The Jam Charts · phish.net's good stuff

The first jam of 1999 slowly, patiently, methodically builds and plateaus into a phantasmically pschedelicious soundcape full of wondrous, mellifluous stories that eventually coalesce into a mystical-yet-triumphant foam, bespeckled by bedazzlingly exquisite riffs by Trey on Gin's melodic theme, whi…

Debut. Instrumental bridge (jam) between 2nd and 3rd verses, and an instrumental outro after 3rd verse.

"Bathtub Gin" tease from Trey. Excellent version, and at the end, Page, Trey and Fish enter into a mock duel with several reprises of the "Maze" signature lick.

A different vibe to this version, it has a subdued, almost melancholy quality to it despite being well played. An unusual take on "Limb" and worth checking out.

Starts in customary manner, with a lot of bass and nice Trey. A kind of echo-filled groove develops, very mellow.

Debut version out of -> "Bug".

Jerry Douglas on dobro. Very cool and different sort of "WB" that is well worth checking out.

Jerry Douglas on dobro, Ronnie McCoury on mandolin and Tim O'Brien on fiddle. A wonderful version.

Jerry Douglas on Dobro, Ronnie McCoury on mandolin, and Tim O'Brien on fiddle on this bluegrass version. Great short version!

A frenetic bluegrassified version where Jerry Douglas, Ronnie McCoury, Tim O'Brien, and Gary Gazaway (El Bujo!) all take a turn in the spotlight to wrap up a massive Nashville sit-in session.

As if playing to extinguish the pouring rain, Trey's "soloing" is incendiary, a sort of in-your-face jamming possibly unparalleled. The jam isn't totally absent nuance, however, and play cools to become a bit introspective before the band nimbly works towards the song's conclusion and > "Caspian."…

Some really fine, unusually restrained but passionate soloing by Trey is followed by wonderful Page soloing without the usual noisy closing chords. Instead, Page's solo > to "YEM."

Phat and funky! Huge thunderstorm during this version.

Funky groove, with nice interplay between Page and Trey.

Enchanting. Page's solo features some unusual stylings and cool chord progressions. Trey's solo is a fairly simple, yet stunningly melodic, and includes a "Dueling Banjos" tease and playing vaguely reminiscent to "Faht". Different from the higher octane '97s, but definitely must-hear.

Very melodic playing from Mike. Includes a nice theme from Trey midway through the jam.

Mellow, easy going and stretched out version that gets away into a nice groove near the end. Very '99 sounding.

-> in from a big "Ghost." Played at a slower tempo than usual, one is lulled into thinking the slowed pace will make for a weak ending. Wrong; this is an awesome version, and includes "What's The Use" and "Dark Star" teases.

Debut. The spaciness of '99 compressed into one song.

The solo starts in a metal chug but then pushes away at the boundaries, getting into some interesting rhythmic interplay, and sloppily-yet-joyfully landing on a descending Zeppelin-like riff preceding "Mike Christian". Lengthy, noisy, free jazz-like improvisation, with several false endings, arhyth…

With a digital delay loop running in the background, Page and Fish crank up a nice rhythmic jam that grows very quiet in the final minutes before dissolving completely.

Borg landing intro. A minimalist first jam and a second jam that floats in a syncopated orbit. A true mothership journey.

MIIIIIIIIKE!!!!!!!!

Blockbuster encore featuring a young Derek Trucks on slide guitar. No need to write more.

The outro sticks to the "Fee" framework until 9 minutes when Fish picks up the beat, leading to an upbeat segment filled with the blissfull, atmospheric style of jamming that is so representative of the '99 sound. Eventually returns to Earth at 20 minutes and winds down to close. In the…

See Fee Jamming Chart.

At first a wide-ranging and quality "BOAF" jam, this version then moves beyond, breaking into a "Days Between" jam, and an excellent and extended "If I Only Had A Brain" jam with strange lyrics from Mike and Trey. One of the best "Birds."

Very easy going and relaxed feel to this version until the ending when the band cranks it up.

This version ends akin to Coil, with each member of the band having left the stage until only Page was left, soloing.

Awesome, improvisational version which proves that "Mike's" doesn't have to have 2 jams to kick ass. Immediately breaking into a lilting, un-"Mike's"-like groove, the jam settles down, gets punchy, settles again, all with a sense that tension is loading. The release begins at 13:30, and by 14:30, a…

Another extended, high-octane shredder from the late 90s, "Wilson's" most consistently strong era, and sets the table for the monumental "CDT" that follows.

Fantastic version that treads along the periphery of "CDT" for several minutes before making a total departure at about 8:55. Morphs into a blissful, celebratory jam, then gradually fades into a rhythmic pulse. Includes a tease of "In Memory of Elizabeth Reed" and -> to "Roggae."

-> in from an awesome "CDT." Some cool strumming by Mike and really the first version to mix the jam up a little.

High octave and soaring soloing by Trey in this fantastic version.

Overlooked gem. A really nice, ethereal "Type I" "Gin" morphs into a great jam on "I'm A Man" (Spencer Davis Group).

Very groovy jam eventually segues into some intense, beautiful space.

At about 7:25, breaks from the mold into an up-tempo jam that recalls the excellent "CDT" jam from earlier in this show. Version then morphs into a punchy, funky groove which transitions, unfinished, into "When The Circus Comes."

Played at a slower tempo than earlier versions, the first several sections are far from spotless. The pace seems to normalize during Fluff's Travels, and then The Chase proves once again why it is perhaps the most difficult of all sections to perform cleanly. Despite some additional bobbles, all is…

The jam breaks into a nice rocking major mode groove from 8:00 - 10:00 before returning to "Twist."

Following the final refrain, the band immediately shifts into minor mode and a moderately dark groove. Shifts back to major mode for a more upbeat ending and -> to "Roses."

Excellent version which ebbs and flows, swells and recedes, with Trey seemingly drawing heavily from a "Blue Bayou"-like melody (11:30). Mike alights upon a grooving bass line, which induces relaxed soloing, before Trey abruptly peels away and the jam assumes a darker sentiment. > to "Carini."

A funky, low-key, groove-based jam emerges around 8:40 on the heels of "Wolfman's" proper, and continues, growing ambient and spacey after 15:40. > to "Piper."

Great extended "Type I" version which demonstrates the song's potential as a straightforward jamming vehicle. Here, the jam moves beyond the typical Page/Trey interplay to a full-band swing with a relaxed beginning that builds in power to a soaring crescendo.

Killer jam segment! (Available on LiveBait Vol. 04) (No B&D.)

Coasts along in a low-key ambient groove, picks up energy and direction at about 16 minutes, and then returns to more of the same easygoing jamming until > to a very strong "SOAM." Longest version to date.

Epic, exploratory "SOAM" -> "Kung" -> "Jam." "SOAM" has excellent tempo shifts and dissonance before the -> to a wild "Kung," which leads to an incredible, multi-part groove-based jam (and which is really a return to "SOAM").

Epic, exploratory "SOAM" -> "Kung" -> "Jam." "SOAM" has excellent tempo shifts and dissonance before the -> to a wild "Kung," which leads to an incredible, multi-part groove-based jam (and which is really a return to "SOAM").

Epic, exploratory "SOAM" -> "Kung" -> "Jam." "SOAM" has excellent tempo shifts and dissonance before the -> to a wild "Kung," which leads to an incredible, multi-part groove-based jam (and which is really a return to "SOAM").

Some raging Trey in this high energy, extended jam that never quite breaks free from "CDT," but rocks HARD, including an accelerated tempo towards the end.

A solid, mellow groove jam, with a fair amount of "Manteca"-like melodic playing from Trey. The energy level gradually builds, but the jam is generally pretty even sloped. Although there is a brief 2nd jam, it's little more than a quiet transition to "Hydrogen."

A nice funky breakdown groove with strong Mike and Page concludes with Trey teasing "2001" several times before returning to "Weekapaug" to wrap up.

Trey takes the melody while Mike punctuates the funk groove with great slapping.

Jamming is groovy, and very cool at times (MIKE!), but still kinda dull for stretches. Good -> "Have Mercy"

-> in from "Have Mercy." Similar to, but more stretched out than 7/3/99. Yet it doesn't have quite the melodic bliss.

A brief blues jam is played while guest artist Son Seals leaves the stage. > to "DwD."

Blistering hot straightforward jam eventually runs out of fuel and gasps for breath for a stretch before regaining momentum and focus and returning to "DwD."

-> in from "Wolfman's Brother." Great relaxed jam emerges from the back end of this "Sally." Gathers energy with Page and Trey adding nicely to a solid Mike/Fish groove. > to "Timber (Jerry)."

Even further removed from the typical "Timber" jam than the '98 offering, this version is quite subdued and passively brooding. It gains momentum and power, but has none of the fury of earlier years. A high quality version nonetheless.

A nice, Page-led groove develops on the back end of the standard "Gin" jam.

With the Del McCoury Band. Another great bluegrass version.

Concentrated, quiet, and introspective play emerges from the composed section. Mike and Fish maintain a steady beat, and Trey's delicate soloing is complimented by really great work from Page. Super bass and powerful piano underscore great guitar and percussion, the jam breaking free to become less…

Breaks into a nice pulsing groove at about 6:45. Doesn't stray as far from "CDT" as the 7/10/99 version, but still great.

Fantastic, groove-based jamming, and this "Jim" has several good ones. Released on Live Bait Vol. 5.

-> in from a huge "Runaway Jim." Super lazy, summer-style Mike led jam. > to "Meatstick."

> in from "Axilla." Incredibly deft Trey playing combines with that unique '99 - '00 high pitched sound. Extended ending.

After a long patient intro, this "Piper" rages until about 14:00 when the jam shifts to a funky, multi-faceted rhythmic groove. This version has much more exploratory jamming than most '99 "Pipers," which tend to focus on a single layered groove. Cool Fishman percussion at the end leads to a -> to…

-> in from a big "Piper." Easy-going Camp Oswego version has some soaring Trey guitar work and a cool transition to "Wilson."

Deep into the last set of Camp Oswego, Wilson serves as the unfinished springboard to classic, ridiculous Phishery, preceding a Catapult and a series of narrations and jamlets that often rely on a Wilson-ish chug as a sort of home base.

-> in from "Wilson." Following "Catapult," Trey launches into several minutes of banter about the Guiness Book of World Records, the "Book", and other topics. The droning vamp played since the latter part of "Wilson" abruptly changes and -> to "Smo…

-> in from "Catapult." Nice jam on this Deep Purple classic. Trey adds some amusing banter about musical similarities between this song and Ted Nugent's "Cat Scratch Fever." > to "Icculus."

Uncle Ebenezer's frozen head revivified through the injection of a steaming hot blast of ectoplasm. [Mighty Mike's monstrous Modulus groove massacres the minions at Molson.]

Jam is groovy, punchy, upbeat and peaks well, but the vocal jam is atypically melodic and percussive, and even pleasing to the ears.

The standard "Train Song" > "2001" > "Misty Mountain Hop" sandwich. Power drop that wastes no time. High energy upbeat rocker. Don't get hit by Mike's laser beams.

Debut. Doesn't truly break free of "Misty Mountain Hop" proper, but it definitely chases after sheer unadulterated happiness. The classic hazy/swirly/gloriously happy summer '99 jamming, with "Disease"-like chord progressions and lofty whale call accenting the jam's peaks.

Definitely among the better versions even if it's "just type I."

Extended, unhurried and skillful soloing by Trey. Only very gradually does the band notch up the intensity.

Once again, the band uses the instrumental space in "Mike's" to launch a groove-based jam. In this one, there's a nice ebb and flow of energy, with great Page B-3 action around 7:30. As the jam progresses, it gets increasingly incendiary, with good '99-style Trey shredding.

-> in from "Simple." A swirling transition jam meanders for bit, but after 8:00 it finds its full stride, and the result is gorgeous and lilting improvisational playing. -> to "Caspian."

Mike is strong and out in front, leading another extended, funky breakdown jam. Gradually, Trey and Page take the lead back, riding atop the groove as it returns to "Weekapaug" proper.

Fairly ordinary, but much more spirited and up-tempo than 7/4/99, until the ending gets a little spacey.

Relentless molten neon electro rockslide that comes to rest in a glistening mountain lake. [Fish and Mike lead a fantastic, uptempo groove, and as Trey pours it on, you can literally hear the audience get whipped into a frenzy, then soothed with a great outro.]

An upbeat and snappy groove develops beyond "BOAF", which then bounces between spacey and pumped-up forays. The band was apparently playing along to a wild thunder and lightning storm occurring at the time.

Like 7/10/99, this version is notable for its improvisational Arrival section, as the earlier sections experience execution issues in spots. These few blemishes are overshadowed by an unprecedented, extended jam that emerges from the traditional Arrival and continues for over 18 minutes, beginning…

A delicate ambient jam emerges by -> from the tail end of "The Man Who Stepped Into Yesterday."

> in from "Tweezer. The band compensates for a botched and sloppy composed section by seriously stretching the ending segment (-> to "Jam" according to the Setlist) in a largely "Type I" manner that is upbeat, and with great guitar playing by Trey in his style typical of 1999. > to the debut of "Th…

-> in from "The Mango Song." Follows a sloppy and mistake-filled attempt at the traditional song. To compensate, Trey leads the band in a spirited, well-played and extended "Type I" "Mango" jam.

Fiery and well-played but with a spacey outro jam.

The typically good natured "Makisupa" takes a comedic turn into "Happy Birthday" to celebrate CK5's birthday, replete with "rasta style" playing, a Mike bass solo, humor from Trey and Fish, and a CK5 light solo.

"Happy Birthday" (first version since 9/30/91) to CK5 as the meat of a goofy "Makisupa" sandwich.

"Makisupa" resumes to complete a fun filled birthday sandwich version in honor of CK5.

Extended funk groove. Mike holds it down while Page and Trey play off each other very well. Returns to the "Boogie on" theme at 10 minutes.

An excellent, upbeat and uplifting jam develops beyond "Birds" proper. The jam then gets dark and brooding before -> into "Walk Away."

Viewed as a groove-based jam, there is a lot of improvisation going on including some great syncopated jamming (which occurs again in the excellent "Suzy" that follows). But compared to versions from 1994 and earlier, there is no radical departure from the basic song structure other than a brief se…

Awesome version that Includes a jam based on Stevie Wonder's "I Wish" and a syncopated jam built around Page.

They can encore with this amazing version any time they want! Fantastic climax in the jam, and a short bonus outro-jam!

Standard "Gumbo" jam breaks down into a nice ambient jam. Trey sets some loops with Page adding beautiful piano. Segues nicely into "NICU."

The jam moves beyond the conventional structure at 9:00 into several sections of high quality improvisation. > to "Piper."

Soaring, but essentially a straightforward version has an elongated concluding section with a > to "DwD."

> in from "DwD." This spacey jam is dominated by heavy feedback from Trey. At the very end, Fish starts up the rhythm for "2001," but Mike takes control, leading the band with a -> to "SOAM."

Straightforward rockin' version morphs into type II spacey haze that segues into -> Ghost.

A twilight stroll from the fields of heaven through the garden of infinite pleasantries that culminates in the discovery of the noisy generator powering the lanterns in the garden. [Fish is noticeably strong in a tight "Ghost" jam, which then breaks into a great Page-led groove, mellows to sublime…

Prompted by a vocal Trey, the band launches into extended and impassioned jamming, Trey's tone and truly spirited soloing working well to capture, at least in part, the zeitgeist of the touring year.

The duration of this jam may recall '94 -'95, but whereas those versions used their length to range far and wide, this one threatens to break away several times, but ultimately stays within striking distance of home, and explores explores every inch of the Type I "Bowie" format. Still, a notable pe…

> in from "Velvet Sea." Ethereal version from Japan has an almost other worldly quality that captures the essence of the band's sound and tone in '99 and '00.

Tibetan monk Nawang Kechog on horn and Fish on vacuum. > to "Brian And Robert" with Kechog on wooden flute.

Trey shreds and deploys effects, before a closing jam occurs (which is nothing like "Simple") during which Trey introduces the band ("Barney Rubble on the drums"). Insane version.

The jam veers away from "SOAM" at about 8:30 into a quiet, thought provoking direction before returning to the standard.

Unusually soulful, melodic solo from Trey. "Velvet Sea" tease.

An excellent, somewhat overlooked version which begins with a dark and funky repetitive groove. The temperature gradually reaches the boiling point, at which point (8:40) the 2nd jam kicks in, a soothing, beautiful and ambient one that perfectly captures the unique '99 tone.

This great version moves from "Stash" teasing through to powerful Page soloing. Cut from a cool vibe, Trey's playing is inventive and on-point, with great modulation through the conclusion.

Haunting and eerie version that is very unique. Trey and Page deploy effects to create a chilling, lunar soundscape.

Add nine grams of ground decarboxylated cannabis to nine ounces of Bacardi 151. Heat mixture to 151 degrees Fahrenheit for ninety-nine minutes. Strain and decant through nine ice cubes into nine medicinal glass vials. Take nine drops over the course of the next nine days. [An ethereal version, lush…

Major "type II" version. Twisted jam. Coasts along in a dull fashion but then eventually goes batshit crazy, with a HUGE PEAK! Ends with space. Must-hear.

Similar to the typical harmonics-laced outro, but Fish is more active and Trey's playing is also atypical.

Phish debut.

Jam quickly moves beyond funk mode and gives way at about 8:00 to a nice swinging, high power groove with no return to "Wolfman's." This rocking jam eventually burns out to transition space and -> to the debut of "Sand."

The great debut version begins with a -> out of "Wolfman's Brother". The groove remains constant while Trey solos extensively with gradually increasing intensity.

Very nice intro section. The jam is great, and curiously seems to shift back and forth between '99 style high octave playing by Trey, and the predominantly power rocking style of '98. > to "Hood."

A really graceful, gentle jam develops with great interplay. Although it gains power, it never loses the blissful '99 sound.

Light years distant from the rocking, improv-oriented versions of '93 - '95, this "Type I" version, played at a slightly slowed tempo, is just incredibly beautiful, blissful music with great Trey and Page.

Colossal virtual reality train ride across the wind-swept moors of ninth century England diving into a vortex which dumps out into orbit around Saturn. [Departs a high energy "Ghost" at 14:00, breaking into a great bouncy groove which then become otherworldly and effects-laden, similar to the end o…

A masterpiece light years removed from the two big '97 "Bags." Spare on funk, the jam embarks on a somewhat dark, swirling journey. Eventually it grows upbeat, picking up rhythm and energy, arriving at a great rocking groove. Finally, it becomes eerie and outer-space-like, with Page creating chilli…

"Another One Bites the Dust" jam leads to a funky groove that has a cool stop-on-a-dime ending.

Slow and very enchanting (after a creepy segue!).

Following some soaring straightforward play, at 6:00, the jam settles into a great low-key groove. Trey and Page build the intensity, leading a climactic and spirited return to more familiar ground. Trey's playing is incredible at the peak.

The typically high energy "Piper" jam settles down after 12:00 into a low key, blues-tinged exploration, with quiet, looping space bombs from Trey, and great Mike/Page grooving.

"YEM" jam with PHIL LESH! (No B&D, no VJ) -> to a Mike and Phil bass "Jam."

-> in from "YEM." Bass duet with Mike and Phil Lesh.

Short, but VERY sweet.

A laid-back jam with Mike in the driver's seat featuring some staccato playing from Trey and Page.

The intial funky jam seems to be coming to an end at 9 minutes, but the jam picks back up and grooves for a few more minutes while Trey plays lead before the jam shifts to soaring, melodic "hose". Returns to "Boogie" with breakdown solos from Mike, Trey, and Page. Must-hear.

Spacey wah-groove in the outro. > to "Free."

Huge, powerhouse version, featuring incendiary, Jimi-esque Trey, and pounding Page. More wall of sound than musical, the jam drones until, set off by some scattershot riffs, play cools to assume a remarkably chill, wavy groove, full-band improvisation suspended in sound somewhere between 99 and wha…

If not quite a carrion, than perhaps a clarion call to the desert's mystic surroundings. Trey breaks from the vocals to launch an all-out assault, his signature 1999 tone on full display. After setting a loop, Trey's beautiful, patterned soloing, artfully phrased, is matched by Page, with Mike soon…

A killer Antelope that starts off with swirling, whirling loops and a relaxed energy typical of Fall '99, builds up tension by Trey playing some stabbing chords, then builds to a ferocious peak. Proof positive that Antelope still had its fastball even after the mid-90s.

First five minutes are a spacey, black hole, acid trip. Then Trey unleashes pure savagery. Second jam is a sweet groove with space birds and dance beeps gracing this "2001".

Straightforward jam, in some ways similar to 9/12/99, but also different. This one comes closer at moments to breaking into a groove outside of "Gin" proper, and also features incredible trilling by Trey.

Delicately but very deftly performed. Great teaming by Trey and Page in this graceful version.

Great, multi-section version, including some enchanting, melodic, and "Gin"-like hose jamming from 11:50 - 14:15 with fantastic playing by Page. From here, the jam grows delicate, spacey, and -> to "The Lizards."

Nice extended jam that has a very quiet mid section, a great peak, and strong playing by Trey.

"Caspian" seems to reflect the band's musical direction and style at any moment in time more than most songs. This version, like 7/31/99, gives a broad sense of that tone and technique in the late pre-Hiatus period. > to "R&R."

The Borg lands and brings along some dance party, space beats. One of the biggest "2001" grooves culminates with one of Trey's great funk riffs with about 2:00 left.

Guests Michael Ray (Trumpet) and Tim Green (Saxophone) propel a fun, unique take on Page's scripted instrumental. A cool interlude follows intense brass - a nice touch of Trey - before morn horns push the version to its strong conclusion. Fans of the jam should stick around for the rest of the firs…

"Call To The Post" tease early in the jam. Although it stays mostly within typical "Birds" territory, this version begins in a more subdued manner, only gradually picking up energy before a blistering closing.

Swirling, funky and laid back jam in this "Sally."

The jam here starts out strongly and improves from there. "Rockstar" Trey is on display in this excellent version, taking advantage of multiple opportunities to add shredding color with his uniquely '99 style and tone.

Very beautiful ending to a strong jam that resembles 9/18/99 quite a bit but without the intensity.

This has an extended jam, as many in '99 do with whistling in the long jam segment. Some nice melodic playing from Mike, including a passage that sounds quite a bit like "Stir It Up" after the six minute mark.

Unusually upbeat "Sweet Home Alabama" VJ. (No B&D.)

Alice in Wonderland on DMT. This is "2001: A Space Odyssey". The first jam will send you to another galaxy, while the second jam will blow your brains out. An all time great.

A classic '99 "Gin." Trey's tone and soaring but shredding playing in this straightforward version evince the unique style and sound that could only belong in 1999.

Somewhat bluesy groove with a "Can't Turn You Loose" tease from Page. Big crescendo of noise near the end.

The jam heads into swirly and spacey waters with the lush sounds of '99 before the "Good Lieutenant" (Trey) makes intros.

After rocking pretty intensely, this version mellows into a "Manteca"-like jam for a stretch that also sounds similar to the jam from "BOAF." Eventually devolves into space before > to "YEM."

An early, bass-led section, unusual space mid-jam, and a brief major mode shift distinguishes this one from the vast majority of '98, '99, and '00 versions which are almost all entirely "Type I."

Sweet version with Sugar Blue on harmonica and vocals and Son Seals on guitar.

Strong version. There's a delicate, staccato solo by Trey at 1:55, and a short, up tempo jam around 4:00-4:40, led by Page. Good outro jam too, with, again, some jamming reminiscent of "Stir It Up". A spacey jam emerges out of the end of "Makisupa."

Wah-groove and clav early on and then Trey takes the lead while Page lays down layers on the organ.

A cool and different single jam version, with Trey on the mini keyboard at first, while Page and Mike rock out. Trey jumps back on guitar around 6:30, laying down iconic and swirling '99 sounds. Things settle down, and the stretch after 10:00 features great ambient sound.

Trey gradually joins in with Page's serene and contemplative solo, offering his uniquely '99 tone in contrast to Page's classic piano musings. Sounding as though it may end in an uncharacteristically subdued manner, Page and Trey instead drive the playing out for another brief circuit, before closi…

Similar to other versions from this period, but Trey shreds the ending part of the jam like a madman here. > to "Golgi."

The jam drops into a rhythmic groove right off the bat. While never far from home base, it's a different and cool version and well worth checking out.

A propulsive and swirling jam develops with nice Page and Trey teaming. Eventually settles down into a quieter, serene, and cohesive mood.

Very long, spacey jam. Brief "Sand" tease.

A drive up Saddle Road to the summit of Mauna Kea to watch the sun set and the sky explode with stars. [Classic '99-style "Ghost" jamming breaks into a serene and light groove that some hear as "My Left Toe," but it's not. Instead, it's just great Phish. -> to "Free."]

Excellent version with strong playing. The jam hits usual peak indicating the song's finale - then at about 8:30 breaks into a low-key groove that works its way back to the "Limb" theme with a soaring peak.

Killer intro that creates one of the most upbeat, grooviest dance parties Phish has ever thrown down. So much goodness.

According to an unconfirmed story, Phish played this emotional encore to honor a fan tragically killed in a car accident on the way to the show. There are powerful moments prior to the jam and a somber sentiment at the beginning, which miraculously transforms to an uplifting, joyful celebration by…

Cool version and another unmistakable "99". Trey's approach is notable, in that he opts for more direct and straightforward, fiery play, which, offset by Page, builds not so much to a peak, but a crazy sort of cacophony. This culminates in a grinding, shreddy sort of release.

Some gorgeous major-key jamming in this one (from 9:00 - 11:15) and good staccato playing by Trey later in the jam.

An ambient jam, uncharacteristically darkish in tone kicks off Set II and > to an excellent "You Enjoy Myself."

TWO AWESOME JAM SEGMENTS!!!! (No B&D, no VJ.)

Wah-groove from Trey.

The standard "Gin" jam morphs around 14:25 into a raging, intense "Piper"-like beast before flaming out and -> to "2001."

The Space Birds are out in full force. All kinds of originality, none of the cliche riffs.

Odd glam-rock repetitive jam segment. Silent jam. -> to "Little Drummer Boy" VJ. (No B&D.)

-> in from the "YEM" vocal jam. A capella version.

Sort of a call and response between Trey and Page that becomes more of a Page-led jam. A very different, relaxed vibe.

Departs from "Limb" proper around 8:00 and heads into a dark, subdued jam during which Trey plays keyboard for a good portion. Not to everyone's liking, but more exploratory than most versions. Returns to "Limb" to conclude.

The jam begins with a haunting, scary groove over the basic structure. At 9:30, there's a transition segment with standout playing by Page and Mike. Then at 10:45 Trey hits the keyboards in a weird sonic combo. Released on Live Bait Vol. 7.

A strong, prototypical '99 "Gotta Jibboo," with patient and careful Trey/Page interplay at first, a smooth and linear - but predictable - build up in energy and tension, and culmination in an intense, if somewhat short peak. One of the strongest standard '99 "Jibboos."

The closest thing to a "jammed out" version of "Taste" (before 2017), as the band stretches Trey's solo out into a very extended and mellow groove, before returning to more familiar ground.

Wild improv in this excellent, thrilling set closer that peaks well.

Loosely segues out of "Mike's" and includes a very atypical jam that "goes type II" and RAGES before eventually cooling down, spacing-out, and seguing well into "Hydrogen."

An excellent, rollicking, and very upbeat jam develops immediately. Quiets down slightly at about 16:00, but regains momentum and a different vibe around 20:30. At 24:10, the jam finally slows down, taking a blissful few minutes to transition to "Coil." Includes a "Gotta Jibboo"…

Fantastic groove-based "Gin." The jam quickly leaves "Gin" behind (at 6:50), breaking into a groove that paints a beautiful, serene, and otherworldly landscape. Page's deft use of effects adds to the scenery. A very unique "Gin."

An upbeat groove develops away from the standard that has an almost an "Gin"-like vibe to it before returning to "DwD."

A nice percussive, somewhat dark, jam emerges that is unusual in its sentiment.

Per @sandyfr "Closing a strong first set, this Antelope starts with some classic siren loops, before moving beyond the standard fare around 9:00, gradually losing any form of sensible key. The music morphs into an atonal wall of filthy harsh noise, as the alien mix of shoegaze and free jazz create…

Explosive trance.

The jam downshifts from typically high energy "Piper" fare to a subdued, low key groove with spacey Page effects.

"Tweeprise" VJ! (No B&D.)

Extremely textural version that builds a "wall of sound." Doesn't do much IMO, but mileage varies.

Careful and patient, the front half of this jam features strong Rhodes and synth work from Page, to create a twinkly and spacey vibe. The band slowly accelerates this "Gotta Jibboo" to a smooth pinnacle, with multiple, very pleasant peaks; other "Jibboos" peak harder, but this one peaks cleaner and…

Page Solo > Mike and Trey duet > full band jam that is really upbeat and rocking > conclusion.

An extra funky jam kicks off a great set.

Endurance run through the Nevada desert crests the ridge into the Groom Lake Basin to behold the arrival of the mothership. [-> in from "Sally." Strong, slow tempo straightforward version with great Mike blasts off into deep outer space after 13:00 and explores the universe before -> to "2001."]

Emerges from "Ghost" and becomes a Haunted Space Halloween. Incredibly slow pace. This groove is one for the ages.

If you're looking for a good groove-based jam coming out of "Drowned," this is a more dynamic, propulsive and multi-sectional option than Big Cypress. It's solid, not epic, but well worth checking out.

Trey sits back while Page and Mike take the lead before ending the jam with some great lead work.

Thick swampy groove. Descending chord pattern in the middle of the jam, but not MLB.

High energy version with intense "Type I" jamming between verses. A propulsive, rhythmic jam follows.

Trey's lead playing is thematic and anthemic in this great version which begins as a textural soundscape. "Gotta Jibboo" bassline tease.

Another exceptional version with solid playing by all, but especially Machine Gun Trey who rips a glorious peak.

Compared to most '99s, the jam here breaks earlier into a light, textured groove that intensifies as it returns to "DwD."

A gentle straightforward jam transforms into a nice groove-based jam around 10:30 and eventually works back to "Gin."

Jam starts in typical fashion, but then Trey hits the keyboards for an extended and very different version.

Very patient and gradual build in the jam.

Although this one takes awhile to get going and the "Spreadsheet" recording doesn't do it justice, Trey trills like his life depends on it in the spectacular peak of the jam.

Initially, the jam revolves around a menacing, effects-laden groove. Trey then hops on the keys to inject some melody and later expands on those ideas on guitar before the jam builds to a screaming finale.

Typically melodious and soaring "Wading" fare abounds in the solo section. As the closing vocals appear to signal the end, a ghostly ambient wash then creeps in and makes itself at home before moving > "Tweezer"".

A magnificently lyrical Tweezer pulls together ideas the band toyed with throughout 1999. Trey hops on keyboard to start the jam, building layers with Page. Fish & Mike generate momentum, but Trey remains patient while Page lays down beautiful chords. Trey takes the bait at 12:30 mark, and unloads…

Decent jam that veers briefly away from the standard form.

A spacey, quiet jam with building energy and effects from Page spans the gap between "The Moma Dance" and "Bug."

Rooted in the improvisational millennial groove of '99, although perhaps more repetitive and even plodding at times, Fishman largely leads the jam until about 8 mins in, when Trey adds some space vamp. At 10 mins in, Mike changes course, and the jam takes on a menacing, heavy tone, continuing to bu…

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

An average "2001" becomes great when a Frampton "Do You Feel Like We Do" jam takes over. Bob Mayonnaise on the keyboards ladies and gentlemen.

Ambient roar.

A wonderful compact jam that starts with some dark energy but soon enough taps into classic '99 sounds and soars into the stratosphere. Welcome to Big Cypress.

The wild Big Cypress version showcases some cool staccato playing (see also "Plinko") in the middle and an unusual jamming style, while still staying pretty close to the normal theme.

Though the band starts in a metal chug similar to other versions in the era, Mike is in a much more exploratory mood than normal, bringing the band briefly into a major key, and later initiating several interesting rhythmic exchanges.

A stunning, gorgeous jam.

"Immigrant Song" teasing early on sets the tone for this dark, angry wall of sound. A single jam segment, but it's heavy duty stuff, filled with spacey effects and a driving, seemingly accelerating Mike and Fish-led groove.

Great lead work from Trey and some nice fills from Fishman in this one from Big Cypress.

Multi-section, improvisational groove-based jam, including typically dark "SOAM" grooving, funky upbeat major mode jamming, and a -> to "Catapult." Vastly different from 7/15/99.

-> in from an excellent "SOAM."

Laid back but joyful millennial celebratory groove. This is feel good music. Unfinished with -> to "Llama."

A very different "Gin" begins with extended vocal jamming through 9:25, then shifts to an enchanting groove.

A tranquil ambient groove emerges with delay loops and an eerie Page solo on the Fender-Rhodes. -> to "Prince Caspian."

This wide-ranging, 30-minute monster from Cypress starts off in an excellent bluesy groove, before quieting down to a percussive, groovy, organ-led cowbell movement with anthemic riffing from Trey. The jam then coasts along at a low simmer, with very quiet, introspective playing and massive bass bo…

Crowd-assisted CHEESECAKE VJ. (No B&D.)

This is one of the center-piece jams of one of Phish's most storied and highly-lauded sets. This one quickly hits a slow groovier jam. With a good foundation set by Gordon and Fishman, Trey and Page have ample room to explore several gorgeous and melodic passages.

The masterpiece of the '99-'00 style "Sands" from the early morning at Big Cypress. A dark groove develops with all sorts of eerie effects added to the mix. Trey's lead work is scintillating and gives the jam an ominous feel as it builds to a devilish peak and then transitions to the hypnotic secon…

Debut begins with the deployment of Mike's Siket Disc vocal sample in the midst of the meditative, ambient jam which emerged from "Sand". Guitar and keyboard delay loops are eventually joined by a fuller arrangement but the volume never rises above a reverent hush.

The longest "Type I" version. If you like a slow, really stretched out "Slave," this one is for you. But the peak is nothing remarkable, in fact it sort of collapses under its own weight.

-> in from "Drowned." A patient, sparse, and well-textured groove-based jam.

New millennium Swamp Worm (it was played about 4:00 AM on 1/1/00) opens with all guns blazing before settling down with a Mike and Page led groove including "Bug" teases from Page.

Launches into phenomenally intense improv almost from the start as it embarks on an at-times-breathtaking journey. Eventually grows dissonant before briefly regaining its feel-good vibe.

35th song in the second set is the infamous "Hood" fake out. Breakdown at 5:40 is sicknasty and Trey sounds as fresh as he did in 1983. Second jam features a reggae filth groove.

Closes out the Big Cypress festival with a short ambient outro.