The Jam Charts · phish.net's good stuff

An inspired, full power yet nimbly executed version. Like a great "Slave" or "Hood," you can really hear Trey and the band pour their hearts into this one.

Glorious version that, while not departing particularly far from the typical "Simple" structure, does have a unique closing coda-like structure that almost sounds like a new song. Rave reviews from fans.

> from "Sally," a version so chill you just might believe Trey did, indeed, get up from the sofa after rolling himself a blunt. Fish's kick-drum "solo" bleeds into hushed, atmospheric play, the four swapping scattershot sounds and eerie effects before a pure and patient -> into "Bowie."

Following a super -> from "Wolfman's Brother", Trey wastes no time choosing his line, and powers the band through an incredibly strong and spirited version.

A real hybrid that combines suave major mode playing with the expected minor rock.

Great version with building energy and nice back and forth between Page and Trey.

Staccato jamming gives way to a "Type II" slowed down, effects-laden outro and > into "Waves".

Fantastic playing by Trey in the jam proper. Beautiful, lush and serene outro jam. In many ways the polar opposite of the haunting outro from "IT." Transitions to a solid "Prince Caspian."

> in from a great version of "Waves." Although shorter, this version suggests the band's willingness to take the jam segment in new and different directions, with subtle and cohesive playing. > to "C&P."

Nice little extended outro with a good Trey-led peak.

Percussion driven, exploratory version that manages to cover a lot of ground in a relatively short time.

"Gin" -> "Manteca" > "Gin." The "Gin" sections, although largely straightforward, include improvisational playing by Trey. "Manteca" includes "Golden Age" jamming, with fans thus dubbing this version the "GoldenGinTeca."

-> in from "Gin." The jamming just before and during this "Manteca" includes teases of "Golden Age," causing fans to dub this version the "GoldenGinTeca." > back to "Gin."

> in from "Manteca" to end this fine version.

The band incorporates a lot of "DEG" teasing/jamming into the standard format. The mood shifts back and forth from bright to dark several times, with "DEG"-like playing at various times throughout, before returning to "BDTNL." A very cool version.

An energetic, funky jam emerges at around 5:30 after some chanting on "House." This is a fun, well-played version.

This "Hood" has a really nice jam that sounds similar to "Faht" at times. Returns to "Hood" to close.

The jam tracks "After Midnight" fairly closely for a stretch, then around 9:00 it breaks into a nice upbeat groove which swiftly settles down.

Debut of the "Led Zeppelin" classic emerges > from a foggy "Tweezer".

Fiery and rocking "Type I" version with a nice big peak.

Trey brings the volume way down, and then proceeds with a very gradual, "Possum"-like build that shifts to minor key briefly before flipping back to major at the peak and finish.

Inspirational, melodic and far-reaching version which includes a jam based on John Coltrane's "A Love Supreme." Many consider this among the very top jams of 3.0 and proof that "DwD" is as potent now as ever. -> "Fluffhead."

Jam shifts to upbeat, major mode at 7:46 and mostly remains there for some time before shifting back at 10:40. Great one but for some excessive string bending, or perhaps flat notes by Trey.

Page shines from start to finish.

The jam includes a number of tempo downshifts, grinding things to a near stop, including during the ending lyrics.

Debut. A pleasant, relaxed Trey solo.

Following the vocal jam, the band breaks into a funky groove with a very 2011 sound to it (a bit of the staccato or "plinko" funk, somewhat similar to the 12/28/11 "Cities") that eventually gets "Manteca"-esque before dissolving into a spacey jam. > to "Harry Hood," a highly acclaimed combo among f…

A serene outro, similar to 7/29/03. > into "Backwards Down the Number Line."

Determined to make up for some serious flubs in the 5/31/11 version, Trey in this instance introduces some very cool and very different staccato playing during the jam section.

Another excellent version with an extended jam that at various times is rhythmic, melodic, spacious, and powerful. Segue to "Mango Song" continues to draw praise from fans.

"Golden Age" teases are followed by a nice funky breakdown jam with great Page and Mike. At the end, Trey sustains a note which carries into "What's The Use."

"Golden Age," "Happy Birthday," and "WTU?" teases worked in perfectly, along with a serious syncopated throwdown, make this one a must hear. Play this to impress others.

A very solid jam, building from start to end, and thus in good company with 5/6/90, 11/30/95, 2/18/97, 8/8/98, and 11/27/09.

There are a few spots here and there in The Curtain and the beginning of With that seem a bit off. Nonetheless, Trey soloing in With seems particularly inspired, and Mike is also noticeably strong. The jam reaches a fairly intense peak, before expectedly settling to conclude.

Trey's wonderful, pretty, and soulful soloing, accompanied by Mike's on-point, cascading runs, work to create a truly notable version. Per netter @jerryguscia, Trey quickly shifts towards a bit of jamming featuring some rhythmic, low-key strumming, play which breaks to become dark and funky improvi…

Patient segue out of "Wolfman's Brother." Mike drops one of his ground-shaking bombs at 4:10. Great playing from Trey and Page in the outro jam before the > into "Gumbo."

Very soulful Trey solo, and an extended ending.

Strong group play during Page's riveting solo, followed by a nice handoff to Trey who leads the boys in an inspired build-up.

The band powers through this version with added verve and tenacity. Trey's intense playing is particularly on-point, the jam arriving at a bona fide peak before boiling over and cooling down.

The band does a nice job here of bringing the jam down nice and low, before raising it back up high at the end.

Clean and fast playing, gorgeous interplay from all band members, super clean and happy peak. Nice jazzy accidentals at the peak help with tension and release, especially when it hits the last and highest peak. Some light, airy, and rapid playing - more so than usual in 3.0 - from Trey in the peak.

"A Love Supreme" tease is included in this outstanding version, which while subtle and spacey at times, is the "good" kind of musical space, requiring band-wide cohesion and coordinated improvisation. Segue to "Ghost."

Pretty clean - and rather fast - playing through the composed section incites strong improvisation from Trey, who syncs up with Mike and Fish, who nicely modulate intensity. Great guitar - with Page painting bright fills - dominates a strong, patient, and highly musical build, with Trey trilling to…

The band put on an impressive display of focused group improvisation in this great funky jam, which also featured stop-start jamming and a short reprise of the jam before ending the song. > into "Sneakin' Sally."

Powerful, extended jam segment with the crowd singing the melody line together with the band at the end.

Basically "Type I," but there is some fantastic Page/Trey/Mike interplay mid-jam before Trey leads a full-throttle ending.

Sort of an evil sounding jam with occasional laughing by Fish and Trey opens Set II and > to "C&P."

A straightforward but delicately played "Simple" fades away, leading to 6 minutes of '99-esque space.

Strong vocals and snappy playing by Mike in the composed section give way to a great Page-led jam. Backed by the band, and with some inspired contributions from Trey, a nice little "McGrupp" jam emerges, which rises and swirls into the customary closing.

Staccato funk jam before delays/effects creep in, foreshadowing the "Storage Jam" to come later in the night. > to "Prince Caspian."

Unusually staccato-esque, repetitive jam, with some "elephant-like" noises from Trey thrown in.

More than anything, this jam is essential for what it helped break open for Phish than for the music played within. The band spends much of its first half simply trying to figure out how to play improvisational music while allowing for complete freedom of expression. Quite a tall task, as those of…

As we fade out of The Storage Jam, Trey steps to the mic and offers a brief: "excuse me," which seems to cue one of the most perplexing moments in secret set history as they find their way into a loose take on "Sleeping Monkey." Fused with sirens and laughter as they make their way through the song…

The whole band is much looser than normal when they break into the solo, sounding more like a prodding "Carini" jam than "Wilson". Mike is especially eager to push the band into new harmonic (and inharmonic) territories, and the other members accept his challenge with expertly-tuned ears, adeptly f…

Great version which includes an unusual straightforward outro jam.

Stunning exploratory "Type II" version. The jam departs "ASIHTOS" at 4:00 and arrives in a desert haze where the band proceeds to lose itself in a mirage-filled dream, wandering deliriously until emerging in heavenly bliss at 7:00. Led by Mike, this serene music patiently morphs into ambient space,…

Great Trey and Mike from the jump, the jamming soulful and melodic. Awesome Page accents characteristically strong Fish, as the jam morphs into extended "Dave's Energy Guide" teasing. The band then crafts an atypical, and totally welcome groove. A pretty powerful build seems to break convention, wi…

Strong, effects-laden playing that pushes a psychedelic edge to match the dark heaviness in the song's lyrics. Firm and confident playing leads to a satisfying peak; a prototypical type I "No Quarter." Fans of this version should also check out 8/17/11.

Perhaps overshadowed by epic versions of "Roggae" and "Rock And Roll," this is nonetheless an excellent "Taste." Trey has some great moments throughout, and of course Page, but do yourself a favor while enjoying this and pay attention to Mike - he is locked-in and rock solid.

After skirting around the periphery of "Roggae," the jam eventually makes a clean break at about 7:30 into a somewhat rocking, somewhat bluesy jam with excellent Fish and Mike.

Magnificent and improvisational jam features Page on the theremin and scary vocal effects from Mike. The jam has an upbeat opening that is eclipsed by dark and electric sections which conclude with a flawless -> to "Meatstick."

Great segue in from a phenomenal "R&R," and also features a bit more varied jamming in the outro. -> to "BORW."

-> in from "Meatstick." Trey and Page join Super Mike and all three rock this one hard, while Fish dutifully keeps everything in check. Technically "Type I," it's nevertheless a great version. > to "Farmhouse."

Blistering jam, in part, largely Mike-driven, that segues into some serene spacey jamming, that in turn goes into "Caspian" and "Sand" before "Tweezer" returns for a minute.

> in from "Tweezer." "Caspian" and "Sand" are sandwiched inside "Tweezer."

> of "Prince Caspian." Excellent playing from Trey over funky rhythms and returns to "Tweezer" from earlier in the set.

-> in from "Sand" as to complete this "Tweezer" sandwich.

Heavy-duty "Storage Jam"-like improv. While lacking the melodic grandeur of some versions, it out-improvs nearly all other versions in a very cool space out jam.

Unfinished version with teases of "Dixie" and "Hedwig's Theme" (Harry Potter), and a delicate -> into "Slave."

Breaks beyond "Jim" at about 6:30 into a nice, exploratory groove. > to "Ghost."

Very well-played, with an excellent peak, and Page grooving on the clavinet as the jam goes spacey.

Page rocks the B-3 big time for the hometown, Chicago crowd.

Jam breaks away from the customary release around 6:35 into more exploration with great Page B-3 action and Mike bass. A nice low-key groove develops that grows into an extended high power closing and return to "Wolfman's."

The band crushes the groove before before laying down some spacey effects and segueing into "Light."

"Waves" jam is intense and good, but following the final verse, the band breaks into a nice, snappy rocking jam that segues -> masterfully into "Undermind."

Sleek -> from an extended "Waves." The band launches into an upbeat, pulsing groove led by Mike, which ultimately unravels and dissolves into beatless ambience. What follows is a delicate and serene musical passage highlighted by Trey's emotional playing alongside Page's graceful There…

Killer segue out of "Undermind." Fierce and intense version.

Good version in which Trey really plays the tension and release card to full effect.

> in from "Runaway Jim" (old school). Mike and Fish remind us who's really behind the "Foam" in this "teamwork" version.

A very different style of jamming for a portion of this version. Sort of "plinko," not really funk, the jam returns to conventional "Limb" playing with an excellent crescendo peak.

Multi-faceted, improvisational version with mesmerizing, pulsing and triumphant moments. Eventually mellows into good space which regains energy and -> to "Twist."

Trey finishes the vocal jam with Darth Vader's line, "I am your father, Luke."

Great segue out of "Simple." Page shines early on, then Trey takes over and delivers a ferocious solo. Must hear.

Trey sustains a single note for 1:08. Debatable whether or not this effort "works," but it's certainly unusual and worth checking out. Decide for yourself!

Great growly playing by Trey at first, some 3.0 funk from Page, before a spirited, high power build up to conclude.

"Green-Eyed Lady" teases in the intro composed section by Page, and Fish teases the "Golden Age" drum line in what is a magnificently melodic jam that is quite stunning in parts. Brief hints of "Lovelight" and "Jessica." It's excellent from the very start of the jam, too. Must. Fucking. Hear.

A smoking "Type I" version that keeps on rocking after the final lyrics and concludes with a spacey outro jam that > to "2001."

Like other strong recent versions, has the energy building jam much like "Possum" does. Version also includes a "Sneakin' Sally" tease and has a unique ending.

A nicely played "Type I" jam shifts to a funky breakdown jam at 8:40, then works back to "Gin" with a strong peak.

Great version with some atypical jamming, loaded with tension. Strays from the typical jam several times and returns.

Another excellent version for any era, some hear a tease (but not musical quote) of "Roadrunner" (Modern Lovers) in it. Others just hear siiiiiick jamming.

> in from an inspired "Hood." A high powered, joyfully played jam continues the "feel good" from "Hood." > to "Ghost."

Some good "Manteca"-like jamming early on, then the jam opens up and Trey layers on some nice guitar melodies before a full-on finish. Mike and Page shine.

Similar to many of the other standout versions, where the band brings the tone and groove down nicely before rebuilding. But in this version, the band gets into an almost jazz-like swing, and Page adds some unusual (for "Julius") chords that increase the jazz mode.

Starting off in a driving, typically ear-splitting mode, the jam shifts into an upbeat, non-raging sentiment. (Part of this jam sounds somewhat similar to the "A Love Supreme"-like jamming in the 6/3/11 "DwD"). Trey adds some nice soloing, and Page some great effects. Gets spacey with > to "DwD."

> in from "DwD." Although shorter, this one starts with delicate, heartfelt playing by Trey, but quickly amps up to pack a full punch from all by the conclusion.

To paraphrase @nicobert: One of the skronkiest, atonal, and harrowing "Zero" jams going. Like trying to walk a tight-rope to see how far he can push the song's structure without anyone noticing, typically on-fire Trey is especially incendiary, at one point using his mic as slide to, in a manner of…

The jam soars beyond "Cities" into some rhythmic, exploratory, and gorgeous territory, but seems to fizzle out prematurely.

Psychedelic raging at first, with Fish screaming in the background repeatedly. Mode shift into some more serene space with some really nice subtle playing, before a great -> to "Tweezer."

Segues nicely out of "Carini" and features a tight, melodic, soulful jam that dissolves beautifully into "My Friend."

The typical jam slows, and Page takes over on the B-3, leading a short, good foray with a nice rhythmic pop. -> to "NICU."

Some really nice variation by Trey throughout the jam, plus a strong ending section distinguish this "Hood."

Very good jam with a strong peak, albeit short.

Solid jam which includes some plinko action early on, then covers enough non-standard terrain to make it interesting, before finishing with a particularly nice peak.

A rhythmic, swirling, and improvisational jam develops with nice work by Page. Becomes serene and dreamy towards the conclusion and transition to "Twist." Really an excellent version.

On the shorter side but chock-full of fresh ideas. The second jam has some sweet stop-start and Trey drops one of the sweetest tones around. No dull moments here.

Performed during the NYE "gag" (stunt), this exceptional version ends with a ferocious "Llama"-like jam leading up to "Auld Lang Syne."