Tell me someone else heard the chest fever tease and jam throughout 46 days

Personally, this is my favorite jam of MagnaBall. The patience exuded by Trey as he guides the band through a blissful journey of quiet, intense musical exploration continues to leave me amazed. There are few examples from 3.0 of Trey letting a jam "breathe" so fully - every note means something here, and they're all practically therapeutic. In the final segment, Trey finds a riff that he can finally kick the volume up on, and as he repeats it for the 4th time, he plays a (i think) minor third harmonic with confident aggression enough to signal the band to reel it in. What a fuckin' night.

As is often the case, I really agree with @CreatureoftheNight's analysis. You could argue that this is 2015's most underrated jam, as it's a) a really nice piece of business, b) came after an equally superb 46 Days on 8/15, and c) was immediately proceeded by one of the most famous 1-2 punches ever (don't think I need to bother qualifying that at this point).

This version contains some of my favorite music of the entire summer. The Magnaball version follows the same path as many recent versions, beginning in minor mode and slowly shifting from around 6:50-7:40 to major key bliss. From here on out, heaven is in full view. 8:37 brings a What's The Use quote and warm tones from Trey. Chordal play at 9:30 is familiar territory, but a tenderness from all musicians is extra special. The crowd was silent and completely transfixed on the stage. At 10:45, Page quotes Very Long Fuse on the Rhodes and gradually, the intensity builds. A few cries for Trey brings this one to a close in the last couple minutes. This jam is all about the journey, not needing a raucous peak because the true conclusion comes later in the set. I feel that if this version didn't come on the heels of MPP and before the huge Tweezpien, it would have garnered highly recommended status from the keepers of the jamming charts. I absolutely love it!

@n00b100 said:

One of my favorite tricks in 3.0's improvisational bag is when they go from a grotty and nasty version of a jam to blissful upbeat hose (which makes the 12/31/15 Twist so great, because they do essentially the opposite), and this ab-fab jam is the prototypical example of that particular technique. A truly wonderful jam from 8/15/15, a highlight of one of Phish's truly great tours.

I agree completely with all of your statements and going off of what you said about the 12/31/15 Twist, I think the greatest example of such a bliss -> nasty jamming structure would have to be in the 11/30/97 Wolfman's

One of my favorite tricks in 3.0's improvisational bag is when they go from a grotty and nasty version of a jam to blissful upbeat hose (which makes the 12/31/15 Twist so great, because they do essentially the opposite), and this ab-fab jam is the prototypical example of that particular technique. A truly wonderful jam from 8/15/15, a highlight of one of Phish's truly great tours.

Austin's undeniable highlight, and really a quite fine piece of business, both in its wonderful sandwich of The Dogs, and in the gauzy Dick's 2014-esque outro jam. You can make a mix CD or two of every 3.0 tour since 2013's "lesser" shows and they would be packed with incredible jams, and this one would make that dubious 2015 mix CD with no problem.

Not exactly the 8/15/15 46 Days or anything, but a nice gauzy groove floats out of the back end of this one, helping make for a fine start to one of those sets that's known essentially for one jam.

That's right, I'm talking about the Hood.

(no, you're right, I'm not)

This version has all the cowbell you need....

Am i wrong, or is there a Mr. Completely tease in there?

In order to fully appreciate this jam, the listener must be in the mood to completely space out and appreciate the first 20+ minutes of haunting noises and effects. This jam won't make you stomp your feet or dance, but it will captivate you while you're simply listening. Eventually, the noise and effects finally give way to a more musically oriented jam, which is incredibly appropriate and satisfying given the nightmarish noise that preceded it. Once the band returns to the typical 46 days conclusion, you'll wonder where the last 40 minutes of your life went. Overall, this jam is a masterpiece for a particular state of mind.