Ghost has a Let it Grow tease (around 13:10 on LP)

Please tell me why this doesn't have a Jam Chart entry? Too many good Ghosts in 2018? I'll never understand the criteria.

What I do understand is that this Ghost is one of my favorite. The slow rolling, bliss jam is sooooo soothing and connected. Every instrument is oozing with ideas. It's such a joy to hear the musical conversation that only the best jams can produce. Then comes Under Pressure and Rock Star Trey takes over. All the while, the twinkling loop lingers underneath. And by the conclusion, the SUPER funk breaks it down to a spectacular segue into Crosseyed. If you haven't heard this version, you'll probably be tempted to just put it and the following track on repeat for the rest of your day.

Best Ghost since 2.0 and possibly since Radio City. An absolutely stunning display of group improv.

Beautiful first set version led by Mike and Trey.

underrated

I feel it should be nick-named the Nutter (or Dayton) "GhostBat"
or "Womboast".
I mean,why not?

My wife's two favorite Phish songs.
And she got 'em back to back this summer there!
I didn't quite get my Mound at Dayton,but I've heard it was Soundchecked (right after we got up to the glass to listen).

This is absolutely a noteworthy jam, must be added to the list!

the return of the holy ghost

The first of a devastating 1-2 Ghost> Gin punch that features fantastic improvisational cohesion, which has become hard to find in 2016. This Ghost has an upbeat and beautiful tone to it that is very similar to the San Fran Ghost from earlier this year. However, Trey is more delicate and patient in the build to this Ghost's peak. This jam is so uplifting that witnessing it live at Lockn was one of those moments where life seems perfect. When the blissful section peaks and fades, the band decides to have a little fun and basically *force* the crowd to Woo. I'm not the biggest Woo fan, but this was one of those times where Phish had complete control of the crowd and wasn't going to let up on the stop/start section until they got the Woo calls. Overall, this Ghost was a breath of fresh air in a year that hasn't offered too many big time jams. Then Bathtub Gin happened...

This blissful up tempo Ghost is one of my all time favorites. May not be the most exploratory, but when the tempo picks up and Trey and gang HOSE down the major jamming section, the energy is palpable, and sets this phenomenal 2nd set to high gear!

Just too much goddamn fun, especially when it snakes back into a NMINML Reprise (*cough*). Ghost had a very under-the-radar strong 2016, maybe just a step behind its very on-the-radar strong 2014.

Rock & Roll has receded a bit as a jam vehicle in 2014-15 (a shame, as it was DWD-level reliable for the years preceding it), but this really fine version is more than worth your time. They tear the Type I jam to bits - absolutely murder it - and then tack on some down-n-dirty funk at the end before Hood comes in. A worthy component to one of my favorite 2015 shows, even with the somewhat unfortunate entry from Ghost.

I had been pretty sure that 7/20 would be my Ghost of what has been a quite strong year for Ghost, but then this bad boy came sashaying in and stole my heart away. I do love the Gin-like jamming of the bulk of the jam, but what really hooks me in is the latter section, when it feels like they're actually closing the song out Holy Ghost style, only Trey decides that they're not finished until he says they're finished and moves the band into one more triumphant peak. A glorious opening to the 40 minute sequence that makes 12/31/14 II a set for the ages.

Glad this made the list. Worth a listen for sure. The last 11 mins are beautiful!

Extremely underrated beauty. Swells of melody and sonic goodness from this jam and the intro resolve the epic simple prior.

How can you not love a band that gives us the 7/20 noise machine for one version of Ghost, and a rollicking "every hair metal song ever played smushed into one jam" headbanging party for a second version? Just a glorious piece of business from another very strong (and, much like 7/12, very underappreciated) show from a tremendous tour.

This one's been vaulting up my internal chart from the moment it was played. The opening jam segment is something of a false start, as the band ever so gently hints at disco (Mike, in particular, seems like he's got Miss You on the brain), before building towards a more upbeat 80s-style jam. Fish takes over and the tempo picks up as Trey switches to the Echoplex, and the resulting wall of noise Trey builds sounds like something out of Summer 2003, where dark and grimy jams were the norm, with Page's piano turning darker and more inward with each cycle as Fish really gets going. Page finds a brighter key at first, then returns to darkness as Trey goes for the late 90s loops, and then with one final Mike meatball and a weird vacuum noise out of Trey's guitar the band gallops to the finish line. A superb Ghost, melding that 2003 griminess with 2004's foggy upbeat hose, and a nifty segue into Weekapaug to boot.

This is my favorite Ghost of the year! The first hose section disintegrates towards the end of minute 9. The 12 minute mark is my favorite, right when you know something big is about to go down again! in the same jam. The swanky funk that follows gets nasty around 14 min. Then they decrescendo quite peacefully.

I feel that this ghost should be highlighted yellow in my opinion it was the best version of the summer the Chicago version was right behind it for me and that one is yellow.

I tried to get this one charted, but only 15% of 3.0 Ghosts have been charted, so the bar is really high. I'd like to think this is a near miss. They establish a theme with a foreboding vibe pretty early, which gets fleshed out in the last 4-5 minutes. The sustained note around the 7:30 mark kicks off a wistful, evocative "hosey" segment with a very nice piano outtro. Deft playing by Trey brings the theme to full realization. 2014 was a very strong year for Ghost, and this version is no exception. Definitely worth your time.

I really do enjoy this version, although it still stuns me that Trey made the move into The Lizards when Mike and Fish weren't so much teasing -7 as holding up a sign reading "WE'RE GOING INTO SEVEN BELOW, TREY, HELLO". Ah, well.

A much different beast than the Bathtub Gin-esque trill fests of some of the more recent Ghosts up until this point (with some glaring exceptions, the most notable being the grandiose Albany '09), this Ghost is a darker take on the jam in 3.0. It is as though Phish wanted to contrast Carini's effigy of spacious air with something of a midnight fog. This is not to say that this Ghost gets cacophonous (like 12/11/99's outro) or grimy (like 8/15/04), but relatively speaking, there are more dimensions within this Ghost than most feel-good Ghosts of 3.0.

Ghost's song-proper starts out more ominous than most, transitioning from the synth-filled ambiance of Taste to the opening chords being chugged at about half-speed (even the first verse being slightly slower than normal). The beginning of the jam is commenced by Trey repeating a riff based on a variation of the Ghost theme and Page filling in the empty, subatomic spaces with glimmering notes from the grand piano (I am reminded of that 2-note piano lick from Nas' "N.Y. State of Mind" for some reason). The jam seems to switch back-and-forth between an uplifting sense of melody and a bass heavy, chaotic syncopation, much like how medically inaccurate films portrayed schizophrenia in the 1940s and '50s.

One of the most beautiful moments in the jam has to be around 12 minutes in, in which Trey is [teasing?] Weekapaug and Page is accompanying harmonically before hopping on the moog for some melodic interplay with Mike. One the other hand, parts of the Ghost sound replicated from its 1997 summer European counterparts, particularly around the 9-minute mark in which Mike leads the jam into its next section with a simple dirty bass line. Additionally, Trey is half in and half out, and Page is the leader for when Trey is out, making for a more balanced jam that channels multiple musical perspectives. Mike is the hero of the jam in its final few minutes, giving the jam a breath of new life as he confidently funks up the jam. The epic "->"Boogie On speaks for itself.

Overall, you won't find this Ghost in a top 10 of any list, but you will find me recommending it if you're looking for something a little different, and that manages to pack a punch. But really, you should be digging into the entire second set of this show.

Probably my favorite Ghost that I have heard (live or soundboard). That segue from R&R into this was smooooth.

@n00b100 said:

I've never liked the way Trey decides this jam needed to end with the Ghost ending, as it doesn't sound the least bit organic (the way, say, the Tahoe Tweezer's return to the Tweezer theme is exceptionally organic), but what comes before - Trey hitting upon a fabulous lick as the band cranks up major-key bliss behind him - is one of 3.0's most beautiful moments. It took me a while, but I get why people love it so much. And that nickname really is boss.

I agree that this one didn't need to come back down to Ghost, and could've sailed off into the major mode sunset instead -- but I blame the come-down on Fishman, not Trey. He's the one who kicks back into the Ghost drum beat, and Trey just follows suit.

Pro-shot video of this beautiful jam available here: http://www.youtube.com/watch?v=BjTrV3LOAJc

I've never liked the way Trey decides this jam needed to end with the Ghost ending, as it doesn't sound the least bit organic (the way, say, the Tahoe Tweezer's return to the Tweezer theme is exceptionally organic), but what comes before - Trey hitting upon a fabulous lick as the band cranks up major-key bliss behind him - is one of 3.0's most beautiful moments. It took me a while, but I get why people love it so much. And that nickname really is boss.

Nothing to speak of improv-wise, but the (probably planned) segue into Spooky is like hot butter on your breakfast toast.

Trey can't quite get his vocal part lined up with Fishman, but this jam is sublime. Another strong indicator that JEMP still had the magic touch. Hear this!

The fellas lock into one *hell* of a groove at the end of this sucker, especially thanks to the repeating pattern Trey latches onto. One of my all-time favorite Ghosts.

If I recall correctly, this Ghost used to be on the Jamming Charts, and was subsequently removed in favor of multiple other versions from earlier in 2003. After giving this version another listen, I am inclined to agree with the Jamming Chart team's decision - the improv is really unfocused, even for 2.0, and was probably recommended because of its placement between a cool Boogie On Reggae Woman and an incredible, all-time top 5 version of Free. I recommend listening to this second set, but also recommend looking elsewhere for great Ghosts.

Anyone else think the band produced that glowstick war? They were all orange green and yellow, they all came from the back, and there was a million of them

was present also. Band was so loose,,they were tight. Glowstick war like I've never seen!!

I was fortunate to witness this Ghost live. I remember a RAGING glowstick war during the jam. At one point, Trey put his guitar on loop and he was catching glowsticks and throwing them back at the crowd, which intensified the war. Mike tried to catch a few but missed them. Unbelievable jam at an unbelievable festival. Ahh those long-ago days at Loring...

Those who generally stay away from Phish 2.0 will want to hear this Ghost from N2 of IT. Actually, those who avoid Phish 2.0 will probably want to hear this whole festival. IT Festival is probably the best post-hiatus shows Phish have to offer (competing with 2/28/03, 7/15/03).

This Ghost wastes no time heading into a soaring jam section that lasts for a little more than a half hour, but long-time fans will hardly even notice the time fly, because this jam flies. Though not as subtle as RCMH 2000 Ghost, yet not as in-your-face as 7/3/97, this Ghost is a good complement between the two. The jam is (relatively) straightforward through (with several distinct sections) up until the 20 minute mark, when Trey turns the guitar down and Page turns the keyboard effects up making for a very blissful atmosphere of white noise. Then comes the rocking guitar solo and Fish's hard-hitting cymbal crashes and the jam nears an end.

Overall, this Ghost is near perfection (though I still have a bias to the aforementioned RCMH 2000). I can only imagine how the crowd at IT must have been reacting with this Ghost. In a word, I would describe this Ghost as being "synchronizing" because the band was seriously in tune with each other and there is not one minute that is wasted.

I also want to say that there is this weird low-register guitar loop that replaces the usual siren loops that were used during much of '97-'99 during the intro of the song. It adds a certain "mystique" to the song. I like it.

All in all, don't skip this Ghost. And if you like this Ghost, definitely check out the Chalk Dust Torture from this same show. Both are labeled in the red font for a reason!

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One of my favorite jam chart entries - the perfect description of this jam. IMO, Phish's finest onstage moment.

Classic late 1.0 segue with this Ghost. Trey very patiently sets it up...

Amazing Ghost, It's just like the 7/6/98 Ghost, Builds up into a Rocking jam. Any PhishHeads that are phans of any ghost from 1.0, Go check it out It's an absolute stunner. But The AUD kinda sucks, but it's still a face melter. 9/10.

My favorite of the Ghosts I've seen, this jam builds, builds, and builds some more till they achieve liftoff through an extended full band peak. Raging, rocking, and thrilling, this version is my go to.

The most overrated Ghost of all time, to my ears. Not a bad jam, certainly - just one-dimensional. All sizzle, no steak. It's like a 15 minute Character 0.

Maybe the only Phish jam that can rightfully be called an "all peak" jam. That can make it come off a bit one-dimensional (actually, not just a bit), but much like the Went Gin, when they're playing in THAT one dimension, do you really need them to find a second or third?

18 years later, still in my top 5 jams in Phish history.

This is one I can always access in the further reaches of my memory. Those last 6 minutes...afloat, lost at sea...the sun peeks through the clouds...but it's still really dark and really murky everywhere else.

Couldn't agree more with @Dog_Faced_Boy. This is my favorite Ghost ever, and the final 6 minutes are majestic in every sense.

This one starts out 7/6/98 style as pure vicious rock firepower (interesting if Ghost had continued in that direction in its jamming evolution), maybe even more powerful than that most legendary of pure vicious rock firepower jams at times. But it's the left turn into that dark ambient-esque space, carried forward by Page's piano work and Fish snapping into a gentle groove, that makes this bad boy stand out. A tale of two jams, both of them fantastic, and proof positive that 1998 is not a year to be trifled with.

The section of this Ghost that starts just before the 15 minute mark and continues to the end to my ears is among the most iconic moments in Phishdom. These 6 minutes capture the uniquely ambient sound of 1998 better than any other jam I can think of, except perhaps the "Jam" that follows 7/15/98's Horn. But the music here also has a foreboding sense to it, although it's not really dark sounding (to me). Then that impending sense of trouble brightens just a bit in the final minute with a shift to more pure ambient jamming. Is it the best jam ever? Probably not. But it's magical music nonetheless.

This is my go-to, all time favorite phish jam. I'm a huge fan of the 97 funk days and this hits the spot every damn time. The funky ride to the larger than life hose jam never fails to brighten my mood and the funk/rock jam tacked on the end thanks to Trey's nasty riffs is just too much. In my opinion, this is as much of a disco funk staple jam in Phish's career as the Cornell 77 Dancing in the Streets was to the Grateful Dead.

The hose jam that everyone and their mother is raving about is the equivalent of skydiving on ecstasy

One of the best versions in 1997, this entire show is a must.

The hose from about 11:00 to 14:00 is one of the best hose jams Phish has ever done. Simply unbelievable.

I hold this Ghost above all others except for my all-time favorite version played on 5/22/00. Like many other great Ghosts, this one is ripe with funk and Hendrix-esque rock riffing, but the section from around 8 and a half minutes to 14 minutes in 11/17/97 is truly one of the greatest moments in Phish's illustrious career and puts it over the other big ones like 7/23/97, for example, in my mind. 7/23/97 pushes the rock and funk to the limit, but the aforementioned section in the Denver Ghost breaks out of form into some really beautiful, type 2 playing that builds wonderfully to a celebratory peak at around 13 minutes. HOSE, to be sure. Thank you, Page, for leading the charge into this segment. The jam continues on to another funk-rock climax to end on a strong note, but the real highlight of the jam is back at the 13 minute mark.