Listening on the LivePhish app they loosen up around 7minutes into the song and it’s just beyond the 8 minute mark that the “Polka Dot Rose” section comes to light for about 30 seconds

Listen for the “Polka Dot Rose” teases. It seems to start off like something else, but Trey slides right into the Oysterhead cover. The Mexico shows are fresh off the heels of the start of Oysterhead’s reunion tour in Denver the week prior. “Keep on painting!”

Awesome 2001 - really set the tone for the whole weekend run.

Absolutely amazing 2001.

Check out some of the backwards-tape-loop effects Trey throws in near the end of this sucker. A version that, IMO, competes with some of the lower-tier 2001s of its heyday of 1997-2000 (if not, like, the 11/19/97s and 9/29/00s of the world); certainly it utterly demolishes all of the 2001s before Fall 1996 and after 2004 or so.

You know what? California DOES know how to party.

This version has a pretty neat little jam in the last 3 minutes

This song was the climax of The Mothership's journey into deep space that took place during the entire second set of the show. The extra jam in this version was concise and consisted of hard funk rock with the perfect touch of spaciness to match with the setting of the Hampton. The version also contained a spacy outro with nice licks from Trey after the song and went into a surprising and perfectly placed Sand. Overall, this 2001 was highly danceable, played with purpose (no lull time), and matched the setting in which the music was taking place. A perfect combination for The Mothership and well deserving of the green label. Take me back!

Sure, they don't stretch 2001 out like the 20 minute versions from the late-90s anymore, but that only means they've gone back to 94-95 lengths, and the 3.0 versions are often far more creative than those pre-funk versions. This version is deserving of green treatment for that reason alone, as the band (clearly chuffed after the superb Piper -> Takin' Care of Business sequence) puts some extra stank on the non-chorus segments, Page in particular B-3'ing his way into our hearts. Another essential piece to the jigsaw puzzle that is 10/20/13 II.

And, just because I like beating this drum, it's a -> out of Takin' Care of Business.

Posted without comment? Excellent.

2.0 at it's best. The whole band is rippin'. Dark and funky.

This has gotta be one of the longest 2001 intros ever- it's just over 8 minutes before Fish kicks in the 2001 drumbeat. This version is pretty emblematic of '99 in general, long, spacy, and supremely hazy, but not without its own charms.

This is the one.

The first 5 minutes of this sound like the birth of Olivia's/Shafty

my go to for 1.0, 97 no coincidence on the funk, of course.

I still think this is the greatest of all 2001s, mainly for all the reasons @Dressed_In_Gray mentioned above. 2001 never really went Type II per se, as much as they found little variations and avenues to go down and such to differentiate the Big Long 2001s from each other, so it's really a matter of which one does the most interesting things within the 2001 dance machine envelope. For me, it's this one.

First of all, in 1997 I was enamored with Trey's looping. Good thing, too, because I got a lot of it. I loved hearing the rhythmic cycling as the feedback warbles worked through the beats of a measure, providing a foil to the jam, and inserting some randomness into the soundscape. This was Heaven for me as this 23 min jam has about 20 minutes of looping track.

I also loved the daring it took to throw the loop on and leave the drummer and pianist to alone carry the weight of the song for the length of Stairway To Heaven.....so you can paint! And Page was all over that task. He treated it like it was a sandwhich - something he can easily dispatch.

The thing that sucks me in every time is the last 1-2 minutes of Page and Fish jamming before Mike and Trey come back from painting. To the inattentive ear, this is just noodling, but really this section of the jam has such flow and movement. Little tesions are created/released and increased until Mike slides back into the mix and Trey hits the peak with his entrance using that one volume swell of feedback. Although it is 7 minutes into the jam, it is as though a curtain is opened and we step through into the song proper.

The ending of the first section is a continuation of the energy build that has been maintained throughout the first 11 minutes. I remember at the time, I was so excited for the next song after the first chorus, that the drop into the funk groove had me befuddled at first, thinking it was another song, lol.

By the time they locked up in that jam and Fishman started whooping and hollering, I thought I must be dreaming. No way was I seeing something this good. Although I had seen some amazing jams before, that was my introduction to The Hose, made all the more amazing/surprising by the fact that it followed the Went Gin.

What - a - show!