Jam Chart for Shows in December (596 entries)
| Date | Song | City | Timing | Notes |
|---|---|---|---|---|
| 1984-12-01 | Burlington, VT | 7:26 | -> in from "Fire On The Mountain" ("FOTM"), and some "FOTM" jamming continues in the first part, until finally everyone is playing "Makisupa". The jam has a nice reggae feel and some fun banter. The playing is very standard, however; this mostly sounds like some very talented college kids goofing off, but the version is worth hearing for precisely that reason. | |
| 1984-12-01 | Burlington, VT | 6:00 | First known performance. It's all guitar in the jam section, as this was the pre-Page era. | |
| 1984-12-01 | Burlington, VT | 6:15 | Debut at Nectar's in Burlington, VT. | |
| 1986-12-06 | Shelburne, VT | 3:15 | Following "Camel Walk," a bluesy and rocking jam with an Allman Brothers Band vibe and "Ramblin' Man" jam > to "Swing Low, Sweet Chariot." On PhishTracks, the "Ramblin' Man" jam occurs in the first 3:15 of "Chariot." | |
| 1986-12-06 | Shelburne, VT | 6:44 | -> from "GTBT." The third known version is well-played and has a bit of an extended intro. It's highlighted by a mini-jam of "The Sloth," which wouldn't debut for another eight months, starting around 5:35. -> into "Cities." | |
| 1986-12-06 | Shelburne, VT | 8:34 | Played at a slower tempo (or possibly a tape issue), the jam is fairly open ended, working through several progressions, including some "DEG"-like jamming. -> to a cool and first known Phish performance of the "Little Drummer Boy." | |
| 1986-12-06 | Shelburne, VT | 12:01 | The first jam features some nice Page organ action. The second jam begins in customary style, then settles around 7:20 into some mellow and low-key grooving, including some great Mike after 10:10. | |
| 1986-12-06 | Shelburne, VT | 3:51 | "David Bowie" -> "Clod" (Section of "Fluffhead") > "David Bowie." Jam is similar to debut, but with some jamming that sounds similar to the Allman Brothers' "In Memory of Elizabeth Reed." Intense ending. | |
| 1986-12-06 | Shelburne, VT | 6:45 | -> in from "David Bowie." This section of "Fluffhead" is played in the middle of the "Bowie" jam. > back to "DB." | |
| 1986-12-06 | Shelburne, VT | 5:32 | > in from "Clod." This section of "Bowie" has an Allman Brothers-like vibe and an intense ending. | |
| 1988-12-10 | Amherst, MA | 7:26 | Strong early version has the three essential components of the "Foam" jam: 1) Page-oriented solo; 2) Trey-oriented solo; and 3) band build-up to a peak before the final verse and ending riff from Scott Joplin's "The Entertainer." | |
| 1989-12-01 | Boston, MA | 8:26 | Quite a few guitar playing styles on display here in this rousing, encore slot version. Great way to end a show. | |
| 1989-12-03 | Burlington, VT | 9:22 | Improvisational version with good tension and dissonance building, as well as a Fish drum solo. | |
| 1989-12-08 | Poultney, VT | 6:23 | An unbelievable amount of tension and dissonance packed into a demented six-plus minutes of Phish. | |
| 1989-12-09 | Castleton, VT | 8:23 | This is a really awesome early version, very different from almost all other versions from late '88 to late '91. Trey's playing is much more melodic and less dissonant. The jam builds to a great peak, and then the short little 2nd jam features sick trilling by Trey. | |
| 1989-12-16 | Burlington, VT | 6:38 | Trey shreds the jam in this rip-roaring version which includes a Theme from Bonanza tease. | |
| 1990-12-02 | Burlington, VT | Dave Grippo and Russ Remington on saxophone. No recording available. | ||
| 1990-12-07 | Amherst, MA | 13:19 | Although essentially "Type I," this is a sick puppy with mind-numbing tension, "DEG"-like jamming and a "Mo' Better Blues" tease in the intro. Trey is on fire in the trill section. | |
| 1990-12-28 | New York, NY | 8:00 | A splendid full-band outro with melodic riffing that hints at the "Manteca" which fully emerges from the following -> "Tweezer". | |
| 1990-12-28 | New York, NY | 6:30 | Deservedly popular early version with "Manteca." | |
| 1990-12-28 | New York, NY | 1:20 | -> in from "Tweezer." "Manteca" is sandwiched inside the "Tweezer" jam. | |
| 1990-12-28 | New York, NY | 4:44 | -> in from "Manteca" to complete this "Tweezer." | |
| 1990-12-31 | Boston, MA | 6:47 | > from "Coil", "Jim" offers a nice, stark contrast, illustrating the band's versatility. Mike's line (later picked up by Page) is fun and infectious, before the song's sustained and collective calm explodes into incredibly fast play - even for early Trey. | |
| 1991-12-06 | Middlebury, VT | 3:16 | Super, compact, and tease-filled (see "show notes"), Page powers through this fun, dynamic version, which modulates nicely before a > into "The Landlady." A really great version, and a really great pairing. | |
| 1991-12-06 | Middlebury, VT | 16:06 | Extended hihat intro, during which the band repeats "Wait" over and over for 5:30, and then play Simpson's language. Fish asks the crowd, "Can I hear you say yes? Can I...Boner?" At 8:53 they return to Possum, teasing "Wait," and engaging in the "stop and start" style of improv, and trey teases "Buried Alive." Version finishes with a "Turning Japanese" tease. | |
| 1991-12-07 | Portsmouth, NH | 11:41 | Still tinkering, this "Reba" is notable for a very cool and unique jam, which finds Mike out front early, creating a bouncy, infectious beat. Trey modifies both his tone and the intensity of his playing, before alighting upon a jazzy sort of theme. He then runs rapid-fire through a series of notes, before whipping the band into a controlled frenzy which ends dramatically. | |
| 1991-12-31 | Worcester, MA | 8:37 | Another great early version that stretches the "Type I" boundary and is well-played and loaded with tension. | |
| 1991-12-31 | Worcester, MA | 4:35 | > in from "Esther." Page is sick; Trey is very demented. | |
| 1991-12-31 | Worcester, MA | 7:30 | Eons before there was life upon a "Soul Planet", there was "Runaway Jim". > from "ALS", this New Year's rocker blends some imaginative aspects of the year's strongest versions, before, as was so often the case, bleeding into crazy, frenzied play from Fish and Trey. A fitting finale for one of 1991's finest songs. | |
| 1991-12-31 | Worcester, MA | 13:00 | Highly praised, this version's jam features Trey mellifluously leading on his 'doc. | |
| 1991-12-31 | Worcester, MA | 7:42 | The first jam is solid but typical for this period. But the 2nd jam, which breaks into a great percussive and rocking groove is really the first noteworthy instance of the 2nd jam. In nearly all prior versions, the 2nd jam had been little more than chaotic, dissonant playing. | |
| 1992-12-01 | Granville, OH | 4:55 | Cool beginning to this version. Training the machine gun at the Dennison College crowd, Trey fires at will. | |
| 1992-12-01 | Granville, OH | 0:17 | "Bowie" -> "Baby Elephant Walk" (debut) -> "Bowie" in intro. Excellent and riveting jam with syncopated playing and cool rhythmic shifts. | |
| 1992-12-01 | Granville, OH | 3:23 | -> in from "DB." This debut adds a little something special to an already strong version of "Bowie." | |
| 1992-12-01 | Granville, OH | 12:31 | -> in from "Baby Elephant Walk." This is a thrilling and riveting "Bowie" well worth checking out. | |
| 1992-12-02 | Columbus, OH | 19:13 | The intro to "Wedge" is in the jam segment!! | |
| 1992-12-02 | Columbus, OH | 9:38 | Interesting start to the jam leads to a tense, somewhat dissonant remainder with great playing by Trey. | |
| 1992-12-02 | Columbus, OH | 13:47 | Weird jam, that was a "Big Ball Jam" at one point. Goes from beautilful/melodic to thrashing "Tweezer" jam off and on. | |
| 1992-12-03 | Cincinnati, OH | 9:55 | Another creative and different '92 take on the "SOAM" jam. And being that's it's 1992, there is sick shredding taboot! | |
| 1992-12-03 | Cincinnati, OH | 15:02 | Some cool "Cities" teases in the intro (last performance 9/13/88). The jam starts with a brief jam on Santana's "Gypsy Queen," then breaks into several distinct sections of perhaps not beautiful, but VERY exploratory jamming. Returns to "Antelope" with several peaks and Trey shredding. | |
| 1992-12-03 | Cincinnati, OH | 7:15 | Although essentially straightforward, it has a cool quiet section, then atypical melodies from Trey which serve to crank up the tension as the jam builds to a frothy peak. | |
| 1992-12-04 | St. Louis, MO | 11:48 | Mostly straightforward, but the jam has multiple sections, and with each, Trey alters the riff or jam style. Solid. | |
| 1992-12-05 | Chicago, IL | 10:03 | Busy and bouncy, Mike and Trey lead the band through "Reba" and into an "I Walk The Line" sandwich. In "Reba," the band modulates intensity, with Trey slashing and shaping his tone, and Mike laying down a great, infectious groove. Fish offers much by way of syncopation, and Page lends colorful fills, before the band dials the sound down to a complete stop. | |
| 1992-12-05 | Chicago, IL | 2:39 | Mike leads the band through a fun and wholly serviceable rendition of the Johnny Cash classic. | |
| 1992-12-05 | Chicago, IL | 1:24 | Typical "Reba" whistling serves to complete the "I Walk The Line" sandwich. | |
| 1992-12-05 | Chicago, IL | 8:17 | A really great breakdown jam occurs between 3:45 - 6:50, with Page on the B-3 and Fish nicely accenting the rhythm. Builds intensity, returns to the norm, and -> to "HYHU." | |
| 1992-12-06 | Chicago, IL | 5:11 | > in from "The Squirming Coil." Great Page section, the funky calm before the ensuing blitzkrieg. Trey rips, but the whole band just hammers this one home. | |
| 1992-12-06 | Chicago, IL | 11:50 | Although mostly "Type I," this one has a great quiet early section to the jam, cool strumming by Trey, and some rhythmic shifting near the end. | |
| 1992-12-06 | Chicago, IL | 4:04 | "Possum" -> "Vibration Of Life" -> "Possum." Just the 2nd time "VOL" had been performed. Predictably intense jam. | |
| 1992-12-06 | Chicago, IL | 2:23 | -> in from "Possum." "VOL" is performed for only the 2nd time, occurring during the jam in "Possum." -> back to "Possum." | |
| 1992-12-06 | Chicago, IL | 6:21 | -> in from "Vibration Of Life," which occurs during the jam in "Possum." From here, the jam is a predictably intense '92-style one. | |
| 1992-12-07 | Minneapolis, MN | 18:49 | Santana-esque jam. | |
| 1992-12-07 | Minneapolis, MN | 12:33 | A big boatload of energy underscores a goofy composed section rife with screaming, yelling, and fan interaction. Mike's playing is particularly strong, with Trey responding in kind, the musicians bouncing ideas one off the other with great verve and tenacity, but never at the expense of sheer musicality. Fish and Page soon reinsert themselves into the fray and, seemingly, the music becomes informed by "two minds." A really cool and fun version. | |
| 1992-12-07 | Minneapolis, MN | 14:27 | -> in from "Fee." Unusual breakdown at 10:27, followed by "Manteca"-like jamming. | |
| 1992-12-08 | Madison, WI | 9:02 | An extended intro with extra silence and space hints at the quiet, yet potent, improv ahead. The band stretches out what is usually a short vamp preceding "BLAT BOOM" into three minutes of avant-garde, atonal, knotty, bizarro Phish interlaced with secret language cues (the "Aww F**k" signal is especially potent). | |
| 1992-12-08 | Madison, WI | 5:07 | > in from "Wilson." Danger: listening to this version could cause your brain to involuntarily explode. | |
| 1992-12-08 | Madison, WI | 9:56 | Trey is like a demon possessed here. Doesn't matter that's it's inside the box, it's a great version. | |
| 1992-12-08 | Madison, WI | 8:49 | The jam has a bit of a darker sentiment, amplified by some "MLB"-like jamming towards the end of the first jam. The 2nd jam features repetitive, heavy metal type playing, which transitions nicely back to the typical closing sequence. | |
| 1992-12-10 | Kalamazoo, MI | 12:22 | Wonderful, somewhat restrained drumming (even the vocals feel hushed) creates a terrific pace and works to steer the jam, which seems carved from space, with Trey creating an incredible droning, echo-like effect atop some really great bass. The band, ever dynamic, modulates intensity, with Page way up in his register, and Trey, like a machine, repeatedly running through a set of notes wholly melodic, and expertly placed. | |
| 1992-12-10 | Kalamazoo, MI | 9:48 | Strong early version. Page whips things into a frenzy before Machine Gun Trey blows the roof off. | |
| 1992-12-11 | Ann Arbor, MI | 11:56 | "Flat Fee"-like playing early, then the jam takes off, getting more and more rocking with multiple peaks. Intense ending. | |
| 1992-12-12 | Toronto, Ontario, Canada | 9:05 | Exploratory version with great melodic variation by Trey. The jam just gets better and better as it progresses. | |
| 1992-12-12 | Toronto, Ontario, Canada | 14:26 | Very heavy and punishing. | |
| 1992-12-12 | Toronto, Ontario, Canada | 17:48 | Davey Crockett teases in jam and VJ. | |
| 1992-12-13 | Montréal, Québec, Canada | 7:38 | Lenghty intro and Simpsons and All Fall Down signals plus other creepy shenanigans before BLAT BOOM. | |
| 1992-12-13 | Montréal, Québec, Canada | 12:34 | An unusual, somewhat mean-spirited jam shifts at 8:25 to something akin to "Tweezer Reprise." Returns to normal "Bowie" and concludes with a hard rocking trill section. | |
| 1992-12-13 | Montréal, Québec, Canada | 7:45 | > from "Fluffhead." This version has a fun intro that sounds almost "Possum"-esque. The jam is full-speed ahead and builds and builds. Fans of banter should stick around after the song for Trey filibustering while Page gets a string repaired. | |
| 1992-12-28 | New Haven, CT | 20:57 | Gorgeous opening segment. | |
| 1992-12-29 | New Haven, CT | 13:30 | A little vocal jamming in opening section. Rhapsody in Blue and Donna Lee teases; brief PYITE tease. There is also arguably "Who Knows" teasing for several measures in this version (it's not quite "Who Knows" but it's close and it lasts for several measures.) | |
| 1992-12-29 | New Haven, CT | 8:49 | The first "Mike's" since '88 to have something other than "Hydrogen" follow. The 1st jam gets way out there into serious improv, including twisted "On Broadway" teasing. The short 2nd jam is rhythmic and has "Blue Bayou" teasing and a drum outro. After a brief stop, the band decides to play "Blue Bayou," which began a trend of inserting songs other than "Hydrogen" between "Mike's" and "Weekapaug." | |
| 1992-12-30 | Springfield, MA | 0:57 | The intro -> the only performance of "Timber (Jerry)" between 1990 and 1995, and it's a strong version. | |
| 1992-12-30 | Springfield, MA | 5:17 | -> in from "David Bowie." The only performance between 1990 and 1995 is sandwiched inside a solid "Bowie." This fine "Timber" packs the usual Trey shredding, great Fish and strong Page and Mike. > to "Bowie." | |
| 1992-12-30 | Springfield, MA | 11:22 | In addition to the bonus "Timber (Jerry)" sandwich, this version includes a solid if earthbound jam, with spiraling tension and very cohesive interplay by all four. Some excellent Trey shredding before and during the trill section. | |
| 1992-12-30 | Springfield, MA | 18:25 | Auld Lang Syne tease in opening. | |
| 1992-12-31 | Boston, MA | 9:39 | Beginning around 4:00, the jam settles into an improvisational section with excellent contributions by all four. After returning to the standard, the jam features intense and top notch "Type I" rocking. | |
| 1993-12-28 | Washington, DC | 12:05 | Jazzy, exploratory and quiet beginning to the jam. The power cranks up with "Kashmir" teases and then gets blistering hot. | |
| 1993-12-28 | Washington, DC | 20:30 | Great opening segment! | |
| 1993-12-29 | New Haven, CT | 12:19 | Strong '93 version that has a very unsual quiet section from 6:35 - 8:35 before returning to "Antelope." | |
| 1993-12-30 | Portland, ME | 10:05 | Jam breaks into a quick tempo groove at about 6:45 and continues on this track until returning to "Gin" at 8:20. | |
| 1993-12-30 | Portland, ME | 12:44 | Fantastic version which sounds light years removed from the improvisational wackiness of August '93. This "Mike's" has melodic grandeur that distinguishes it from almost any '93 siblings. The signature 2nd jam has moments of hose foreshadowing a bright future for "Mike's." | |
| 1993-12-30 | Portland, ME | 7:31 | Wraps up a tremendous "Mike's Groove" with inspired "Type I" playing and a funky vocal jam. Unfinished with a > to "Purple Rain." | |
| 1993-12-30 | Portland, ME | 9:35 | Page stays on piano throughout, which adds grandeur to this version, while Trey really just adds color to the chord progression for most of the jam, enhancing its majesty. But it's over the top when Trey takes the lead. | |
| 1993-12-31 | Worcester, MA | 13:17 | Phish caps 1993 with a fan favorite. Trey dazzles, his playing incredibly fun and infectious, matched by Fish on his blocks. A festive, celebratory groove ensues, before building to a shredding peak. An exclamation point on a terrific year for "Reba." | |
| 1993-12-31 | Worcester, MA | 12:15 | Trey repetitively hits a lot of notes in staccato-fashion in this jam (that Mbird Board and Working Group member Drew Hitz adores, and thinks I'm an idiot for underrating in '94 when I reviewed this version). While definitely an above "average-great" version (it sure ends well!), this jam IMO just isn't competitive with versions I've rated 7/10 and higher in the legacy jam chart. It's listed in this current jam chart in Drew Hitz's honor. | |
| 1993-12-31 | Worcester, MA | 8:50 | "Peaches En Regalia" teases and Random Note signal in this version. | |
| 1993-12-31 | Worcester, MA | 12:30 | "Peaches en Regalia" teases, good on-the-spot variation, a great rhythmic breakdown midway, and a fiery ending add up to another top notch '93 "Possum." | |
| 1993-12-31 | Worcester, MA | 22:04 | Sweet theme in the jam. | |
| 1993-12-31 | Worcester, MA | 3:38 | Jam segment only following "Auld Lang Syne" (Released on Live Bait Volume 3). | |
| 1993-12-31 | Worcester, MA | 13:20 | The jam starts with an "Auld Lang Syne" tease and delicate soloing, which builds into a frenzied guitar-led jam. | |
| 1994-12-01 | Salem, OR | 13:34 | Very good improvisational "SOAM" with a dark tone and an extended section of spine-tingling tension building. | |
| 1994-12-01 | Salem, OR | 22:23 | Crazy sandwich. An amazing "type II" version. "Norwegian Wood" tease. "BBFCFM," "NICU," "Makisupa." | |
| 1994-12-01 | Salem, OR | 3:42 | -> in from "Tweezer." First in a medley of songs which ultimately -> back to "Tweezer." | |
| 1994-12-01 | Salem, OR | 2:37 | -> in from "BBFCFM" as this medley of songs sandwiched by "Tweezer" continues. | |
| 1994-12-01 | Salem, OR | 5:45 | -> in from "Makisupa" as the "Tweezer" medley continues. | |
| 1994-12-01 | Salem, OR | 1:37 | -> in from "NICU" to complete this "Tweezer"-based medley of songs. -> to "JJLC." | |
| 1994-12-01 | Salem, OR | 11:08 | -> in from a monster "Tweezer." Trey brings the volume down to near zero early in the jam. Unusual ending with a > to "Harry Hood." | |
| 1994-12-02 | Davis, CA | 22:04 | The usual pugnacious, mean-spirited jam until 13:45, when it sounds like it's wrapping up. But then the band delves into more exploration. Throw in the Cosmic Country Horns for the trill section, and you've got yourself another "Big" improvisational version. | |
| 1994-12-03 | San Jose, CA | 11:38 | Another solid '94 "Antelope," with descending melodies, tension, dissonance, rhythmic variation, and a noisy, chaotic peak. | |
| 1994-12-04 | Chico, CA | 9:33 | Although short, this unfinished version packs a serious punch. | |
| 1994-12-04 | Chico, CA | 13:33 | Quite possibly the most intense, ass-kicking straightforward version of all time. Insanely ferocious conclusion to the jam. | |
| 1994-12-06 | Goleta, CA | 10:59 | Aggressive, all-over-the-map improvisation. | |
| 1994-12-06 | Goleta, CA | 8:19 | Cool jam with Page on the clavinet! | |
| 1994-12-06 | Goleta, CA | 12:56 | Strong straightforward play through 6:15, when the jam breaks into a dark and classic "Type II" Fall '94 space jam. Mike solos, accompanied by spacey effects with increasing tension. Then Page and Trey take turns out front before Fish brings the boys back to "Weekapaug" to wrap up a very improvisational version. | |
| 1994-12-07 | San Diego, CA | 11:22 | Another wide-ranging exploratory "SOAM." Great dissonance, a pulsing rhythm, and tension as the jam builds to a close. | |
| 1994-12-07 | San Diego, CA | 20:32 | Version that's on A Live One. | |
| 1994-12-08 | San Diego, CA | 9:23 | Badass funky jam! -> to "Catapult." | |
| 1994-12-08 | San Diego, CA | 1:11 | -> in from "Simple." "Catapult" is sung to the melody of a '94-style funk jam. -> back to "Simple." | |
| 1994-12-08 | San Diego, CA | 1:47 | -> in from "Catapult." The funky "Simple" jam winds down and -> to "The Lizards." | |
| 1994-12-08 | San Diego, CA | 15:34 | Another wacky '94 "Possum" with a spooky, extended intro, a silent jam, dissonant playing, and a raging peak. | |
| 1994-12-08 | San Diego, CA | 17:51 | Huge, sprawling, epic "Reba," which sees the band tossing form and convention into the tub to produce one of the finest versions of 1994. | |
| 1994-12-09 | Mesa, AZ | 9:48 | Mike and Fish are awesome during Page's strong solo. Then Trey and Mike play a near duet with little touches from Page, and Fish rocks the house for the intense build-up. | |
| 1994-12-09 | Mesa, AZ | 14:38 | Thrashing, dissonant, innovative and unusual "Antelope" jamming, it's all here, including an excellent "The Force Theme from Star Wars" tease in the jam. "Suck the deer shit from the side of this hole!" | |
| 1994-12-09 | Mesa, AZ | 25:29 | A spectular version with "hose" and a "Slave" jam. Just unreal, magnificent Phish. Very jazzy at times as well. | |
| 1994-12-10 | Santa Monica, CA | 10:48 | A riveting and exploratory jam that gets more and more out there as it progresses. | |
| 1994-12-28 | Philadelphia, PA | 17:08 | A wacky, semi-evil version moves quickly beyond the standard, beginning with a dark Page-led section, followed by a Fish-led vocal jam. After more exploratory play, the band breaks into a jam on "The Little Drummer Boy," before returning to "Weekapaug" to wrap up. | |
| 1994-12-29 | Providence, RI | 9:11 | Excellent improvisational "Jim" which includes a "Dueling Banjos" tease from Trey and must-hear -> to "Foam." | |
| 1994-12-29 | Providence, RI | 9:25 | -> in from "Runaway Jim." Fantastic segue for this great pairing. A typically strong '94 version with a dramatic build-up. | |
| 1994-12-29 | Providence, RI | 10:53 | Although neither chaotic nor very dissonant, this one qualifies for the extreme and atypical category - odd but improvisational. | |
| 1994-12-29 | Providence, RI | 11:37 | "Dueling Banjos" and "L.A. Woman" teases. The latter half of the jam is dark and brooding with a uniquely Fall '94 tone that has moments that sound similar to a "Bowie" or "Tweezer." Ends in solid, ripping "Possum" fashion. | |
| 1994-12-29 | Providence, RI | 3:15 | Even for a "DDL" Jam, this one is unusual, with an added psychological edge to it. Appropriate warm up section which -> to a mind-blowing, classic and MUST-HEAR "Bowie." | |
| 1994-12-29 | Providence, RI | 31:17 | The Legendary Providence "Bowie." Between the "DDL" jam in the intro, whistling, "Lassie" chatter, and creepy whispering, this one is more psychologically jarring than 11/26/94. | |
| 1994-12-30 | New York, NY | 22:00 | Page plays a solo in this unusual version, which like the other Fall 1994 versions of "Tweezer" is must-hear. | |
| 1994-12-31 | Boston, MA | 16:33 | Spacey intro with a "Digital Delay Loop" section to lead off. Intense Page. Extended Trey section is really more of a full band jam than as typically presented. Eventually gets back to "Maze" proper for a red hot finish. | |
| 1994-12-31 | Boston, MA | 8:47 | "Mike's" -> "Buffalo Bill" -> "Mike's." While the 1st jam is standard, incendiary '94 material, the 2nd jam has solid, varied improvisational play before the ->. | |
| 1994-12-31 | Boston, MA | 1:56 | -> in from "Mike's Song." A nice version of "Buffalo Bill" is sandwiched in a solid '94 "Mike's." The -> back to "Mike's" is great stuff. | |
| 1994-12-31 | Boston, MA | 1:48 | -> in from "Buffalo Bill," the return to "Mike's" is several steps better than "normal," well worth checking out. | |
| 1994-12-31 | Boston, MA | 10:35 | Typically strong '94 fare includes "CYHMK" jamming, a funky breakdown section with Page on clavinet, strong exploratory play by all four, and an "Auld Lang Syne" tease as this "Weekapaug" heads for home. | |
| 1994-12-31 | Boston, MA | 10:19 | Fiery, powerful and precise '94-style jam with an unusual and spacey outro jam tacked on. | |
| 1994-12-31 | Boston, MA | 11:21 | Trey and Page add a big exclamation point to end the final frame of a fantastic year for the band. | |
| 1995-12-01 | Hershey, PA | 20:16 | A driving and furied 1st jam leads off. The 2nd begins with a somewhat dark sentiment, buffeted by an intense rhythmic sense. The jam then quiets briefly, before regaining its propulsive high energy nature. At 15:00, Page takes the lead, adding '95-style funk, while Trey opts for the mini kit. At the end, Trey returns to guitar to lead a clean -> to "Weekapaug," the first ever "Mike's"/"Weekapaug" pairing. | |
| 1995-12-01 | Hershey, PA | 8:28 | -> from "Mike's Song" (1st time ever), and played in a different key than normal. Despite some issues with the key change, the jam contains a beautiful, melodic theme. | |
| 1995-12-02 | New Haven, CT | 11:27 | > in from "2001." Hard to believe one of the all-time hose versions of "Tweezer" comes two songs after the boys detonate this cluster bomb. | |
| 1995-12-02 | New Haven, CT | 15:03 | Even more serious "HOSE" in the entire version. Just awe-inspiring! | |
| 1995-12-04 | Amherst, MA | 12:28 | Although largely "Type I," this typically strong '95 version is an intense thriller, and has excellent dynamics modulation. | |
| 1995-12-04 | Amherst, MA | 7:04 | Set II opener. Another typically strong '95 version that will fry your brain. Dissonance reigns supreme. > to "Sparkle." | |
| 1995-12-05 | Amherst, MA | 23:34 | A very exploratory "Gin" jam. At 7:00, the jam starts to twist away from the standard, and works through several sections including driving power rock, percussive '95-style funk, more power rock, and a -> to "Keyboard Army." | |
| 1995-12-05 | Amherst, MA | 13:50 | Page solos, then comes Trey on vocals/guitar, but the vocals are very atypical. Page responds with another strong solo, the klezmer starts, followed by Mike chanting and stomping his feet. On the final beat of the song, the band breaks into a high-powered, accelerating jam that lasts for 1:34 until abruptly transitioning to "Lifeboy." | |
| 1995-12-05 | Amherst, MA | 1:34 | > in from "SOAMule." A high powered, accelerating jam starts on the final beat of "Mule." Abruptly > to "Lifeboy." | |
| 1995-12-05 | Amherst, MA | 17:12 | Multiple rolling peaks that get higher and higher, and the final few, which incorporate an "Entertainer" tease are just sweet. | |
| 1995-12-07 | Niagara Falls, NY | 12:33 | Unusual mid first set placement. Trey hits on a great riff that he molds as the jam develops. The band really stretches this one out, with unbelievable intensity even before mounting the final peak. One for the ages. | |
| 1995-12-07 | Niagara Falls, NY | 13:43 | Multiple peaks that grow increasingly intense. Fish and Page are especially dynamic, with Page briefly on the B-3. | |
| 1995-12-07 | Niagara Falls, NY | 16:46 | Sick wrecking ball version that will pound your head. Start with some "In-A-Gadda-Da-Vida" jamming to warm up. On to improvisational twists and turns, a tense, hammering peak, and a somewhat bizarre ending. Very demented. | |
| 1995-12-07 | Niagara Falls, NY | 14:23 | If 9/30 and 11/29 are fast, the Niagara "Reba" is faster. While the composed section suffers, the jam is crazy, relentless, rife with rich fills, crazy intensity, and the whacked sentiment of the set-opening "SOAM." This late second-set version sees Trey creating huge sustain which bleeds into a spacey, unusual outro. Really cool. | |
| 1995-12-07 | Niagara Falls, NY | 6:44 | Only known version with a Page-only solo. | |
| 1995-12-07 | Niagara Falls, NY | 17:24 | Compared to the preceding version, this one begins in a less frenzied state, but builds up pretty good head of steam, including "Crossroads"-like jamming. The 2nd jam begins with Trey mini kit action, until 11:40, when Trey returns to his main instrument, transforming the rhythmic oriented jam into hose-filled, "Weekapaug"-like, major mode celebration. -> to a great "Weekapaug"/"DDL Jam." | |
| 1995-12-07 | Niagara Falls, NY | 7:02 | "Mike's -> Weekapaug -> Digital Delay Loop Jam." Incredible sequence of music with an inspired but straightforward "Weekapaug" in between stellar works of improvisational play. | |
| 1995-12-07 | Niagara Falls, NY | 6:31 | -> in from "Weekapaug." After a spirited and uplifting "Mike's Groove," the "DDL" Jam provides a chilly, eerie ending to this epic multi-part jam. | |
| 1995-12-08 | Cleveland, OH | 17:38 | "KUNG" sandwich. This version is "type II" in large part and just wild and crazy. | |
| 1995-12-08 | Cleveland, OH | 4:16 | -> in from "Tweezer." "Kung" is sandwiched in the "Tweezer" jam. | |
| 1995-12-08 | Cleveland, OH | 4:09 | -> in from "Kung" to complete this strong "Tweezer." | |
| 1995-12-08 | Cleveland, OH | 12:00 | Rhythmic-oriented jam that is ripe with great tension and dissonance. | |
| 1995-12-09 | Albany, NY | 7:00 | Set II opener. Overshadowed by the huge "YEM" later in the set, this version is dark and twisted, an impressive and musical "wall" of sound, but is also very well played. | |
| 1995-12-09 | Albany, NY | 34:09 | An incredibly melodic and beautiful jam segment makes this among the finest and most adored YEMs in Phish history. Also a "silent jam" and Shaft quote. Vocal jam includes quotes from a talking Beavis and Butthead doll. (No B&D section.) | |
| 1995-12-11 | Portland, ME | 23:12 | Haunting, ghoulish and riveting version that includes a long intro. Fish kicks ass! Maybe not as exploratory as the summer '95s, but it compensates with twisted psychological tone. | |
| 1995-12-11 | Portland, ME | 9:17 | More of a full band jam, as the separation between Page's solo and Trey's was not clear at this stage. | |
| 1995-12-11 | Portland, ME | 12:48 | Vocal and guitar response by Trey is hilarious and wild. Page responds back with another long and dramatic solo; the klezmer, and more weird chanting from Mike. | |
| 1995-12-11 | Portland, ME | 14:57 | A good mix of quieter playing leads to anticipation as the build develops, then the peak delivers a celebratory release. | |
| 1995-12-12 | Providence, RI | 31:46 | Extremely improvisational, experimental, "Type II"-on-steroids jamming. Musically, it's all over the map. But "DwD" fans should give this a listen to experience the band taking a fearless plunge into the abyss. -> to "Lizards." | |
| 1995-12-14 | Binghamton, NY | 10:47 | > in from "Horn." An overlooked standout from a show loaded with noteworthy performances. The balance and modulation of intensity is stellar, from the subtle, delicate musings during the solos, to the thrilling crescendo jam finale. Mike and Fish masterfully modify their texture as this one undulates while trending upward. | |
| 1995-12-14 | Binghamton, NY | 14:11 | "Type I" until 8:50 when the jam breaks into a pulsing, percussive bent, which is followed by a wacky silent jam section. | |
| 1995-12-14 | Binghamton, NY | 9:17 | Another must-hear version. "Slip Knot" tease in the segue into Timber. | |
| 1995-12-14 | Binghamton, NY | 4:58 | Awesome -> in from a serious "Tweezer", the jam is typical high quality '95 "Timber" fare, followed by another fantastic -> back to "Tweezer." | |
| 1995-12-14 | Binghamton, NY | 9:47 | -> in from "Timber" as this classic "Tweezer" continues. | |
| 1995-12-14 | Binghamton, NY | 11:51 | The first truly jammed-out version. Following the typical outro jam, the band breaks into an upbeat melodic groove. The pulse quickens, then settles into an eerie, on-off style jam. Fantastic segue into a stellar version of "NICU." | |
| 1995-12-14 | Binghamton, NY | 9:11 | -> in from a jammed out "Halley's." A rhythmic oriented outro jam morphs into a beautiful Page solo which -> to "Slave." | |
| 1995-12-14 | Binghamton, NY | 10:43 | -> in from a jammed out "NICU." Extremely powerful version. Fish and Trey lay it all out to end Set II of an epic show. | |
| 1995-12-15 | Philadelphia, PA | 8:49 | Very spacey jam segues into a creepy, Fish-driven groove with unintelligble, bizarre vocalizations from someone (?), as Page teases the "Pink Panther" theme a few times. "Odd" doesn't even begin to describe this. | |
| 1995-12-15 | Philadelphia, PA | 11:38 | A very good "Type I" jam breaks into some percussive, deep exploration at 8:30 and then -> to "Rotation Jam" (one of only 4 such performances during which the band members all switch instruments but continue playing). | |
| 1995-12-15 | Philadelphia, PA | 14:10 | Jam almost immediately breaks into an unusual groove. Not way out there, but uniquely excellent. | |
| 1995-12-16 | Lake Placid, NY | 12:05 | More '95 style "Mule Duel" wackiness, with the expected Trey guitar/vocal response, more Page soloing, and Mike chanting with a brief snore. | |
| 1995-12-16 | Lake Placid, NY | 7:02 | Short but sweet. A high octane "Simple" nicely -> to a great "Weekapaug." | |
| 1995-12-16 | Lake Placid, NY | 13:48 | Features a long percussive jam with Trey on the mini-kit, giving Page a chance to take the lead. Eventually winds down into ambience before > to "Coil." | |
| 1995-12-17 | Lake Placid, NY | 11:40 | One of the most spirited, cacophanous versions from '95, even though it's straightforward. Fish and Page go ballistic. | |
| 1995-12-17 | Lake Placid, NY | 12:38 | While typically dissonant and tension filled, there is rich melodic variation from Trey compared to "standard" versions, and his yelling and screaming at one point adds to the mind-numbing aspect of this beast. | |
| 1995-12-17 | Lake Placid, NY | 17:06 | Another strong December '95 version. Fish is the star as he expertly intensifies the percussion as the jam progresses. | |
| 1995-12-17 | Lake Placid, NY | 22:46 | Page solo segues into a "Tweeprise" finish. WTF. | |
| 1995-12-17 | Lake Placid, NY | 2:47 | -> in from "Tweezer." The second notable "Tweezer" -> "Tweeprise" combo. | |
| 1995-12-28 | Worcester, MA | 7:38 | Set II opener. The jam has an even more dark and ominous feel than most versions. Fish's playing is fantastic. | |
| 1995-12-28 | Worcester, MA | 12:13 | Rocking, tension-filled version with a psychedelic edginess to it, including a dissonant ending. | |
| 1995-12-28 | Worcester, MA | 22:00 | Another incredible 1995 "Tweezer." Definitely check this one out. Mike practiced part of the "bass jam" he'd engage in the following night. | |
| 1995-12-28 | Worcester, MA | 10:48 | Very improvisational version. Both Trey and Page repeatedly voice dissonant chords in the build section, creating an eerie tension. Trey's melody lines are also unusual at times. And Fish's drumming is thunderous. | |
| 1995-12-29 | Worcester, MA | 17:58 | Very improvisational considering this version largely stays in bounds. Like many versions from '95, the band stretches the duration, creating a psychological thriller, but the music is less exploratory than '93 - '94. Not a good trend for "Stash." | |
| 1995-12-29 | Worcester, MA | 14:26 | Fish is the superhero in this exceptional version. A great Fluff's Travels gets the ball rolling, while safe passage through the Siren-like perils of The Chase leads to a great Who Do? We Do! It's during this section that Fish really cranks up the intensity of his highly precise rhythmic base. From the swift, complimentary snare drums in Bundle of Joy, to the cannon-like power drumming in Arrival, this is a great example of the drummer's talent and importance in holding this complex composition together. | |
| 1995-12-29 | Worcester, MA | 11:06 | "Gin" -> "The Real Me" -> "Gin." Fantastic, inspired and rocking version. The "Gin" sections that bookend the Who classic are improvisational fare, but all fit together seamlessly into one flowing jam. -> to "McGrupp." | |
| 1995-12-29 | Worcester, MA | 9:08 | -> in from "Bathtub Gin." Following their 1995 Halloween costume, the band surprisingly revisits this Who classic in the middle of a fantastic, rocking and "Type II" Gin. "The Real Me" includes more exploratory jamming than its debut 3 months prior. -> back to "Gin." | |
| 1995-12-29 | Worcester, MA | 3:46 | -> in from "The Real Me" with more great improvisation before returning to the "Gin" theme to conclude and -> to "McGrupp." | |
| 1995-12-29 | Worcester, MA | 9:04 | -> in from the historic "Real Gin." "McGrupp" features an airy opening, replete with Trey's signature '95-style, Leslie-infused shimmering tone. Wonderful playing throughout. Page breaks for a dark calm, marked not so much by eeriness, but a general psychedelia, enhanced by an exotic, Eastern sentiment, combined with nice restraint by Trey. Great fills from Fish lead to a powerful conclusion. | |
| 1995-12-29 | Worcester, MA | 8:45 | > in from "BBFCFM." An excellent bass duet jam with Mike and his instructor, Jim Stinnett. The duet includes teases of "Keep It Greasy" and Bach's "6th Brandenburg Concerto" (aka the "Masterpiece Theater Theme"), and -> to "La Grange." | |
| 1995-12-30 | New York, NY | 4:45 | Another "Kung" sandwich makes up the meat of the "Ice" jam. | |
| 1995-12-30 | New York, NY | 3:01 | -> in from "It's Ice." Following "Kung," -> back to "Ice." | |
| 1995-12-30 | New York, NY | 1:39 | -> in from "Kung" to complete this version of "Ice." | |
| 1995-12-30 | New York, NY | 15:35 | A magnificent jam in this version ends a stellar year for "Hood." Released on FTA Superball IX, Part 2. | |
| 1995-12-30 | New York, NY | 13:19 | Great Page > Trey guitar/vocal > Page piano with Trey backing on guitar > klezmer > Mike singing high, then really low. | |
| 1995-12-31 | New York, NY | 14:14 | NYE's huge "Reba" finds the band recovering from a botched composed section to create a classic. Measured and magisterial, Trey leads the band as they blaze from one side of harmony to the other, the musicians collectively working their way through starts and stops - and all points inbetween - to build a bliss-tinged climax. Wonderful. | |
| 1995-12-31 | New York, NY | 12:27 | A top highlight of this glorious and storied concert. A careful listen reveals extended "Fire On the Mountain"-like jamming from Trey in the post-"Drowned" section, as well as a bona fide tease near the ending and -> into "The Lizards." | |
| 1995-12-31 | New York, NY | 15:53 | Fish is phenomenal in this grand, melodic and driving jam that turns '95-style funky before rebuilding to "Jim." | |
| 1995-12-31 | New York, NY | 14:48 | Wrapping up a historic 2nd set, the 1st jam segment is strong but fairly pedestrian until Page starts to signal the impending "DDL Jam." The 2nd jam begins with a slightly funky tone and strong Fish. The sentiment grows dark as Page shifts to piano, and the foreboding sense of impending doom is rendered complete as the jam blows into a cacophony and -> to the "DDL Jam" at 14:48. | |
| 1995-12-31 | New York, NY | 5:05 | -> in from a stellar "Mike's Song." The dark and brooding nature of this jam serves as a fitting close for this historic Set II, before an improvisational and uplifting "Weekapaug" opens Set III. | |
| 1995-12-31 | New York, NY | 17:43 | "Mike's Song" and "Weekapaug" separated by a setbreak. Masterpieces, both of them. | |
| 1995-12-31 | New York, NY | 25:50 | Two awe-inspiring jam segments. A fucking masterpiece! (No B&D section.) | |
| 1996-12-01 | Los Angeles, CA | 20:00 | Controlled chaos. Typical fierce jam segues into a cacaphonous hazey wall-of-sound soup, that in turn leads into a "type II" excursion with Trey on the mini-kit and Page, Mike and Fish wailing away. Ends in a truly INSANE, drawn-out way, too. | |
| 1996-12-01 | Los Angeles, CA | 15:44 | Extended, Trey-centric groove, featuring a wonderful theme, offset by scattershot playing, matched in equal measure by Fish. Really remarkable. Trey soon breaks to solo atop a passage of really cool and stately calm. Hushed and unhurried, Mike and Page offer wonderful accents as the band continues to probe and explore, expertly modulating intensity. Trey soon breaks free, his soloing extended and infused with amplified energy. | |
| 1996-12-02 | Phoenix, AZ | 10:19 | Strong '96 version with fantastic Trey playing as well predictably strong Page work. Big peak at the ending. | |
| 1996-12-04 | San Diego, CA | 16:21 | The 1st jam begins with some nice staccato-funk action, before slipping back to more conventional playing. The 2nd jam starts in rhythm and Page mode, with Trey on his favorite mini kit. He moves back to guitar quickly, and at 10:00, the jam starts to get a funky and rocking sense. The vibe and energy uptick, there's even a little "MLB"-like action, all resulting in a nice peaking jam. | |
| 1996-12-04 | San Diego, CA | 8:29 | > in from "Mike's Song." Nice but typical (for '96 "Caspian") playing by Trey, but some fantastic Page and Page/Trey playing towards the end of the jam and > to "Sparkle." | |
| 1996-12-06 | Las Vegas, NV | 10:25 | Smooth Trey in the first jam gives way to staccato-filled second jam. Unique version. Blast off into "Llama". | |
| 1996-12-06 | Las Vegas, NV | 25:59 | Great B&D!! VJ based on donuts. | |
| 1996-12-06 | Las Vegas, NV | 9:10 | Nice bluesy swing in this version, patiently played out before the rousing finale. | |
| 1996-12-06 | Las Vegas, NV | 18:31 | A must-hear version for "Simple" fans, and part of a huge "Mike's Groove." A stretched-out but conventional version until after ~11:40 where the jam soars into a pulsing, upbeat groove that mostly (but gloriously) stays within the "Simple" harmonic structure. | |
| 1996-12-06 | Las Vegas, NV | 15:40 | Top notch "Hood" follows a stellar "Simple" as the "meat" of a fantastic "Mike's Groove." The jamming highlights include cool percussion in the intro, super Page, lots of syncopation, great power rocking, and a terrific peak. | |
| 1996-12-06 | Las Vegas, NV | 10:33 | Fantastic and fun jam begins with some early sounds of funk followed by a Page-led piano section. Next, Trey leads a couple of full-band stops, then the jam simmers down with a heavier dose of funk before exploding into a classic '96 peak. | |
| 1996-12-06 | Las Vegas, NV | 9:17 | Guest artists include Les Claypool, Larry LaLonde, Courtney Gains, the Yodeling Cowgirls, and several Elvis impersonators. One of the Elvis impersonators leads a "Susie Q" jam at the end of "Suzy." | |
| 1996-12-28 | Philadelphia, PA | 16:02 | Patience is a virtue, and this version is proof of that concept. The 1st jam is frankly below average by '96 standards, but the patient listener is rewarded by a 2nd jam that begins with some great rocking hose, and mellows to delicate Trey, Page and Mike interplay before -> to "Strange Design." | |
| 1996-12-28 | Philadelphia, PA | 16:03 | Page at the helm, as he leads the band first in funky breakdown jam, playing several of his toys including the Moog. Following a brief return to "Weekapaug," Page solos on piano in a manner akin to "Coil." | |
| 1996-12-29 | Philadelphia, PA | 17:03 | "YEM" -> to "Rotation Jam," an instrument-switching jam. | |
| 1996-12-29 | Philadelphia, PA | 4:54 | -> in from "YEM." This instrument-switching jam is performed during the "YEM" jam and > to "Sixteen Candles" with Mike on piano. | |
| 1996-12-29 | Philadelphia, PA | 2:03 | > in from "Rotation Jam." Mike sings and performs this 1950s pop hit solo on piano. > to the "YEM" vocal jam. | |
| 1996-12-29 | Philadelphia, PA | 3:28 | > in from "Sixteen Candles" for the "YEM" vocal jam. | |
| 1996-12-30 | Boston, MA | 12:43 | Trey employs a warm, "watery" tone, to play with focused precision and remarkable restraint. Truly notable support from Page creates more of an open and spacious canvas of sound (as opposed to "jam"), whose principal characteristics stem from an organic, natural vibe. The version floats evenly and easily for some time, before being shaped to a pointed, emphatic peak. | |
| 1996-12-30 | Boston, MA | 14:45 | Very good version to be sure. | |
| 1996-12-30 | Boston, MA | 13:19 | Page > Mike on bass > the whole band playing along > klezmer stops, Steven Wright rings bell, klezmer > bell, klezmer > bell, no Mike but straight transition to finale. | |
| 1996-12-30 | Boston, MA | 11:47 | A nice extended settled section, some cool "Johnny B. Goode"-like strumming, and a rousing peak in this fun version. | |
| 1997-12-02 | Philadelphia, PA | 20:41 | Exceptional single jam version which begins in funk/rock mode and grows increasingly powerful until 8:30, when the jam shifts into serious funk mode. After 12:00, the jam quiets to delicate, introspective play, before regaining its original juggernaut sense of power and -> to "Simple." This is entire Mike's Groove is must-hear material. | |
| 1997-12-02 | Philadelphia, PA | 9:45 | Features a Trey and Page duet. A gorgeous, must-hear version which -> to a must-hear "Dog Faced Boy" which -> to a must-hear "Ya Mar." | |
| 1997-12-02 | Philadelphia, PA | 5:36 | -> in from "Simple." A beautiful and inspiring "DFB" follows a gorgeous "Simple" jam, and is part of a HUGE "Mike's Groove." -> to "Ya Mar" as the great stuff keeps coming. | |
| 1997-12-02 | Philadelphia, PA | 14:00 | -> in from "Dog Faced Boy." Jam quickly moves away from conventional "Ya Mar" structure into a rhythmic, grooving foray with building intensity. "Crosseyed And Painless" tease," and a fantastic -> to "Weekapaug." | |
| 1997-12-02 | Philadelphia, PA | 15:29 | Thrilling, smooth -> in from "Ya Mar." This version completes a fantastic "Mike's Groove." "Weekapaug" starts off more slowly before coming up to speed, then dives into the thick funk. Swiftly after 6:00, the jam blasts off into an upbeat groove that keeps building, working the crowd into a frenzy by 10:00. A must-hear version. | |
| 1997-12-02 | Philadelphia, PA | 8:43 | Mellow - or offbeat - by "Zero" standards, the version, strangely musical, produces a fun and surprising "tripping up the steps" sensation. The band, clearly energized, performs at a much slower tempo, the song's customary forceful vibe created by shouting and Trey's deliberate, scuzzy soloing. | |
| 1997-12-03 | Philadelphia, PA | 16:35 | Funkalicious! Great up-tempo version that highlights the band's peaking cohesiveness and improvisational talent during the Fall 1997 run. | |
| 1997-12-03 | Philadelphia, PA | 9:39 | A badass "type II" (and dark) groove develops before dissolving into space, out of which 2001 begins. | |
| 1997-12-03 | Philadelphia, PA | 26:26 | Long intro with teases and a signal. A wonderfully upbeat, major mode movement develops and continues for about 5 1/2 minutes before cycling back to "Bowie." The rub: it takes 18 minutes to get to this departure from standard fare. Unfinished with a fantastic -> to "Possum." | |
| 1997-12-03 | Philadelphia, PA | 9:11 | > in from "Possum." An excellent Fall '97-style funk jam develops on the tail end of "Possum" and -> to "Prince Caspian." | |
| 1997-12-03 | Philadelphia, PA | 10:11 | -> out of a jammed out "Possum." Trey takes the lead here, providing inspired melodic content. > to "Frankenstein." | |
| 1997-12-05 | Cleveland, OH | 14:02 | Fantastic, very improvisational jam that is quite different than most including beautiful quieter parts. -> into "My Friend." | |
| 1997-12-05 | Cleveland, OH | 10:45 | The '97 "Limbs" were a great vintage, and this version is another excellent bottle well worth opening. | |
| 1997-12-05 | Cleveland, OH | 17:04 | At about 7:30, departs from standard "Julius" into several new directions. Returns to the song several times, only to venture out again, further into new territory, including funk and reggae modes. Perhaps fitting that the only, truly exploratory "Julius" transitions to the only, truly exploratory "Slave." | |
| 1997-12-05 | Cleveland, OH | 16:42 | The "Type II" version. The band breaks into a dissonant, spacey jam following the standard one that eventually > to "The Lizards." "Slave" purists may not care for this one, but cannot deny its improvisational aspect. | |
| 1997-12-05 | Cleveland, OH | 8:03 | Would be interesting to know how many calories Trey burned while shredding the hell out of this one. | |
| 1997-12-06 | Auburn Hills, MI | 16:25 | From a show known for its indelible second set, this terrific Fall '97 version lights up the first frame in the two-hole with a uniquely funky opening and then builds to full-power with heavy effects use from Trey. Thanks for the head's up from @jmart in getting this readded to the chart. | |
| 1997-12-06 | Auburn Hills, MI | 10:54 | -> in from "Bathtub Gin." And, the -> is really top notch. Another stellar '97 version. | |
| 1997-12-06 | Auburn Hills, MI | 15:02 | > in from "Fee." Modulation by Page with a crescendo pop gets this version cranked up, and then Trey adds some downright creepy effects to put this one into the mind melting category. | |
| 1997-12-06 | Auburn Hills, MI | 22:00 | Just spectacular improv. MAGNIFICENT VERSION. MUST HEAR. | |
| 1997-12-06 | Auburn Hills, MI | 9:27 | -> in from a classic '97 "Tweezer." "Izabella" breaks away from the standard at about 4:20 into an excellent and funky groove which -> to "Twist." | |
| 1997-12-06 | Auburn Hills, MI | 14:20 | -> in from "Twist." First Piper to really break out into improvisation. Jam is raging at first, mellows briefly, and then gathers fresh steam. There is no closing coda section (which would become more customary). | |
| 1997-12-07 | Dayton, OH | 10:21 | Fantastic -> in from "Psycho Killer." Played at a faster tempo, this one is more of a rocker and includes a "Rocky Mountain Way" tease. | |
| 1997-12-07 | Dayton, OH | 6:41 | "Swept Away" and "Steep" sandwich. Flawless segue to "Swept Away." | |
| 1997-12-07 | Dayton, OH | 1:05 | -> in from "It's Ice." "Swept Away" and "Steep" form the meat of this "Ice" sandwich. > to "Steep." | |
| 1997-12-07 | Dayton, OH | 1:57 | > in from "Swept Away." Part II of the meat of this "Ice" sandwich. > back to "Ice." | |
| 1997-12-07 | Dayton, OH | 1:54 | > in from "Steep" to complete this version of "Ice." | |
| 1997-12-07 | Dayton, OH | 10:20 | Precise and coordinated modulation between major and minor modes by Trey, Page and Mike give this excellent version a subtle sense of tension and release. | |
| 1997-12-07 | Dayton, OH | 12:36 | The first "Tube" to break out of the box begins with sweet funk in the first jam, while the jam reprise drops into some space, builds back up to more funk, and coasts into the -> to "Slave". A fan-favorite. | |
| 1997-12-07 | Dayton, OH | 12:24 | -> in from an awesome "Tube." Fan favorite version. Trey is really out in front on this one, soloing beautifully. | |
| 1997-12-07 | Dayton, OH | 9:12 | "Timber" opens Set II for the 5th consecutive time in as many appearances. This excellent version has a slightly less dark and somber vibe than most and is an almost upbeat, contemplative piece. | |
| 1997-12-07 | Dayton, OH | 7:15 | > in from "Timber." Great, short version loosens out of funk mode briefly, mellows into more funk and -> to the first "Boogie On Reggae Woman" in 988 shows (last seen on 9/13/88). The "Wolfman's" release really comes in the sweet jam out of "BORW." | |
| 1997-12-07 | Dayton, OH | 7:55 | Busted out after a 989 show gap and segues smoothly out of Wolfman's Brother. The '97 style outro jam is distinct and deviates from the structure of "Boogie" at 5 minutes and is played at a slower tempo than recent versions. Transitions to a hot "Reba". | |
| 1997-12-07 | Dayton, OH | 12:38 | "Camel Walk"-like licks and polka scales in the intro. Very tight straightforward jam that ends with more polka-style chords. | |
| 1997-12-09 | State College, PA | 11:58 | The single jam has a funky bent at first. After working through some typical terrain, the funk comes back, especially after 8:30 when the jam takes on a "BEK"-like vibe, accentuated by some nice stop/start action. | |
| 1997-12-09 | State College, PA | 29:32 | The jam that emerges begins subtly, then grows some legs as Fish and Mike kick the funk into gear before morphing back into a quiet, contemplative jam. Extremely improvisational version. Seamless segue sounds at first like a move to "Bowie" but becomes "Timber" instead. | |
| 1997-12-09 | State College, PA | 7:44 | Segue -> in from a 30 minute "Simple," this version restores the jam to its typical place of darkness, and has an almost '95 psychedelic feel to it, with Fish kicking the percussion into heavier action. | |
| 1997-12-11 | Rochester, NY | 19:54 | High octane jam flames out at 11:00 into an excellent Page and Mike led minimalist groove which -> to "Maze." There is also a -> "DwD" from "Ghost" later in this show to complete the earlier, unfinished version. | |
| 1997-12-11 | Rochester, NY | 15:01 | -> from DWD, the second in a trifecta of excellent Mazes from December 1997. Page delivers meaty play in the first half of the jam. The tension that follows builds primarily from the push and pull between the speed and adrenaline of the rhythm section led by Fish, and Trey's guitar lines which seem at times to lag and then race to keep up before the final photo finish. | |
| 1997-12-11 | Rochester, NY | 10:36 | Superlative even among the standouts. The best "Limbs" build to a peak that reaches the stratosphere, then gradually work back down to earth. Listen to this version for a prime example. | |
| 1997-12-11 | Rochester, NY | 21:17 | The jam keeps up a pretty good head of steam until about 12:00 when it settles into 9 minutes of high quality '97-style space funk/quiet bliss enhanced with delay effects. -> to "Roses Are Free." | |
| 1997-12-11 | Rochester, NY | 8:11 | Wild version that segues out of Roses Are Free. It's highly improvisational in that after about 3 mins of "normal" (so to speak) BBFCFM, a Sturm-und-Drang, plodding jam evolves and trudges along for a few minutes, and then the band drops out as Trey sustains a note, then a chord, and, well, nothing much happens for a minute or so, and then Trey counts-off and Ghost begins. | |
| 1997-12-11 | Rochester, NY | 16:26 | Blazing, rocking funk which -> to a "DwD" reprise. [A good, funky jam settles into some low-key grooving, then gradually develops a full head of steam, igniting into a blistering, raging eclipse which -> to "DwD Reprise."] | |
| 1997-12-12 | Albany, NY | 11:11 | The Chairman of the Boards leads the way, but Big Red is no slouch either. | |
| 1997-12-12 | Albany, NY | 15:46 | Another stellar fall 1997 version. | |
| 1997-12-12 | Albany, NY | 11:54 | "Saw It Again" rocks along in full power mode for a good 5 1/2 minutes before mellowing into '97-style ambient space and -> to a high quality "Piper." | |
| 1997-12-12 | Albany, NY | 18:57 | -> in from "Saw It Again." Very improvisational version that modulates back and forth between hard rocking bursts and quiet, pensive moments. Includes a "BOAF" tease and beautiful space before > into "Swept Away." | |
| 1997-12-12 | Albany, NY | 10:07 | -> in from "Swept Away > Steep." Straightforward until 10:07, when the band launches into a post closing chord, rocking, funky, and cerebral "Jam." Great Fall '97 improvisation here with a -> to "Izabella." | |
| 1997-12-12 | Albany, NY | 8:17 | -> in from "Prince Caspian." A rocking, funky and cerebral jam emerges at the conclusion of "Caspian." Great Fall '97 jamming with similarities to "Llama." -> to "Izabella." | |
| 1997-12-13 | Albany, NY | 18:24 | At about 8:30, the opening chords are replayed, and the band breaks into a funky, upbeat 10 minute jam of exceptional quality. Must hear. SBD recording "From The Archives" available. | |
| 1997-12-13 | Albany, NY | 10:29 | Clearly comfortable, the band works through the intro into an awesome "middle" section featuring, unsurprisingly, inspired and deft play from Trey. The song loses its shape to assume a different form, the jam cooling after the 5:30 mark to become decidedly - and pleasantly - spacey, before a spirited return to the song's closing refrain. | |
| 1997-12-13 | Albany, NY | 8:42 | Lots of funk in this very good version. Page leads the way with his clav and piano work. | |
| 1997-12-13 | Albany, NY | 9:37 | Excellent, adding an exclamation point to a multi-song "Mike's Groove." The jam dwindles into nothingness before -> "Catapult" and finishing strongly. | |
| 1997-12-13 | Albany, NY | 0:58 | -> in from "Weekapaug." "Catapult" is sandwiched amidst a strong "Weekapaug." -> back to "Weekapaug." | |
| 1997-12-13 | Albany, NY | 5:35 | -> in from "Catapult", with a "CYHMK" tease, to complete another strong '97 "Weekapaug." | |
| 1997-12-13 | Albany, NY | 17:44 | The jam drifts away from the typical "Hood" quiet section into an ambient sort of section at 8:45. At 12:15, an excellent, rocking, and non-"Hood" rhythm kicks in and continues until 13:40, when a huge traditional peak erupts. | |
| 1997-12-28 | Landover, MD | 10:57 | Nice mellow groovy jam that has some decent stylistic variation. | |
| 1997-12-28 | Landover, MD | 8:21 | Mike and Page add a lot to the richly funky jam that becomes very repetitious, with Trey playing in a staccato manner. | |
| 1997-12-28 | Landover, MD | 14:11 | The jam breaks into a nice funky groove around 8:00 and gradually winds down into space with delay effects. | |
| 1997-12-28 | Landover, MD | 9:39 | A low-key and at times melodic and serene outro jam emerges from the standard before > to a solid "Simple." | |
| 1997-12-28 | Landover, MD | 13:27 | Jam begins in traditional fashion but eventually there's a somewhat inexplicable key modulation from Trey. A very unusual version that also includes Page on clavinet for a stretch. | |
| 1997-12-28 | Landover, MD | 11:42 | Guitar and piano jam with "Roundabout" teases instead of traditional Mule Duel. Eventually the whole band joins in quiet but suspenseful jam that is quality music. | |
| 1997-12-28 | Landover, MD | 12:49 | A crisp, tight, high energy jam - the band is really locked in on this one. Shorter than some, but well worth the visit! | |
| 1997-12-29 | New York, NY | 12:31 | Blistering, high octane version with nice concluding transition space and a > to "Fluffhead." | |
| 1997-12-29 | New York, NY | 15:55 | Straightforward but well played jam, followed by some downright filthy funk jamming in the "Rocco" section. | |
| 1997-12-29 | New York, NY | 22:00 | Fearsome but exploratory jam. Moments of quiet settle are repeatedly upended by intense funk rocking. This legitimate monster "Disease" finally gives up a little belligerence only to -> into a very strong "David Bowie." | |
| 1997-12-29 | New York, NY | 19:49 | Excellent and thrilling version with strong musicianship. Mode shift out of typical (but very well played) "Bowie" at 13:55 into a great groove which peaks and returns to "Bowie" by 17:00. | |
| 1997-12-29 | New York, NY | 2:38 | > in from a strong "Bowie". Fun version with two "I Can't Turn You Loose" jams, one at the onset of the jam and the other appearing after the last chorus. | |
| 1997-12-29 | New York, NY | 0:50 | -> from "Possum". The first "I Can't Turn You Loose" section pops up early in "Possum's" jam and then > back to "Possum". | |
| 1997-12-29 | New York, NY | 5:39 | The main "Possum" jamming occurs here and includes extended Page lead sections on organ and piano, before Trey gets his licks in later on. | |
| 1997-12-29 | New York, NY | 0:30 | Another round of "I Can't Turn You Loose" puts a cap on a solid "Possum". | |
| 1997-12-29 | New York, NY | 10:50 | Absolutely locked-in version with seamless interplay, breakdown solos by Trey, Page, and Mike, and "I Feel the Earth Move" teasing. One of the greats. | |
| 1997-12-30 | New York, NY | 9:52 | First performance in 920 shows, opens first set of a highly regarded show. Nice '97 style funk/rock groove follows the lyrical section. A very unhurried, patient feel to this one. -> to "Taste", and is reprised and finished in the 4-part funk-fest encore. | |
| 1997-12-30 | New York, NY | 10:23 | -> in from an historic "Sneakin' Sally." Strong version, but quite different from most of the Fall '97 versions. Here, Trey solos beautifully, but Page's role seems far more restrained. There is far less of a full band build towards the end than musical support for Trey's incredible soloing. To some ears, the best "Taste" ever. To others, it's too one dimensional. | |
| 1997-12-30 | New York, NY | 12:59 | Great version where Mike and Fish drive the jam into improvisational territory, including some "Manteca"-like jamming around 8:20, and the ending section dissolves in a quiet but tense manner. | |
| 1997-12-30 | New York, NY | 24:38 | Opening an incredible 2 1/4 hour-long Set II, the second monster "Bag" combines the same elements as the first - funk, rock, and delicate space, but in a completely different manner and configuration. Includes "Third Stone From The Sun" and "Psycho Killer" teases with a > to "McGrupp." A must-hear dynamo that belies a short description. | |
| 1997-12-30 | New York, NY | 9:33 | With Mike and Page out front early, Trey ultimately enters the fray, and he and Page break into an eerie, counterpoint-based duet of sorts, with Mike and Fish nearly absent from the mix. Mike and Fish finally jump back in, creating a tense, throbbing sentiment which gradually dissipates with no concluding section, and instead spills into an epic "Harpua." | |
| 1997-12-30 | New York, NY | 19:57 | With no final refrain, an atypically uptempo jam breaks into a rocking/bluesy groove at 16:45 and -> to "My Soul." | |
| 1997-12-30 | New York, NY | 4:58 | In from BEK ->, the second "Sneakin' Sally" of this fan favorite show functions as a funky reprisal of the major bust-out that opened the evening's festivities. Jumps right into a jammed-out show-closing > Frankenstein. | |
| 1997-12-30 | New York, NY | 10:40 | > in from "Sneakin' Sally." Part 4 of an incredible 4-song encore, and this "Frankenstein" is jammed-out, taboot! | |
| 1997-12-31 | New York, NY | 15:21 | Compared to Hampton, a snappier, more uptempo funk groove unfolds and intensifies in the later stages with brief rock flurries. | |
| 1997-12-31 | New York, NY | 14:00 | Yeah, this is a badass version alright, with a monster, Mike-led groove (it is after all, Mike's song). It's got funk, but not as much as some of the other '97s. And it's got power. At around 9:40, there's a stop, and then a 2nd jam of sorts begins, delicate bliss mode play that sets up well for the "Piper" that follows. | |
| 1997-12-31 | New York, NY | 17:56 | Among the longest "Weekapaugs" to date, this version provides a fitting capstone to 1997. After 14 minutes of balls-to-the-wall, but largely in-the-box jamming, Trey, then Mike, then Page -- and after some Trey banter -- Fish, take solos to send the crowd hurtling towards 1998 (and "2001"). | |
| 1997-12-31 | New York, NY | 17:22 | > in from "Tweezer." Despite its duration, at various points this version seems to lose its bearing, especially from 13:10 on. But it's well worth checking out. Includes a "Birdland" tease and is unfinished with a > to "Prince Caspian." | |
| 1997-12-31 | New York, NY | 8:57 | This is how to close a third set on NYE! Crazy-raw, rough playing by all! | |
| 1998-12-28 | New York, NY | 11:27 | Page has a magnificent solo, and then Trey waits for several measures before starting his solo. Very good band interplay during the build up. There is a cool little spacey cycle (just some long-held notes, to be fair) after the coda. | |
| 1998-12-28 | New York, NY | 15:58 | Multifaceted mind melter. Starts in typical brain-frying, hard-rocking mode, then paints an eerie, outer-space-like soundscape with chilling effects, and finally shifts into a rocking/bluesy groove. | |
| 1998-12-28 | New York, NY | 21:13 | An improvisational jam which goes through the customary progressions, then pushes on to some ambient jamming, more funk, creepy, effects-infused space, and finally space rage. | |
| 1998-12-29 | New York, NY | 11:02 | Page is the star, jumping around to various keyboards in this "Type I" but interesting and different space funk "SOAM." | |
| 1998-12-29 | New York, NY | 9:53 | Trey out in front instead of Mike. Swirling metallic jam that sounds more '99 or '00 than '98. > to "Limb By Limb." | |
| 1998-12-29 | New York, NY | 9:52 | Page in particular shines brightly (but also Trey) in this strong, full-powered version. Segues to a stellar "2001." | |
| 1998-12-29 | New York, NY | 17:24 | Possibly the best intro ever. This version has it all. Aliens, tractor beams, Trey flamethrowing, "C&P" teasing, Liquid Nitrogen Mike in the second jam. It all combines for 17 minutes of "2001" magic. | |
| 1998-12-29 | New York, NY | 23:39 | Dynamic, captivating version from start to finish. (No B&D.) | |
| 1998-12-30 | New York, NY | 14:56 | Huge holiday version features extended "Manteca"-like playing (9:00), before Trey drops into familiar riffing. Super Fish propels the version, with Trey seemingly picking up "Manteca" again, before the band enters a great, full-band, mini-groove. Fluid and direct jamming builds to a false peak which dips to rise into playing warm with sustain and powerful trilling, before, surprisingly, drawing to a close, sans tomming. | |
| 1998-12-30 | New York, NY | 20:59 | Improvisational and intense. Several sections in this far ranging jam foreshadow the swirling sounds and groove-based jamming that would dominate '99 - '00. Triumphant return to "DwD" to conclude with a > to "Piper." | |
| 1998-12-30 | New York, NY | 14:04 | Long serene intro. Trey's guitar is somewhat amped down from most '97 - '98 versions, and this restraint adds quality to the tone. Beautiful Trey/Page/Mike outro beginning at about 12:15 enhances the sentiment. | |
| 1998-12-30 | New York, NY | 12:50 | Full-band jam in place of traditional piano outro transforms Coil from predictable (if beautiful) set piece into surprising vehicle for textural improvisation. Unlike 5/8/93, this is not an unmotivated reentry by the rest of the band, but a smooth, natural progression: Rather than step back, the rest of the band just keeps playing. (Thanks @qushner for the lovely description). | |
| 1998-12-30 | New York, NY | 11:19 | Great intro with awesome Mike. The jam is basically a medley of "Wipeout" jams, with different little jams led by Fish, Mike, Page on the B-3, CK5, Trey, and Mike again. In the encore slot, this one sends the fans home happy. | |
| 1998-12-31 | New York, NY | 16:06 | The 1st jam is pretty chill and just grooves along with typical melodic lines. The 2nd jam kicks in at 7:35, and immediately drops into serene and melodic heartfelt playing. The band seems completely at ease, enjoying the warm and upbeat nature of the jamming. | |
| 1998-12-31 | New York, NY | 15:45 | Orgasmic "sleety" symphony which breaks down into throbbing B&D industrial metal that ratchets abruptly into "Ha Ha Ha." [The jam moves beyond the typical structure, breaking into gritty and pulsating play that bridges the ambient sound of '98 and sparser grooves of '99 and '00 quite well.] | |
| 1998-12-31 | New York, NY | 14:45 | Amazing -> "Cities." | |
| 1998-12-31 | New York, NY | 8:31 | Segues out of "Tweezer." Good funky version that gets eerie and spacey at the end before transitioning to "Velvet Sea." | |
| 1998-12-31 | New York, NY | 15:24 | Jam breaks away completely from "Antelope" at 6:30 into a nice, slighty dark foray. Returns to the standard by 8:00. | |
| 1998-12-31 | New York, NY | 18:31 | Follows "Auld Lang Syne" with the sounds of balloons popping on stage. The initially straightforward jam grows rocking and dissonant, then eventually calms to a quiet space. | |
| 1998-12-31 | New York, NY | 17:55 | An extended and very unique intro to 7:30. The delicate and spiraling jam foreshadows the sound and tone of '99. | |
| 1999-12-02 | Auburn Hills, MI | 8:00 | Wah-groove from Trey. | |
| 1999-12-02 | Auburn Hills, MI | 19:07 | The standard "Gin" jam morphs around 14:25 into a raging, intense "Piper"-like beast before flaming out and -> to "2001." | |
| 1999-12-02 | Auburn Hills, MI | 15:34 | The Space Birds are out in full force. All kinds of originality, none of the cliche riffs. | |
| 1999-12-02 | Auburn Hills, MI | 21:46 | Odd glam-rock repetitive jam segment. Silent jam. -> to "Little Drummer Boy" VJ. (No B&D.) | |
| 1999-12-02 | Auburn Hills, MI | 3:18 | -> in from the "YEM" vocal jam. A capella version. | |
| 1999-12-03 | Cincinnati, OH | 11:47 | Sort of a call and response between Trey and Page that becomes more of a Page-led jam. A very different, relaxed vibe. | |
| 1999-12-03 | Cincinnati, OH | 16:21 | Departs from "Limb" proper around 8:00 and heads into a dark, subdued jam during which Trey plays keyboard for a good portion. Not to everyone's liking, but more exploratory than most versions. Returns to "Limb" to conclude. | |
| 1999-12-04 | Cincinnati, OH | 18:11 | The jam begins with a haunting, scary groove over the basic structure. At 9:30, there's a transition segment with standout playing by Page and Mike. Then at 10:45 Trey hits the keyboards in a weird sonic combo. Released on Live Bait Vol. 7. | |
| 1999-12-05 | Rochester, NY | 10:04 | A strong, prototypical '99 "Gotta Jibboo," with patient and careful Trey/Page interplay at first, a smooth and linear - but predictable - build up in energy and tension, and culmination in an intense, if somewhat short peak. One of the strongest standard '99 "Jibboos." | |
| 1999-12-05 | Rochester, NY | 12:55 | The closest thing to a "jammed out" version of "Taste" (before 2017), as the band stretches Trey's solo out into a very extended and mellow groove, before returning to more familiar ground. | |
| 1999-12-05 | Rochester, NY | 11:58 | Wild improv in this excellent, thrilling set closer that peaks well. | |
| 1999-12-05 | Rochester, NY | 14:14 | Loosely segues out of "Mike's" and includes a very atypical jam that "goes type II" and RAGES before eventually cooling down, spacing-out, and seguing well into "Hydrogen." | |
| 1999-12-07 | Portland, ME | 27:56 | An excellent, rollicking, and very upbeat jam develops immediately. Quiets down slightly at about 16:00, but regains momentum and a different vibe around 20:30. At 24:10, the jam finally slows down, taking a blissful few minutes to transition to "Coil." Includes a "Gotta Jibboo" tease. | |
| 1999-12-07 | Portland, ME | 16:48 | Fantastic groove-based "Gin." The jam quickly leaves "Gin" behind (at 6:50), breaking into a groove that paints a beautiful, serene, and otherworldly landscape. Page's deft use of effects adds to the scenery. A very unique "Gin." | |
| 1999-12-08 | Portland, ME | 15:09 | An upbeat groove develops away from the standard that has an almost an "Gin"-like vibe to it before returning to "DwD." | |
| 1999-12-08 | Portland, ME | 14:24 | A nice percussive, somewhat dark, jam emerges that is unusual in its sentiment. | |
| 1999-12-08 | Portland, ME | 14:50 | Per @sandyfr "Closing a strong first set, this Antelope starts with some classic siren loops, before moving beyond the standard fare around 9:00, gradually losing any form of sensible key. The music morphs into an atonal wall of filthy harsh noise, as the alien mix of shoegaze and free jazz create a swirling tornado of cacophony." | |
| 1999-12-08 | Portland, ME | 17:16 | Explosive trance. | |
| 1999-12-08 | Portland, ME | 19:31 | The jam downshifts from typically high energy "Piper" fare to a subdued, low key groove with spacey Page effects. | |
| 1999-12-08 | Portland, ME | 21:23 | "Tweeprise" VJ! (No B&D.) | |
| 1999-12-10 | Philadelphia, PA | 14:15 | Extremely textural version that builds a "wall of sound." Doesn't do much IMO, but mileage varies. | |
| 1999-12-10 | Philadelphia, PA | 14:09 | Careful and patient, the front half of this jam features strong Rhodes and synth work from Page, to create a twinkly and spacey vibe. The band slowly accelerates this "Gotta Jibboo" to a smooth pinnacle, with multiple, very pleasant peaks; other "Jibboos" peak harder, but this one peaks cleaner and longer than its '99 peers. A true culmination of groove-based jam ideas from fall and winter '99. | |
| 1999-12-11 | Philadelphia, PA | 12:22 | Page Solo > Mike and Trey duet > full band jam that is really upbeat and rocking > conclusion. | |
| 1999-12-11 | Philadelphia, PA | 7:50 | An extra funky jam kicks off a great set. | |
| 1999-12-11 | Philadelphia, PA | 19:06 | Endurance run through the Nevada desert crests the ridge into the Groom Lake Basin to behold the arrival of the mothership. [-> in from "Sally." Strong, slow tempo straightforward version with great Mike blasts off into deep outer space after 13:00 and explores the universe before -> to "2001."] | |
| 1999-12-11 | Philadelphia, PA | 15:23 | Emerges from "Ghost" and becomes a Haunted Space Halloween. Incredibly slow pace. This groove is one for the ages. | |
| 1999-12-12 | Hartford, CT | 30:37 | If you're looking for a good groove-based jam coming out of "Drowned," this is a more dynamic, propulsive and multi-sectional option than Big Cypress. It's solid, not epic, but well worth checking out. | |
| 1999-12-13 | Providence, RI | 6:40 | Trey sits back while Page and Mike take the lead before ending the jam with some great lead work. | |
| 1999-12-13 | Providence, RI | 10:33 | Thick swampy groove. Descending chord pattern in the middle of the jam, but not MLB. | |
| 1999-12-13 | Providence, RI | 19:11 | High energy version with intense "Type I" jamming between verses. A propulsive, rhythmic jam follows. | |
| 1999-12-13 | Providence, RI | 22:45 | Trey's lead playing is thematic and anthemic in this great version which begins as a textural soundscape. "Gotta Jibboo" bassline tease. | |
| 1999-12-13 | Providence, RI | 9:36 | Another exceptional version with solid playing by all, but especially Machine Gun Trey who rips a glorious peak. | |
| 1999-12-15 | Washington, DC | 15:24 | Compared to most '99s, the jam here breaks earlier into a light, textured groove that intensifies as it returns to "DwD." | |
| 1999-12-15 | Washington, DC | 16:45 | A gentle straightforward jam transforms into a nice groove-based jam around 10:30 and eventually works back to "Gin." | |
| 1999-12-15 | Washington, DC | 16:11 | Jam starts in typical fashion, but then Trey hits the keyboards for an extended and very different version. | |
| 1999-12-16 | Raleigh, NC | 10:31 | Very patient and gradual build in the jam. | |
| 1999-12-16 | Raleigh, NC | 10:29 | Although this one takes awhile to get going and the "Spreadsheet" recording doesn't do it justice, Trey trills like his life depends on it in the spectacular peak of the jam. | |
| 1999-12-16 | Raleigh, NC | 22:30 | Initially, the jam revolves around a menacing, effects-laden groove. Trey then hops on the keys to inject some melody and later expands on those ideas on guitar before the jam builds to a screaming finale. | |
| 1999-12-16 | Raleigh, NC | 10:20 | Typically melodious and soaring "Wading" fare abounds in the solo section. As the closing vocals appear to signal the end, a ghostly ambient wash then creeps in and makes itself at home before moving > "Tweezer"". | |
| 1999-12-16 | Raleigh, NC | 21:52 | Melodic, "Slave"-like jam. | |
| 1999-12-17 | Hampton, VA | 10:47 | Decent jam that veers briefly away from the standard form. | |
| 1999-12-17 | Hampton, VA | 5:05 | A spacey, quiet jam with building energy and effects from Page spans the gap between "The Moma Dance" and "Bug." | |
| 1999-12-17 | Hampton, VA | 17:22 | Rooted in the improvisational millennial groove of '99, although perhaps more repetitive and even plodding at times, Fishman largely leads the jam until about 8 mins in, when Trey adds some space vamp. At 10 mins in, Mike changes course, and the jam takes on a menacing, heavy tone, continuing to build in intensity until a looped-out groove arises, and slow rolls its way to a thunderous conclusion. Not as wonderfully weird as 12/4/99, or as funky and fun as the 12/31 performance, but still an incredible three versions to end the century. | |
| 1999-12-18 | Hampton, VA | 22:47 | Very inspired jam segment! (No B&D.) | |
| 1999-12-18 | Hampton, VA | 17:34 | An average "2001" becomes great when a Frampton "Do You Feel Like We Do" jam takes over. Bob Mayonnaise on the keyboards ladies and gentlemen. | |
| 1999-12-18 | Hampton, VA | 16:20 | Ambient roar. | |
| 1999-12-30 | Big Cypress, FL | 10:07 | A wonderful compact jam that starts with some dark energy but soon enough taps into classic '99 sounds and soars into the stratosphere. Welcome to Big Cypress. | |
| 1999-12-30 | Big Cypress, FL | 11:15 | The wild Big Cypress version showcases some cool staccato playing (see also "Plinko") in the middle and an unusual jamming style, while still staying pretty close to the normal theme. | |
| 1999-12-30 | Big Cypress, FL | 6:44 | Though the band starts in a metal chug similar to other versions in the era, Mike is in a much more exploratory mood than normal, bringing the band briefly into a major key, and later initiating several interesting rhythmic exchanges. | |
| 1999-12-30 | Big Cypress, FL | 16:50 | A stunning, gorgeous jam. | |
| 1999-12-30 | Big Cypress, FL | 15:27 | "Immigrant Song" teasing early on sets the tone for this dark, angry wall of sound. A single jam segment, but it's heavy duty stuff, filled with spacey effects and a driving, seemingly accelerating Mike and Fish-led groove. | |
| 1999-12-31 | Big Cypress, FL | 9:23 | Great lead work from Trey and some nice fills from Fishman in this one from Big Cypress. | |
| 1999-12-31 | Big Cypress, FL | 20:01 | Multi-section, improvisational groove-based jam, including typically dark "SOAM" grooving, funky upbeat major mode jamming, and a -> to "Catapult." Vastly different from 7/15/99. | |
| 1999-12-31 | Big Cypress, FL | 1:17 | -> in from an excellent "SOAM." | |
| 1999-12-31 | Big Cypress, FL | 23:41 | Laid back but joyful millennial celebratory groove. This is feel good music. Unfinished with -> to "Llama." | |
| 1999-12-31 | Big Cypress, FL | 15:47 | A very different "Gin" begins with extended vocal jamming through 9:25, then shifts to an enchanting groove. | |
| 1999-12-31 | Big Cypress, FL | 13:15 | A tranquil ambient groove emerges with delay loops and an eerie Page solo on the Fender-Rhodes. -> to "Prince Caspian." | |
| 1999-12-31 | Big Cypress, FL | 30:23 | This wide-ranging, 30-minute monster from Cypress starts off in an excellent bluesy groove, before quieting down to a percussive, groovy, organ-led cowbell movement with anthemic riffing from Trey. The jam then coasts along at a low simmer, with very quiet, introspective playing and massive bass bombs, before exploding into an epic, earth-shattering firestorm of a conclusion at 26:00. | |
| 1999-12-31 | Big Cypress, FL | 22:22 | Crowd-assisted CHEESECAKE VJ. (No B&D.) | |
| 1999-12-31 | Big Cypress, FL | 20:14 | This is one of the center-piece jams of one of Phish's most storied and highly-lauded sets. This one quickly hits a slow groovier jam. With a good foundation set by Gordon and Fishman, Trey and Page have ample room to explore several gorgeous and melodic passages. | |
| 1999-12-31 | Big Cypress, FL | 26:16 | The masterpiece of the '99-'00 style "Sands" from the early morning at Big Cypress. A dark groove develops with all sorts of eerie effects added to the mix. Trey's lead work is scintillating and gives the jam an ominous feel as it builds to a devilish peak and then transitions to the hypnotic second movement replete with looped minimalist elements which continue into -> "Quadrophonic Toppling". A must-hear jam from the band's ambient era. | |
| 1999-12-31 | Big Cypress, FL | 10:11 | Debut begins with the deployment of Mike's Siket Disc vocal sample in the midst of the meditative, ambient jam which emerged from "Sand". Guitar and keyboard delay loops are eventually joined by a fuller arrangement but the volume never rises above a reverent hush. | |
| 1999-12-31 | Big Cypress, FL | 15:11 | The longest "Type I" version. If you like a slow, really stretched out "Slave," this one is for you. But the peak is nothing remarkable, in fact it sort of collapses under its own weight. | |
| 1999-12-31 | Big Cypress, FL | 20:01 | -> in from "Drowned." A patient, sparse, and well-textured groove-based jam. | |
| 1999-12-31 | Big Cypress, FL | 19:03 | New millennium Swamp Worm (it was played about 4:00 AM on 1/1/00) opens with all guns blazing before settling down with a Mike and Page led groove including "Bug" teases from Page. | |
| 1999-12-31 | Big Cypress, FL | 35:03 | Launches into phenomenally intense improv almost from the start as it embarks on an at-times-breathtaking journey. Eventually grows dissonant before briefly regaining its feel-good vibe. | |
| 1999-12-31 | Big Cypress, FL | 13:40 | 35th song in the second set is the infamous "Hood" fake out. Breakdown at 5:40 is sicknasty and Trey sounds as fresh as he did in 1983. Second jam features a reggae filth groove. | |
| 1999-12-31 | Big Cypress, FL | 8:44 | Closes out the Big Cypress festival with a short ambient outro. | |
| 2002-12-31 | New York, NY | 14:55 | Phish ended the Hiatus with this unusually placed set opener. Listen to the crowd's excitement and roars of approval as the band returns to the stage. Trey leads the boys in this fiery, and (appropriately) upbeat version, which features a "Low Rider" tease, a jam segment between verses, as well as the ending coda which was uncommon by this date. | |
| 2002-12-31 | New York, NY | 10:30 | Debut. Jam section features soaring guitar soloing and great complimentary piano from Page. Nice Page led outro jam after the final verse. | |
| 2002-12-31 | New York, NY | 7:40 | Debut performance and part of NYE spectacle. | |
| 2002-12-31 | New York, NY | 18:17 | Debut, which includes an excellent "Type II" section beginning about 11:00 that eventually returns to "WOTC." | |
| 2003-12-01 | Albany, NY | 15:22 | Funks around nicely for a good stretch, but when Page hits the piano at 8:50, it's release time in a big, big way. Then the jam really expands into a euphoric, overdrive celebration. Call it "Type I" on steroids. | |
| 2003-12-01 | Albany, NY | 17:31 | Very odd version. Trey's not really present for the most part. Excellent segue into "2001" though. | |
| 2003-12-01 | Albany, NY | 8:15 | Liquid '03 Mike goodness with strong interplay with Trey. | |
| 2003-12-01 | Albany, NY | 23:58 | An order of magnitude better than the typical "YEM" since 2003, a strong jam segment peaks excellently, not once but TWICE, before the bass and drums section kicks in. | |
| 2003-12-02 | Boston, MA | 15:27 | Dissonant high power jam in this 20th Anniversary show version. | |
| 2003-12-02 | Boston, MA | 17:59 | Very good, multi-section version breaks from "R&R" into a pulsing, funky and bluesy groove. From there, it settles with solid instrumental effects, before regaining momentum and -> to "Weekapaug." (w/o any "Mike's"). | |
| 2003-12-02 | Boston, MA | 6:10 | 20th Anniversary edition. The jam shifts in the last minute to set up the segue into "Cities". | |
| 2003-12-02 | Boston, MA | 16:53 | > in from "Cities." Technically "Type I," yes. But this is one of the most unusual, cool versions ever performed, starting with Page's section, and continuing into Trey's. You gotta hear this one! | |
| 2003-12-28 | Miami, FL | 13:33 | Very soulful, steady, patient, David Gilmour-esque solo from Trey. Jam peaks a bit before slowly cooling off. | |
| 2003-12-28 | Miami, FL | 11:39 | A beautiful but darkish jam develops on the back end of "Frankie Says" proper. The energy builds nicely, then recedes back to quiet space before > to a solid "Llama." | |
| 2003-12-28 | Miami, FL | 6:03 | > in from an extended "Frankie Says." Some awesome Page here and a cool and different Trey section. | |
| 2003-12-28 | Miami, FL | 13:04 | This one has everything to love about a good "Gotta Jibboo" jam - gorgeous Page/Trey interplay, a nice steady climb to the heavens, a massive peak that just plateaus and stays at the happy place, and whale call Trey delivers the icing on the cake. Sizable celebratory hose peaking towards the back half of the jam. | |
| 2003-12-28 | Miami, FL | 5:36 | Jarring, near heavy metal-like "Jam" breaks out after the second verse of "Suzy." Gnarly and raw, it eventually mellows into space before transitioning to "Theme From The Bottom." | |
| 2003-12-28 | Miami, FL | 13:38 | -> in from Suzy Greenberg. A jarring, near heavy metal-like "Jam" breaks out after the second verse of "Suzy." Gnarly and raw, it eventually mellows into space before transitioning to "Theme From The Bottom." | |
| 2003-12-28 | Miami, FL | 9:49 | > in from a jammed out "Suzy G." The boys rock this one pretty hard, but it's different, well played, and interesting. | |
| 2003-12-28 | Miami, FL | 13:36 | Jam has a nice rocking section beginning about 7:50, returns to "Hood" and peaks with great struming by Trey. | |
| 2003-12-29 | Miami, FL | 15:08 | A quality jam develops, then the band returns to the refrain to close, adding on an "old" coda of sorts. | |
| 2003-12-29 | Miami, FL | 9:40 | Multiple peaks and a high powered crescendo ending to this sold version. | |
| 2003-12-29 | Miami, FL | 7:04 | -> in from "Twist." Short, but definitely gets beyond "Boogie On" into a nice groove before -> to "Ghost." | |
| 2003-12-29 | Miami, FL | 11:36 | -> in from "Ghost." Jam starts in customary manner, but then features an excellent bass and guitar duet/jam. | |
| 2003-12-29 | Miami, FL | 17:43 | A moving version with some great, quieter moments before cycling up for a big conclusion. | |
| 2003-12-30 | Miami, FL | 8:34 | Lots of teases and some serious funk goodness. Oh and a full "P. Funk (Wants To Get Funked Up)" breakdown jam that absolutely rules. | |
| 2003-12-30 | Miami, FL | 12:48 | Start-stop jamming before Trey takes the lead in a rocking jam. Eventually veers into an eerie "type 2" jam and segues into "L.A. Woman." This version is unfinished and was completed at the following show. | |
| 2003-12-30 | Miami, FL | 4:04 | -> in from "Tube." Debut of this Doors' classic and part of a thematic sequence. > to "BOAF." | |
| 2003-12-30 | Miami, FL | 10:17 | Unusual and very good version that is bookended "L.A. Woman." "Birds" itself has a lengthy "L.A. Woman" tease, a crescendo semi-finish, and then segues back to "L.A. Woman." | |
| 2003-12-30 | Miami, FL | 2:56 | > in from "BOAF." Continues the "L.A. Woman"-type jamming. -> to "Makisupa." | |
| 2003-12-30 | Miami, FL | 2:10 | A short version that precedes the "P-Funk Medley." It comes to a full stop, as Trey banters about Fish singing "Touch Me" and then invites P-Funk on stage. | |
| 2003-12-30 | Miami, FL | 1:23 | "Makisupa" is reprised after P-Funk leaves the stage. Fish sings a line from "Touch Me." | |
| 2003-12-30 | Miami, FL | 16:16 | A nice and very different low intensity, melodic Trey-led jam emerges that is almost delicate before rebuilding to conclude. | |
| 2003-12-31 | Miami, FL | 11:50 | Following an "Auld Lang Syne" tease, the breakdown section begins at about 4:00 and is percussive and rocking, with "Jungle Boogie" vocal quotes from Trey as well as teases. The return to "Weekapaug" is intense, mildly dissonant, and includes a "Divided Sky" tease. | |
| 2003-12-31 | Miami, FL | 22:20 | Excellent and very improvisational version that gets far, far removed from "Stash" before finally coming home. Multiple sections, including quiet rhythmic stuff, effects-laden space, and some great upbeat jamming. | |
| 2003-12-31 | Miami, FL | 22:14 | Serious improvisation here with multiple sections, most fairly intense, but also including some quieter ones. | |
| 2009-12-02 | New York, NY | 16:53 | A multi-section improvisational heavyweight, which includes rhythmic, chordal play, upbeat major mode exploration, and a return to minor mode rocking with dynamic variation and great contributions by Page, Mike and Trey. | |
| 2009-12-03 | New York, NY | 18:34 | Intense and somewhat funky jamming morphs to major mode bliss before devolving to extended space and > to "Piper." | |
| 2009-12-04 | New York, NY | 21:02 | Strong jam segment and well-played all around. | |
| 2009-12-28 | Miami, FL | 8:49 | Fun version. Alt-lyrics abound (relatively speaking), and Mike responds in kind, his standout play driving sparse, interesting improv, featuring mini-solos from Trey, then Page, with Fish terrifically on- and then offbeat. Notable for its highly musical low-end, a tripped-out > breaks for "Harry Hood," which, for several measures, maintains "Makisupa's" thumping structure. | |
| 2009-12-29 | Miami, FL | 16:35 | "Manteca"-like jam into space. | |
| 2009-12-29 | Miami, FL | 9:11 | Featuring far more by way of "fingers" than feet, Trey's nimble, direct attack drives this surprising, late-set jam, notable for its happy, carefree, vibe, welcome concentration of extra notes, and a few shreddy "peaks plus an ambient outro > "2001". | |
| 2009-12-30 | Miami, FL | 17:05 | The surprise "Type II" jamming vehicle from a stellar second set of the '09 NYE run. This train leaves the station at about 6:15 for 11 minutes of quality, wide-ranging exploration. > to "Velvet Sea." | |
| 2009-12-30 | Miami, FL | 9:36 | Short but sweet 3.0 version with multiple "Boogie On Reggae Woman" teases and riffs throughout. | |
| 2009-12-31 | Miami, FL | 14:15 | Subsonic (wow Gordo!) quantum-tunneling rock drill with an "Auld Lang Syne" jam that finds its way to the dentists office. [Great Mike early-on gradually builds to a nice peak. Then the jam shifts to a solid, snappy section replete with an "Auld Lang Syne" tease and more, and -> to "NO2."] | |
| 2010-12-27 | Worcester, MA | 9:53 | Intense, somewhat dissonant jam provides a sharp stylistic contrast to the celebratory rendering from 8/12/10. | |
| 2010-12-27 | Worcester, MA | 9:22 | Like the IT version, this one goes an awfully long way in a relatively short amount of time! Gordon leads the band on a nice funky walk that eventually finds its way into a brilliant lead by Trey. Eventually, he lets this one roll right into the most up-beat introduction to "What's the Use" ever, before dipping fully into the dark depths of this tune. | |
| 2010-12-27 | Worcester, MA | 7:00 | Mike is much more active and melodic in his accompaniment than usual, turning this version into a mesmerizing duet with Trey. | |
| 2010-12-28 | Worcester, MA | 9:19 | Excellent version includes a "Streets of Cairo" tease during the buildup and a flawless -> into "Limb By Limb." | |
| 2010-12-28 | Worcester, MA | 16:39 | Excellent 3.0 version with Trey picking staccato notes, Page matching him on clavinet, and Mike and Fish kicking in on this super and very unique rhythmic groove, before returning home for a more traditional "Hood" ending. | |
| 2010-12-30 | New York, NY | 18:16 | Kind of a mixed bag until this spell-bindingly intricate, spectacular "staccato-esque" improvisation takes over. | |
| 2010-12-31 | New York, NY | 10:23 | Staccato jam with great full-band interplay gives way to a more typical guitar-led conclusion. | |
| 2010-12-31 | New York, NY | 13:48 | May this one find you when you are feeling down, it will lift your heart and your feet from the ground; building the euphoric bridge that allows you to cross that river of tears. [A strong straightforward version. By shifting to D major just before 7:00 and staying in that place for over 6 minutes, the bliss or release section is accentuated.] | |
| 2010-12-31 | New York, NY | 10:47 | Short, but very fun. "Manteca" sandwich and goofiness everywhere. Trey briefly cracks up at start of vocal jam when Mike says "Crab in my shoemouth" instead of WUDMTF. | |
| 2010-12-31 | New York, NY | 0:32 | -> in from "YEM." "Manteca" is sandwiched in the "YEM" jam. | |
| 2010-12-31 | New York, NY | 6:04 | -> in from "Manteca" to continue this short but fun "YEM." | |
| 2011-12-28 | New York, NY | 10:09 | The jam soars beyond "Cities" into some rhythmic, exploratory, and gorgeous territory, but seems to fizzle out prematurely. | |
| 2011-12-28 | New York, NY | 9:08 | Psychedelic raging at first, with Fish screaming in the background repeatedly. Mode shift into some more serene space with some really nice subtle playing, before a great -> to "Tweezer." | |
| 2011-12-28 | New York, NY | 12:22 | Segues nicely out of "Carini" and features a tight, melodic, soulful jam that dissolves beautifully into "My Friend." | |
| 2011-12-28 | New York, NY | 12:18 | The typical jam slows, and Page takes over on the B-3, leading a short, good foray with a nice rhythmic pop. -> to "NICU." | |
| 2011-12-28 | New York, NY | 13:03 | Some really nice variation by Trey throughout the jam, plus a strong ending section distinguish this "Hood." | |
| 2011-12-29 | New York, NY | 18:54 | Very good jam with a strong peak, albeit short. | |
| 2011-12-29 | New York, NY | 9:42 | Solid jam which includes some plinko action early on, then covers enough non-standard terrain to make it interesting, before finishing with a particularly nice peak. | |
| 2011-12-30 | New York, NY | 15:16 | A rhythmic, swirling, and improvisational jam develops with nice work by Page. Becomes serene and dreamy towards the conclusion and transition to "Twist." Really an excellent version. | |
| 2011-12-30 | New York, NY | 7:23 | On the shorter side but chock-full of fresh ideas. The second jam has some sweet stop-start and Trey drops one of the sweetest tones around. No dull moments here. | |
| 2011-12-31 | New York, NY | 10:35 | Performed during the NYE "gag" (stunt), this exceptional version ends with a ferocious "Llama"-like jam leading up to "Auld Lang Syne." | |
| 2012-12-28 | New York, NY | 14:24 | An excellent version that includes some really sweet bass action from Mike, a jam on the "Little Drummer Boy," and strong improvisation all around. The jam eventually winds its way back to "Wolfman's" to close. | |
| 2012-12-28 | New York, NY | 20:23 | A mesmerizingly incandescent psychedelicious soundscape of elephantine proportion. | |
| 2012-12-28 | New York, NY | 13:17 | Although essentially "Type I," Fish-directed rhythmic variations, which Trey and the others pick up on, leads to some excellent tension building as the jam progresses. Old-school style "Bowie." | |
| 2012-12-30 | New York, NY | 15:55 | Minor flubs in the composed section notwithstanding, a very good jam segment, and long for 3.0. | |
| 2012-12-30 | New York, NY | 9:00 | Crescendo-oriented jam, but this one has a false peak followed by bigger exclamation point. | |
| 2012-12-30 | New York, NY | 19:00 | Phenomenal improvisation. Dark, bright, introspective, spacious, beautiful, powerful, riveting - all applicable descriptors for this far-ranging, exploratory and must-hear version. > to "Twenty Years Later." | |
| 2012-12-30 | New York, NY | 14:43 | Righteous, improvisational version bucks the recent trend of mode-shifting to an upbeat groove, instead sticking to dark and eerie themes that evoke a Pink Floyd-like sentiment. Very exploratory, must-hear material. | |
| 2012-12-30 | New York, NY | 10:33 | Great Mike/Trey interplay early in the jam, a serene middle, and soaring finale to end a very strong 2nd set. | |
| 2012-12-30 | New York, NY | 12:01 | Great interplay, but what really stands out is varied and well-executed soloing by Trey as this "Hood" builds up power. | |
| 2012-12-31 | New York, NY | 9:04 | Not only is "The Wedge" used to help pull off the golf gag, this NYE version is highly atypical in that it features lengthy and notable late-show jamming, playing that would remain unrivaled until July 20, 2014. | |
| 2013-12-28 | New York, NY | 10:49 | A great "Wolfman's" which, while essentially straightforward structurally, includes some excellent and rocking playing by all four before a typically strong release section. | |
| 2013-12-28 | New York, NY | 12:30 | A typical "Sand" jam ensues before shifting to some ambience and then locking onto a repetitious riff from Trey. > to "Piper." | |
| 2013-12-28 | New York, NY | 12:21 | Among the finest versions to date, Trey's Echoplex adds extra power to the jam, which also features great playing from Page, weird shouts from Fish, and monstrous energy all throughout. | |
| 2013-12-29 | New York, NY | 8:21 | This one has a bad-ass "Ice" jam with some wild and rocking playing by all four. It almost sounds like some of the crazy versions from Spring '94 and also makes a nice clean return to "It's Ice." | |
| 2013-12-29 | New York, NY | 6:31 | Another clavinet-led outro, but with added mind-scrambling from Trey. | |
| 2013-12-29 | New York, NY | 18:27 | Great version which rocks along in familiar territory before becoming deep, dark and thought-provoking. The jam lightens in sentiment around 12:00, breaks into a power-rocking groove and makes a stately return to "DwD" to close. | |
| 2013-12-29 | New York, NY | 15:16 | > in from "DwD" (only the 2nd time ever). A very good exploratory jam that retains a largely dark sentiment throughout, features great playing by Mike and Page, and concludes with brief "Woo" jamming. | |
| 2013-12-30 | New York, NY | 18:39 | Extended, multi-section "CDT" which sticks close to the standard at first, settles a bit, then gathers up into some serious and fiery rocking. | |
| 2013-12-30 | New York, NY | 10:24 | Essentially straightforward, but the outro jam is a little different than the norm, is nicely played, and includes teases of "The Line," "Fuego," and "Magilla" from Page. | |
| 2013-12-31 | New York, NY | 12:09 | Back on the bus, pretty, direct, and straightforward play makes this "Reba" a highlight of a career moment. As usual, Fish is great, shuffling through various tempos and rhythmic shifts. Mike bounces around the room, and Page is particularly on point, his play lilting and airy. Trey opts for patient, sweeping sustain, which opens space for sweet syncopation, before alighting upon a perfect series of cascading notes, measured trilling, and the "note." | |
| 2013-12-31 | New York, NY | 16:49 | Exceedingly good version. As with most of the 2013 Holiday Run the version itself doesn't stand out with noticable highlights, but the entire version is well above average. Focused throughout with a great peak. | |
| 2014-12-31 | Miami, FL | 16:35 | A tall and tasty tropical sun splashed sugar rimmed whipped cream topped boat drink shared with old familiar friends provides the expected results. ["Ghost" jamming turns blissful, settles into serene, quieter musing, energizes and returns to "Ghost" before finally turning funky and spacey and > to a strong "Theme."] | |
| 2014-12-31 | Miami, FL | 12:49 | A fresh and varied take on the typical "Theme" jam leads into a stop-start section that turns percussive before "The Birds" stylings lead the attack with a smooth -> Cities. | |
| 2014-12-31 | Miami, FL | 10:35 | -> from "Theme", this "Cities" jam starts with some nice staccato work from Trey, passes through a Manteca-like section, and settles into the 3.0 Type II bliss zone. | |
| 2014-12-31 | Miami, FL | 8:11 | This excellent version focuses less on samples and vocal manipulation, while integrating a more nuanced sense of dynamics. At around 6:00, the band creates a brooding psychedelic mood, which culminates with guitar loops sounding triumphantly over the bass bomb-enriched, final chord repetition. Once again, "Martian Monster" closes out a highly regarded, hose-heavy set. | |
| 2014-12-31 | Miami, FL | 17:08 | Beautifully-interactive melodic jam that soars for quite awhile! | |
| 2015-12-30 | New York, NY | 22:06 | After a relatively straightforward first jam, albeit with a dash of dissonance, this "CDT" takes off post-refrain like all the other heavy hitting versions from 2015. A crunchy MuTron / Clav' groove kicks off the second jam. Things appear to be coming back to earth when Fish and Trey kick it into high gear, leading to a major mode bliss section that winds down into a freaky carnival vibe that -> Ghost. | |
| 2015-12-30 | New York, NY | 15:17 | After a kooky vocal jam the band eschews the typical "Gin" jam style, instead opting for a graceful groove which flourishes in stunning fashion. | |
| 2015-12-30 | New York, NY | 6:46 | Unbelievable -> out of "Weekapaug." Drops into silence like Magnaball, then builds to a glorious peak. Sounds like a late '90s "Hood" style peak. -> back into "Weekapaug" without hesitation. Superb version. | |
| 2015-12-31 | New York, NY | 13:38 | Around 6:30, Trey leads this one into the "Type II" zone, where it remains for the duration as it drifts through some low-key psychedelia before a > to "Piper". | |
| 2015-12-31 | New York, NY | 16:17 | The final "Twist" of the year clinches its title for "Jamming Song of 2015". Like the Shoreline and Mann versions, after a relatively straightforward first jam, the band comes back home to the opening riff before taking off again. After some probing and warping and abstracting of the riff, things grow darker and sparser, before Fishman steps on the accelerator after the 11 minute mark, Trey goes Pink Floyd, Mike Meatballs, and Page plays Cap'n Crunch, leading to a Tweezer Reprise-like peak. | |
| 2015-12-31 | New York, NY | 21:02 | Awesome NYE prank version. The jam begins in a mellow zone with sprinkles of bliss. After a sparse, ambient section, Fish kicks things back into a solid groove, before "Drive-In Jam"-like effects and sounds overtake. Must-hear Phish. Note: a few minutes were probably pre-recorded as part of the NYE "gag". | |
| 2015-12-31 | New York, NY | 15:35 | There's a reason Phish chose "Blaze On" as the song to open 2016, and this version delivers the celebratory goods. Like the past few versions, near the seven minute mark, Trey's chording sends the jam out into a world of spacey effects. These effects are reeled in quite quickly this time around, and Trey opts for a clean tone as he plucks beautiful trichords high on the neck and leads the band through a major mode passage that takes on a rough edge to it, grows percussive, and winds back to finish the tune. | |
| 2015-12-31 | New York, NY | 11:29 | Clever major/minor mode contrasting by Page and Trey at a couple of different points, plus some good old fashioned tension provide the finishing touches for a solid year for "Bowie." | |
| 2016-12-28 | New York, NY | 12:41 | A swampy groove propels the jam forward in the first half before Trey revs up and caps it with a strong peak. | |
| 2016-12-28 | New York, NY | 20:37 | Coming effortlessly out of the song proper and oozing with wah-funk, the band comes running out of the gates. A thoughtful, almost ambient jam emerges before descending into a Page-led section; Fish consistently building up the percussive attack and Trey doing much the same on guitar. The transitions are seamless throughout, and the end result is a cohesive revelry of celebration. Like 10/28/16, > to "Simple." | |
| 2016-12-28 | New York, NY | 5:32 | Starts off slower and funkier than the usual, then unexpectedly -> into "Tweezer Reprise". | |
| 2016-12-28 | New York, NY | 2:28 | Part of a segue sandwich with "Martian Monster". Trey and Page sing "your trip is short" in lieu of the usual "Tweezer Reprise" vocals. | |
| 2016-12-28 | New York, NY | 0:32 | -> back out of "Tweezer Reprise", with a "Tweezer Reprise tease thrown in at the end for fun. A tremendously fun version. | |
| 2016-12-29 | New York, NY | 9:57 | This version starts with fun banter and slips into a breezy, mostly bass-led jam. At around 4:40, Trey moves over to the Marimba Lumina, and then Mike and finally Page join in and a full-on percussion jam develops. It's enjoyable, but typical of the percussion excursions of '16. At around 9:20 the drumming stops on a dime and the band drops right back into Makisupa, finishing off the most musically significant version of the song since 11/19/97. | |
| 2016-12-30 | New York, NY | 13:29 | Trey dazzles in this patient and well-crafted "Type I" jam reminiscent of some late 1.0 versions. | |
| 2016-12-30 | New York, NY | 16:07 | The jam slowly, patiently builds before (similar to 10/19/16) plateauing mellifluously, exploding triumphantly, and seguing into "Sparks" (after Trey arguably teases "Midnight Rider" for a measure or two!). | |
| 2016-12-30 | New York, NY | 16:53 | Severe weather alert: if the thunder don't get you, then the lightning wheel. [Mike opens the door to a more contemplative major-key space, and Trey hits on a gorgeous repeating note pattern. Page moves to piano and the jam turns warmer and richer, then settles down into a chilled-out late-night groove. Superb version that > into a killer "Light".] | |
| 2016-12-30 | New York, NY | 22:43 | Delves into a knotty space out of the verses at Mike's urging, then Page takes the reins and he and Trey bring in a cavalcade of spacey effects and the jam gets foggier and fuzzier, Fishman hanging back and adding color rather than driving the proceedings. Resolves into an almost calypso-style space, with some dissonant and atonal playing from Trey, then slides into an upbeat zone that Trey and Page briefly sing "Party Time" vocals over. The band builds to a pretty sweet peak, we get some more "Party Time" vocals for funsies, then > into "Velvet Sea". A strong jam from a killer set. | |
| 2016-12-30 | New York, NY | 9:00 | Extended take begins by bringing the music to hush, with dynamically delicate nuance setting the table. Trey's liquid sustain glides with Mike's economical bass fills, slowly building to a soaring conclusion. | |
| 2016-12-31 | New York, NY | 11:37 | -> from Carini and with crunching power chords, this "Twist" initially wades in familiar waters with its emphasis on the upbeat bluesy song structure. Midway through, the band enters a slightly different movement that is more apt to trills and melody, not too dissimilar from a good "Gin." From here, the band strolls down a multifarious valley constructed on the infinite possibilities of Phish. A 3.0 "hose" climax awaits before > to "Piper." | |
| 2017-12-28 | New York, NY | 8:06 | Page's signature '17 synthesizer, Trey's new organ tone, and Mike's bass effects all enhance this jam's texture which energizes and peaks with Trey out front. | |
| 2017-12-28 | New York, NY | 9:40 | Cool, slight spacey sounds and effects are intermixed within the conventional jam structure, giving this version a decidedly altered tone. Page's return to the baby grand initiates a rousing finish to a solid performance. | |
| 2017-12-28 | New York, NY | 24:10 | Quality NYE version. Drops down to minor key out of the verses as Trey switches on a gloopy effect and Page matches him on the synths, with Fish keeping the snappy "NMINML" beat. The jam grows more warm and upbeat, thanks to some really nifty electric piano work from Page and Mike stoking the mood, then melts away into gossamer-thin ambiance, albeit still pushed forward by Fish's insistent drumming. The tempo picks back up as Trey fires away with squealing notes and Page hammers the ivories, and they triumphantly return to the "NMINML" theme before the jam dies away and they make a neat effects-laden > into "Twist". | |
| 2017-12-28 | New York, NY | 16:20 | Nifty > out of "NMINML". Pushes its way to a really lovely major-key jam with Trey stepping up to the forefront, then gets gruffer and nastier thanks to Mike before collapsing into a stomping synth-laden finale and > into "Everything's Right". | |
| 2017-12-29 | New York, NY | 21:02 | Drops into a spartan jam right out of the gate, then makes a move to a major-key jam via some memorably neat playing from Trey. A relaxed low-key groove emerges, led by Fish's insistent rhythms and Mike's melodic basslines, then Trey steps back in front and drives the jam to a triumphant peak before maneuvering into "Ghost". Very fine version. | |
| 2017-12-29 | New York, NY | 13:14 | Departs standard "SOAM" rather quickly and dips into some nebulous improvisation which straddles the line between light and dark before growing more tense and returning home. | |
| 2017-12-30 | New York, NY | 19:30 | Key modulates a few mins into the jam, and a bright, effortlessly soaring groove transpires. Excellent interplay by the band as well, including as the jam mightily peaks before they return to the theme and conclude it old school. | |
| 2017-12-30 | New York, NY | 28:21 | Big-time version from the NYE run that moves smoothly through powerful grooves that touch upon several shades of darkness, thanks to some really heavy work from both Trey and Mike, before turning upbeat and anthemic and dazzling the crowd with a wonderful feel-good journey to The Land of Bliss. The band gooses some "woo"s, then wind down and segue neatly into "Steam". | |
| 2017-12-30 | New York, NY | 14:09 | -> from "DwD", a typically strong "Steam" dissipates well before the 8:00 mark. The band concentrates their effects to create an extended passage of pure space, its chilling, thrilling sounds informing an eerie and impressive din. | |
| 2017-12-31 | New York, NY | 14:58 | The most exploratory "Gotta Jibboo" since 7/4/00. After standard quiet interplay at the beginning, Page gets funky on the clavinet and Trey heads for funkier and bluesier pastures, until on a dime, the band modulates the key, and a light-hearted and bubbly jam warps time and space to ring in the new year. | |
| 2017-12-31 | New York, NY | 18:54 | Serving as the anchor of NYE's nautically themed set, this jam rides a current of warm major-key play into a funky groove and then sails to a swell peak before receding into the depths. | |
| 2018-12-28 | New York, NY | 15:40 | Synth lord Page pushes the jam to light and airy bliss pastures. Mike teams up with Fish's ride cymbal to create a delicate pad upon which Trey launches layers of whale call on the backs of delay. Mike uses effects to create a reverberant wash that blanket the fray; this leads to a passage marked by heavy rhythmic downbeats. | |
| 2018-12-29 | New York, NY | 12:22 | Around 5:30, the playing shifts from the usual fire and brimstone stuff to a quieter, percussive groove. As Page and Trey link up, the jam develops energy and a brighter tone. The band neatly modifies the energy up and down several times, before cleverly -> to "Cities." | |
| 2018-12-29 | New York, NY | 16:01 | Begins with a bit of vocal jamming and then gets into an upbeat clav-groove and continues building in a section bookended by "Party Time" quotes before some more "Wolfman's" scatting and a final ascent for a guitar-driven, high-energy conclusion. | |
| 2018-12-29 | New York, NY | 19:54 | First section features an extended, fiery jam that is akin to "I Know You Rider" (Grateful Dead) before funkily dissolving into "Death Don't Hurt Very Long." | |
| 2018-12-29 | New York, NY | 6:50 | Version is sandwiched between heaping slices of "Tweezer." | |
| 2018-12-29 | New York, NY | 7:51 | Second section is melodic, patient, and mystical, and includes a smooth transition to "No Quarter." | |
| 2018-12-29 | New York, NY | 7:45 | > out of a fan-favorite "Tweezer" > "Death Don't Hurt Very Long" -> "Tweezer" sequence. A particularly passionate version befitting the set it's in, with sharp playing from everyone and a truly fiery Trey solo on top. Reminiscent of the cooking-with-gas 2011 "No Quarter"s. > into an equally killer "Also Sprach Zarathustra". | |
| 2018-12-29 | New York, NY | 9:49 | A dynamite version that demonstrates Phish's mastery of the "Also Sprach Zarathustra" groove, as the band neatly weaves around Fish's four-on-the-floor beat and both Trey and Page wonderfully mesh together. | |
| 2018-12-30 | New York, NY | 9:14 | Although no "second jam," the post-tramps-segment jam is extended, with Trey passionately soloing (and even trilling) quite fiercely, and there's an excellent peak to the jam taboot. | |
| 2018-12-30 | New York, NY | 12:38 | Perhaps the real giveaway that this is a stellar, ferocious, extended 3.0 version is the segue into Crosseyed (which could certainly be smoother, but is still welcome). | |
| 2018-12-30 | New York, NY | 6:04 | Abandons funk for a spacey groove with plenty of synthesizer and twinkling staccato notes and then makes a surprise -> "Weekapaug." | |
| 2018-12-30 | New York, NY | 2:19 | -> in from "Tube." Hot little "Weekapaug" reprise jam before -> back to "Tube." | |
| 2018-12-30 | New York, NY | 1:36 | -> from "Weekapaug" into the breakdown to wrap up another strong 2018 "Tube." | |
| 2018-12-30 | New York, NY | 15:30 | Subtle, magisterial, and grand, the jam, bright as DMT (if, in actuality, colored with "WTU?" DNA), slowly builds, gently rising more than gaining intensity, the band riding Trey's wave of sound which crests to swell to become play notably restrained and pretty. This, then, into a perfect > for "Plasma." | |
| 2018-12-30 | New York, NY | 9:09 | As a platform for improvisation, "Plasma" continues to impress. Here, > from a huge "Everything's Right," the band does not cool so much as they are cool. Trey lays way back, yet still manages to inform much of the version's signature sound. Fish's play is polyphonic. Page answers. And Mike offers some of the run's most interesting, and varied, runs. An awesome, cerebral, jam. | |
| 2018-12-30 | New York, NY | 20:01 | Slides into a warm and relaxed Page-driven jam with Fish's woodblock adding color, then dives into a space not too far away from the preceding "Plasma" at Mike's urging, before building to a huge trill-laden finale and dying away into spaciness. Tremendous version. | |
| 2018-12-30 | New York, NY | 16:47 | Almost one year later, the band closes another holiday set with a crazed "Melt." Like 12/29/17, the version sheds form after assuming nothing more than a perfunctory structure. Unlike the 17, however, the musicians - and Page in particular - expand upon 2018's "SOAM" sound, creating that haunting, Phishy sort of shoegaze; another mind-bender; in nature more spectral than musical. | |
| 2018-12-31 | New York, NY | 17:57 | A punchy groove emerges from the song proper. Trey envelops the music with an effects-based sonic haze, with Page's rich organ bed carefully cradling Fish and Mike's locked-in play. At around 13:00 the music grows in intensity, building a psychedelic groove replete with muscular synth bass and broken polyrhythms via Fishman. This steadily builds to a raging minor key rock peak, followed by a denouement of brief ambience. | |
| 2018-12-31 | New York, NY | 17:41 | Quickly takes on a more assertive and slightly darker tone with Trey and Page employing a variety of sounds to color the jam before reverting to major at 7:00 with some light and airy play. This section gradually intensifies and gets more rocking as it progresses, ending with a thick, locked-in groove and some "woos" before > "Twist". | |
| 2019-12-01 | Uniondale, NY | 10:49 | Totally tubular, Trey, around 4:40, hits upon groove, absolutely chill and pitch-perfect smooth (check out the audience's reaction) before leaning into his effects, matched by Page, who, on point, creates sounds which slowly ebb and flow, arriving in huge, bend-but-never-breaking waves. Page jumps to his concert piano, Trey (in sound) follows suit, and the jam lifts off with the band slowly building to a sustained and euphoric peak. | |
| 2019-12-01 | Uniondale, NY | 14:30 | A "Call to the Post" tease from Trey before the song begins indicates he's ready and raring to go. Swirling synth play from Page and heavy effects from Trey highlight this cool jam; Mike and Fish lay down a slick groove to let their bandmates shine. There's a menacing end to the jam before it > into "Down With Disease." | |
| 2019-12-01 | Uniondale, NY | 11:47 | > from "Ruby Waves." This is a dark, swirling, Mike-led jam that wastes no time getting started once the song proper ends. Page and Fish create an ambient background while Trey and Mike interplay. The end of the jam gets quite heavy before dissolving into > "Backwards Down the Number Line." | |
| 2019-12-03 | Philadelphia, PA | 9:16 | At 5:50 the jam shifts to upbeat major play and immediately transforms into patented Phish bliss and then > into a continuation of "Tweezer". Unfinished. | |
| 2019-12-03 | Philadelphia, PA | 12:29 | The lone Fall 2019 version sees Trey take the jam into major-key territory right out of the song proper, occasionally touching on Phrygian mode at times. Fish and Mike help propel this feel-good version along, with Trey getting off some nice trills, then as a sparser jam space emerges, Trey heads into the night's final tease of "Tweezer". | |
| 2019-12-03 | Philadelphia, PA | 11:12 | This "2001" is not your average dance party. Phish pull out all the toys... the Marimba, THX sound-effects, drills, and tons of delays teleport the 3500 seat Met Theater into the center of the universe. One of the most unique versions in history gets wayyyy out there. The result is something along lines of the Borg landing in the middle of a Donnie Darko sequel. | |
| 2019-12-04 | Pittsburgh, PA | 10:56 | Punchy, "Tube"/"Jibboo"-esque funky groove, with Trey melodically soloing o'er top it for a spell, eventually but abruptly modulates key and diminishes into "Circus." | |
| 2019-12-04 | Pittsburgh, PA | 13:34 | Patient and smooth, all four musicians contribute to a cerebral and stately version. Mellow, yet highly musical, play features superb improvisation atop Fish's shuffling beat, with ideas swapped and recycled through subdued play (listen for a lot of "lead" Mike) which considerably brightens as Trey fires a number of notes (inducing a great reaction from the audience), before heavy, almost ominous play, morphs to become highly psychedelic in nature. This, slowly then, > into "Ghosts of the Forest" poignant Phish debut. | |
| 2019-12-06 | North Charleston, SC | 9:50 | > from "I Been Around." Trey plays a note at the 4:48 mark that indicates this version will be different than previous iterations. Mike takes the lead on the full band jam, coupled with soaring play from Trey. While the return to the song isn't the cleanest, it can be overlooked due to the song finally getting taken for the proverbial ride. | |
| 2019-12-06 | North Charleston, SC | 18:48 | Fire jam, with Trey out front, confident and in control. A tease-seeker's paradise, Trey hints at "Suzy," "Axilla," and who knows how many other sounds. Play reminiscent of "Sparks" gives way to a full spaciousness typical of the band's best playing, with the four working as one, in lieu of yielding room - wonderful. Mike's seismic line signals a shift to darker, stormier terrain which calms before brightening into more teasing, fun stop/start jamming, super percussion, and funky Page. > "No Quarter." Mission Accomplished. | |
| 2019-12-06 | North Charleston, SC | 13:15 | Around 4:45, the playing peels away from typical "LxL," becoming more rocking at first, then mellowing into a jazzy groove with moments of brightness. The energy and intensity builds, with strong Mike and Fish, before Fish starts singing "This Old Man" and the playing transitions > "The Lizards". | |
| 2019-12-07 | North Charleston, SC | 12:39 | Briefly swerves into major-key goodness, then wanders into hazy synth-laden space, before Trey taps into the holiday spirit with a "Little Drummer Boy"-infused jam. The jam takes on a gnarled and heavy-metal feel, then > into "Dirt". | |
| 2019-12-07 | North Charleston, SC | 9:21 | Stretches slightly beyond its usual confines with a pleasant jam which finds a darker direction in the final minute before > "Melt". | |
| 2019-12-07 | North Charleston, SC | 12:28 | Rearranged and redefined, "Melt" anchors another second set, with the band forgoing speed, tension and release in favor of using the song, following a nice composed section, as a blank canvas to create a creepy, ethereal, "soundscape". Fish's work on the Marimba Lumina is particularly eerie, before "Little Drummer Boy" teasing and a return to "Crosseyed and Painless" offers relief from droning (yet musical) fright-rock. | |
| 2019-12-07 | North Charleston, SC | 1:10 | > from "SOAM", the band briefly jams before dropping back into "Melt" to stick the landing. | |
| 2019-12-07 | North Charleston, SC | 1:00 | > from "Crosseyed and Painless", the band returns to stick the landing. This, then, before a wonderful "A Life Beyond the Dream". | |
| 2019-12-28 | New York, NY | 9:42 | Active Trey/Mike interplay makes for a more dynamic jam than typical in this plus version. | |
| 2019-12-28 | New York, NY | 10:30 | The jam develops an upbeat, celebratory sentiment, with strong contributions from Fish and Page. The intensity continues to build and build, to a furious peak, before finally cycling down to quiet transition space. | |
| 2019-12-28 | New York, NY | 12:40 | The jam first turns for dark, goopy textures on the coattails of Page's synths and Trey's effects. Eventually, this yields way to a spirited "Guy Forget" quote driven by Fishman. | |
| 2019-12-29 | New York, NY | 13:20 | After coursing through typical "Carini" territory, the jam breaks beyond at 7:30 into a pulsing, probing phase with cool effects by Page. The intensity ratchets up, then transitions to lighter, warmer exploration, which mellows and resolves to "BOTT." | |
| 2019-12-29 | New York, NY | 15:44 | Splits from typical "Gin" at 5:45, first moving through a darker rock section, then a lively organ-led romp and finally a spacey washout. | |
| 2019-12-29 | New York, NY | 17:42 | The jam swiftly shifts to minor mode, but the band takes some time to really probe and explore this darker terrain. The intensity increase, settles, re-builds, and shifts back to familiar "Hood" territory. As the jam begins to peak, Trey deploys a long sustained note, for 115 seconds, much to the delight of MSG fans, before finally releasing into the familiar conclusion. | |
| 2019-12-30 | New York, NY | 17:17 | A bouncy shuffle is led by Page's clavinet and Mike into a "Mind Left Body"-like chord progression. This returns to a mild shuffle, eventually turning into a bliss passage in Eb. A very pleasant melody erupts from Trey and Page, and a pleasant peak evolves. While not a prominent jam peak, it has some longevity and gets to a nice place before winding back down. A pleasant though not intense journey. | |
| 2019-12-30 | New York, NY | 34:58 | Symphonic in scope, this version features a host of strikingly disparate sections with tempo and key and harmonic and melodic changes galore. Inarguably among the most sublime masterpieces of improvisation in Phish's illustrious history. | |
| 2019-12-30 | New York, NY | 2:26 | Punches out of "Steam" and soars triumphantly, hearkening back to the peak of the set's opening version, before seguing into "Ruby Waves." | |
| 2019-12-31 | New York, NY | 12:27 | Featuring wonderful interplay between Trey and Mike in particular, eventually the jam's key modulates and Trey solos melodically, and then the jam grooves and concludes in an "On Broadway" -esque fashion before "Caspian" abruptly begins. | |
| 2019-12-31 | New York, NY | 10:44 | Funk-driven groove emerges on the back of Mike's slap bass. Page switches from plinko Clavinet to Hammond to drive the groove home. | |
| 2019-12-31 | New York, NY | 12:31 | Quickly drops into a low-boil minor-key zone, then heads into more upbeat waters. Swerves into a swaggering and funkier zone with Page doing work on the keys, then delves into a sprightly calypso-adjacent jam thanks to Mike's strong work. Trey takes the jam into more anthemic territory, and this blistering rockout ends with a nice peak. A compact version that still finds multiple moods. > into a ferocious "Twist". | |
| 2019-12-31 | New York, NY | 11:32 | A massive runaway freight train that builds up power from out of the verses (thanks to Mike's muscular basslines) and then picks up the pace at Fish's urging, with Trey hitting on a cool repeating chord pattern, before exploding into a flash of improvisational pyrotechnics. Some real heavy duty jamming in this NYE "Twist". | |
| 2021-12-31 | Lititz, PA | 21:35 | An unprecedented version. Although the opening composed section is loose, and the jam segment is quite smooth and perfunctory, and the "bass and drums" segment is relatively straightforward, the "vocal jam" section begins unaccompanied as it ordinarily would, but soon becomes, in effect, a "second jam" if you will, with Fish in particular scatting during its opening minute. This jam cooks and soars, with Trey deploying the echoplex for several minutes over magnificent accompaniment by Mike, Page and Fish, before the groove mellifluously melts into --> "Frankie Says." | |
| 2022-12-28 | New York, NY | 13:44 | After a moody start and key change, the jam pivots to major at 9:45 with Trey later emulating a signature move from the BD "CDT" just before 11:00, after which the festivities really kick off as the jam races to a celebratory peak. | |
| 2022-12-28 | New York, NY | 19:36 | Page makes good use of his L-R panning effects early on before Trey treats us to an Allman-esque climb up the mountain on the solid footing laid down by Mike and Fish. This version distinguishes itself especially in the post-peak outro section, taking an unexpected sonic turn as it segues into "It's Ice". | |
| 2022-12-29 | New York, NY | 21:28 | Clean, sprite, and powerful version, the band "arrives" only to depart, "Fluff" arguably breaking for "Jam" crossed with some feral amalgamation of "YPC." What is clear is that Page is terrific on his concert grand as the band patiently searches for a sort of space to deliver what comes by way of sound, a sort of unhurried, contemplative, improvisational ground. | |
| 2022-12-29 | New York, NY | 6:09 | Melds -> in from an exploratory "Fluffhead" jam, and this "YPC" too gets an unusual treatment, as midway through the funk transitions to a pumped-up, increasingly upbeat blowout. | |
| 2022-12-29 | New York, NY | 16:52 | Excellent version that traverses through multiple sections. Elevated melodic playing shifts through several key centers before landing in a passage of colorfully dense psychedelia. This then pivots to inspired major key rocking, gradually building to an exuberant, peak-filled finale from Trey. | |
| 2022-12-29 | New York, NY | 16:03 | Cool version > from "YEM." Straight from the song, proper, Trey wastes no time, leaning into his solo, a shearing sort of sound carving up space and backed by great Fish. As play seemingly cools, Trey augments his tone, his play offset by Page's inspired, sonic soundwaves. Form and structure dissolve into wild and inventive improv, full-band jamming near raucous at times, celebratory, and ubeat. More patterned play, highlighted by dynamic Fish, breaks for a nasty "Heartbreaker" tease and a return to the song's riff, thus resolving another memorable MSG moment. | |
| 2022-12-30 | New York, NY | 11:10 | Loose intro with Trey entering on lead vocals sans Fish, while the outro bends the usual structure by downshifting into a more group-oriented jam before gaining intensity and peaking with some snarling guitar leads. | |
| 2022-12-30 | New York, NY | 14:58 | Despite some tuning issues in the composed section, the band ultimately delivers the second massive "Theme" of '22. The usual soaring play giving way around 6 min as Trey shifts to a more rhythmic approach and Page adds some crunch on the clav. The jam, gaining momentum, grows darker propelled by Mike's aggressive lines and Fishman's deft cymbal work as Trey's tone becomes grittier. Page moves back to piano and around 11 min the band modulates to a brighter space with Trey continuing to adjust his sound. Play then turns atmospheric under the influence of Page's synths and Mike's bass effects before > to "Reba". | |
| 2022-12-30 | New York, NY | 20:43 | Big set 2 opener that retains a steady, unhurried pace throughout. The band patiently books along, executing several modulations and subtle changes to the groove with Page and Trey's locked-in textural interplay standing out. The jam gradually builds in intensity, eventually arriving at an emphatic closing section full of energetic and dexterous Trey peaks. | |
| 2022-12-30 | New York, NY | 17:58 | Flirts with a few blissful passages in the first half, but at 10:45 this version locks into a propulsive, heavy jam with Trey pouring on a bevy of punishing riffs, and then wraps up with a final cimb interspersed in the traditional closing. | |
| 2022-12-30 | New York, NY | 13:30 | Powerful and frenetic version that tears through MSG to end a massive second set. Fishman and Mike develop a forceful, driving rhythm as Page envelops the music with cascading synthesizer and electric piano textures. Atop this, Trey cycles through his rig and spits hellfire from his guitar, peeling the paint off the walls with nuanced sonic intensity. | |
| 2022-12-31 | New York, NY | 9:44 | Standard celebratory fare made interesting, as ever, by Trey, who toys with tone, meter, and "2001's" signature theme, amidst the song's backdrop beat. Things get interesting come the six-minute mark, with more by way of full-band improvisation, play offset by groovy Page and marked, come 7:00, by truly unique Trey, his strange (cool) sort of slow-as-melting-snow descending pattern (kind of like "Twinkle Twinkle Little Star") inciting more synth-driven jamming. | |
| 2022-12-31 | New York, NY | 12:13 | > from "2001". The upbeat song turns on a dime and becomes subdued from the jump. The tempo gradually picks back up again and then abates again. In a tight timeframe, this versatile jam goes from introspective to rocking and then back again. Trey eventually winds his way back to the song proper to close things out. | |
| 2023-12-28 | New York, NY | 6:50 | More punch than normal in every respect. Mike's vocals; Page's work on the piano - electric or otherwise; Fish's Fish; and Trey's play (his deployment of the echoplex and a bit more by way of soloing): Excellent. | |
| 2023-12-28 | New York, NY | 17:23 | Spacious playing sets the tone before a shift at the 7 minute mark turns towards introspective psychedelia, led by a cascade of synthesizers and Rhodes piano from Page. Mike then suggests some spicy modulatory directions before an energetic major key motif takes hold. The band rides this all the way as Trey takes his time to build a smooth yet powerful crescendo before yielding to the "Gin" motif, puddling into mind-scrambling guitar effects, and > "Ghost". | |
| 2023-12-28 | New York, NY | 23:35 | > from "The Howling", "AWOH" continues its run of huge, improv-heavy versions in 2023. Heavy effects from Trey early give way to a slowed tempo by the 10 minute mark. The band shows patience as they work through the jam. At 17:00, in a place where you might expect a new song to pop out, they instead find a new groove. Sprite play from Trey sends the jam into a feel-good, upbeat place. The jam fizzles to an end and -> into "Rift". | |
| 2023-12-28 | New York, NY | 10:32 | The namesake sound effects from the set's preceding "The Howling" are repeated in the intro, and then this "Mike's" launches into an appropriately funky jam to further cement the former's influence before becoming more typical at 7:15 as it crescendos into the closing chords, then > "Simple". | |
| 2023-12-28 | New York, NY | 14:01 | A tale of two "Simples". Providing a great contrast from a notable "Mike's", the band drops quickly into less by way of bebop to traverse more bucolic terrain. A welcome approach, the version rewards repeated listens-given that the extended improvisation is ineffable-before Trey subtly signals a change, leading the band with unusual, restrained soloing that builds but doesn't break. | |
| 2023-12-29 | New York, NY | 10:36 | A soaring, muscular version distinguished by bright and conversational interplay is especially notable for the return of Trey's "Deluxe Reverb" which paints the affair with cascades of crystalline peaks, settling eventually into a cloud of sound that uncurls into "Mountains in the Mist". | |
| 2023-12-29 | New York, NY | 22:24 | A teeth-gnashing multi(sectioned)beast of a jam, this take traverses through various disparate yet cohesively-arranged themes, including hyper-drive psychedelic rock, "Woo's", dense mind-bending dissonance and finally, a stoner/doom metal-esque dirge that grinds down > "Oblivion". | |
| 2023-12-29 | New York, NY | 16:26 | After a brief stay in the minor synth zone, the jam trends more upbeat by 8:00 and shortly thereafter features more seriously rocking riffage, then deftly turns on the hose with a few long sustained notes from Trey along the way for a surefire crowd-pleasing conclusion. | |
| 2023-12-29 | New York, NY | 10:21 | A spirited version in its own right, Trey's vocal incantations (and power chords) build into a blistering "heavy metal" jam capped with a ferocious, percussive outro; here's swagger that winds down to inform an uncanny groove - like a series of handstands in grand fashion. -> into "Sand". | |
| 2023-12-29 | New York, NY | 14:12 | Because the divergent "Hood" has become ubiquitous in recent years, sticking to the classic format and delivering a purely "Type I" jam as this version does is a welcome subversion, especially when the climactic build and peak are executed as passionately as they are here. Old-school "Hood" lovers, this one's for you. | |
| 2023-12-30 | New York, NY | 16:40 | Soars out of the verses into mild weirdness with Trey and Page synthing it up while Mike and Fish keep things on track with a strong pulse, then locks into a tremendous heavy-duty groove just before 11:00 and rocks out until a short interlude and -> "Train Song". | |
| 2023-12-30 | New York, NY | 13:08 | > from "It's Ice". The song's first set debut and it fits the role of set-closer like a glove. The jam is a raucous, high-energy affair. It peaks, keeps on going and then peaks again. | |
| 2023-12-31 | New York, NY | 18:50 | In the shadow of a resurrected rhombus, the "March of The Multibeast" opens an improvisational portal fitting of the historic moment. At once dark and strident, sinister and celebratory, what would be an exceptional excursion under any circumstances becomes transformational in context and relentless in effect. Trey's beastly snarl is finally cooled only by the arrival of the mysterious Tela herself. | |
| 2023-12-31 | New York, NY | 4:11 | Although you may dislike or even hate it, this version involved a chorus and co-lead actor-vocalist Jo Lampert (who also helped narrate the "Gamehendge" performance), to Trey's delight in particular. | |
| 2023-12-31 | New York, NY | 8:03 | Erupting from the song, proper, Trey lays into a series of fist-pump power chords, pushes through some "Woos," and pours it on. Infectious, electric play finds Page pounding his keys as the band plays a perfect take for their punchdrunk fans. | |
| 2023-12-31 | New York, NY | 10:05 | This extra-mustard thrasher of a version serves as a fitting capstone to a legendary night. Seemingly unwilling to let the night end, Trey and Co. blow past the goal posts with unbridled joy, with a series of false peaks giving way to a mountain-top crescendo and fanfare conclusion. |
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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