The Jam Charts · phish.net's good stuff

Island Tour opener. Mike's bass lines keep this funky jam fresh, while Page transitions from the clav to the organ and piano. Also includes a guitar breakdown.

The jam almost immediately breaks into exploratory ground that is unusual for this period. Following an ending section without vocals, the jam at 13:10 breaks into a gorgeous ambient jam (first of '98) with "Frankie Says" quotes.

Crazy set-closing version where Trey just keeps the jam going and going, and then he converses a bit with the audience during the conclusion.

Debut has a crescendo-oriented jam that starts off relaxed and picks up punch.

-> in from "Wolfman's Brother." A heavy funk groove breaks out following the lyrical section with some great Fishman percussion. Great collective playing as the jam progresses and segues -> into "Frankie Says."

Exceptional, multi-section version. The jam breaks away from "Twist" at 6:30 into a serene and lush ambient soundscape. At 13:10, an effects-laden darkness overtakes and continues until a > to "Sleeping Monkey."

Show opening "Mike's" has a funky, well played 1st jam with little touches of ambient sound. The 2nd jam kicks off with a dark and powerful tone that gradually mellows into quiet musing which warms in sentiment and -> "The Old Home Place."

Arguably the funkiest "Weekapaug" ever, this one is essentially "Weekapaug -> Funk Jam -> Weekapaug." Teases of the song that would become "Mozambique," "C&P" (sung, not played!), "Nellie Kane," and "Brazil" are just gravy in this extraordinarily improvisational version of the Phish classic.

An incredible jam emerges out of "Roses" proper, opening Set II in a historic and highly regarded show. The improvisational jam combines dark sentiments, ambient sounds, major mode playing, and groove-based action. Must-hear version which > to a strong "Piper."

After a gorgeous building intro, this version is somewhat unique in that the jam follows the ending coda that was common in early versions of "Piper." The jam itself is restrained and contemplative, based somewhat on the ending coda.

> in from "Piper." Sort of the icing in the cake which brings the incredible "Roses Are Free" > "Piper" jam to an upbeat and celebratory close, before launching into the comic "naked guy" madness which happens in the ensuing "Antelope."

Fish says, "If you're gonna run up on the stage, just don't let Carini get you" in the intro. This prompts hilarious "Carini's gonna get you" harmonizing throughout the song. Intense straightforward version with Funky Mike in the "Rocco" section.

Some wonderful space-funk evolves into stellar, full-band, magnificent improv. Another version I underrated in the 1990s.

Mike doesn't get a lot of mention on this chart, but he is really rock solid here, underpinning the harmonic base off of which Trey and Page shine. Still, this version doesn't have quite the "extra mustard" of many '97 versions.

Elongated and groovy version suggests several possible future jamming directions while never straying too far from "Birds" itself.

Haunting intro and a grooving minimalist first jam. Trey pounces at the 9 minute mark and another Island Tour masterpiece is created.

> in from "2001." About 4:38 into the conventional "Brother," this one departs into a great, funky jam. Way beyond the standard, it nonetheless builds in tension and dissonance as the jam progresses. Includes a brief "DEG" tease. After the song, the band played a b…

Spirited jam led by Trey. (No B&D.)

Great first-set placement affords room for dark, contemplative playing. Although Page dominates, full-band interplay takes hold, with Trey providing strong counterpoint to Page. Fish serves as the unsung hero, adeptly using the cymbals to keep a vibrant pulse, and adding tension as this swirling ve…

Straightforward jam grows rhythmic, funky and exploratory legs, which lead to a seamless -> to a very good "Cities."

-> in from "Gin." Initially funky, the jam gets a little more rocking before some Mike-led quiet space and a > to "Sparkle."

At about 8:00, Trey launches into an extended, beautiful solo that is joined by the others at about 11:15 in a light, airy jam that segues -> to "Prince Caspian."

-> in from a stellar "Ya Mar." Hard rocking but thoroughly upbeat jam in "Caspian" settles into some beautiful ambient space before closing and > to "Maze."

Instead of Trey's solo, the band opts to -> to "Shafty."

-> in from "Maze." The band skips Trey's solo in "Maze" and debuts "Shafty" instead. -> to "Possum."

-> in from "Possum." A sweet-ass funk jam follows the marsupial and paves the path by way of a top shelf -> to a slow-tempo and super funky "Cavern," to close out the Island Tour.

-> in from "Jam." Following an excellent funk jam, a very funky rendition of "Cavern" is delivered which includes original and alternate lyrics. Great way to close out the Island Tour!

This is a cool and very different version. Combines great tension with a little ambient sound and some funk. -> "Cities."

Debut.

Debut. Includes dance (well, "dance") instructions and a somewhat extended Type I groove.

The jam moves from mellow funky stuff into a serene ambient mode and then -> to "Frankie Says."

Drum solo during the jam. Unfinished.

Intense "Type I" jam collapses into eerie space, rebuilds to "DwD" to close, then is followed by a really great 5 minute ambient jam before a masterful -> "Dog Faced Boy."

All over the map. Improvisation goes everywhere. A remarkable version, that's excellent in part. "Long Train Runnin'" teases.

Emerges from a spacey "Tweezer" and creates a mesmerizing groove. All four members are on point and create a beautiful journey into the improvisational galaxy.

Although straightforward, this version features a soaring solo by Trey.

Volcanic rock to Carmina Burana trance which passes through lush oceanic swells to the ring of fire. [Intense and fiery "Ghost" jamming morphs to pensive, melodic and dark ambient play, then brightens to upbeat and quintessentially '98 ambient transcendence.]

Nice version that gets beyond "Jim" into some great ambient jamming. -> "Prince Caspian."

Strong jam segment.

The verses are flubbed badly but Trey and the band make up for it with a unique jam. It's percussive, funky, and a little goofy, but definitely very Phishy. -> to "Water In The Sky."

Solid jam that starts to break away from "Gin" around 7:30 and gets rocking and funky with building intensity. Great Page.

Despite a couple of rough spots spread throughout, the jam section features a contemplative, but at moments playful Page, with an intense culmination. An iconic '98-style, ambient Trey-led "Jam" follows "McGrupp" proper.

A Trey-led ambient and serene "Jam" is added to the end of "McGrupp" proper, and has some cool background instrumental effects from the others.

> in from "Buried Alive." Conventional "Bag,", but a fantastic -> to "Ghost." A must-hear show as well.

A bold funk intro that is further highlighted by a raging and intense jam with a peak so high it is unscalable by its most ardent fans...the musical equivalent of absinthe injection by machine gun in a crossfire hurricane. [-> in from "Bag." An extended intro leads to a blistering hot straightforwa…

Great -> into "Cities" from a roaring "Ghost." Starts VERY uptempo, but there's a cool, smooth tempo downshift mid-first verse. Cool little guitar solo at the end taboot.

A more rhythmic and energized jam section than later versions. Great Fish and Trey.

In addition to this being a blistering hot version, at 9:30 the entire band stops on dime in the middle of Trey's solo, Trey thanks the audience, and at 10:00, the band resumes right where it left off.

Relentless, punishing, and hard rocking jamming place this "Piper" squarely in the same company as the 11/19/97 "Wolfman's Brother" and 12/29/97 "DwD." Like those monsters, this one eventually settles down. -> to "Makisupa."

Trey blazes a trail on his 'doc, RAGING LIKE MAD in this excellent version!

Awesome version with a great swingy theme to the jam that Trey keeps returning to. Mike is outstanding, and Page plays the Fender-Rhodes for a stretch, adding to the jazzy feel. Includes a "Stash" tease from Trey.

Strong playing in the early section, as is the case for many '98 renditions of "Moma". The jam segment is extended and has some nice, ascending melodic playing in the last few minutes. Outstanding version for this period.

A very nice "Type I" jam mellows into some quiet variations on the "Gin" theme, and then migrates to lush, ambient space.

A confidently sloppy, set-opening rendition gets aggressive as soon as the vocals end. In place of a solo, the band drones away in a heavy choogling mood with crisp Fishman fills, before Trey finds a descending riff, and Page responds masterfully with blistering organ.

Includes a groovy, low-key outro jam.

Calling this version among the greatest in Phish history is not an overstatement. Goes from serenely funky to balls-to-the-wall badass. "Things That Make You Go Hmmm" tease from Mike. At around 16:30 in this version the chord progression is that of "Wolfman's Brother."

Jam segment is blistering from the very start, and somehow the band maintains a ferocious intensity for about six minutes, after which the jam cools off into a rock groove, which coasts along for awhile (Fish on cowbell for a bit too), with Mike stepping up at times, and concludes admirably with a…

One of the earlier examples of the groove-based jamming that would blossom in '99 and '00. Mike takes the lead and Trey and Page gradually build off this, including a nice "First Tube" tease. The jam winds down in ambient '98 space.

Fairly straightforward "Simple" jam becomes spacey for a stretch, then takes off into stratospheric, rocking and guitar-driven improvisation.

Classic "Type I" version that lets go of the funk, making way for some blues-inflected power jamming with great Page.

Standard "Horn" -> to an incredible and classic '98 ambient jam.

-> in from "Horn." A superb cerebral and lush, vintage '98 ambient jam uncorks itself on the back end of "Horn."

Slightly extended jam with the beginnings of some exploration beyond the standard.

In addition to a stretched out, well-played jam, this version has a nice ambient closing that segues -> to "Simple."

"California Love" tease, "Manteca" theme.

-> in from "Tweezer." "California Love" is sandwiched in the "Tweezer" jam.

-> in from "California Love" to continue this "Tweezer."

-> in from "Tweezer." An awesome jam develops that is unique, with great Fishman and Page on the B-3. Unfinished.

Delicate, directed, and fantastic playing by Trey leads to a soaring peak. Mike and Page are great, too.

Encore version has Trey leaning into a heavy power chord riffing extravaganza out of the initial "solo" section. The jam threatens to go even deeper before returning to the lyrics, but after "Can you still have fun?" Trey proceeds to unload a furious, rapid quiver of wah licks for a slightly extend…

Trey employs a silky, milky-whammy sort of effect, generating a really groovy, laid-back jam. Extremely fluid, extended, and atypical jamming features strong, rhythmic play from all, the version coasting, moving pleasantly upon its own kinetic energy, not quite building but rather dissolving to cre…

Another version where the jam is made more interesting by starting with a nice swinging groove, and only very gradually building the intensity.

Good, funky playing before the lyrics. The main jam segment has a very nice peak and scat singing throughout.

Slow grooving at the Gorge combining funk and ambience. > to "Slave". Released on Live Bait Volume 9.

> in from "Makisupa." Nice, easy going summer outro jam follows typical "Ya Mar" jam. Followed by a big "Gumbo."

Slow funk groove with "Manteca" teases. Last few minutes is funky Trey solo and it finishes off with one slow chord.

On the heels of a show opening "Makisupa" and chart versions of "Ya Mar" and "Gumbo," and notwithstanding 8/2/97, this is The Epic Gorge Sunset Version. Just wish KS would release the sbd of this whole excellent show (also with a stellar "2001" and "Mike's Groove" in Set II)! [This petition has bee…

Longest "2001" ever, the first jam is longer than some entire versions of "2001". Second jam is as gorgeous and fiery as the scenery where it was created.

Some might characterize the heavy duty, groove-based 1st jam which continues to 10:55 as repetitive and dull. Regardless, the 2nd jam is so different, melodic, and inspired that bopping along to a sludge-like groove for a bit is well worth it for the ambient hose-down payoff that follows.

An exhilarating version highlighted by filthy funk, a nice "Taste" tease, and a chunky blues-rock groove to close, unfinished.

Great Wentian "Mind Left Body Jam"-like build into driving groove through "Who Knows" and "Manteca" themes culminating in blistering rock with "Ghost" vocal reprise. [Solid "Ghost" jamming releases, returns to funk with "Manteca"-like jamming, then builds to a raging and spirited celebratory blow-o…

"Things That Make You Go Hmm" teases from Mike. They would become very, very common from him from this YEM onward, especially during the B&D section. They are often not noted in this chart or elsewhere on Phish.net because he teases this riff so much. (No B&D.)

Set II opener. Trey uses a lot "wah" effects throughout his extended section. Trey proves he's still lightning fast.

-> in from "Tweezer." More uptempo, less of a bluesy feel than many versions. Page jumps back and forth between the piano and organ, and plays both simultaneously at one point. Trey and the boys rock this one hard.

With Fish nicely keeping time, Page embarks on a charged solo, playfully recreating Mike's bass line. Even with Page out in front, there is a growing sense that all are contributing to this classic '98 version. For the second consecutive time, an archetypal, ambient-style "Jam" emerges on…

Following a strong "McGrupp," Trey embarks on a melancholic, soulful, and ambient interlude. Thoughtful Page runs counterpoint, until Fish and Mike team to drive the jam more deliberately. Seemingly composed, this music cools into classic '98 space with delicate soloing by Trey, and then -> to "DwD…

The customarily great '98 "Gin" jam breaks into a funky groove at 13:45 and then gradually works back to "Gin."

This funky version segues out of a funky "Drowned." There's a breakdown for Mike and a sweet little solo around 4:40 from Trey, and a spacey ambient jam for about a minute at the end.

Great combination of rocking yet slightly ambient sound from Trey mixed with bluesy piano stylings from Page. > to "Harry Hood."

In the encore slot, the band extends the jam out into a nice, upbeat groove, and finishes the show by gradually cycling down their instruments, leaving only a Digital Delay Loop whirling away.

The Cosmic Tube. Funk jam with a reprise of the jam section. Spacey outro. Released on From the Archives-Superball IX.

After opening in a nice groove, this long single jam settles into familiar "Mike's" ground. After some "Manteca"-like jamming, the play settles and grows more funky. When Page hits the piano just after 14:00, the big peak kicks in with all guns blazing.

-> in from "Mike's." A gorgeous straightforward jam eventually dissolves into ambient space and -> to the debut of "Bittersweet Motel."

Funky groove into epic soaring balls-out rock and roll supernova that throbs smoothly into bluesey intro for "She Caught the Katy." [Quality and extended straightforward "Ghost" jamming eventually takes on a nice swinging blues vibe and -> to "She Caught The Katy."]

Around 8:00, the jam shifts into a really great upbeat and somewhat funky groove that eventually returns to "Jim."

Another barnburning, first-set-closing version.

Excellent, powerful version. The extended funk section includes some "Manteca"-like jamming. After a brief settle around 13:40, the jam breaks into a super, power-hose groove that rocks for several minutes before yielding to ambient space and a > to "2001."

Awesome top notch version. Following the customary Page and Trey solos, the band breaks into a low key, slighty funky, slighty ambient jam with a feel-good summer vibe. Then the jam takes on a darker but more energized tone.

No mere "metal Wilson", what we get here instead is several extra gallons of liquid fire unloaded, Hendrix-style, in an extended run up to the "You got me back thinking..." section and beyond before > to "Frankenstein". Explosive.

Very strong jam segment! (No B&D.)

Rocking bridge. A very subtle vocal jam can be heard from 5:33 - 6:55. A great rhythmic, "Manteca"-like jam continues following the (non) vocal jam.

"Lengthwise" sandwich occurs with Fishman singing the verses into his Electrolux.

> in from "It's Ice." Fishman sings the verses into his Electrolux. > back to "Ice."

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

> in from "Mango Song." Has a distinctly funky sound at first. Lots of great shredding by Trey. At about 4:50, breaks into a brief, funky, very non-"Brother" groove, then returns home to conclude.

> in from "Contact." Great Page section where there's a lot of back and forth between Page and Trey. Trey's turn is not as dissonant as many of the versions here, but he shreds it up pretty impressively.

Even people who dislike "Fuckerpants" should give this celebratory and high powered version a listen. > to "YEM."

Superb, legendary "Gin." An inspired, melodic "Type I" jam mutates into a thrilling, pulsing, tension-filled electro-rock groove. Many fans rank this "Gin" at, or very near the very top of all Phish jams of all time. Enough said.

Unlikely jam vehicle opens Set II. The jam breaks beyond the standard into swirling and rocking playing, before settling into ambient space with periodic "Buried Alive" licks.

Excellent jam combining funk and ambience, making this version a good representation of the band's sound at this time. > to "Kung".

Pretty straightforward, but a nice, stretched-out, rhythmic jam with a cool closing.

More relaxed and cerebral than the version from Prague, this style for the jam section would become typical for most versions through late '00.

Outstanding, R&B-esque, and quite melodic jam emerges from "Cities" proper that gets more and more rocking before cycling down. This is what the "HOSE" is all about.

Sweet, funky, almost bluesy groove. A great version.

A really strong "Type I" jam that is heavy on the funk. All members contribute significantly, but Page is especially prominent.

-> from "2001," sprightly, airy playing appropriately informs this "Magilla," which just as quickly breaks for "2001." Which, even more quickly, breaks for "Tweezer."

Gorgeous, stunning improv. A section of this version is transcendent "hose" IMO. Just phenomenally beautiful. IT.

On the heels of a mellifluous "Tweezer," this crisp rendering, while not impeccable, is still unusually sharp for this period. Page is notably strong in Who Do? We Do! and Clod, while Fish underpins a rock solid Bundle of Joy. Arrival erupts with great spirit, welcoming the boys home, after 30 minu…

Funk groove that sticks close to the "Boogie on" theme and features great contributions from all band members, especially Fishman.

"Manteca"-like jamming, lots of great Page on the B-3, and very strong Mike and Trey. Fun version with a > to "Ghost."

Rock star Page driving the mothership into deep outer space. [Follows the typical format, but with great contributions by Page and Mike. Then after 14:30, the jam breaks into an excellent electro-rock groove wich gradually recedes.]

A "Nancy" double shot, with "Halley's" -> "I Didn't Know." A Mike and Fish led funky, percussive jam initially springs out. From there, at least 3 distinct movements develop in a masterful, wide-ranging opus which includes "A Love Supreme" tease from Page.

A somewhat abbreviated intro leads to a funky, creative jam segment that's longer than you'd guess from the song's timing. "Sunshine of Your Love"-like jamming by Trey towards the end (9:30).

Funky super groove with a lot of "Manteca" teases. Very melodic Trey before an awesome "Manteca" ending. Page rage throughout. One of the strongest versions ever.

Fantastic version that has it all: delicate, intricate playing, a quiet tempered section that builds to a glorious peak, and then an orchestrated downshift concluding with serene, ambient space.

The jam moves beyond solid funk to a mellow, ambient groove that gradually develops some funky legs and > to "Talk."

> in from "NICU." Another strong '98 version in which Page plays a noticeably strong role, but Trey's no slouch either. > to "The Mango Song."

Funky but monotonous. "Running with the Devil" tease. (No B&D.)

Although the single jam segment follows a fairly standard structure, this version is a great example of Trey taking the lead and directing the jam, with strong backing from Page. With swirling and shredding guitar play, the energy ebbs and flows, before culminating in a final ecstatic peak which hi…

A really great funky, but low key, jam emerges on the back end of "Sally." -> to "Guyute."

Trey in his full 1998 guitar mastery glory. A nice visit to Nastytown in the second jam as Mike is liquid beast.

Not your typically pumped up "Piper," this awesome jam, driven by Mike and Page, is spacious but has real legs. "Sparks"-like tease at about 14:30. A fan favorite.

Very strong Page/Trey interplay, some good variation by Trey, and uniquely '98 sound combine for a quality '98 "Hood."

This very pretty and subdued version features notably strong playing from Trey and Page.

Jam breaks at about 5:45 into a rhythmic, wavy, slightly funky groove. Gets more funky, and Trey, and then Page (on the B-3) tease "Electric Funeral" (Black Sabbath). At this point, the jam really rocks until the ending.

Very strange version with no jam segment to speak of. (No B&D.)

"Type I" with extra mustard. Little sprinkles of improvisation all around on this solid version, including a great -> to the first "Time Loves A Hero" in 1,021 shows (last seen on 11/5/88).

A nicely stretched out version of a typical outro in this classic pairing of "Fee" > "Maze."

Obviously, Trey is playing the dissonance/tension card, but it's really Mike, Page and Fish in the background during Trey's solo who twist this extended version into the abyss.

An epic summertime odyssey of exploration, and among the best "Jims" ever. Loaded with improvisation and near-ambient sound, the opus closes with a "Maria" (West Side Story) tease and a triumphant return to "Jim."

After extending the normal outro, Trey brings back the bridge riff to usher in a calming, cyclical groove in vintage '98 style until -> "Slave".

-> in from "Ramble On." "Those Were The Days" and "Ramble On" teases. Page is great on the Fender-Rhodes before shifting back to piano with Trey leading a spirited finale that has a bit more gusto than most '97s.

Opening with a thick, soupy groove, this long single jam has several sections. The basic groove builds up until 7:15, when things settle down into more ambient/funky terrain. Around 12:00, led by Fish, the guys bring the big guns back out for a few minutes, before closing out with a grundge-like, r…

A bluesy jam emerges at 9:00 on the back end of the standard outro. An unusual version which > to "Rift."

The band rocked so hard in this mid-second-set version that they needed to cool down and segued promptly after it into "Sleeping Monkey." No joke.

"HYHU" and "Mission: Impossible" teases. "Who's Your Daddy?" VJ. (No B&D.)

Musically, 1998 falls somewhere between the crisp, hard rocking sound of the mid-90's and the subtle, layered grooves of 1999 and 2000. This excellent version provides glimpses of both.

"Manteca"-like jamming to start, then, slowly, a "Tweezer Reprise" jam develops, and once it peaks, it breaks down into a fun danceable jam with a nice segue into "Sanity".

Brief appearance by the MOOG.

1998 was also a strong year for "Limb." This Lemonwheel version is a case in point with a '98 style diminuendo ending.

They just kill it to close the third set!

Beginning with a clear nod to "Music For Airports," The Lemonwheel's "Ambient Jam" moves in and out of menacing riffs and gorgeous fluidity over a bubbling rhythm section as the band navigates tipping their hat to a dear influence, while also letting their voice bleed through. Around 16min there's…

This extended jam is vintage '98 Phish sound, with technically astute, but patient playing, and with contributions by all band members. None of the frenetic, guitar dominated fury of '92 - '95. But also lacking any real improvisational elements.

Around 12:00, the jam breaks from the standard into 6 minutes of heavy funk-based jamming. > to "Piper."

Relaxing cerebral massage with glow sticks and a "Foxy Voodoo" outro. [The jam here is ripe with iconic and lush '98-style ambient grooving. The most purely ambient of all versions, the band later molded "Ghost" to match its musical focus.]

First jam is cohesive funkiness and a clinic on full brand improv. "Crosseyed" and "Super Bad" with Trey on fire throughout. One of the greats.

Unique ambient interlude ripe with feedback before BLAT BOOM and then continues after until > "Mango".

-> in from "Hood." A spacey jam follows "Harry" to accompany fireworks marking the conclusion of the Lemonwheel Festival. Fish plays the trombone for a portion of the jam, which -> to "Baby Elephant Walk" (last performed 12/1/92).

-> from Neil Young's "Arc." Distortion and feedback fade away as the opening notes to "DBTR" begin. Neil leads the band through the song, and then the beginning of the jam sees fun interplay between he and Trey, as they trade solos. The jam is straightforward and hard rocking, as one would expect w…

Almost 30 years to the day (10/17/68) after the debut of the Steve McQueen film Bullitt, Phish provides a new score for the car chase scene. [Show opening bubbly and bouncing groove goes uptown and Trey and Page rock the house, then serene play nicely cools things off before a -> to "Water In The S…

Great funk section with some "Manteca"-like jamming early on. Never really opens up out of funk mode although it settles as if ending, then rebuilds with no return to "Wolfman's."

An unusual "Gumbo" as the jam stays relatively close to the "Gumbo" theme other than an umptempo, melodic groove that they lock onto in the beginning.

The jam proceeds typically, with strong soloing from Trey and great Page. Around the 14:00 mark Trey calls an audible, and a dark, bizarre, and somewhat ominous jam develops. This descends into an atonal morass, before concluding with Trey > into "Character Zero."

> in from "Velvet Sea." Intense, high octane version that has some swirling, high octave playing by Trey that would become common in versions from '99 and '00. > to "Frankie Says."

Fiery and intense version features some excellent work by Page.

The jam has a very gentle, ambient quality, and the build and peak sections veer away from the norm, at moments almost sounding like something other than "Hood."

Super, subtle, and very '98. Page drives a quiet jam featuring great Fish, and colored by Mike and Trey.

1998 is an awesome year for "Reba," and this HUGE L.A. version is a principal reason why. After breezing along in typical fashion, Trey summons a series of chords, and the jam enters a darker, more ambient space. This morphs into an awesome, deconstructed segment that would be at home in the "Tower…

-> in from a massive "Reba." Nice version with an extended and rocking outro jam which neatly -> to "Simple."

A minute of exploratory action (6:20 - 7:20) in a jam that otherwise is straightforward. But following "Rocco" there several minutes of eerie and spacey effects and chanting by Trey before the final closing.

Straightforward "Stash" begins Set II (rare Set II placement for "Stash") and has a superb -> to "Manteca," the first of 3 consecutive segues (->) in this set.

-> in from "Stash." Extended "Manteca" with an ambient feel rocks along and -> to "Tweezer."

Siiiiiiick Trey soloing! "Manteca" and "You Better Believe It Baby" teases.

-> in from "Tweezer." Straightforward "NICU" completes a string of great segues (->), comes to an end and > to a classic '98 ambient "Jam."

> in from "NICU." One of a number of great '98 ambient jams, this one emerges from "NICU" and > to "Prince Caspian."

Funky '98-style jam emerges, where Page on clavinet is the star. Rocks along until morphing into some more ambient, serene space, before a fantastic -> to "CDT."

-> in from "Sneakin' Sally." The -> is fantastic, and this is an excellent "CDT." It's "Type I," but very solid.

A pretty wild "Type I" jam with a super-charged ending that threatens to get out of control, but is ultimately well-executed.

Debut as part of the Velvet Underground's "Loaded" Halloween costume. First run is an upbeat rocker with an extended jam that stays pretty close to the "Rock And Roll" theme and groove. Released on Live Phish Vol. 16.

Fiery jam segues into a magnificently enchanting, psychedelic horizon.

Haunting Halloween Masterpiece. At 9:50, the jam descends from low intensity funk mode into 14 minutes of dark, chilling, effects-laden improvisation. A few movements to resurface are rebuffed, and the jam remains deep down until 24:00 when a bluesy shuffle provides some cathartic relief. -> to "Pi…

A good mix of funk and ambient elements in the first jam, but the jam reprise is where the band really shows their jamming acumen. Beginning with a darker/ambient feel, Trey gradually increases the intensity and leads the group into some jubilant jamming before the -> to "Drowned".

Shredfest.

-> in from "Drowned." Contrasting with 7/19/98, this version has a genuine blues sentiment to it, enhanced by Page's organ playing.

Beautiful, serene playing. At about 8:00, the jam amps down into delicate, contemplative playing.

Exceptionally long opening segment (11:30!).

A cool little jam develops with Trey plucking staccato notes, Fish rocking the wood blocks, and Mike playing way up high.

A somewhat dark and low intensity groove with a swirling sense and cool effects from Page develops as the typical "Frankie Says" concludes and -> to "David Bowie."

Unusual, somewhat ineffable version, which features more by way of wide-open spaces than compact, in-your-face jamming. Trey's 1998 style and tone is clearly on display, and the band does eventually coalesce to enter a bit more by way of a rocking, extended jam (listen for Page's interesting, and v…

A nice building intro leads to a hard rocking straightforward "Piper" jam until 13:40, when the jam mellows into a nice low-key and rhythmic groove with delay loops. > to "2001."

Great straightforward '98-style funk groove, and apparently one of Mike's favorites from Fall '98.

And... another gorgeous jam that eventually dissolves into serene space.

-> in from "Simple." At about 8:10 the jam downshifts from typical '98 full power "Caspian" mode to a more sedate and pensive one before a nice transition to "Fluffhead."

The jam immediately breaks into a great, late '90s-style groove, with loops and ambient funk, and seems far removed from the typical "Mike's" jam. Then at 9:30 the 2nd jam begins, a breathtaking and incredibly lush, beautiful foray filled with the distinctive ambient sound of '98. This melodic sect…

The ending chords are played, but the jam continues in a low-key manner while Trey addresses the crowd, after which the band launches into a furious, double-time finish.

After breaking into an upbeat, rhythmic groove, the jam works through several movements of beautiful, serenely ambient space, eventually building energy with a -> to "Ghost."

A graceful, powerful set closing version which features excellent Page piano action and soaring soloing from Trey.

Trey is excellent in this version, almost making it on par with the top versions from '97.

Nice rocking and funky jam that adds a little mustard to the typical "Free" jam.

Great, improvisational version that isn't the typical "Type I" jam, but which never gets far removed from "Gin" either. The jam progresses through several "Gin"-like sections, including rocking, funk, a quiet settle, a rebuilding of intensity, and a closing sequence.

FUNKY!! "Things That Make You Go Hmm" jam.

Jam starts off with some funky Clavinet work by Page before Trey sends the jam into an ambient soundscape with a loop. Slight build up at the end of the jam but doesn't get very far.

Machine Gun Trey is back at it in this powerhouse, albeit "Type I" version.

The sentiment shifts from blissful elation to hard edged rocker in this strong, well played "Type I" version.

Pretty high octane jam at first. Around 11:00, morphs into a snappy, funky phase. The energy builds as the jam regains momentum and space rage ensues. Jam abruptly segues to "Simple."

Page solos in the middle of the jam, and then the others gradually join back in to build to a high peak.

You enjoy my Ghost while I set fire to this transformer substation leaving behind a smoldering pile of carboniferous goo. [Great groove with awesome funky Page playing with all his toys, then Trey takes the con and leads the jam to an incendiary, multi-summit peak.]

"Wolfman's" -> "MLB Jam" -> "Wolfman's." "MLB" from 9:22 - about 11:52. Returns to "Wolfman's" with "Manteca"-like jamming then ends.

-> in from "WB." Cool jam for a for a couple of minutes in the middle of "Wolfman's."

-> in from "MLB Jam." Brief return to "Wolfman's" with "Manteca"-like jamming to conclude.

One of the longest versions to date. A bright, playful intro leads into a mellow groove, typical of Fall '98 "Antelopes", but what makes this version stand out is all of the little guitar flourishes. Amid the tranquility of the other members' playing, Trey brings novelty, dissonance, and a call to…

A hard rocking straightforward jam finally breaks into a great upbeat and swinging groove which works back to "DwD."

Stretching the boundaries of "Type I" jamming, this version is dark and ominous.

A really nice, low intensity jam emerges on the back end of "Meat" proper, and continues until > to "Hood."

Strong, above-average version worth your time to check out.

A very good version, especially given the year, when "Bowie" was well past its improvisational peak. Gathering power as it progresses, the "Type I" jam builds on classic "Bowie" fundamentals - dark under and overtones, mounting tension, and strong musicianship by all four.

Page solo > very quiet and pretty Page/Trey duet that is almost an ambient jam and is joined by Mike and Fish who add sound and energy. The jam grows quiet again > klezmer and finale.

Awesome guitar, great rhythm/piano/guitar interplay, and steady, solid bass back-up playing.

Has a superb, serene and delicate outro jam which @ucpete notes sounds similar to the ending of the "Waves" soundcheck from 5/26/11 (and he's right about this).

At 7:40, the jam leaves standard "Wolfman's" and moves into some great free-form improvisation that migrates from funky rhythmic playing to really beautiful, melodic and exultant music. The jam mellows gradually and -> to "Lizards."

Beginning with classic '98 ambience, there is ample delicate space early on. Yet Fish drives this jam to soaring, powerful heights, with Mike, Page and trilling Trey each masterfully responding to the rhythmic foundation. The final, well-coordinated push to the summit is epic.

An all around strong performance is particularly notable for a cool and different Fender-Rhodes solo by Page in Clod, solid Mike throughout, and a riveting and wild Arrival. Machine Gun Trey leads the charge, but in the style of 1998 rather 1990. Check this one out if you want to hear Phish blow th…

Soaring incandescent groove to old skool cow-funk culminating in full band screaming orgasm and a molten metal outro. [As a good dark groove gradually lightens and energizes, the jam takes an unexpected shift when Page hits the B-3, turning the expected peak into a dance party.]

Alien intro that Mike destroys with a liquid nuclear bass second jam. Each member has a section where he really shines.

"Manteca"-like grooving. 8 minutes in the jam slows down and leads to some weird noises, possibly involving a spaceship landing on stage.

VJ features a guest appearance by Heloise Williams of the band viperHouse.

"Type I" intense jam that builds to a serious peak with great interplay by all four. Cycles down with no closing. > to "Piper."

Super Page solo followed by ever-so-delicate-and-nimble Trey. Fish rocks the build-up with some serious drumming.

The straightforward jam is galacticly beautiful.

Fall '98 had some truly awesome versions!

-> in from "Tweezer." Extended jam that grows dissonant and off-key and also incudes "Born On The Bayou" teases.

"I Dream Of Jeannie" theme tease in a well-played version that briefly breaks away into a new groove near the ending.

Staccato Trey, groovy, multi-keyboard Page, a little "Manteca"-like jamming from 8:55 - 9:25, and even some "Fly Famous Mockingbird"-like riffing from 10:30 - 11:10 provide solid content. Adding Trey's blistering, rapid-fire playing at the peak easily put this solid '98 on the chart.

Rearranged and redefined (see History), the band offers another strong version, at home in another strong first set. The band breaks again for more ambient play, moored by some serious Trey sustain which fades to cool into a swirling ambient pool. After passing through a passage of concerted "noise…

An excellent straightforward version. Trey sounds like he's on a mission.

Great segue-oriented "CDT" launches and also includes multiple "Wipeout" teases.

-> in from "CDT." Brief jam on this English Beat tune before -> back to "CDT."

-> in from "Mirror In The Bathroom." The heart of the "CDT" jamming is in this section.

-> in from "CDT." A bluesy rendering of "Dog Log" -> back to "CDT."

-> in from "Dog Log." And back to "CDT" to wrap up this smoking hot version. > to "Sanity" for a nice cool down.

Short, low-key fade out jam tagged onto the end, which -> to "Mike's."

Fish begins the "H2" beat -> out of the post-"Mike's" fog, but the other members continue with a lengthy ambient intro before launching into the song fully, and then > to an epic "Weekapaug".

Stellar version begins with energetic "Type I" jamming and some excellent funk work before a -> to "Wipe Out."

-> in from a stellar "Weekapaug." "Wipe Out" makes its 2nd of three appearances in a thematic set, released on Live Phish Vol. 6. -> back to "Weekapaug."

-> from "Wipe Out" for a fast-paced finish to the conventional section of "Weekapaug."

> in from "Weekapaug." This "Weekapaug Reprise" starts out as a frenetic but typical jam, but quickly goes "Type II," relying heavily on effects to create a spacey groove. > "Antelope."

Unusually melodic and soulful soloing from Trey in the jam.

Solid Mike and Trey interplay during Trey's solo. Build-up is excellent and razor tight.

Much different than its '95 and '97 brethren, the jam in this version has that '98 swirly, ethereal tone, and Trey's guitar is far less shrill and dominant than in most earlier versions. Very well-played, especially by Page.

Page solo > Mike solo > Fish solo > Mike and Fish duet > conclusion without klezmer.

Very fine soloing by Trey and great interplay with Page on this solid, straightforward version.

Fierce version that ends with a very cool jam and masterful segue into "Catapult."

The jam swiftly breaks from the melodic and blissful standard to a high-power and dissonant one.

"Possum" -> "Wipeout" -> "Possum." 30 second "Wipeout" jam occurs at the beginning of the "Possum" jam.

-> in from "Possum." 30 second "Wipeout" jam occurs at the beginning of the "Possum" jam. -> back to "Possum."

-> in from "Wipeout" to return to the standard "Possum" jam.

A soaring, straightforward jam evolves into beautiful ambient space before before building into a rocking and funky groove.

FUNKASAURUS! (No B&D.)

Page has a magnificent solo, and then Trey waits for several measures before starting his solo. Very good band interplay during the build up. There is a cool little spacey cycle (just some long-held notes, to be fair) after the coda.

Multifaceted mind melter. Starts in typical brain-frying, hard-rocking mode, then paints an eerie, outer-space-like soundscape with chilling effects, and finally shifts into a rocking/bluesy groove.

An improvisational jam which goes through the customary progressions, then pushes on to some ambient jamming, more funk, creepy, effects-infused space, and finally space rage.

Page is the star, jumping around to various keyboards in this "Type I" but interesting and different space funk "SOAM."

Trey out in front instead of Mike. Swirling metallic jam that sounds more '99 or '00 than '98. > to "Limb By Limb."

Page in particular shines brightly (but also Trey) in this strong, full-powered version. Segues to a stellar "2001."

Possibly the best intro ever. This version has it all. Aliens, tractor beams, Trey flamethrowing, "C&P" teasing, Liquid Nitrogen Mike in the second jam. It all combines for 17 minutes of "2001" magic.

Dynamic, captivating version from start to finish. (No B&D.)

Outro turns towards ambience ripe with synthesizer and builds into a wall of sound before > "Maze".

Huge holiday version features extended "Manteca"-like playing (9:00), before Trey drops into familiar riffing. Super Fish propels the version, with Trey seemingly picking up "Manteca" again, before the band enters a great, full-band, mini-groove. Fluid and direct jamming builds to a false peak whic…

Improvisational and intense. Several sections in this far ranging jam foreshadow the swirling sounds and groove-based jamming that would dominate '99 - '00. Triumphant return to "DwD" to conclude with a > to "Piper."

Long serene intro. Trey's guitar is somewhat amped down from most '97 - '98 versions, and this restraint adds quality to the tone. Beautiful Trey/Page/Mike outro beginning at about 12:15 enhances the sentiment.

Full-band jam in place of traditional piano outro transforms Coil from predictable (if beautiful) set piece into surprising vehicle for textural improvisation. Unlike 5/8/93, this is not an unmotivated reentry by the rest of the band, but a smooth, natural progression: Rather than step back, the r…

Great intro with awesome Mike. The jam is basically a medley of "Wipeout" jams, with different little jams led by Fish, Mike, Page on the B-3, CK5, Trey, and Mike again. In the encore slot, this one sends the fans home happy.

The 1st jam is pretty chill and just grooves along with typical melodic lines. The 2nd jam kicks in at 7:35, and immediately drops into serene and melodic heartfelt playing. The band seems completely at ease, enjoying the warm and upbeat nature of the jamming.

Orgasmic "sleety" symphony which breaks down into throbbing B&D industrial metal that ratchets abruptly into "Ha Ha Ha." [The jam moves beyond the typical structure, breaking into gritty and pulsating play that bridges the ambient sound of '98 and sparser grooves of '99 and '00 quite well.]

Amazing -> "Cities."

Segues out of "Tweezer." Good funky version that gets eerie and spacey at the end before transitioning to "Velvet Sea."

Jam breaks away completely from "Antelope" at 6:30 into a nice, slighty dark foray. Returns to the standard by 8:00.

Follows "Auld Lang Syne" with the sounds of balloons popping on stage. The initially straightforward jam grows rocking and dissonant, then eventually calms to a quiet space.

An extended and very unique intro to 7:30. The delicate and spiraling jam foreshadows the sound and tone of '99.