond "CDT" proper.

The band covers a lot of varied musical territory in this "Type I" version that includes a "What's The Use" tease.

Despite arriving in what Trey called a "bad set", this version's wah-funky intro was the most significantly augmented until "PYITE's" 2025 renaissance.

Mellow big bass funk groove, no climax. [A nice gradual transition from the heavy funk to more open, upbeat play, which grows dissonant before latching onto a great rocking, powerful and percussive groove.]

Awesome, improvisational version that gets well beyond standard "Wolfman's." At 8:50, the jam breaks out of funk mode and starts to explore, masterfully linking several sections with great, inspired music before -> to a cool "Simple."

-> in from a fantastic "Wolfman's Brother." A bit quirky, this mellow "Simple" jam includes a jam on the "Theme from the Odd Couple," turns bluesy, and -> to "My Soul."

A stand-alone jam, sort of spacey, sort of funky follows "My Soul" and -> to "Slave To The Traffic Light"

A kind of grunge-like jam develops, with additional vocal refrain at about 10:00. The jam then departs "Halley's" altogether and develops into a swirly, minor key, bluesy Fish and Mike led exploration. "On Your Way Down" tease leads directly to a -> to "Cities."

Another SUPER SLOW, funky version from '97. Segues out of "Halley's Comet." The tempo picks up at about 8:40, and the funk comes on even thicker. Gets more rocking and bluesy before -> to "Llama."

-> in from "Cities." Great Page and a nasty, growling and extended Trey section. -> to "Lawn Boy."

The boys really stretch the jam out on this one nicely, and the playing is excellent. They also tack on a nice extended ending (was played near the end of day 1 of the Great Went) before transitioning to "Funky Bitch."

Space Funk. "Cities"-like jam and "Simple" teases.

Powerhouse version from the Great Went. Riveting Page solo, skillful Trey solo, and spiraling crescendo finale.

A paramount, must-hear version that includes multiple stages of funk, rock, and space funk, and concludes with an incredible Mike and Trey duet which -> to an equally transcendent "Bathtub Gin."

-> in from a great "DwD." One of the most beloved Phish jams of all-time, and exhibit "A" for "Hose" jamming. The progression modulates to include a minor chord and combines with Trey's soaring lead play to produce a truly inspiring improvisation. Unfinished > "Uncle Pen".

Mike and Trey take time to paint, then come back and light the earth on fire. Last five minutes could conjure the dead into a dance competition.

Inspired by the first ever "Hood" glowstick war, Trey leads this fan favorite melodic jam to a thrilling peak.

Jammed out a bit, with an extended Trey solo and a sweet drawn out transition starting at about 4:18, which at first sounds like "Boogie On" (not played since 1988, or 969 shows), but instead -> to "NICU."

Page solo with others playing along > breaks into a funky jazzy jam > beautiful Page/Trey duet/jam joined by Mike and Fish -> Digital Delay Loop jam with "London Bridge Is Falling Down" teases -> "Mule" conclusion.

-> in from "SOAMule." The "DDL" Jam is just part of an incredibly improvisational "Mule."

-> in from "Digital Delay Loop" Jam to end this incredible "Mule."

Straightforward but extended, well played and hard rocking version closes Set III, Day 2 of the Great Went.

Debut. Standard version with a strong but typical jam, with assertive playing by Trey throughout. Page's grand piano lends some unique flavor as the jam peaks.

Very catchy theme in the jam! (No B&D.)

Jam shifts into major mode at about 10:40, then teeters between sentiments in quiet contemplation. Around 17:00, the jam begins to work its way back to "Stash" proper.

> in from "PYITE." Just a rock solid '97 from start to finish. Trey really pours his heart into this one. > to "BATR."

A really great and different groove is established early in the 1st jam, before drifting back into more typical territory. The jamming moves back out for more of the original groove, including great scratch funk around 8:30. The 2nd jam kicks in at 10:10 and features gentle and soothing play with "…

Spirited and soaring jamming mellow uptempo as after 5:10 with some solid "CYHMK" teases and jamming, before finishing in a raging style with "CYHMK."

Quite a strong Trey solo, have a listen!

Quickly breaks down into a Mike-led "cow funk" jam, that eventually dissipates into quiet ambiance and delay loops. Welcome to Fall '97.

"FEFY" dissolves into a gorgeous intro. "C&P"-like second jam features one of the coolest Mike basslines of any version.

The post-funk release is not your typical "feel good" rocking crescendo, but a quiet transition into minor mode darkness before subtly switching to major mode and -> to "Piper."

> in from "Piper." The jam starts off typically, but soon morphs into a swirling and dissonant beast. An extended Trey solo follows this section and > to an epic "Slave To The Traffic Light."

Epic, long version that works very well. Impeccably well-played. Here, the journey, rather than the ending, is what really counts (although the ending is pretty spectacular, too).

Debut features Page deploying the now familiar watery keyboard effects he would use for most of the '90s, while Trey briefly shows off his Hendrix-esque skills in a culminating trill.

Long intro to this big Set II opener featuring a jam that begins in typical "Timber" style, then shifts to delicate and serene major mode playing in the final minutes. Unfinished with a -> to "Simple."

A remarkable version in which the band repeatedly tests the "Type I" boundary after 12:30, with Page in particular altering the harmonic underpinning several times. Closes with a truly magnificent peak and > to "Izabella."

Nice old fashioned "Bowie" that breaks free in a few spots and is flush with tension and dissonance.

Very popular version, but check out the highlighted versions in this table if this version does IT for you (especially those in fall 1997).

Raging space funk. [The expected funk breaks into fantastic and towering blissful play, then shifts to great rocking and funk-driven jamming which gradually mellows. A fan favorite "Ghost."]

After concluding the song proper, the band launches into a high-quality jam which retains Fall 97's tone and timbre but is also a bit of a throwback to an earlier era with its spiraling, "DEG"-laced opening segment. The second half finds a space more emblematic of the tour with Trey's ethereal wah…

-> in from "Johnny B. Goode." Page rocks the 88s, then Trey leads the band in a blistering, intense blues fest.

A great, unconvential YEM to be sure... but still probably the most overrated YEM in history.

-> in from "Bathtub Gin." Blistering playing by Trey harkens back to the "Llama" Golden Age of '90 - '92.

Ethereal outro with "Meatstick" quotes and a -> to a hot "Antelope."

Incredible from start to finish. This has it all! Tempo changes, jazzy grooving, full band mastery, sirens, and of course danceability. Brilliant.

Exploratory, extremely "Type II" version. Following some classic '97-style cow funk, the jam ranges from blissfully serene and settled ground, to an extended, Trey-led blistering and somewhat dissonant section, then on to Page and Mike dominated blues rocking. This "Wolfman's" has it all, including…

An extended, effects laden space jam begins around 5:45 and comes to a climax at 9:36, then drops right back into "Makisupa". Excellent version.

"DEG" tease from Trey. Another strong '97 version. Maybe not up there with the incredible batch from the Summer, but Trey's solo is patient, very gradually building up the intensity from a relaxed base. Page is rock solid.

Funky intro with great Mike. Excellent straightforward jam gets intense and chaotic, then turns bluesy and rocking.

A dark and stormy groove with Fall '97's unique sound. Funk is the predominant style initially but the jam becomes more ambient and throbbing towards the end and taps into that same enveloping power found in the next night's "Halley's" jam.

Jam is well played but typical - then there is a long digital delay loop fade out instead of the usual closing chords.

> in from "Ghost." The band dexterously weaves together layers of hard rock, funk, and delicate, ambient space almost imperceptibly, as the transitions are so fluid. Difficult to break into easily defined sections or movements, it's more like a dynamically evolving life form. -> to "Slave To The Tr…

-> in from a monster "Bag." '94 and '97: Great years for Phish and for "Slave." But the styles (for both) are very different. This "Slave," like many '97s, has a feeling of gradual building, rather than skyrocketing from valley to peak.

Single jam format, but there's a lot going on in this funk filled fan favorite. Patient but clearly directed, the band works the basic groove over and over, adding texture and accent, swelling and shrinking the energy. Around 12:00, the focus shifts to quieter musing and exploration, before finiall…

A fan favorite show opens with a strong "Mike's Groove." "Weekapaug" begins with strong "Type I" jamming through 6:50, when it shifts to '97-style funk mode with a slightly dark tone. The funk ends with a "stop" and returns to "Weekapaug" in very good form.

This patient "Hood" has an extended and very gradual build. The peaking section in the final few minutes is quite glorious.

Starting off in a funky, mellow groove, the jam gradually grows legs and momentum with excellent contributions from all four. At about 18:00, the jam downshifts to a more quiet, pensive sentiment with occasional flashes of powerful bass and percussion. A must-hear classic.

Popular, widely circulated funky version. "BEK" teases.

Great, tight playing by all. Page adds some unusual horn-like effects as well as some descending piano progressions towards the end. > to "Black-Eyed Katy."

Extended, explosive jam. Vintage Fall '97 hard rock that reaches a screaming, full-band climax. Builds on the strong version from the night before.

Excellent version which develops its own groove with a somewhat dark undertone.

After a brief shift to major mode, the tension ratchets up noticeably. At 10:45, Mike and Fish break into a droning, repetitive groove which Trey and Page play over. This thunderous thrumming continues and -> to "NICU."

Improvisational, hard-rocking "Gin." At 13:00, following a well-played, "Type I" section, the jam breaks into 13 minutes of blistering, intense arena-style rock, before mellowing into great '97-style low-key jamming. -> to "DwD."

Some great, fire stoking playing by Trey as he brings this hot show to a fitting close.

Funk soars into some excellent, transcendent, arguably "hose" improv.

Funky jam has nice interplay between band members. Stacatto-ey at times with some "Manteca" teases. At 8:00 Mike starts a theme that they play around with for a couple minutes before Trey takes over with a solo that leads into My Soul.

An excellent version arriving midway through an excellent first set. Following a strong composed section, Page crafts an inspired passage, gently working a pleasant melody. Trey responds in kind, offering the perfect counter to Page's playing. While different from the typcially comedic "Mule-D…

Unbelievable playing by Trey and the others as the band builds to a HUGE peak and then drives up over another. 7/22/97 is (literally) electrifying; 8/3/97 is unusually improvisational. This version is just phenomenal, with masterful contributions by all band members.

This uniquely jammed out version maintains a heavy rock vibe for the duration and features multiple Trey solo sections. -> "2001".

First jam is stellar, highlighted by the 5:00-7:00 mark. Second jam goes "Super Bad" stop-start and your clothes will be shed on the ground. Segue into "Cities" is great.

Segues out of "2001." Nice mellow groove tacked onto the outro. -> to "Ya Mar."

> in from "PYITE." Soaring and shredding guitar playing by Trey. Stellar backing from the others.

Explosively funky, and extensive C&P teasing! (No B&D, no VJ.)

The little brother of 11/23/97. Funky beginning and a great, extended peak.

Although it sticks with the "Timber" theme throughout, this is an excellent, well-played version. High quality SBD available on the "Spreadsheet."

Like driving across a mountain range, this version takes you over the first peak, you drop down a bit, then back up again, and again up over the very top, before finally heading down for good on the other side.

Somewhat unusual mid second set placement, before a serious "Ghost." This one and 8/9/97 have a bit more of the traditional "Slave" dynamic, with a serious peak, rather than a gradual swelling like other '97s.

Raucous techno-funk with breakdown jam. [Strong funk through 9:45 when this one uncorks, quiets down to some cool low-key play, then rebuilds to a captivating and explosive finale and -> to "Johnny B. Goode."]

Slow and deliberate show-opener, featuring that signature Fall 1997 sound. Cool keys give way to soaring Trey. Fish drives great syncopation and full-band play. Great dynamics, as the sound is textured and nuanced, producing subtle and musical shifts in intensity.

No free-form improvisation like a big "Ghost" or "Tweezer," but within a self-imposed, rigorous construct, there is a hell of a lot of musical creativity going on in this characteristically '97-style stretched-out version.

Longest single Phish jam to date. Contains many different sections, and has been nicknamed the "Jim Symphony." Contains a thrilling "Weekapaug" jam.

Atypical version with a low-key funk groove tacked on the end in addition to the usual blues stylings. Unfinished.

Yin-Yang improvisational version. Following the expected funk, the jam breaks into 9+ minutes of lush, beautiful and delicate playing. But around 15:30, some dissonance creeps into the mix, and the boys then launch into an insane, heavy-metal "Pentagram Death Jam" with "Sanity" and "Esther" lyrics…

Has a magnificent, melodic jam in it beginning about 13:10. Pure unadulterated hose at one point. Unfinished with a -> to an excellent "Free."

-> in from a monster "Stash." The only performance in Fall '97. In addition to an excellent, extended version, the band tacks on a nice 4 1/2 minute ambient jam to the back end of "Free." -> to "Piper."

> in from "Free." A nice ambient jam emerges on the back end of "Free" and -> to "Piper."

Exceptional single jam version which begins in funk/rock mode and grows increasingly powerful until 8:30, when the jam shifts into serious funk mode. After 12:00, the jam quiets to delicate, introspective play, before regaining its original juggernaut sense of power and -> to "Simple." This is enti…

Features a Trey and Page duet. A gorgeous, must-hear version which -> to a must-hear "Dog Faced Boy" which -> to a must-hear "Ya Mar."

-> in from "Simple." A beautiful and inspiring "DFB" follows a gorgeous "Simple" jam, and is part of a HUGE "Mike's Groove." -> to "Ya Mar" as the great stuff keeps coming.

-> in from "Dog Faced Boy." Jam quickly moves away from conventional "Ya Mar" structure into a rhythmic, grooving foray with building intensity. "Crosseyed And Painless" tease," and a fantastic -> to "Weekapaug."

Thrilling, smooth -> in from "Ya Mar." This version completes a fantastic "Mike's Groove." "Weekapaug" starts off more slowly before coming up to speed, then dives into the thick funk. Swiftly after 6:00, the jam blasts off into an upbeat groove that keeps building, working the crowd into a frenzy…

Mellow - or offbeat - by "Zero" standards, the version, strangely musical, produces a fun and surprising "tripping up the steps" sensation. The band, clearly energized, performs at a much slower tempo, the song's customary forceful vibe created by shouting and Trey's deliberate, scuzzy soloing.…

Funkalicious! Great up-tempo version that highlights the band's peaking cohesiveness and improvisational talent during the Fall 1997 run.

A badass "type II" (and dark) groove develops before dissolving into space, out of which 2001 begins.

Long intro with teases and a signal. A wonderfully upbeat, major mode movement develops and continues for about 5 1/2 minutes before cycling back to "Bowie." The rub: it takes 18 minutes to get to this departure from standard fare. Unfinished with a fantastic -> to "Possum."

> in from "Possum." An excellent Fall '97-style funk jam develops on the tail end of "Possum" and -> to "Prince Caspian."

-> out of a jammed out "Possum." Trey takes the lead here, providing inspired melodic content. > to "Frankenstein."

Fantastic, very improvisational jam that is quite different than most including beautiful quieter parts. -> into "My Friend."

The '97 "Limbs" were a great vintage, and this version is another excellent bottle well worth opening.

At about 7:30, departs from standard "Julius" into several new directions. Returns to the song several times, only to venture out again, further into new territory, including funk and reggae modes. Perhaps fitting that the only, truly exploratory "Julius" transitions to the only…

The "Type II" version. The band breaks into a dissonant, spacey jam following the standard one that eventually > to "The Lizards." "Slave" purists may not care for this one, but cannot deny its improvisational aspect.

Would be interesting to know how many calories Trey burned while shredding the hell out of this one.

From a show known for its indelible second set, this terrific Fall '97 version lights up the first frame in the two-hole with a uniquely funky opening and then builds to full-power with heavy effects use from Trey. Thanks for the head's up from @jmart in getting this readded to the chart.

-> in from "Bathtub Gin." And, the -> is really top notch. Another stellar '97 version.

> in from "Fee." Modulation by Page with a crescendo pop gets this version cranked up, and then Trey adds some downright creepy effects to put this one into the mind melting category.

Just spectacular improv. MAGNIFICENT VERSION. MUST HEAR.

-> in from a classic '97 "Tweezer." "Izabella" breaks away from the standard at about 4:20 into an excellent and funky groove which -> to "Twist."

-> in from "Twist." First Piper to really break out into improvisation. Jam is raging at first, mellows briefly, and then gathers fresh steam. There is no closing coda section (which would become more customary).

Fantastic -> in from "Psycho Killer." Played at a faster tempo, this one is more of a rocker and includes a "Rocky Mountain Way" tease.

"Swept Away" and "Steep" sandwich. Flawless segue to "Swept Away."

-> in from "It's Ice." "Swept Away" and "Steep" form the meat of this "Ice" sandwich. > to "Steep."

> in from "Swept Away." Part II of the meat of this "Ice" sandwich. > back to "Ice."

> in from "Steep" to complete this version of "Ice."

Precise and coordinated modulation between major and minor modes by Trey, Page and Mike give this excellent version a subtle sense of tension and release.

The first "Tube" to break out of the box begins with sweet funk in the first jam, while the jam reprise drops into some space, builds back up to more funk, and coasts into the -> to "Slave". A fan-favorite.

-> in from an awesome "Tube." Fan favorite version. Trey is really out in front on this one, soloing beautifully.

"Timber" opens Set II for the 5th consecutive time in as many appearances. This excellent version has a slightly less dark and somber vibe than most and is an almost upbeat, contemplative piece.

> in from "Timber." Great, short version loosens out of funk mode briefly, mellows into more funk and -> to the first "Boogie On Reggae Woman" in 988 shows (last seen on 9/13/88). The "Wolfman's" release really comes in the sweet jam out of "BORW."

Busted out after a 989 show gap and segues smoothly out of Wolfman's Brother. The '97 style outro jam is distinct and deviates from the structure of "Boogie" at 5 minutes and is played at a slower tempo than recent versions. Transitions to a hot "Reba".

"Camel Walk"-like licks and polka scales in the intro. Very tight straightforward jam that ends with more polka-style chords.

The single jam has a funky bent at first. After working through some typical terrain, the funk comes back, especially after 8:30 when the jam takes on a "BEK"-like vibe, accentuated by some nice stop/start action.

The jam that emerges begins subtly, then grows some legs as Fish and Mike kick the funk into gear before morphing back into a quiet, contemplative jam. Extremely improvisational version. Seamless segue sounds at first like a move to "Bowie" but becomes "Timber" instead.

Segue -> in from a 30 minute "Simple," this version restores the jam to its typical place of darkness, and has an almost '95 psychedelic feel to it, with Fish kicking the percussion into heavier action.

High octane jam flames out at 11:00 into an excellent Page and Mike led minimalist groove which -> to "Maze." There is also a -> "DwD" from "Ghost" later in this show to complete the earlier, unfinished version.

-> from DWD, the second in a trifecta of excellent Mazes from December 1997. Page delivers meaty play in the first half of the jam. The tension that follows builds primarily from the push and pull between the speed and adrenaline of the rhythm section led by Fish, and Trey's guitar lines which seem…

Superlative even among the standouts. The best "Limbs" build to a peak that reaches the stratosphere, then gradually work back down to earth. Listen to this version for a prime example.

The jam keeps up a pretty good head of steam until about 12:00 when it settles into 9 minutes of high quality '97-style space funk/quiet bliss enhanced with delay effects. -> to "Roses Are Free."

Wild version that segues out of Roses Are Free. It's highly improvisational in that after about 3 mins of "normal" (so to speak) BBFCFM, a Sturm-und-Drang, plodding jam evolves and trudges along for a few minutes, and then the band drops out as Trey sustains a note, then a chord, and, well, nothing…

Blazing, rocking funk which -> to a "DwD" reprise. [A good, funky jam settles into some low-key grooving, then gradually develops a full head of steam, igniting into a blistering, raging eclipse which -> to "DwD Reprise."]

The Chairman of the Boards leads the way, but Big Red is no slouch either.

Another stellar fall 1997 version.

"Saw It Again" rocks along in full power mode for a good 5 1/2 minutes before mellowing into '97-style ambient space and -> to a high quality "Piper."

-> in from "Saw It Again." Very improvisational version that modulates back and forth between hard rocking bursts and quiet, pensive moments. Includes a "BOAF" tease and beautiful space before > into "Swept Away."

-> in from "Swept Away > Steep." Straightforward until 10:07, when the band launches into a post closing chord, rocking, funky, and cerebral "Jam." Great Fall '97 improvisation here with a -> to "Izabella."

-> in from "Prince Caspian." A rocking, funky and cerebral jam emerges at the conclusion of "Caspian." Great Fall '97 jamming with similarities to "Llama." -> to "Izabella."

At about 8:30, the opening chords are replayed, and the band breaks into a funky, upbeat 10 minute jam of exceptional quality. Must hear. SBD recording "From The Archives" available.

Clearly comfortable, the band works through the intro into an awesome "middle" section featuring, unsurprisingly, inspired and deft play from Trey. The song loses its shape to assume a different form, the jam cooling after the 5:30 mark to become decidedly - and pleasantly - spacey, before a spirit…

Lots of funk in this very good version. Page leads the way with his clav and piano work.

> from "Ghost". Filled with Trey and Fish's humorous vocal chanting, exclamations such as "Cactus", "Bring the Dude", and "Break it down Page!" initiate a chain of dissonant, heavy start/stop funk. Increasing in speed and intensity they build with the help of Trey and Fish's "Bring the Dude" theme.…

Excellent, adding an exclamation point to a multi-song "Mike's Groove." The jam dwindles into nothingness before -> "Catapult" and finishing strongly.

-> in from "Weekapaug." "Catapult" is sandwiched amidst a strong "Weekapaug." -> back to "Weekapaug."

-> in from "Catapult", with a "CYHMK" tease, to complete another strong '97 "Weekapaug."

The jam drifts away from the typical "Hood" quiet section into an ambient sort of section at 8:45. At 12:15, an excellent, rocking, and non-"Hood" rhythm kicks in and continues until 13:40, when a huge traditional peak erupts.

Nice mellow groovy jam that has some decent stylistic variation.

Mike and Page add a lot to the richly funky jam that becomes very repetitious, with Trey playing in a staccato manner.

The jam breaks into a nice funky groove around 8:00 and gradually winds down into space with delay effects.

A low-key and at times melodic and serene outro jam emerges from the standard before > to a solid "Simple."

Jam begins in traditional fashion but eventually there's a somewhat inexplicable key modulation from Trey. A very unusual version that also includes Page on clavinet for a stretch.

Guitar and piano jam with "Roundabout" teases instead of traditional Mule Duel. Eventually the whole band joins in quiet but suspenseful jam that is quality music.

A crisp, tight, high energy jam - the band is really locked in on this one. Shorter than some, but well worth the visit!

Blistering, high octane version with nice concluding transition space and a > to "Fluffhead."

Straightforward but well played jam, followed by some downright filthy funk jamming in the "Rocco" section.

Fearsome but exploratory jam. Moments of quiet settle are repeatedly upended by intense funk rocking. This legitimate monster "Disease" finally gives up a little belligerence only to -> into a very strong "David Bowie."

Excellent and thrilling version with strong musicianship. Mode shift out of typical (but very well played) "Bowie" at 13:55 into a great groove which peaks and returns to "Bowie" by 17:00.

> in from a strong "Bowie". Fun version with two "I Can't Turn You Loose" jams, one at the onset of the jam and the other appearing after the last chorus.

-> from "Possum". The first "I Can't Turn You Loose" section pops up early in "Possum's" jam and then > back to "Possum".

The main "Possum" jamming occurs here and includes extended Page lead sections on organ and piano, before Trey gets his licks in later on.

Another round of "I Can't Turn You Loose" puts a cap on a solid "Possum".

Absolutely locked-in version with seamless interplay, breakdown solos by Trey, Page, and Mike, and "I Feel the Earth Move" teasing. One of the greats.

First performance in 920 shows, opens first set of a highly regarded show. Nice '97 style funk/rock groove follows the lyrical section. A very unhurried, patient feel to this one. -> to "Taste", and is reprised and finished in the 4-part funk-fest encore.

-> in from an historic "Sneakin' Sally." Strong version, but quite different from most of the Fall '97 versions. Here, Trey solos beautifully, but Page's role seems far more restrained. There is far less of a full band build towards the end than musical support for Trey's incredible soloing. To som…

Great version where Mike and Fish drive the jam into improvisational territory, including some "Manteca"-like jamming around 8:20, and the ending section dissolves in a quiet but tense manner.

Opening an incredible 2 1/4 hour-long Set II, the second monster "Bag" combines the same elements as the first - funk, rock, and delicate space, but in a completely different manner and configuration. Includes "Third Stone From The Sun" and "Psycho Killer" teases with a > to "McGrupp." A must-hear…

With Mike and Page out front early, Trey ultimately enters the fray, and he and Page break into an eerie, counterpoint-based duet of sorts, with Mike and Fish nearly absent from the mix. Mike and Fish finally jump back in, creating a tense, throbbing sentiment which gradually dissipates with no con…

With no final refrain, an atypically uptempo jam breaks into a rocking/bluesy groove at 16:45 and -> to "My Soul."

In from BEK ->, the second "Sneakin' Sally" of this fan favorite show functions as a funky reprisal of the major bust-out that opened the evening's festivities. Jumps right into a jammed-out show-closing > Frankenstein.

> in from "Sneakin' Sally." Part 4 of an incredible 4-song encore, and this "Frankenstein" is jammed-out, taboot!

Compared to Hampton, a snappier, more uptempo funk groove unfolds and intensifies in the later stages with brief rock flurries.

Yeah, this is a badass version alright, with a monster, Mike-led groove (it is after all, Mike's song). It's got funk, but not as much as some of the other '97s. And it's got power. At around 9:40, there's a stop, and then a 2nd jam of sorts begins, delicate bliss mode play that sets up well for th…

Among the longest "Weekapaugs" to date, this version provides a fitting capstone to 1997. After 14 minutes of balls-to-the-wall, but largely in-the-box jamming, Trey, then Mike, then Page -- and after some Trey banter -- Fish, take solos to send the crowd hurtling towards 1998 (and "2001").

> in from "Tweezer." Despite its duration, at various points this version seems to lose its bearing, especially from 13:10 on. But it's well worth checking out. Includes a "Birdland" tease and is unfinished with a > to "Prince Caspian."

This is how to close a third set on NYE! Crazy-raw, rough playing by all!