The Jam Charts · phish.net's good stuff

Unusual jam which breaks into very un-"Possum"-like sections at 6:00 and again at 7:00. Not typical at all, but very exploratory for "Possum."

Deploying an array of instruments and effects, including the theremin and bass effects, the band uses these tools to create a lush, densely textured and largely upbeat jam which -> to "Taste."

-> in from a excellent "Carini." Page is great in this version, which is also features Trey playing both a "Norwegian Wood" tease early in his solo, as well as the "NICU" riff signaling the concluding section. > to a strong "Ghost."

Segues out of "Ghost" and includes some serious hose from Trey and reaches several satisfying peaks. Drops back into a funk groove for the last minute and the jam fades away into "If I Could".

> in from a powerful "Boogie On." Heartfelt and thoughtfully executed version adds a graceful ending to an impressive string of improvisational music.

A very nice melodic jam that turns dark develops as "Roses" proper is winding down.

Proving again that less is more (at least for "Julius"), Trey's nimble, amped-down playing provides interesting texture, and creates better suspension awaiting the inevitable re-build.

In a bit of a nod to the old, pre-August '93 days, the jam begins with decelerating tempo and downward sloping melodies. At 7:30, the jam shifts into the more familiar, uptempo "modern" "Gin" jam. Cool version. Check out 11/16/91 if you doubt.

Stellar 3.0 version. Trey's delicate soloing is inspired and fresh and Page fills in all the right gaps. Simply gorgeous.

Strong 3.0 version with start-stop jamming and fantastic playing from Mike as per usual. Spacey outro into "Cities".

Following a good straightforward "Birds" jam, this one moves beyond "BOAF" proper into an upbeat, pulsing jam. From there, it shifts again into 3.0-style ambient space, before regaining some rhythm and -> to "BOTT."

A fast break from "Light" -> to a quick rendition of "Manteca." Fantastic stuff. Remainder of the jam is Fish-driven and unlike another "Light" jam. There is quality "Type I" jamming as the band shreds over "Manteca" and "Crosseyed" teases.

-> in from "Light." Brief rendering of the Dizzy Gillespie classic occurs early in this "Light" jam. -> back to "Light."

-> in from "Manteca" as the strong "Light" jam really takes off in its aftermath.

Second jam is a journey down slankytown lane. Slow, with some stop-start funk. Go to Atlantic City for the shady off-Boardwalk atmosphere. Stay for this "2001".

Jam gets unusually dissonant near the end, then there is more dissonance and noisy space and a > to "Prince Caspian."

An even better -> out of "Hood." One of the few highlights of the Portsmouth 2012 shows.

Includes an eerie outro full of creepy effects that sounds like it was taken right out of the IT festival and transitions (>) to an equally menacing "Twist."

At 6:15, the jam breaks from "Twist," taking on a haunting, spectral tone that grows increasingly powerful. The jam settles briefly, then gains energy and gets more upbeat, launching into a "Heaven On Their Minds" jam (from Jesus Christ Superstar), before winding down and > to "Halley's Comet."

Most improvisational version in 12+ years that includes an extended Mule Duel with Page on theremin at one point.

The typical jam breaks into a short dreamy, lightly pulsing abstraction, before settling into extended transition space and > to "Light."

Nice plinko-style funk breakdown, a second little Mike/Page breakdown, then more improvisational play before an unsual conclusion which -> to "Seven Below."

A very good, psychedelic jam including an introspective ambient section in which Trey uses his delays/pedals to great effect. > to "Ghost."

The Curtain section is well-executed, with notably strong Mike and Fish. The With jam features great Trey and Page interplay - not exactly call and response, but Trey plays a few licks, then Page responds with thoughts of his own. As the jam develops, they play simultaneously, each offering similar…

The rest of the band, particularly Trey, plays along during Page's solo, and there is some nice interplay between the two. Stepping into the lead, Trey migrates from the melodic to some mildly dissonant, atonal scales near the conclusion of this fine version.

Nice departure from the crescendo oriented "BOTTs" of '10 - '11. This jam begins in "plinko" mode, modulates to a great Page-led section (very unusual for "BOTT"), and ends unfinished with some dissonant space. -> to "HYHU."

Delicate and beautifully played at first, the jam has growing intensity, and then leaves the "Waves" ranch altogether with several movements that skirt around the perimeter of "Waves" proper. Unfinished with > to "Bug."

High quality jam develops that is dark and brooding at first, but grows increasingly upbeat and intense. > to "Sand."

Coming out of a very good "Disease," the jam is a tight, rhythmic groove with "Walk This Way" and "Weekapaug" teases from Trey. Segues into "Twist."

> in from "Rift." Despite its brevity, this version has some fantastic and unusual improvisation and includes a "Twist" quote and an "On Broadway" tease from Trey. With a -> to "Fluffhead," this is a great, old-school triple combo.

> in from "Wilson." Rhythmic funk held together by a really fun, loose beat from Fish, with a nice -> to "2001" to finish it.

This patient and cohesive jam covers a lot of ground in a relatively short period of time. Excellent and Must-Hear.

You ever have a pulled pork slider that's got so much flavor packed in such a small bite that it makes you crosseyed? It's like that. [An excellent short but improvisational version promptly departs standard "Ghost" at 5:30 to survey good and varied terrain, includes "C&P" quotes, then -> to "BOTT…

Very 3.0-styled jam with peaceful, swinging melodic leads. Everything is subdued and nuanced, and it's just as easy to hear each of the players' respective contributions as it is to hear the unified end result.

Each band member puts their stamp on this one in a great collective effort, which includes an "Izabella" tease. Shifts at 6:50 to allow Page to lead on the Wurlitzer as Trey lays back. Ends with staccato playing from Page, loops, and a -> into an exceptional "Golden Age."

-> in from "Sand." There is fantastic interplay between Page and Trey throughout this jam, and Mike also does his part to punctuate the groove. Concludes with a beautiful ambient passage led by Page on the Wurlitzer. A top "GA."

Rhythmic changes, mode changes, suspensions, and melodic variation are key elements which make a version, and thus more interesting than the typical "average-great" one. This strong old-school, new-sound version uses all of these.

"Tube's" funky jam smoothly -> into the Talking Heads classic "Psycho Killer".

A rousing performance sandwiched inside "Tube's" jam.

-> from "Psycho Killer" and briefly gets into a staccato clav-groove before wrapping up this crowd-pleasing sandwich.

> in from "PYITE." A great, rocking, upbeat, and multi-part jam follows the vocal jam. > to "Ghost."

> in from "Peaches en Regalia." Nothing like some good "Gin" on a nice summer night. This "Type I" version is 3.0-style HOSE at its best. Great nimble and directed playing by Trey later in the jam.

> in from "BDTNL." Band wastes no time getting beyond typical the "Caspian" jam , instead settling on a beautifully delicate, but substantive groove that unexpectedly segues -> to "SOAMule."

Really solid and extended straightforward jamming with great Page and Trey.

One could argue that they dick around and waste several minutes in the land of "meh." But after the 8:00 mark, this one suddenly gets pretty damn solid with some good old fashioned tension and dissonance. Hell, even throw in a little chaos.

Intense "Type I" jamming continues after the final lyrics before dipping into some darker playing that quickly brightens before ending with a -> to "MFMF."

Multi-dimensional, very high quality jamming. "Piper" has come back a long way since '09. > to "Free."

A very well played version overall, but the ending section in particular is extremely powerful.

After breaking into a nice snappy, percussive bent, the playing settles down to quieter musing, briefly suspending rhythm in favor of pulsing sonar. But between 12:00 - 13:00, all four steer the ship back to the surface, slowing building into celebratory playing before venturing into more improvisa…

Good multi-part jam with great Mike in the early, pulsing section, then more good Mike and Trey in a mostly upbeat, major mode section that has a pensive quality. Unfinished with a > to "BOAF."

Sloppy flubs in the composed and closing sections aside, the jam here is dark, chaotic, and loaded with tension and eerie effects. They haven't played a comparable, non-extended, tension-meister "SOAM" like this since '94/'95.

Although similar to the '10 and '11 versions here, there's some nice dynamic modulation that makes this jam interesting and just a little different.

Really a beautifully played and moving version from a great show.

Despite some obvious flubs in the composed section, the jam is very good with buckets of tension and dissonance and strong Fish-directed rhythmic accenting.

After a rousing climax, for the first time in years, they take "Crosseyed" out for a walk, seamlessly downshifting, but still locked in. Trey and Gordon lead the melodic charge, creating gorgeous passages before dwindling down. Fish picks it back up before Trey starts a monster "Light". Mike teases…

Outstanding version. Tight throughout with a tension and release that easily rivals great moments in Phish's past. Never sloppy, this version is a pure rager.

-> in from "Light." Fish and Mike lay down a great base, and Page and Trey play off this in a spirited upbeat jam. The intensity grows before a segue (->) to a reprise of "Crosseyed And Painless."

A short reprise of "Crosseyed" segues out of a hot "Sally" jam and dissolves into "Theme".

"Theme" is one of those songs where the jam can be repetitive and pointless, or it can be inspired, rousing and melodic. Nice to see Trey opt for the latter in this 3.0 standout version.

A very good version that shifts back and forth between minor and major modes, creating tension between dark and bright.

Very good, multi-part jam. Begins in a snappy, rocking mode with a good "Live And Let Die" tease, grows in power, then mellows with a -> to "Lizards."

The boys whip things into a frenzy like the old days.

> in from "KDF." Dark, space funk with Mike at the forefront for much of the jam. Mike also plays around with an exotic motif towards the end of the jam. > to "Free."

Great version with a nice, upbeat move beyond "CDT" beginning at about 4:30. Grows more tension-filled before settling down some. > to "What's The Use."

A very strong composed section features great Trey. Then Page's forceful piano soloing is matched by a bit of full-band improvisation, with Trey coloring the jam with a few scattershot notes before settling into a nice, warm line. A really fun and inviting version.

Enchanting, even stunningly beautiful, jam to which each band member contributes powerfully. (Listen carefully for Mike's tease of "Cars Trucks Buses" as well.)

There's a second, pleasant jam segment after the customary ending, and a very smooth -> into "Frankie Says."

Well crafted -> from "Frankie Says." Quality "Type I" version features all the members in top form. After the lyrical refrain, Fish loosens up the beat as Trey deploys syncopated loops, which -> to "Sand."

A great exploratory version. Pushes the edges of "LxL" until about 7:30 when it breaks well beyond into an upbeat groove that builds intensity. Ultimately returns to "LxL" to finish and > to "Julius."

The jam breaks away from "Twist" at 4:45 into a peaceful major mode movement which continues until the final minute.

Mode shift away from "Carini" at about 6:30 into multi-faceted, rhythmic and increasingly powerful jam.

Outstanding and extremely cohesive "Type II" jam displays patience and purpose as each proceeding segment is developed and segued seemlessly into the next. Mode shifts into bliss around 9:00 and a transcendent build commences with ever uplifting and growing power until peaking at 13:38.…

A very improvisational version and the first exploratory "Jim" to open Set II since 7/3/00. Most, but not all of the sections have a mildly dark tone which counter-balance the several very upbeat jams elsewhere in this historic show.

Both sections of this historic version from the "F-Y-F" show deserve your attention. "Farmhouse" proper has an excellent straightforward jam, including rocking play similar to the 2/24/03 version, and an extended sustained note from Trey akin to what one might hear in a "Slave" or "Hood" jam. The a…

An exploratory outro jam begins in a snappy, rhythmic bent, then mode shifts to serene bliss. > to "Emotional Rescue."

The band wastes no time in hooking up on a mid-tempo groove with a slightly mysterious feel at the start of this jam. From there, it gradually gains intensity, and becomes a bit more rocking as Trey quickens his playing. Ends with a > to an exceptional "Prince Caspian." One of the many strong jams…

> in from "Golden Age." A beautifully played "Caspian" jam leads to an exploratory breakaway jam. Must-hear with a > to an equally must-hear "Light."

In football you often hear the phrase "a tale of two halves" and this certainly applies to the infamous "Dick's Light." While the first half of the jam is wrought with pitch effects and a meandering flow, the second is pure fire. It is easily the most identified version in the song's history and wo…

In the most improvisational "Sand" played by Phish up to this date, the band launches into a multifaceted jam after a typically groovy first segment. Initially ambient with a siren loop, this jam gains intensity as it moves through a serene groove into a thrilling peak. Throw in a funkified retur…

An excellent version that includes some really sweet bass action from Mike, a jam on the "Little Drummer Boy," and strong improvisation all around. The jam eventually winds its way back to "Wolfman's" to close.

A mesmerizingly incandescent psychedelicious soundscape of elephantine proportion.

Although essentially "Type I," Fish-directed rhythmic variations, which Trey and the others pick up on, leads to some excellent tension building as the jam progresses. Old-school style "Bowie."

Minor flubs in the composed section notwithstanding, a very good jam segment, and long for 3.0.

Crescendo-oriented jam, but this one has a false peak followed by bigger exclamation point.

Phenomenal improvisation. Dark, bright, introspective, spacious, beautiful, powerful, riveting - all applicable descriptors for this far-ranging, exploratory and must-hear version. > to "Twenty Years Later."

Righteous, improvisational version bucks the recent trend of mode-shifting to an upbeat groove, instead sticking to dark and eerie themes that evoke a Pink Floyd-like sentiment. Very exploratory, must-hear material.

Great Mike/Trey interplay early in the jam, a serene middle, and soaring finale to end a very strong 2nd set.

Great interplay, but what really stands out is varied and well-executed soloing by Trey as this "Hood" builds up power.

Not only is "The Wedge" used to help pull off the golf gag, this NYE version is highly atypical in that it features lengthy and notable late-show jamming, playing that would remain unrivaled until July 20, 2014.