Jam Chart for shows in the city of Camden, NJ (47 entries)
| Date | Song | City | Timing | Notes |
|---|---|---|---|---|
| 1999-07-10 | Camden, NJ | 7:12 | Another extended, high-octane shredder from the late 90s, "Wilson's" most consistently strong era, and sets the table for the monumental "CDT" that follows. | |
| 1999-07-10 | Camden, NJ | 14:10 | Fantastic version that treads along the periphery of "CDT" for several minutes before making a total departure at about 8:55. Morphs into a blissful, celebratory jam, then gradually fades into a rhythmic pulse. Includes a tease of "In Memory of Elizabeth Reed" and -> to "Roggae." | |
| 1999-07-10 | Camden, NJ | 7:46 | -> in from an awesome "CDT." Some cool strumming by Mike and really the first version to mix the jam up a little. | |
| 1999-07-10 | Camden, NJ | 5:58 | High octave and soaring soloing by Trey in this fantastic version. | |
| 1999-07-10 | Camden, NJ | 16:09 | Overlooked gem. A really nice, ethereal "Type I" "Gin" morphs into a great jam on "I'm A Man" (Spencer Davis Group). | |
| 1999-07-10 | Camden, NJ | 20:33 | Very groovy jam eventually segues into some intense, beautiful space. | |
| 1999-07-10 | Camden, NJ | 14:06 | At about 7:25, breaks from the mold into an up-tempo jam that recalls the excellent "CDT" jam from earlier in this show. Version then morphs into a punchy, funky groove which transitions, unfinished, into "When The Circus Comes." | |
| 1999-07-10 | Camden, NJ | 17:11 | Played at a slower tempo than earlier versions, the first several sections are far from spotless. The pace seems to normalize during Fluff's Travels, and then The Chase proves once again why it is perhaps the most difficult of all sections to perform cleanly. Despite some additional bobbles, all is forgiven, as this Arrival proves worth the wait. Whereas the typical Arrival lasts for roughly 2 minutes, this one basks in '99-style celebratory glory for over 4 minutes. | |
| 2000-07-03 | Camden, NJ | 32:33 | Incredible journey of improvisation. Very far ranging, the last 10 minutes are thrilling and intense. | |
| 2000-07-03 | Camden, NJ | 10:07 | Beautifully played version that has that unique '00 dreamy feel to it. > to "Sand." | |
| 2000-07-03 | Camden, NJ | 13:18 | Groovy funk jam with a stop-on-a-dime ending and a brief reprise of the jam to end the song. The "Die" effect heard in the 9/29/99 "2001" also makes an appearance. | |
| 2000-07-04 | Camden, NJ | 28:40 | The longest and most expansive "Gotta Jibboo" to date. At first, there is standard "Jibboo" tension-release playing, followed by a passage of rhythmic complexity propelled by Fish's wood blocks. This section eventually shifts to a celebratory hose passage which culminates in a breathtaking peak; this devoloves into dissonant and chaotic jazz that would feel at home in '95, which -> "Saw It Again." | |
| 2000-07-04 | Camden, NJ | 7:05 | In from -> "Gotta Jibboo," the hard rocking vibe swells and recedes, leaving in its wake an ambient space from which the band miraculously builds towards -> "Magilla." | |
| 2000-07-04 | Camden, NJ | 3:56 | A surprise version emerges from "Saw it Again," with Page on his keyboard before breaking for his acoustic piano. The traditional sound emerges, with Trey particularly strong, plus drum and bass breakdowns. | |
| 2000-07-04 | Camden, NJ | 17:21 | A powerful and somewhat ominous groove-based jam emerges from the standard. Released on Live Bait Vol. 4. | |
| 2000-07-04 | Camden, NJ | 12:11 | Very cool version with a series of peaks. You keep thinking, that's gotta be it. But then it keeps going. Excellent. | |
| 2003-07-30 | Camden, NJ | 29:00 | At times dark and brooding, this wildly improvisational jam on balance is remarkably upbeat and very exploratory. | |
| 2003-07-30 | Camden, NJ | 10:05 | Shorter than some, but a lot more improvisational than most versions, much of it with a dark sentiment. | |
| 2003-07-30 | Camden, NJ | 22:52 | Very improvisational and thrilling jam with excellent dynamic modulation. The intensity builds and ebbs repeatedly, and at times has an "On Broadway"-like vibe. It ends with an upbeat sentiment that gradually dwindles. | |
| 2003-07-30 | Camden, NJ | 26:22 | Superb jamming in a version whose energy never quits. | |
| 2003-07-31 | Camden, NJ | 12:41 | A quality version which includes a second segment of grimy funk fueled by fat bass. | |
| 2003-07-31 | Camden, NJ | 21:45 | The third big, powerful, and highly improvisational "Piper" from summer '03. This one has some beautiful, yet eerie and unsettling space in the middle before a full throttle finish. | |
| 2003-07-31 | Camden, NJ | 12:29 | "CYHMK"-like jamming leads to some good restrained, improvisational play. The energy builds as the jam returns to familiar ground. Following the final refrain, the jam keeps rolling along in a funky groove with a sweet "In-A-Gadda-Da-Vida" tease before -> to "Free." | |
| 2003-07-31 | Camden, NJ | 23:42 | Must-Hear "Type II" version. With a more melodic bent than 7/25/03, the jam seems to retain at least some vestiges of "Hood," while still ranging far. Returns home to conclude. One of the top "Type II" jams of '03 - '04. | |
| 2004-08-12 | Camden, NJ | 12:28 | A really nice, mellow and low-key movement beyond standard "Piper" develops, energizes, and > to "Sneakin' Sally." | |
| 2004-08-12 | Camden, NJ | 10:54 | > in from "Piper." Similar to 7/17/99, where an easy-going groove picks up steam and energy by the conclusion. | |
| 2004-08-12 | Camden, NJ | 21:14 | No intro. Very improvisational version that ranges from edgy and propulsive to subdued and ends with increasing dissonance and space-like strong effects. | |
| 2009-06-07 | Camden, NJ | 9:20 | Like 7/5/98, a vocal flub leads to an extended outro jam that quickly moves beyond the norm. Page's ambient effects and Trey's use of the whammy pedal combine to create a jam reminiscent of the late '90's sound. | |
| 2009-06-07 | Camden, NJ | 22:21 | One of the first great jams of 3.0. This version contains an old-school groove which goes "type 2" via a funk jam and an uplifting conclusion by way of a repetitive, descending riff from Trey. | |
| 2009-06-07 | Camden, NJ | 13:58 | The "Camden Tweezer." Old school, repetitive, amazing groove. Like a '92-'94 version. | |
| 2010-06-25 | Camden, NJ | 16:30 | Upbeat, rocking jam until things settle down and Mike adds some interesting bass effects at about 9:45. The jam then becomes at once both funky and spacey. Gets into a tight pulsing groove, and Mike is HUGE. A top 2010 jam. | |
| 2010-06-25 | Camden, NJ | 5:57 | The version to beat from the 3.0 era. This Michael Jackson-infused "2001" is not just a novelty. Serious funk and the interplay in the last couple minutes is top notch. This section -> to the debut of "Billie Jean". | |
| 2010-06-25 | Camden, NJ | 4:00 | -> in from "2001." This debut version is sandwiched inside a strong 3.0 version of "2001" and includes a "Thriller" tease. -> back to "2001." | |
| 2010-06-25 | Camden, NJ | 1:34 | -> in from "Billie Jean" to complete this standout 3.0 version. | |
| 2011-06-10 | Camden, NJ | 14:28 | There are a few spots here and there in The Curtain and the beginning of With that seem a bit off. Nonetheless, Trey soloing in With seems particularly inspired, and Mike is also noticeably strong. The jam reaches a fairly intense peak, before expectedly settling to conclude. | |
| 2011-06-10 | Camden, NJ | 6:40 | Trey's wonderful, pretty, and soulful soloing, accompanied by Mike's on-point, cascading runs, work to create a truly notable version. Per netter @jerryguscia, Trey quickly shifts towards a bit of jamming featuring some rhythmic, low-key strumming, play which breaks to become dark and funky improvisation before dissolving into those hazy waves of sound typical for the era. | |
| 2018-08-07 | Camden, NJ | 24:08 | "Orchestral" in nature, the band smoothly transitions through several distinct "movements", each refined and offering something different by way of nuance or texture. Be the passage airy or muscular, driven or restrained, the jam remains engaging and highly musical, ultimately yielding to patterned, tripped-out effects, culminating with an august, psychedelic conclusion. | |
| 2018-08-07 | Camden, NJ | 16:30 | Strong vocals yield to pure, fun-in-the-sun jamming. Trey shapes his tone around 4:30, and alights upon a melody, matched, in equal measure, by Page. Trey lays back and Mike steps up - his play characteristically super - and in-step with Page, who soon bathes the stage with synthetic waves. Trey again enters the fray, finds a warm, melodic line, and the four musicians gel as one, summoning an easy-going, yet spirited vibe. Fish offers terrific fills; sound swells; and energy builds to a plucky rise, culminating with Trey creating a shimmering, feel-good, paint-by-number peak. | |
| 2018-08-08 | Camden, NJ | 8:23 | Trey's solo is short and to the point but played with inspiring confidence and results in a strong collective peak. | |
| 2018-08-08 | Camden, NJ | 16:13 | A multi-passage monstrosity grows its sea legs out of the Delaware River as the band walks this "Everything's Right" around the corner and back. Up top, dark minor-mode jamming is propelled thanks to Page' synth and stellar bass work from Mike; this eventually paves the path to a happy and fluid bliss jam. A second key change first heads for grimy Leslie-driven plinko, until Trey steps up with whale call and a second prominent bliss peak unfolds thanks to Fish's dynamic improvisation. An abrupt return to the final chorus winds down to close out the tune and, in turn, the set. | |
| 2018-08-08 | Camden, NJ | 12:07 | Played with the intro for only the 3rd time in 3.0 (SBIX, 8/12/15). A warm and delicate jam builds out of the verses proper, which morphs into a darker zone with Page and Mike taking point as Trey goes to his effects. Builds to a pretty sweet peak as Trey takes the reins, then comes to a gentle close. | |
| 2018-08-08 | Camden, NJ | 7:37 | > from a memorable "Melt", "Stop-Start" / "Woo-Driven" action yields to smooth, fluid soloing (featuring Trey's incredibly warm tone), atop bedrock bass, drums, and Page's groovy play. Short but sweet, a fun way to send 'em home. | |
| 2019-06-28 | Camden, NJ | 20:40 | Typically impressive play splits open and melts into one of the summer's more interesting extended improvisational passages. Around the 14:00 mark Mike works his effects and Trey follows suit, a bit of lead bass fronting a super bit of creativity which toys with the song's melodic variation, at times funky, at others maintaining a bit of delay-heavy darkness, before the jam, ultimately, moves from a carnival-vibe to become joyous. In other words: More Great Phish. | |
| 2019-06-28 | Camden, NJ | 11:09 | Relatively short but very sweet. Around 4:30 in, the jam takes a turn to a driving groove in A, which the band weaves into darker territory. Dominated by swirls in the key of Mike and thick Clavinet work, the jam weaves back to a happier bliss key around 6 minutes in. Trey goes for swirly Leslie tone before a soaring bliss lead propels to the heavens on the back of Page's piano. Finally paying off with a big sustained note around 7 minutes in, celebratory and continued peaking winds back into the verse at 9:30. | |
| 2019-06-29 | Camden, NJ | 10:06 | A thick churn of clav, filtered bass, and growling guitar suddenly morphs at 5:20 into a triumphant release with a powerful peak. | |
| 2019-06-29 | Camden, NJ | 13:38 | Smoothly pivots to a fuzzed-out and warm space, then grows darker and heavier with some real nice work from Mike in particular. Page flashes his stuff on the keys as the jam grows busier and more intense, and with a few strums of his guitar Trey moves the band into a quicksilver blissful upbeat hose jam. Things get murkier and heavier, a perfect setting for "DDHVL" to emerge. | |
| 2019-06-30 | Camden, NJ | 21:14 | The band shows a willingness to let things develop slowly and organically at a level normally reserved for soundchecks in this relaxed, free-form exploration. Numerous styles and moods are employed with each movement given time to breathe before subtly transitioning to the next. From the initial grungy outro to floating bliss to the final funky riffing and everything in between, this jam covers a surprising amount of ground and does so without building to any singular peak. |
Jam chart versions are selected because of improvisational and other characteristics that distinguish these from typical versions of the song.
The jam chart team has highlighted some versions with a yellow background; these are the versions the team believes to be especially improvisational, or otherwise notable.
A purple date indicates that you were in attendance.
The jam chart team has highlighted some versions with a yellow background; these are the versions the team believes to be especially improvisational, or otherwise notable.
A purple date indicates that you were in attendance.
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