Jam Chart for shows in the city of Hollywood, CA (29 entries)
| Date | Song | City | Timing | Notes |
|---|---|---|---|---|
| 1993-03-17 | Hollywood, CA | 8:02 | Dazzling, swirling play from Trey as the jam becomes subdued and assumes an almost "Weekapaug" vibe. Fish remains relentless, and he rocks and rolls the band through a wild rise which finds Trey zipping through simply incredible runs. | |
| 1993-03-17 | Hollywood, CA | 10:41 | Fun and exploratory jam includes a solid breakdown section with jams/teases of "Heartbreaker" and "Lively Up Yourself." | |
| 1993-03-18 | Hollywood, CA | 14:30 | > in from "I Didn't Know." A good one with some "DEG"-like jamming to add to the dissonance factor. Machine Gun Trey in serious heavy action towards the end. | |
| 1993-03-18 | Hollywood, CA | 7:42 | Following the final refrain, the band launches into an evil sounding "Little Drummer Boy" jam, singing "my friend, my friend he's got a knife" to the "Drummer Boy" melody. | |
| 1993-03-18 | Hollywood, CA | 10:16 | Although the jam is basically "Type I," it includes teasing/jamming on the Bee Gees' "Staying Alive" throughout, some "Little Drummer Boy" teases near the end, and is very well played with good Trey shredding. | |
| 1993-03-18 | Hollywood, CA | 23:40 | Trey shreds throughout the jam of this quintessential 1993 version. And you aren't the only person to hear "Terri" and "Tickle" in this wild vocal jam. | |
| 2013-08-05 | Hollywood, CA | 9:21 | Page solo > Fish playing Mike's bass with mallets > whole band drum solos > klezmer > chanting by Mike and conclusion. | |
| 2013-08-05 | Hollywood, CA | 22:32 | Ground-breaking version that ushers in a new era of exploratory "Hoods." After some typical play, the jam turns rocking and percussive, including some "Woo" jamming. Things settle and the play becomes introspective and probing. Turning upbeat but with tension, the jam takes a final deep breath and returns to "Hood." | |
| 2023-04-21 | Hollywood, CA | 21:50 | In lieu of lead-pointed playing, Trey sets the initial tone by tossing out spacious chords and arpeggiations. Page synths and hazy Trey delay paint the scene before a slightly dissonant transition space develops. The band then dials up the grime to deliver a sludge-y, stomping minor key rock-out. Ample time is spent in the murk before fading out > "Mercury." | |
| 2023-04-22 | Hollywood, CA | 13:35 | Beginning with the now familiar seam splitting descent, what erupts from the glowing core is a white hot fountain of liquid play from Trey. Fed from a shimmering reservoir of Page's piano and synths and driven to a boil by Mike and Fish, Trey's trills sustain jets of phosphorescent sound that cascade and decay before returning to "Melt" once again. | |
| 2023-04-22 | Hollywood, CA | 22:58 | Propulsive play out of the gate settles into a spirited melodic space. The space expands as the band moves into dreamier territory, albeit with an unrelenting foundation courtesy of Fishman. A brief switch to minor key occurs with an infectious riff from Trey, before moving back towards major key. A high-powered touch-the-sky crescendo follows before settling into a brief funky groove that executes a nifty -> "Twist." | |
| 2023-04-22 | Hollywood, CA | 10:25 | > from "2001". Eschewing the vocal jam, Sally gets the extended treatment for the first time in years. Mike's play shines through from the beginning as he leads the groove-based jam. The tempo gradually picks up, before > "Back on the Train". | |
| 2023-04-23 | Hollywood, CA | 18:48 | This first set delight comes out the gate with swingin' swagger. Trey locks the band into Bmin to escape the confines of "Cities" proper and the band develops an incredibly cohesive, melodic, effect-drenched boogie down. After the 12 minute mark, the music takes a hazy, cinematic turn towards patient psychedelia. This then develops into a gorgeous, technicolor dreamscape that crescendos towards anthemic territory before > "Tube." | |
| 2023-04-23 | Hollywood, CA | 18:18 | Another huge version of the once rare song in the catalog. Plucky playing from Trey around 9:30 changes the jam's trajectory. The searching, grimy jam sounds like the background to a noir detective show at times. The tempo gets kicked up towards the end, before eventually > "A Song I Heard the Ocean Sing". | |
| 2023-04-23 | Hollywood, CA | 9:32 | > from "Mr. Completely" comes a completely unhinged jam that immediately dives headfirst into an unrelenting, grinding, grimy groove, and in the blink of an eye flows back -> into "Mr. C". Heavy. | |
| 2023-04-23 | Hollywood, CA | 0:55 | -> from "A Song I Heard the Ocean Sing" to close out the "Mr C" > "ASIHTOS" -> "Mr C" sandwich. | |
| 2023-04-23 | Hollywood, CA | 13:56 | A thumping, relentless version marked by Mike's new bass. Trey plays with loops and gives Mike a run for his money with bass effects of his own before leading things in a more melodic direction over a soft bed of Page's keys and driven, as always, by the "brother" himself. The jam eventually cools and fades, unfinished, on a curl of ambience that breaks for "Ruby Waves". | |
| 2025-04-25 | Hollywood, CA | 13:58 | Mid-tempo first set version gets a quick layer of standard heat before taking a turn for territory marked by bass driven rhythmic interplay, undergirded by washes of organ, and highlighted by bouncing melodic leads that briefly traverse familiar woods before soaring to multiple peaks. | |
| 2025-04-25 | Hollywood, CA | 13:27 | Dense and muscular, this version seems to know what it wants to be right away and wastes no time in getting there. A study in how familiarity breeds freedom and improvisational leeway leaves space for the serendipitous. The group mind here delivers a tightly wrapped package of near perfection that peaks and gradually fades to > "Light". | |
| 2025-04-25 | Hollywood, CA | 20:07 | The jam quickly locks into a probing polyrhythmic bloom not unlike other choice versions of "Light", colored by modern textural approaches with Page's synth work standing out in particular. Play eventually coalesces and builds to a celebratory peak, before minimalist effects-based textures wash over and take the jam into a more cerebral and slightly dissonant direction, before fading > "Mercury". | |
| 2025-04-26 | Hollywood, CA | 18:20 | Gorgeously upbeat and melodic version that bounces along fluidly and seemingly effortless for several minutes in very gratifying territory before finding a more aggressively punchy space that delivers a surprisingly flammable and rocking climax. | |
| 2025-04-26 | Hollywood, CA | 13:16 | Strong version becomes a bit unconventional following the 7:30 mark. Fish kicks a cool beat, and Trey takes off. This leads to driving, forceful improvisation, which again shifts when Trey, using his feet, selects his effects, and, offset by Mike, lays into a series of licks which play like variations on "Bag's" theme. Page bathes the stage in sound as the jam rages on before play bleeds to > into "LSG." | |
| 2025-04-26 | Hollywood, CA | 11:57 | Excellent, extremely fluid version with "old-school" overtones. Play is primarily straightforward, but there is beauty in this, given that one: The band quickly, and quite notably departs to jam (almost as if to atone for the absence of ideas of the "Oblivion" Trey aborts to -> into "Lope,") but, and perhaps more importantly, two: Given the nature of the song, generally (marked by Trey and Page's play, principally). | |
| 2025-04-27 | Hollywood, CA | 5:57 | After a wobbly start to the song, the jam transitions to bliss at 3:50, a move unique for "Llama", and then wraps traditionally. | |
| 2025-04-27 | Hollywood, CA | 11:45 | Begins in the usual tenor but becomes increasingly atmospheric and textured as it subtly brightens into a more established major sound until around 7:00 when a spunkier, more "Timber"-like energy returns to guide the jam back home. Longest version since 11/28/97. | |
| 2025-04-27 | Hollywood, CA | 27:57 | A centerpiece "YEM" that takes full advantage of the two-jam format which has become familiar since 12/31/21. After a short vocal jam, the band digs back in with quality "Type II" riffing which intensifies before landing in a poignant, inspirational zone and eventually peters out -> "Twist". | |
| 2025-04-27 | Hollywood, CA | 14:00 | No mere landing pad. After winding its way "in" from the remnants of a huge "YEM," the band completely divorces itself from former sounds to create yet another remarkable sonic space. Breaking quickly from the song, the jam is very much of itself and perhaps, at least initially, rich with a bit more by way of those welcome Santana over- and undertones. But then. Listen in. The jamming, if not quixotic, has something of an exotic, offbeat, hushed and admirable atonal quality. And then. Keep processing. Thanks in large part to Page, everything is something else completely. Quirky. But not quite. For Trey keeps working a number of warm melodies before play becomes pleasantly droning and noisy with Trey then screwing this heavy morass into "Twist's" signature riff. | |
| 2025-04-27 | Hollywood, CA | 11:34 | Tight, exploratory version that wastes no time. An early stop-start section (replete with Trey's careening sirens blocking out "woos") takes hold, before an excellent key change leads to an (at times) polytonal synth-rich romp with top-notch interplay. "KDF"'s DNA starts to slowly re-emerge before the jam melts from the song's traditional ending > "Lifeboy". | |
| 2025-04-27 | Hollywood, CA | 21:36 | Don't leave yet! This is no perfunctory Encore on the last night of the tour as the band drops one of their longest jams ever in the extra period. Trey leads the band through multiple distinct sections of jamming. After returning to the chorus, even the feedback ending gets extended. |
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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