Jam Chart for shows in the city of George, WA (80 entries)
| Date | Song | City | Timing | Notes |
|---|---|---|---|---|
| 1997-08-02 | George, WA | 15:18 | Only played 4 times in 1997, Trey's restraint in this soaring, sunset version from the Gorge (released on Live Bait Vol. 4) allows the others to shine, and being that it's 1997, Mike surely does. | |
| 1997-08-02 | George, WA | 18:02 | Sure, you can characterize this as "Type I." But within that, you get 6 solid minutes of '97 funk and 6+ minutes of power-rocking release action before returning to "Wolfman's" to close. | |
| 1997-08-02 | George, WA | 16:34 | All kinds of good funk in this strong version that -> into "Tweezer," after which "DwD" arguably returns for a minute or two. | |
| 1997-08-02 | George, WA | 17:15 | Segues out of "Disease." Brief "DWD" tease near the end as well. Very laid-back, slow, funk-ish version. Weak at times, though. | |
| 1997-08-02 | George, WA | 17:42 | After Trey asks CK5 to kill the lights so fans can enjoy the Gorge starlight, a stunning and sublime jam ensues. | |
| 1997-08-03 | George, WA | 12:06 | > in from "Bathtub Gin." Very cool, exploratory Page solo. Trey's solo is enhanced by an echo-like effect. A bass and percussion rich build-up leads to a soaring finish. If you aren't on the edge of your seat when the final verse starts, your soul has gone missing! | |
| 1997-08-03 | George, WA | 8:17 | > "Dirt", the version demonstrates considerable growth over a short period of time. Page's fills fall like scales between Fish's off-kilter percussion, the jam itself a revelation. Trey's riffing and soloing is forceful, with each musician acutely attuned and playing "out" as if a means to somehow reign their sound "in". Impressive. | |
| 1997-08-03 | George, WA | 11:54 | A good, rocking and bluesy jam develops at 7:30 and continues until -> to "Jesus Just Left Chicago." | |
| 1997-08-03 | George, WA | 11:57 | -> in from "Twist." Great version from the Gorge with Page switching keyboards and a fiery ending to the jam. | |
| 1997-08-03 | George, WA | 11:37 | A very different version from 7/31/97, with more staccato playing by Trey, and minor key fills from Page at points. | |
| 1997-08-03 | George, WA | 13:00 | Jam begins in a great, bluesy groove with Page on the B-3 for a few minutes before he jumps to the piano. Trey is relaxed in his playing, gradually building this one up, but never loses the swinging feel. | |
| 1997-08-03 | George, WA | 14:47 | Beginning in 1997 and forever since, "Fluffhead" has suffered from some performance malaise. Whether due to lack of practice, fewer live performances, or other causes, the band's precision has declined. Yet this summer 1997 version is an anomaly, a nearly flawless rendering. Thank you Kevin Shapiro for releasing this version officially on Live Bait Vol. 17, because the audience recordings of this classic performance don't do justice to a truly exceptional, outlier version. | |
| 1997-08-03 | George, WA | 11:58 | Around 6:30, this version comes very close to breaking free of "Taste" altogether into free form improvisation. Fantastic peak and finale. | |
| 1998-07-16 | George, WA | 16:59 | Trey employs a silky, milky-whammy sort of effect, generating a really groovy, laid-back jam. Extremely fluid, extended, and atypical jamming features strong, rhythmic play from all, the version coasting, moving pleasantly upon its own kinetic energy, not quite building but rather dissolving to create a fantastic > into "FEFY." | |
| 1998-07-16 | George, WA | 11:32 | Another version where the jam is made more interesting by starting with a nice swinging groove, and only very gradually building the intensity. | |
| 1998-07-16 | George, WA | 11:54 | Good, funky playing before the lyrics. The main jam segment has a very nice peak and scat singing throughout. | |
| 1998-07-16 | George, WA | 9:53 | Slow grooving at the Gorge combining funk and ambience. > to "Slave". Released on Live Bait Volume 9. | |
| 1998-07-17 | George, WA | 12:49 | > in from "Makisupa." Nice, easy going summer outro jam follows typical "Ya Mar" jam. Followed by a big "Gumbo." | |
| 1998-07-17 | George, WA | 11:44 | Slow funk groove with "Manteca" teases. Last few minutes is funky Trey solo and it finishes off with one slow chord. | |
| 1998-07-17 | George, WA | 17:11 | On the heels of a show opening "Makisupa" and chart versions of "Ya Mar" and "Gumbo," and notwithstanding 8/2/97, this is The Epic Gorge Sunset Version. Just wish KS would release the sbd of this whole excellent show (also with a stellar "2001" and "Mike's Groove" in Set II)! [This petition has been answered as of 2022's The Gorge '98 release.] | |
| 1998-07-17 | George, WA | 24:13 | Longest "2001" ever, the first jam is longer than some entire versions of "2001". Second jam is as gorgeous and fiery as the scenery where it was created. | |
| 1998-07-17 | George, WA | 18:38 | Some might characterize the heavy duty, groove-based 1st jam which continues to 10:55 as repetitive and dull. Regardless, the 2nd jam is so different, melodic, and inspired that bopping along to a sludge-like groove for a bit is well worth it for the ambient hose-down payoff that follows. | |
| 1998-07-17 | George, WA | 13:23 | An exhilarating version highlighted by filthy funk, a nice "Taste" tease, and a chunky blues-rock groove to close, unfinished. | |
| 1999-09-10 | George, WA | 7:45 | Similar to the typical harmonics-laced outro, but Fish is more active and Trey's playing is also atypical. | |
| 1999-09-10 | George, WA | 8:02 | Phish debut. | |
| 1999-09-11 | George, WA | 15:46 | Jam quickly moves beyond funk mode and gives way at about 8:00 to a nice swinging, high power groove with no return to "Wolfman's." This rocking jam eventually burns out to transition space and -> to the debut of "Sand." | |
| 1999-09-11 | George, WA | 17:30 | The great debut version begins with a -> out of "Wolfman's Brother". The groove remains constant while Trey solos extensively with gradually increasing intensity. | |
| 1999-09-11 | George, WA | 10:49 | Very nice intro section. The jam is great, and curiously seems to shift back and forth between '99 style high octave playing by Trey, and the predominantly power rocking style of '98. > to "Hood." | |
| 1999-09-11 | George, WA | 15:32 | A really graceful, gentle jam develops with great interplay. Although it gains power, it never loses the blissful '99 sound. | |
| 2003-07-12 | George, WA | 11:18 | Intense, high energy version where the boys seem to add some extra gusto to the jam. | |
| 2003-07-12 | George, WA | 17:37 | An exploratory jam develops, very unusual for "Maze." At about 10:45, the jam starts to break away into something well beyond the norm. Pulsing, angry and mean, this foray eventually works back to the expected, fiery conclusion. | |
| 2003-07-12 | George, WA | 18:09 | Blistered Bella machine gun becomes a fiery pinwheel of metallic jizz before winding back down into a "Ghost" reprise outro. [Strong and varied jamming leads to a release section with "Izabella"-like hose jamming, which cooks nicely before eventually cooling off and returning to "Ghost."] | |
| 2003-07-13 | George, WA | 9:25 | Page's generous use of his synthesizers transforms this outro jam into a divine soundscape. | |
| 2003-07-13 | George, WA | 21:10 | A very exploratory version. It gets really far out there before returning to a rocking jam that eventually gives way to the Seven Below theme. Also, it features a "Third Stone From the Sun" tease. | |
| 2009-08-07 | George, WA | 8:33 | Normal "Possum" jam abandoned for call and response between Trey and Page. Unique and well worth a listen. | |
| 2009-08-07 | George, WA | 17:50 | First 3.0 version is a monster. The most exploratory version to date. At first funky and snappy, it soon stretches beyond anything like "Sally." From there (about 11:00), it quiets into serene, beautiful space, and then regains momentum, reminiscent of the big Albany "Seven Below" that would follow months later. Must-hear. | |
| 2009-08-07 | George, WA | 13:15 | After a rough composed section, a largely standard jam suddenly morphs into a highly melodic calypso section, replete with vocal harmonies, before neatly -> to "Taste." | |
| 2009-08-07 | George, WA | 18:00 | Very good, improvisational "Gin" with multiple sections. The jam breaks away from "Gin" proper at 9:30, proceeding through at least 3 movements before settling with no return to "Gin." > to "Harry Hood." | |
| 2009-08-08 | George, WA | 22:37 | A highly acclaimed performance from the early 3.0 period. While the jam ultimately reaches a magnificent conclusion, the 8 minutes leading up are somewhat plodding and monotone. Not on par with the superb "Sally" from the day before. | |
| 2009-08-08 | George, WA | 7:16 | There's a long, bluesy solo by Trey at around 3:30 and Trey and Mike switch instruments thereafter. Good, antics-filled version. | |
| 2011-08-05 | George, WA | 9:07 | Perhaps overshadowed by epic versions of "Roggae" and "Rock And Roll," this is nonetheless an excellent "Taste." Trey has some great moments throughout, and of course Page, but do yourself a favor while enjoying this and pay attention to Mike - he is locked-in and rock solid. | |
| 2011-08-05 | George, WA | 11:17 | After skirting around the periphery of "Roggae," the jam eventually makes a clean break at about 7:30 into a somewhat rocking, somewhat bluesy jam with excellent Fish and Mike. | |
| 2011-08-05 | George, WA | 19:55 | Magnificent and improvisational jam features Page on the theremin and scary vocal effects from Mike. The jam has an upbeat opening that is eclipsed by dark and electric sections which conclude with a flawless -> to "Meatstick." | |
| 2011-08-05 | George, WA | 8:47 | Great segue in from a phenomenal "R&R," and also features a bit more varied jamming in the outro. -> to "BORW." | |
| 2011-08-05 | George, WA | 8:42 | -> in from "Meatstick." Trey and Page join Super Mike and all three rock this one hard, while Fish dutifully keeps everything in check. Technically "Type I," it's nevertheless a great version. > to "Farmhouse." | |
| 2011-08-06 | George, WA | 12:24 | Blistering jam, in part, largely Mike-driven, that segues into some serene spacey jamming, that in turn goes into "Caspian" and "Sand" before "Tweezer" returns for a minute. | |
| 2011-08-06 | George, WA | 5:40 | > in from "Tweezer." "Caspian" and "Sand" are sandwiched inside "Tweezer." | |
| 2011-08-06 | George, WA | 12:33 | > of "Prince Caspian." Excellent playing from Trey over funky rhythms and returns to "Tweezer" from earlier in the set. | |
| 2011-08-06 | George, WA | 1:12 | -> in from "Sand" as to complete this "Tweezer" sandwich. | |
| 2013-07-26 | George, WA | 10:14 | "Type I," but with added gusto, including great Mike/Trey teaming early, and then a big peak with strong Fish and Page. | |
| 2013-07-26 | George, WA | 17:30 | The nearly 9 minutes of Type II work in this version changes directions frequently and covers a multitude of styles despite not flowing well at all times. It also hints at a -> to "Roggae" towards the end but ultimately > to "Twist" instead. | |
| 2013-07-26 | George, WA | 9:54 | A great straightforward version of "Waves" provides a similar uplifting and spirit raising boost as a strong "Hood" or "Divided Sky" does. The soaring jam and delicate outro in this fine version from the Gorge underscores this point. | |
| 2013-07-26 | George, WA | 8:43 | While mostly straightforward, there's some extra "Mango" in this solid version with great Page/Trey syncopated jamming. | |
| 2013-07-27 | George, WA | 13:11 | Flawless -> from "Down With Disease." The jam goes "Type II" around 6:15 and moves into melodic territory. Featuring unique drumming from Fish, the band explores an open, loose segment that travels back and forth between quieter and more upbeat places before descending into dark ambience brewed up by Mike and his synth pedals. Very nice > "Light." | |
| 2013-07-27 | George, WA | 12:22 | -> in from "Light." Although largely "Type I" jamming, this is a solid rocking version with great instrumentation. | |
| 2016-07-15 | George, WA | 6:26 | Similar in intent to 8/23/15's version - drops down to a murmur, then roars back to life. A fine version from a wonderful Set 2. | |
| 2016-07-15 | George, WA | 11:52 | A Useful Cross-eyed and Drowsy Ghost Goes Robo-tripping in No Ghost Land. [All "Ghost"ly signs of this tease-infused hybrid disappear shortly after the six minute mark. Trey bolts for the Marimba Lumina, Mike drops some bombs, Fish picks up the pace, Mike and Page join him on percussion, and Fish riffs vocally on "No Man In No Man's Land." By the time everyone has moved back, they're (arguably?) reprising "NMINML" proper, and by the time you realize it, they're already off into -> "CDT."] | |
| 2016-07-15 | George, WA | 8:20 | -> from "Ghost," this spirited "CDT" finds the band working through the same three teases informing "Ghost," only in opposite. Spooky good. But there is much more to this centerpiece version than inventive teasing. Trey dominates, his playing infectious. And the band responds in kind, resulting in a huge, celebratory peak. Ethereal, effects-laden playing bleeds into "Meatstick." | |
| 2016-07-15 | George, WA | 8:36 | There's a bit more heft to this outro jam than typical, most notably Trey's added Echoplex, Page's synth work, and a spacey transition > to "2001". | |
| 2016-07-15 | George, WA | 8:25 | A liquid Mike funky jam gives way to "C&P" quotes and then an absolutely filthy "NMINML" tease filled jam. | |
| 2016-07-16 | George, WA | 7:25 | Combining reverb-heavy sounds with a very different take on the familiar theme, this jam sways from passage to passage with increasing intensity, until peaking with solid Page and Trey. Straightforward structurally, this unique rendering of the "BOAF" jam is classic Phish, reinventing older material. | |
| 2016-07-16 | George, WA | 10:48 | More quiet, contemplative soloing from Trey allows for more access to Mike's playing, which creates a really pleasant and interesting sonic juxtaposition. Trey's patterned, almost "skipping" style works to inspire Fish and Page. This eventually yields to far more forceful soloing (Trey), with Fish thrashing about upon his cymbals. Mike's drilling creates an interesting > into "Shade." | |
| 2016-07-16 | George, WA | 8:20 | Although straightforward in nature, the rocking jam has a completely different sound and melody than the typical 3.0 fare, supplemental by guitar effects and Page's keyboard selections. It's different and worth hearing. | |
| 2016-07-16 | George, WA | 5:47 | Delicate, directed playing by Trey, including some lovely descending arpeggios provide solid grounding for a strong "Mike's Groove," start to finish. | |
| 2018-07-20 | George, WA | 8:40 | Phish debut | |
| 2018-07-20 | George, WA | 14:40 | Quickly leaves blissful "Simple" jamming behind and steadily gains intensity with a dark undercurrent en route to a rocking peak and then returns to the song's riff to close. | |
| 2018-07-20 | George, WA | 23:31 | A few minutes into the jam, Page's synth leads Mike into the goop. The jam trots along back in a shuffle, flirting with the grimy depths until 12:30 when the hose engages. Building with patience and poise, a massive bliss jam with multiple celebratory peaks ensues. Trey sustains a note to signal the highest and longest peak; this dissolves into a plinko jam driven primarily by Page and Mike, who make it spacey. > "My Friend, My Friend." | |
| 2018-07-22 | George, WA | 10:43 | Trey showcases several of his new-for-2018 guitar tones in this jam that goes from growly funk vamping to a synth-laden space groove and a final rock peak all in < 11 minutes. | |
| 2018-07-22 | George, WA | 17:52 | A slower-paced, more textural jam that drops us into the ether and midway through takes on a brighter tone but retains its otherworldly feel. | |
| 2018-07-22 | George, WA | 13:05 | Mike takes point on this deliciously spacey and gnarly jam, replete with fun "Heartbreaker" and "Crosseyed" teases. Dies away into a contemplative jam with a repeating theme from Mike and some lovely electric piano work from Page. > into "Waves". | |
| 2018-07-22 | George, WA | 17:05 | More 12/29/17 than 7/6/13, the band quickly drops any sense of composition, and the version assumes a dark disposition, colored more by (Mike) a sense of cloaked "space" and "introspection", than thematic unity or tension. It being 2018, the jam crosses, then enters, play at the gates of Page, his contributions eerie and emblematic of the era, while Trey, after some jarring soloing, deftly works in the song's closing theme. | |
| 2021-08-27 | George, WA | 9:07 | Bettered in length only by 6/25/00 thanks to an atypically long and varied regrouping after the near-silence around 2:25. An ethereal journey worthy of the Gorge. | |
| 2021-08-27 | George, WA | 16:54 | One of 1997's signature moments, Trey employs "Camel Walk" to push Pranksters off the stage and usher in a new era. Decades later, "Camel Walk" remains a centerpiece song, the funk just as deep, with Trey's plucky play sprite atop Fish's steady, infectious beat. In time, Page bathes the stage in sound as the jam, in what has become typical '21 fashion, breaks free to inhabit wide-ranging space and super sonic pastures before -> "CDT." | |
| 2021-08-27 | George, WA | 13:11 | -> from a GOAT "Camel Walk," the band breaks for "CDT," a song that Trey, when recently discussing his band's early 90s ascendancy, called their best. Still crazy good after all these years, here the band offers a quiet, restrained take, improvisation lightyears removed from Alpharetta's historic jaunt, but no less interesting. An interesting juxtaposition demonstrating a band back at the height of their collective powers. While truly a unique take, fans of this approach would do well to visit 6.19.19, which, unusual in its own right, quietly veers into "STTTL." | |
| 2021-08-28 | George, WA | 13:41 | Opening a show for the second time in just over three weeks, this is one of the most sublime openers in recent Phish history. Trey takes the lead as he was wont to do in Summer '21. Fish's relentless drumming ensures the jam never loses a step. By the end of the jam, the band is fully locked in and it's only the first song of the show! > "Maze." | |
| 2021-08-28 | George, WA | 10:11 | More melodically variable and far less guitar-dominated than most, the band gets dark and down in this tempered, almost subdued take. | |
| 2021-08-28 | George, WA | 14:31 | The jam begins typically with solid, funky playing led by Trey and with Page's crunchy keyboard action. Around 7:00, there is a noticeable break to major mode. The forces seem to gather, suggestive of an oncoming peak. Instead, the band seems to luxuriate in this blissful mode, stretching and exploring the terrain without ever pushing the sentiment over the top. The intensity gradually diminishes, but the warm sentiment continues before devolving to transition space. | |
| 2021-08-28 | George, WA | 17:52 | With the intro, no less! Moves into a warm jamming space with Fish doing some real interesting work and Mike stepping to the forefront, builds in intensity through good Trey effects work, and peaks quite well, before gently winding down to nothing and > "Bug". | |
| 2021-08-29 | George, WA | 14:21 | The jam picks up momentum, then briefly takes on a swirling, exploratory vibe. At 9:35, the music becomes celebratory, building towards a collective peak, before finally returning to "Gin" to close. | |
| 2021-08-29 | George, WA | 18:47 | Quickly maneuvers into major-key bliss, distinguished by some frenetic playing from Fishman, then moves into a brisker and snappier zone thanks to Trey switching to chords. The band briefly dips into contemplative minor key playing, before moving to something more upbeat, with Page's electric piano at the forefront. Trey's effects-smothered guitar playing and Page's synths combine wonderfully, with Mike going to the envelope filter and Fish as steady as ever. Very good -> into "Meat" to close. A fine companion piece to the 8/4/21 version. |
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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