The Jam Charts · phish.net's good stuff

Well-played, not spectacular, but nevertheless features a cool and unusual vocal jam at the end - perhaps of S. African inspiration (performance occurred during the 2010 World Cup soccer finals in S. Africa).

Excellent "Type II" version which starts to break away from "BDTNL" at 5:30 in a rocking and upbeat direction. At 8:30, the jam shifts into an ominous, dark Mike-led groove with great playing by Fish and Page as well as Mike.

Fish and Mike propel this shorter, funky version along. Nice work by all four, and restraint by Trey adds to the overall quality. This is really quite a good version.

Excellent peak in the jam and Mike is awesome!!

A very good clavinet-led funk groove develops. Briefly seems to be rebuilding to return to "DwD", but instead -> "Sand."

This version has an excellent jam segment most notable for the cohesive playing by all four band mates. The peaceful, wandering melody here creates a perfect soundtrack for a summer evening. The only drawback to this fine version is Trey's use of the pitch shifter, common throughout 2010, which can…

Nice jam that bounces along before slowing to a more spacious sentiment that sets up nicely for a transition into "Swept Away/Steep."

After a brief vocal breakdown, the jamming turns to a thick staccato funk groove held down by Mike's super chewy slap bass with Page and Trey adding proto-plinko sprinkles on top and then gets a bit more amped up towards the end and -> "Light".

Upbeat, rocking jam until things settle down and Mike adds some interesting bass effects at about 9:45. The jam then becomes at once both funky and spacey. Gets into a tight pulsing groove, and Mike is HUGE. A top 2010 jam.

The version to beat from the 3.0 era. This Michael Jackson-infused "2001" is not just a novelty. Serious funk and the interplay in the last couple minutes is top notch. This section -> to the debut of "Billie Jean".

-> in from "2001." This debut version is sandwiched inside a strong 3.0 version of "2001" and includes a "Thriller" tease. -> back to "2001."

-> in from "Billie Jean" to complete this standout 3.0 version.

A delicate, slightly spacey jam emerges from the standard and gradually builds in power and intensity. Then Mike and Trey shift direction, leading a nice "Moby Dick" jam at the end which mellows and > to "Free."

Extended outro and a -> to "Saw it Again."

-> from from an extended "Meatstick". This version starts normally until around 3:45, when the music descends into a swirling and dense concoction. Prominent contributions from all four musicians adds to the atmosphere while the band never stops chanting the song's title, until finally relenting an…

-> from a menacing "Saw It Again", with a quote from Trey taboot. The jam remains unrelenting with subtle shifts, the flow ebbing but driven, thanks largely to Fish's exhaustive drumming. A short detour occurs from 9:25-10:45, but doesn't fully settle until around 12:00. Play grooves along until it…

Seems like a short, standard version until 5:00, when the jam breaks into a rhythmic, low-key groove which gets nicely away from typical fare, builds intensity, and > unfinished to "LxL."

In the encore slot. While basically "Type I", Trey provides a rich and celebratory melodic line to the basic "Boogie On" outro jam, which elevates this version considerably.

Another strong 3.0 version.

"Fuck Your Face" teases (Trey; Mike in B&D); "Moving in Stereo" tease (Trey): Vocal jam included portions of "Proud Mary" and "Get Back," along with "Dong Work for Yuda" and "Slow Ride" quotes.

> in from "R&R." Band breaks away from typical fare at about 6:00 into a quiet but pulsing and rhythmic jam that transitions nicely into "Tweezer."

Reaches a pretty good peak and segues beautifully into "Slave."

> in from "Harpua." This song rocks and kicks ass! > back to "Harpua."

A pulsing and driving jam settles down into a snappy, rhythmic and curiously enchanting section that > "Free."

Some incredible playing by Mike and Page in this extended version that gets into a spell-binding, enchanting groove. A fantastic version that transitions (oddly and arguably abruptly) to "Moma Dance."

Great, multi-faceted jam with solid band interplay.

Calling this jam straightforward would be missing the point. The jam is intense and powerful, with strong playing by Page and Trey. The jam actually bears similarity to the excellent crop of groove-based jams in "Mike's" versions from '00.

Intensely melodic, gorgeous, charming version that gets repetitious and nearly transcendent.

> in from "AC/DC Bag." Like the old days. A very fine version. Great collective playing during the build-up.

Outstanding and textured play throughout the entire jam, which also includes an amazing ebb and flow of intensity. Must-hear

Band adds a nice 4 plus minute jam to the back end of "Suzy." Trey teases "Living After Midnight." > to "Slave."

Ends Set II of a great show, following a jammed-out "Suzy." Beautifully played with a long, gradual build. Like 11/14/97, it's the ride, not the destination that matters most here.

This version opened the floodgates for the modern "Sand" resurgence as Mike improvised his bass line rather than sticking to the fixed groove, adding another element of improvisation. Trey's uncompressed growl and Mike's playing through the envelope filter in the first half of the jam add cool tex…

> in from "BDTNL." Some really beautiful playing by Trey initially, then the band shifts into a slightly dissonant and spacey foray with a > to "Tweezer."

Segues out of "Tweezer". Manteca tease from Page in the "plinko" jam with some footbell action from Mike.

This is a really strong Piper by most standards, but especially by 2010 standards. They careen through the song at a breakneck pace, build tension, and explode, and the jam ends in a semi-ambient space.

A very dark version, but one that also gets away from "Carini" proper. A nice funky Mike-led groove breaks first, but then turns chilling, ominous, and spacey, and includes a "One Of These Days" (Pink Floyd) quote from Fish, and an "Echoes" (Pink Floyd) tease from Page. > to "Free."

Very good, upbeat and crescendo oriented jam section.

Wide-ranging jam that shores up its Type I energy at first, reaching a blazing staccato peak around 7:55. Then the jam becomes more rhythmic, with Page's organ dominating the sound picture. The mood shifts toward the introspective, and before you know it "Drowned" has transformed into a gorgeously…

First appearance of the megaphone since 2/25/97. Also includes sirens at the beginning and end of the song.

Very popular version with fans. Great staccato playing from Trey early in the jam.

Notable more for the remarkable and semi-famous -> out of "DwD" than anything else.

Very good, multi-section "Type II" jam which starts off rocking, quiets down, then rebuilds with an upbeat sense.

Unique and unusual reading of the "Caspian" jam. Quality over quantity here.

An amorphous tendril of haphazard dissonance takes root in some electrified chocolate pudding finally allowing it to take a look around at the complexities of its own general lack of structure. [Strong straightforward version with extended "Ghost" jamming and solid play by all four, especially Fish…

Sirens over a rolling outro with nice contributions from Mike and Page. > to "Makisupa Policeman."

A fiery version all around with a rocking outro based around a great riff from Trey.

Continuing a 3.0 pattern, the jam starts in typical "Carini" mode before breaking into a distinct, upbeat jam, then becoming spacey with a nice > to "David Bowie."

Opening a killer 2nd set in Charleston, this one is a straight-up rocker! After a blazing jam, they hit another vocal refrain before dipping into a spacier jam. Then they build back into another vocal refrain, after which they make a move for a funkier jam before hitting one final spacier passage.

Excellent high energy version with a few outstanding minutes from Page in the second jam.

Spirited piano action from Page is matched by electric and rocking playing by Trey.

Magnificent and varied throughout touching on at least four or five different jam styles highlighted by an outstanding "calypso" stanza.

Awesome "Reba." Trey works atop a really cool beat, which, at times, seems to stop and then start, a special sort of space carved by Mike's bass. Excellent effects work to enhance the jam, as the band plays exceptionally well as one. Trey nudges the band into a spacey and protracted legroom, which…

The evil king teams up with the ugly pig for this tease filled version from the famous "Guyutica" show.

Arguably the most improvisational version in 15 years, with multiple sections and "Guyute" teases taboot. Fish is critical here in promoting shifts in the rhythmic structure throughout the jam. Check it out!

This version bookends an improvisational "SOAM" -> "Have Mercy" > "Piper" -> "SOAM," one of the best jams of 2010. The "SOAM" jam quickly shifts into a quiet, dreamy, major mode section before the segue, then cleans up after "Piper."

Part of an improvisational "SOAM" -> "Have Mercy" > "Piper" -> "SOAM," one of the best jams of 2010. "Have Mercy" includes some improvisational and very upbeat jamming beyond the standard.

Good jam in this version, part of a "SOAM-Have Mercy-Piper-SOAM" sandwich. "BOAF" tease.

Completes the "SOAM" -> "Have Mercy" > "Piper" -> "SOAM" sandwich.

Trey lays down some different and interesting licks in the early parts of the jam, and Mike is great.

Very high quality jam that covers a lot of ground and -> to an equally fast moving "Carini."

-> in from "R&R." The Shapeshifter version. Don't be fooled by the timing, this version is all over the map with improvisation, changing forms multiple times within minutes. -> "My Problem Right There."

The meat of a Mike's Groove, this version finds the band extending the ending, creating a wall of sound filled with "lost my mind" vocalizations and general wackiness. The ending seems to head in a different direction, but instead settles and > for "Weekapaug."

Another stretched out, harmonics-filled outro with added sirens and synthesizer. Excellent -> to "Time Turns Elastic."

-> in from a solid "Fee." Strong version with tight playing throughout the composed sections and some great and extended straightforward jamming on the tail end.

Solid Set I version of "Llama" with some great Page and an unusual refrain between Page's and Trey's sections.

The Curtain bristles with crisp energy and is tightly rendered, with Mike and Fish seeming to propel the opening section. The animated jam in With also seems to bound along at a slighly quicker clip than the usual, more languid pace. Again, Fish and Mike drive the tempo, while Trey offers inspired…

Straightforward version that features some nice whole tone scale use by Trey (the "off key" sounding scale).

To commemorate the passing of reggae artist Gregory Isaacs the night before, the band play "Night Nurse" as a sandwich in the middle of this "Makisupa." -> to "Night Nurse."

-> in from "Makisupa." To honor reggae star Gregory Isaac's recent passing, the band plays his song "Night Nurse" in the middle of "Makisupa." -> to "Makisupa."

-> in from "Night Nurse" to wrap up a double reggae themed tribute.

-> in from "Ghost." Straightforward but intensely played version that transitions neatly to "Weekapaug."

Wrapping up a standout set, "Weekapaug" contains "CYHMK" teases and jamming, "Ghost" and "Night Nurse" vocal quotes, and -> to a reprise of "Llama" to finish this show with a serious exclamation point.

Ending Set II, a -> to "Llama Reprise" following "Weekapaug" to close one HOT show.

All four team up in the well-played, extended jam that gets somewhat spacey at the very end.

> out of "Punch You in the Eye." Another strong version with a dynamic groove and tension-filled playing from Trey. Also includes an upbeat, "type 2" outro jam that seems to hint at "Cool it Down" and a -> into "Carini."

Despite more frequent rotation from 2009 - 2012, this song continues to challenge the band from a precision perspective. In this strong modern version, Fluff's Travels and The Chase are largely free of mistakes, but then the band hits a few bumps in Who Do? We Do! Clod is solid, with call and respo…

"CDT" -> "Whole Lotta Love" > "CDT" from the Zeppelin fest.

-> in from "CDT." Brief jam, part of Led Zeppelin oriented thematic set. -> back to "CDT."

-> in from "Whole Lotta Love." Returns to "CDT" to conclude.

A nice vocal jam is followed by some great "Manteca"-like jamming played in a funky, staccato and rhythmic style. The jam never builds to the typical release, but retains a rhythmic focus and -> to "Undermind."

-> from a notable "Wolfman's Brother." Cohesive, full-band effort in this solid "Type I" version. > to "Bathtub Gin."

Want to know what Mike Gordon can do in the 3.0 era? Look no further than the second jam in this Cactus masterpiece. This is a dancing beast. A top 3.0 version.

A couple of brief major mode departures lend some melodic variation and grace to this one.

Features an unusually melodic, major mode groove that builds beautifully before returning to the norm with great tension.

Looney vocalizations preceding "BLAT BOOM" lead to an extra-large, type 1.5 version, in which the band quickly hooks into a thematic blues rock riff. They collectively toy around with the riff, pushing the idea into a soupy mire, before dipping into a mystical Halloween outro where Trey recapitulat…

With horn and percussion accompaniment. Fantastic version. The percussion and horns are added in a particularly complementary arrangement that makes this one a real standout.

Intense, somewhat dissonant jam provides a sharp stylistic contrast to the celebratory rendering from 8/12/10.

Like the IT version, this one goes an awfully long way in a relatively short amount of time! Gordon leads the band on a nice funky walk that eventually finds its way into a brilliant lead by Trey. Eventually, he lets this one roll right into the most up-beat introduction to "What's the Use" ever,…

Mike is much more active and melodic in his accompaniment than usual, turning this version into a mesmerizing duet with Trey.

Excellent version includes a "Streets of Cairo" tease during the buildup and a flawless -> into "Limb By Limb."

Excellent 3.0 version with Trey picking staccato notes, Page matching him on clavinet, and Mike and Fish kicking in on this super and very unique rhythmic groove, before returning home for a more traditional "Hood" ending.

Kind of a mixed bag until this spell-bindingly intricate, spectacular "staccato-esque" improvisation takes over.

Staccato jam with great full-band interplay gives way to a more typical guitar-led conclusion.

May this one find you when you are feeling down, it will lift your heart and your feet from the ground; building the euphoric bridge that allows you to cross that river of tears. [A strong straightforward version. By shifting to D major just before 7:00 and staying in that place for over 6 minutes,…

Short, but very fun. "Manteca" sandwich and goofiness everywhere. Trey briefly cracks up at start of vocal jam when Mike says "Crab in my shoemouth" instead of WUDMTF.

-> in from "YEM." "Manteca" is sandwiched in the "YEM" jam.

-> in from "Manteca" to continue this short but fun "YEM."