The Jam Charts · phish.net's good stuff

Leaving "CDT" behind, a multi-section, very upbeat and spirited jam takes hold which then grows quiet and contemplative before returning to "CDT" for a full power finish.

The jam starts in customary manner, then shifts to funk mode while sticking to "Gin," breaks into a funky and rocking groove, and finally returns to "Gin" in an extended and celebratory manner.

Good version, where the jam's rhythm is straightforward, but Trey and Page explore a little more territory and have excellent interplay.

Debut. Jam gradually settles down from high powered "46 Days"-style in to a subtle, Trey and Page led foray. Picking up rhythm and energy, there are "CYHMK" teases as the jam builds in intensity. Settles down at the ending with no return to "46 Days" proper.

This debut version set a high standard for the jamming potential of the song and exemplifies the uplifting and rocking playing heard in all subsequent performances.

Super solid version with a gradual transition out the funk phase that develops into a kick-ass celebratory blow out.

This version has a cool little jam, that is laid back and spacey. Trey provides some engaging noodling after the five minute mark.

In the encore slot, this excellent "Contact" features an extended, rocking and funky jam.

Outstanding version combines exceptional Trey soloing, strong Page/Trey back-and-forth, and excellent dynamics modulation driven by Fish and Mike. This one will make you weep with joy.

A really excellent Page section. Trey starts out tame, but by the end his guitar sounds like a jet engine or rocket ship cycling up for lift off.

Very improvisational version which makes a big move away from the standard at 3:45 and takes on an increasingly dark tone. Whether it's "Type I" or "Type II" is really irrellevant. It's a great and different version, well worth checking out, and includes an unusual transition to "What's The Use."

Outro evolves into a beautiful calypso style jam that grows more abstract with delay effects. -> into "Taste."

-> in from "Fee." Cool, somewhat mellow, and very different solo by Trey. But the band brings the heat back at the finish.

2.0-style HOSE. The jam sticks close to standard for a while, then breaks away into a fantastic, euphoric groove.

Despite its duration, most of the jam section is essentially "Type I" with some interesting instrumentation. At about 18:00, the jam finally breaks free of "WOTC" into a nice low-key section that -> to "Carini."

A very quiet, calm, yet strangely percussive jam in this strong version with a -> to "Prince Caspian."

Some great exploration starting at 6:40, with no return to "Wolfman's." Upbeat, far-ranging, and funky, the jam eventually softens and > to "Reba."

Beginning of the jam is straightforward, but once they head for the peak, it's worth hearing. Quite nasty.

Swaggering space roullette "Oh Happy Day" groove with a watery wobblefunk rage side slide into deep space cathedral vespers outro. [An awesome and very groovy early section with great Page gradually cycles up to euphoric party mode, breaks into a funky reprise, and settles to great quiet play.]

The jam seems to peak at about 13:00, then breaks into several minutes of angry and dissonant rocking before returning home.

First "Bowie" opener since 12/30/93. "Manteca"-like jamming early, then it breaks from the standard several times, only to return. Includes "Bowie" -> "Catapult" -> "Bowie" in the jam.

-> in from "DB." Brief version near the end of a big "Bowie." -> back to "DB."

-> in from "Catapult" to complete this solid version.

Excellent and extended low-key outro jam.

"DwD" -> "Seven Below" -> "DwD." "DwD" gets a little beyond straightforward.

-> in from "DwD." A short but very good "Seven Below" -> back to "DwD."

-> in from "Seven Below" to close and complete the sandwich.

Short intro leads to up-tempo, rhythm driven, melodic jam. This is a favorite version for many fans, for reasons that will be obvious when you check this version out. Fishman's snappy work propels this funky jam.

Average, somewhat slower than usual version gives way to a hazy jam with a very "2.0" feel. There are "DEG" teases just after 9:00, which are the highlight. Unfinished, peters out somewhat blandly and -> "LxL."

After the initial jam, this version gets very serene but is still rhythmic. It then turns a bit dark with a shift to minor key that resolves back to major key and an upbeat sentiment, ultimately building to a great peak.

"YEM" -> to a "Lion Sleeps Tonight" VJ!

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

Orchestral in dimension. Astounding jam that at times moves beyond standard "Simple."

Hot on the heels of an 18-minute "Simple," this nearly-20 minute offering surprises, to close out set 1. A classic tension-release "Jibboo" gets accented with melodic blues work, before highly rhythmic Fishman fills push Trey to explore the classic hard-edged, uncompressed 2.0 tone, propelled by Pa…

Very badass in parts. Kinda messy in others, though.

This is our first real taste of seven below. Gordon gets nasty in the middle section, and the rest of the band matches him in the funk department.

Caps a great set with a roaring, over-the-top jam.

Nothing too deep, just a nice "feel good" jam that bops along with sprinkles of improvisation from Trey and Page before returning to "DwD" to close.

Breakdown jamming.

The jam begins with a semi-dark tone, includes some nice Trey/Page interplay, and Trey makes it more interesting by varying the melodic lines away from standard "Mike's.". Around 10:00, the jam settles into more spacey, effects-heavy play, where it remains until a -> "Free."

Rough, rugged, and raw, a glimpse (the video is up on YouTube) of the band - Page included - at their most vulnerable. But boy, man. It's Phish. Pouring it on through an incredibly difficult point in their history. Listen to Trey's sustain. Then stick around for the closing coda. It's almost…

Good -> in from "Piper," this is the first ever stand-alone "Weekapaug." The jam is spirited, exploratory, and includes a dark, tension-filled section from 4:40 - 5:30 that makes the ensuing return to "Weekapaug" all the sweeter.

Extended "Type I" jam with building energy.

Great interplay between Page and Trey and an extended guitar-led jam. > to "Bathtub Gin".

Intense and highly improvisational jam with more of a rocking, propulsive and edgy sentiment, and in this way similar to the '94 - '95 "Gins." In the final minutes, the band toys with the "Gin" theme in a dark, twisted manner.

Lots of good exploration in this intense version with a little lull midway. Fish is really excellent.

Starting at a slower tempo than most versions, this "Halley's" has a groovy swing to it, as well as a few sprinkles of a darker sentiment. Excellent dynamics modulation, with the energy rising and falling.

An excellent, improvisational jam with a sinister sentiment enhanced by effects develops from the standard.

This strong 2.0 version features great Fish and Trey teaming, some nice licks from Trey, and a cool fakeout ending of sorts. 2.0 doubters should give this surprising encore selection a spin to cleanse their senses.

Excellent Page solo. Then Trey deploys some unusual plucking and strumming techniques (9:00 - 10:20 or so) towards the end of his solo. Strong version.

Not sure how Page adroitly plays both the Fender-Rhodes and piano simultaneously, but he does here. Another good one where Trey hangs back for much of the jam, allowing Mike and Page to lead until he steps forward.

Around 13:00, the jam breaks into an effects-laden groove, although it is not far removed from typical "WOTC." Returns to the standard at 17:30 to wrap up.

Jam begins conventionally until 8:40, when it abruptly shifts into a great, rocking groove. Mode shift again at 11:35 when the jam takes on a bluesy and somewhat funky vibe, which continues for about a minute until the ending section suddenly appears. Great little groove tacked on the end as well,…

W O W!!!

Fantastic version similar to a standout "Taste" or "LxL" with great Page/Trey interplay, and Mike is also great. Their collective restraint and nimble precision, really full-on musicianship, make this a jam of beauty.

The long jam segment (starts at about 5:20) starts out powerfully, and slowly cools off. Starting at about 7:40, a groove emerges that features light, low key, but consistently funky playing and eventually weaves gently back into "Moma's" proper ending. Outstanding version.

Trey's section includes an extended, gradual build up beginning at about 9:30 that is essentially a jam on its own. Eventually cycles back for the customarily intense ending. Also includes a "Summertime" (Gershwin) tease from Page.

Largely straightforward, but with a nice 2.0-style funk breakdown with staccato plucking by Trey from about 9:40 - 12:55.

Creepy decomposition into a thick electric groove with a purpose that builds smoothly into a killer "Low Rider" jam. [Improvisational and dynamic version with a bubbly and bouncy groove that explores varied terrain, gradually grows in power, shifts to overdrive and -> to "Low Rider."]

Magnificent, must-hear, blisteringly-intense, shredfest with a drawn-out ending!

Another incredibly exploratory '03 "Gin." Every bit as improvisational as 2/22/03, the jam has more of a melodic, flowing nature to it, and thus bears more resemblance to the versions from the late '90s, within the context of 2003.

Fantastic "Type I" version with a crescendo-oriented jam. Arguably the standard against which all "Type I" "BOTTs" should be compared.

Magnificent. "Hose" 'em down. Hear it at all costs.

Busted out for the first time since 2/20/97, "Soul Shakedown Party" made for the perfect landing spot after an epic "Tweezer" with an extended reggae groove which grew more spacious into -> "David Bowie".

Jam stays in familiar "Bowie" territory until 13:05 when it breaks away into some nice exploration.

Great version that just keeps building and building, up and up. A BIG exclamation point to end Set II of a historic show.

The ever dependable Page is just awesome here with some great rolls at the end of his solo (5:07 - 5:19). Trey is both delicate and on the mark with his solo. Nice build-up.

Twisted Worm! This version is many "Pipers" rolled into one. The jam is like a roller coaster with ups and downs in intensity and rhythm. Just a great groove that ebbs and rises and is partially based on Santana's "Oye Como Va."

"YEM" vocal jam -> to a capella version of "Proud Mary."

-> in from the "YEM" vocal jam. A capella rendering of the CCR classic.

A great version with a combination of good, low intensity 2.0-style funk grooves and quiet, spacious exploration that -> to the debut of "Scents And Subtle Sounds."

Debut includes intro section. Pretty intense playing in the standard jam section that follows "colors in the void."

Very "Type II" version in which Trey seems to play a less dominant role mid-jam, letting Mike and Page funk it up.

"Type II" version leaves "Hood" at 9:25, breaks into a low-key groove that gets rocking, then dissonant, and heads home.

Seamlessly weaved in from YEM ->. In a sense, a paradigmatic version with a gorgeous, melodic jam.

Excellent, very "Type II" jam. Once it leaves "Gin" behind, this one works through several sections, and gets way, way out there, ending up in some abstract space, before finally coming back to "Gin." A good one if you like 2.0-style jamming.

An excellent version. Like 3/1/03, the jam has one basic, propulsive groove. However there are a variety of dynamic and timbre shifts layered over this driving jam that finally cycles down into a subdued ending.

Beautifully played straightforward version, with great Page and delicate trilling by Trey in the jam.

A funky breakdown section begins about 4:00 with good improvisational play, even Mike striking the fight bell several times, before returning to the standard.

The jam segment starts off hot, quiets down slowly, and becomes quite mellow around 7:45. It remains minimalist and repetitive, but the last few minutes are sneakily powerful, with everyone adding color, especially Mike. Unfinished; -> to "Antelope."

An easy going summer version breaks into an unusual groove at about 16:00 with "DEG"-like jamming for a couple of minutes, before returning to "Divided" to conclude.

Intense, high energy version where the boys seem to add some extra gusto to the jam.

An exploratory jam develops, very unusual for "Maze." At about 10:45, the jam starts to break away into something well beyond the norm. Pulsing, angry and mean, this foray eventually works back to the expected, fiery conclusion.

Blistered Bella machine gun becomes a fiery pinwheel of metallic jizz before winding back down into a "Ghost" reprise outro. [Strong and varied jamming leads to a release section with "Izabella"-like hose jamming, which cooks nicely before eventually cooling off and returning to "Ghost."]

Page's generous use of his synthesizers transforms this outro jam into a divine soundscape.

A very exploratory version. It gets really far out there before returning to a rocking jam that eventually gives way to the Seven Below theme. Also, it features a "Third Stone From the Sun" tease.

Rocks along in the typical manner until about 6:00, then the jam breaks into a rocking and pulsing groove for a few minutes before working back to "Weekapaug" in good fashion.

Phish debut opens Set II. This improvisational version begins with 12 minutes of varied "Type I" jamming before breaking into several quality grooves, including upbeat swinging and near euphoria. After settling, the jam launches into a series of mini segues beginning with "Low Rider."

-> in from "Mr. Completely." After 30 minutes of jamming to the Phish debut of "Mr. Completely," the jam now swerves unexpectedly into a series of mini segues.

-> in from "Low Rider" as the segue-fest out of "Mr. Completely" starts to take shape. -> to "Buried Alive."

-> in from "BBFCFM. A swift rendition of "Buried Alive" appears before > back to "BBFCFM."

-> in from "Buried Alive" for more crazy "BBFCFM" action. > to "Ha Ha Ha."

> in from "BBFCFM." "Ha Ha Ha" is briefly visited among several mini segues out of a huge "Mr. Completely."

> in from "Ha Ha Ha" for one more crazed bite of "BBFCFM." > back to "Mr. Completely."

> in from "BBFCFM" to return home and complete this epic jam and segue-fest.

Another great version from 2003 with a segue into "Divided Sky."

Long, spacey jam in the middle of upbeat "tweezeresque" jamming.

This has a more active jam than most, with some lead organ by Page and a Trey solo four minutes in that is based on "Dust in the Wind." A strong version overall.

Similar in some respects to the 6/30/99 version. This one also has a somewhat downbeat sentiment, which is unusual. But it's well-played with the crisp work typical of a quality "Limb."

Jam breaks into an upbeat, major mode groove from 5:00 - 7:30 before returning to standard "Antelope."

Another great version, but vastly different from the preceding two. This is much more of a high power, rocking jam.

Incredibly improvisational and hard driving version that includes a section from 17:40 - 19:00 that sounds similar to "Woman of Tokyo." -> to "Catapult" although arguably it's really part of the same jam.

-> in from "DwD." Great version which continues the vibe from the epic "Disease" that precedes it.

A spacey jam strenghtened by chilling effects gains some momentum and eventually finds its way home.

An excellent "Type II" section peels away from "Hood" at 7:30, continuing for a good 5 minutes before coming home.

Among the most metal, evil, shredding Wilson solos around. Mike is in a deeply-effected "DWD"-intro-like tone, which is the icing on the cake and adds a unique heaviness and intensity to this version.

A spectacular and awe-inspiring exploration. The first of 3 phenomenal summer '03 versions. Must-hear.

-> in from "Seven Below." The band rocks this one hard. > to "YEM."

Fantastic jam segment in an excellent version.

Not way out there, but has some good moments that stretch beyond normal "Stash" (8:45 - 11:45) and a solid finish.

Leaves standard "Birds" behind at about 5:20 and breaks into an up-tempo, upbeat jam that also has moments of a darker sentiment. There's a brief return to "Birds" proper, before Page leads a quiet section that > into "Mike's Song."

Searing hot "Type I" play through 5:00, then the jam settles into some excellent exploratory and rocking play with great percussive action from Fish and Mike. Returning to "Weekapaug," the conclusion has an unusual rave-up ending.

The energy and power start to build at the end of Trey's solo, then he settles everyone back down for a bit before rallying the band into an overdrive finale.

Jam moves on from the typical hard driving standard to some really serene, quiet thoughtful space. With lots of little twists and turns, this one is very improvisational. > to "Tweezer."

Dark monster of a jam. Goes between dark and uplifting segments. Some very nice playing from Trey throughout. Really shows off the strength of the 2.0 era.

Multi-section improvisational jam starts off dark and evil and becomes more rocking and uptempo. The only gripe is wading through 12 minutes of ho-hum "Type I" playing before the good stuff starts. -> to a solid "Free."

Show opener morphs from the standard, sedate outro jam into an intense, multi-faceted jam with an incredible and powerful peaking section.

First post Hiatus performance. Band breaks into a very rhythmic, though not overly percussive jam coming out of "Sally" proper. Mildly funky, this version has a somewhat dark sentiment, and builds energy near the end.

Some beautiful major key jamming at first, a "CYHMK" tease, then it gets a little more dark and intense. There is some very good modulation of intensity as the jam progresses and > to "Coil" with no return to "DwD."

Gets into a nice swinging, upbeat movement at 5:20 which continues until about 9:00 before getting back to "Antelope." Few versions since 1995 get as far removed from the basic "Antelope" jam as this one.

The jam settles down at about 6:00, then gradually amps back up.

Great "Gin" which begins with several cool stops, works through the "Type I" standard, then goes beyond, breaking into a groove which morphs into several different moods and sections, and then returns to "Gin" to conclude.

More musical than most, play ->'s from "Drowned." Atop Fish's bedrock beat, Trey maintains a righteous, punishing riff, before a blast of atypical soloing bleeds to inform a nasty -> into a like-minded "Twist."

Spectacular, very "Type II" "Hood." Between this one and 7/31/03, the jam here gets a further removed from the norm, working through several exploratory sections before returning to close. > to an excellent "David Bowie."

Now that's what I'm talkin' about! Blows out the door of "Bowie" almost immediately into multiple varied and solid movements and includes a nice midstream, full band "Tweezer" tease.

> from "Wilson". This version features a cool, almost quiet section in the middle. There is great interplay between Trey and Page, each showing off as they go back-and-forth.

Swirling and extended jam, somewhat spacey, typical of the more improvisational versions from the early to mid 1990s.

Trey has a long solo where the others ratchet-down the volume to near zero. Then, Fish kicks into gear, bringing the pulse and power back on. Full throttle finish.

Another big and quality work of improvisation from a year of strong "Pipers." Incredible really. This version has multiple movements that weave together quite well, as well as a "Can't You Hear Me Knocking" tease.

A seven course prix fixe culinary exploration of the deliciously dank flora, fauna, and fungi of the nocturnal arboreal outback. [Dark and very improvisational. A few moments point to the customary upbeat "Ghost" release, only to be passed over in favor of more ominous exploration.]

> in from "Tube." Another hard rocker with a cool transition that gets way from "Caspian" and -> to "2001."

Despite "Gotta Jibboo's" rarity in 2.0, it remained a consistently strong offering when appearing in shows. This version always feels like it's about to peak, but the band continues to push the jam forward and deeper at each turn, offering variety to create a more complex "Jibboo" than meets the ea…

"Wouldn't It Be Lovely" jam by Trey and others in response to Page's solo.

"Maze" tease in a jam that sticks close to the normal outro with an added repeating riff from Trey. Page also contributes on the synthesizer before the -> into "Timber."

Great segue -> in from "Fee." This is one angry mule! Packs all the rage of the earliest versions. At 5:25, almost breaks free from "Timber" proper, but shortly returns to the fold.

In the only version from 2.0, the others join in with Page for more of a rocking jam, with great Mike and Fish. There is also a sense of back and forth between Page and the others, giving the jam energy and a playful aspect as it builds to a solid conclusion.

This version is long and explorative, but it keeps rocking all the way to the 20 minute mark, after which it gets spacey. It's a very percussive jam. Even when it hits a spacier segment, the jam still moves with focus and direction. GREAT VERSION!

At times dark and brooding, this wildly improvisational jam on balance is remarkably upbeat and very exploratory.

Shorter than some, but a lot more improvisational than most versions, much of it with a dark sentiment.

Very improvisational and thrilling jam with excellent dynamic modulation. The intensity builds and ebbs repeatedly, and at times has an "On Broadway"-like vibe. It ends with an upbeat sentiment that gradually dwindles.

Superb jamming in a version whose energy never quits.

A quality version which includes a second segment of grimy funk fueled by fat bass.

The third big, powerful, and highly improvisational "Piper" from summer '03. This one has some beautiful, yet eerie and unsettling space in the middle before a full throttle finish.

"CYHMK"-like jamming leads to some good restrained, improvisational play. The energy builds as the jam returns to familiar ground. Following the final refrain, the jam keeps rolling along in a funky groove with a sweet "In-A-Gadda-Da-Vida" tease before -> to "Free."

Must-Hear "Type II" version. With a more melodic bent than 7/25/03, the jam seems to retain at least some vestiges of "Hood," while still ranging far. Returns home to conclude. One of the top "Type II" jams of '03 - '04.

Second song of the IT festival is a surprise jamming vehicle. Departs "Ya Mar" proper altogether at about 6:00 and launches into a fabulous, improvisational journey with several movements. Not quite brooding, it's no upbeat calypso party either. Great segue -> into "Runaway Jim." Only exploratory p…

An outstanding version for any era, the IT "Reba" towers above its peers from '03 - '04. Pulling away from typical "Reba" jamming at 8:45, the play breaks into warm-hearted major mode at 11:10 and continues for several minutes, before cleanly working its way back home to a spirited finale.

Some debate whether or not this jam goes beyond "Type I." Fishman keeps the rhythm in check throughout, but Trey explores a lot of directions in this quality jam.

Outro gets slightly removed from the norm and has a unique ending.

No sloppy playing in this solid, mostly straightforward 2.0 version. It does have a cool little settle before the final peak.

Improvisational version from the IT Festival includes a fair amount of haunting and chilling effects-laden playing from Trey and Page before -> "NICU."

After Waves ends, an improvisation bearing no relation to Waves begins, that dissolves into ~10 minutes of haunting, pulsing space that is mesmerizing. A soundscape more than music that, when combined with Kuroda's lights, must have been other worldly.

Intense straightforward playing breaks into a punchy and 2.0-style funky jam at 10:00 that continues until a -> to "Seven Below."

For being relatively short, this one really covers a lot of ground! Not to mention, nifty segue out of "Rock and Roll" and into "Scents and Subtle Sounds."

-> in from "Seven Below." A nice straightforward version of "S&SS" is sandwiched between nice fat slices of "Seven Below." -> back to "Seven Below."

-> in from "Scents And Subtle Sounds." The intensity builds following the return to "Seven Below," then a great and lower intensity groove emerges that -> to "Spread It Round."

Crazed, energetic and noisy jam. Is it a continuation of earlier play (the -> from "Seven Below" and that song's outro)? Is it "Spread It Round"? It's only been played twice, so comp this against the 7.15. Some might argue it's tougher to listen to than write about. Not we. Calling this a "wall of…

Imagining the Air Traffic Control Tower at Loring Airforce Base slowly rumbling back to life in the middle of the night, Phish uses IT's "The Tower Jam" to project their pain and confusion during the 2.0 era onto a dying relic of a past age in conjunction to the new century we found ourselves in. F…

A masterful jam of improvisation from the IT festival. Departs from "CDT" and morphs into a rhythmic, scaled down pulsing groove. Returns briefly to "CDT" before more exploration. Concludes with an acelerated tempo.

The jam swiftly breaks away from the standard into a mildly dark, rocking and rhythmic groove, which the boys ride for nearly 6 minutes before swinging the ship for home waters.

Keep out of the reach of children...there is a sense that IT could happen at any moment. [Excellent, celebratory "Ghost" jamming through 19:00, when the jam grows dissonant, angry, and effects-laden, then resurfaces to a rocking section and winds down.]

Shorter than some of its 2.0 brethren, but no less powerful.

Strong version with a short VJ that segues into "Chariots of Fire."

Haunting, thrumming, mind blowing, and masterful. The band wastes little time departing from "46 Days" and descends into an underworld soundscape filled with all sorts of chilling effects, eerie sounds and more. After nearly 20 minutes of deep exploration, the band resurfaces with 15 minutes of (ap…

Long intro. Quite intense, jarring and distorted towards the ending.

Stays on the customary "Type I" jam for a good while before shifting to a rocking and rhythmic bent.

Has some really cool riffs from Trey throughout that are unusual, as well as some nice low intensity playing.

Excellent jam which breaks from "Twist" around 7:30 into some good major mode action, then grows a bit spacey and dissonant before morphing into a really nice rocking groove. Towards the end, it gets angry and dissonant and -> to "Simple."

Funks around nicely for a good stretch, but when Page hits the piano at 8:50, it's release time in a big, big way. Then the jam really expands into a euphoric, overdrive celebration. Call it "Type I" on steroids.

Very odd version. Trey's not really present for the most part. Excellent segue into "2001" though.

Liquid '03 Mike goodness with strong interplay with Trey.

An order of magnitude better than the typical "YEM" since 2003, a strong jam segment peaks excellently, not once but TWICE, before the bass and drums section kicks in.

Dissonant high power jam in this 20th Anniversary show version.

Very good, multi-section version breaks from "R&R" into a pulsing, funky and bluesy groove. From there, it settles with solid instrumental effects, before regaining momentum and -> to "Weekapaug." (w/o any "Mike's").

20th Anniversary edition. The jam shifts in the last minute to set up the segue into "Cities".

> in from "Cities." Technically "Type I," yes. But this is one of the most unusual, cool versions ever performed, starting with Page's section, and continuing into Trey's. You gotta hear this one!

Very soulful, steady, patient, David Gilmour-esque solo from Trey. Jam peaks a bit before slowly cooling off.

A beautiful but darkish jam develops on the back end of "Frankie Says" proper. The energy builds nicely, then recedes back to quiet space before > to a solid "Llama."

> in from an extended "Frankie Says." Some awesome Page here and a cool and different Trey section.

This one has everything to love about a good "Gotta Jibboo" jam - gorgeous Page/Trey interplay, a nice steady climb to the heavens, a massive peak that just plateaus and stays at the happy place, and whale call Trey delivers the icing on the cake. Sizable celebratory hose peaking towards the back h…

Jarring, near heavy metal-like "Jam" breaks out after the second verse of "Suzy." Gnarly and raw, it eventually mellows into space before transitioning to "Theme From The Bottom."

-> in from Suzy Greenberg. A jarring, near heavy metal-like "Jam" breaks out after the second verse of "Suzy." Gnarly and raw, it eventually mellows into space before transitioning to "Theme From The Bottom."

> in from a jammed out "Suzy G." The boys rock this one pretty hard, but it's different, well played, and interesting.

Jam has a nice rocking section beginning about 7:50, returns to "Hood" and peaks with great struming by Trey.

A quality jam develops, then the band returns to the refrain to close, adding on an "old" coda of sorts.

Multiple peaks and a high powered crescendo ending to this sold version.

-> in from "Twist." Short, but definitely gets beyond "Boogie On" into a nice groove before -> to "Ghost."

-> in from "Ghost." Jam starts in customary manner, but then features an excellent bass and guitar duet/jam.

A moving version with some great, quieter moments before cycling up for a big conclusion.

Lots of teases and some serious funk goodness. Oh and a full "P. Funk (Wants To Get Funked Up)" breakdown jam that absolutely rules.

Start-stop jamming before Trey takes the lead in a rocking jam. Eventually veers into an eerie "type 2" jam and segues into "L.A. Woman." This version is unfinished and was completed at the following show.

-> in from "Tube." Debut of this Doors' classic and part of a thematic sequence. > to "BOAF."

Unusual and very good version that is bookended "L.A. Woman." "Birds" itself has a lengthy "L.A. Woman" tease, a crescendo semi-finish, and then segues back to "L.A. Woman."

> in from "BOAF." Continues the "L.A. Woman"-type jamming. -> to "Makisupa."

A short version that precedes the "P-Funk Medley." It comes to a full stop, as Trey banters about Fish singing "Touch Me" and then invites P-Funk on stage.

"Makisupa" is reprised after P-Funk leaves the stage. Fish sings a line from "Touch Me."

A nice and very different low intensity, melodic Trey-led jam emerges that is almost delicate before rebuilding to conclude.

Following an "Auld Lang Syne" tease, the breakdown section begins at about 4:00 and is percussive and rocking, with "Jungle Boogie" vocal quotes from Trey as well as teases. The return to "Weekapaug" is intense, mildly dissonant, and includes a "Divided Sky" tease.

Excellent and very improvisational version that gets far, far removed from "Stash" before finally coming home. Multiple sections, including quiet rhythmic stuff, effects-laden space, and some great upbeat jamming.

Serious improvisation here with multiple sections, most fairly intense, but also including some quieter ones.