a Project of the Mockingbird Foundation

Performances Song History Jamming Chart

Mind Left Body Jam

Music: Paul Kantner, Jerry Garcia

Vocals: Instrumental

Original Artist: Paul Kantner, Grace Slick, and David Freiberg

Original Album: Baron von Tollbooth and the Chrome Nun (1973)

Debut: 1993-08-21

Historian: Ellis Godard (lemuria); Charlie Dirksen (Icculus)

Last Update: 2014-06-19

Purportedly an intentional tune with an exciting history, “Mind Left Body Jam” is little more than four descending chords. The orthodox history is that Phish is covering a Grateful Dead instrumental derived from the song “Your Mind Has Left Your Body” from the Paul Kantner / Grace Slick album Baron von Tollbooth and the Chrome Nun (re-mastered and re-released in 1997).

”Your Mind Has Left Your Body” – Baron von Tollbooth & the Chrome Nun

The album, which came during the lapse between Jefferson Airplane and Jefferson Starship, was a powerful collaboration of Bay Area icons - including David FreibergJerry GarciaMickey HartJorma KaukonenDavid Crosby, Jack CasadyPapa John Creach, and the Pointer Sisters. (The album also features a tune called “Fishman,” about “the son of Caliban” who “rules the ocean land,” “holds the ocean in his hands,” and is pursued by the singer, who wants to make love to him “over and over in the sand.”) 

For many decades, Grateful Dead fans have referred to a melodic theme with a descending chord progression that sounds akin to part of “Your Mind Has Left Your Body” as the "Mind Left Body Jam," classic performances of which include 6/28/74, and 3/24/90 out of “Terrapin Station.” However, Phil Lesh has often insisted that the band never consciously covered or teased the Kantner/Slick song, and never called anything they played “Mind Left Body Jam” (“MLBJ”). The Dead even mocked fans by giving the name “Mud Love Buddy” to a jamming track on Dozin’ at the Knick. Ironically, that mockery seemed to many to institutionalize a suspected connection, even giving it a second name. And due to a widely circulated but mislabeled tape, “MLBJ” was further confused with the very different “Heaven Help (the Fool) Jam,” full of rockin’ crescendos – and thus, for a time, had a third (and incorrect) name.

Phish's improvisational wanderings have similarly included chord progressions for which fans have sought labels, or in which they've attributed intentional allusion. Some of these have at times sounded more like "MLBJ" but been (mistakenly) labelled “Dave’s Energy Guide” (or vice versa), despite radical differences: "DEG" (e.g. 4/1/863/23/874/29/87, or 9/8/88) is a bouncing array of interlocking and repeating themes, about as far from "MLBJ’s" four descending chords as you can get. Worse, some have labeled as “MLBJ” digital delay-loop jams which are not even “DEG” (much less “MLBJ”), such as in the “TweezerFest” on 5/7/94, before “Bowie” on 12/29/94, ending “Mike’s Song” on 12/31/95, after “Bouncing” on 12/28/96, starting “Bowie” on 8/10/97, and during “Scent” on 8/17/97, which is possibly the closest to “DEG” the digital delay-loop jam got during the 1990s.

On several occasions, a jam with a descending chord progression similar (if not strikingly so) to “MLBJ” has appeared in Phish history. In three, they are sufficient that officially lists “MLBJ” in the setlist proper: during the 8/21/93Bowie,” the 6/18/94 “Bowie” (likely the strongest of all) and the 11/13/98 "Wolfman's Brother." In others, the appearance is brief enough to constitute only a tease: the 5/13/94 "YEM," the 6/19/95Bowie,” the 11/16/95Timber,” the 7/31/97McGrupp” and the 7/3/11 "Wilson." Other even-less-pronounced but sometimes-cited instances include the 10/29/96Mike’s Song” and the 4/2/98Twist” jam.

Some fans, of course, find this whole exercise amusing, seeing these progressions as no more conscious or intentional than the Grateful Dead's "performances" of the "song." Phish has thus included just enough allusion to enhance confusion; doing so is practically their forte. But in any event, the descending chord progression that largely comprises the melodic theme of “Mind Left Body” is identical to part of the recurring melodic theme in “You’re All I Need To Get By,” a popular 1968 song by Marvin Gaye with Tammi Terrell. In other words, what is popularly known as the (or a) “Mind Left Body Jam” did originate close-in-time and seemingly in connection with Kantner/Slick/Freiberg’s “Your Mind Has Left Your Body,” but this 1973 tune’s melodic theme (popularized by Grateful Dead versions of “Mind Left Body Jam”) may have been influenced, consciously or otherwise, by Marvin Gaye’s “You’re All I Need To Get By,” from 1968. Therefore, all “Mind Left Body Jams” necessarily tease “You’re All I Need To Get By,” or they’re not “Mind Left Body Jams” at all. And if your mind is still with your body after reading this song history, congratulations!

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n00b100 Reply
n00b100 If that wasn't a MLB jam, or at the *very least* a tease, in the 7/13/14 Light, I will eat my shoe like Werner Herzog.
Score: 3
nails4breakfast Reply
12-30-1999 - Big Cypress. There's a spacey, mellow MLBJ in Tweezer from 11:24 to 12:41. Surprised this doesn't receive more mention.
Score: 2
waxbanks Reply
waxbanks 1) I suspect Phil is either being pedantic (four chords don't make the whole YMHLYB song) or forgetful (we're talking about the ingestion of colossal amounts of drugs here). @AugustWest2001 is right - it was clearly a semiformal destination for the Dead at times, akin to the 'Feeling Groovy' jam.

2) That said, the 'MLB Jam' has always been wishful thinking by Phish fans who love that kind of connection (but can't actually recognize specific chord progressions). You could point to, say, the 7/2/97 Stash jam as being reminiscent of MLB in some ways despite having a different progression and a different emphasis in terms of chordal *destination*. (YMHLYB lands hard on the VIb/iv after an arc with a more melancholy feel, whereas the joyfully major-key Amsterdam Stash jam tumbles always toward the IV, treating VIb as an occasional transitional chord.)

It's an easy and welcoming sorta progression to play on - plenty of room for bluesy soloing up top or a knottier scalar approach (depending on Trey's whims that night). Easy to see why Phish and the Dead favour(ed) it. But it doesn't *need* to have anything at all to do with the Kantner/Slick song to have all those fine qualities.

And it's easier to say 'Mind Left Body' than to write out the chord progression on your setlist!
Score: 1
HighNote Reply
HighNote Confusion sets in after reading this post on what is reported on this Mind Left Body Jam page. I have shows of the grateful dead performing an absoultely beautiful jam clocking in around 3 minutes "Mind Left Body Jam":

Check Out:
1974-05-19 (Portland, Or) --> Between Truckin' and Not Fade Away @ approx 17 minutes after the begining notes of Truckin' (

1983-12-30 (San Francisco, CA) --> Between Space -- Truckin'

4 Descending Chords.....
Score: 0
waxbanks Reply
waxbanks The only explanation for the MLB/DEG confusion is deafness. Or madness. I mean C'MON.
Score: 0
AugustWest2001 Reply
AugustWest2001 I heard latvala say "mind left armpit jam" when was fillin in for gans on gdh. Hilarious. I really don't know why Phil said they weren't aware of purposefully playing that progression. Anybody that's real familiar with 73-74 knows that it's definitely a contrived section. Phil: what chu talkin' 'bout?
Score: 0
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