Jam Chart for the state of MN (25 entries)
| Date | Song | City | Timing | Notes |
|---|---|---|---|---|
| 1991-10-06 | St. Paul, MN | 5:27 | Although it starts off a little tamely, this version quickly kicks into gear with all the elements of great early versions - wild jamming, exotic texture, and dissonance with a capital "D." | |
| 1991-10-06 | St. Paul, MN | 12:26 | Nice bubbly flow to the beginning of the jam. Trey adds some great soloing, then the jam builds up to a solid peak. | |
| 1992-04-29 | Minneapolis, MN | 8:39 | Another good organ rocker with great Mike. | |
| 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. | |
| 1993-04-09 | Minneapolis, MN | 10:50 | Several minutes of growly, percussive, dissonant, and atypical jamming. | |
| 1994-06-16 | Minneapolis, MN | 11:45 | -> in from "Fee." You gotta love it when Fish screams "Yes!!" several times as they are pounding their way through this ripper. | |
| 1994-06-16 | Minneapolis, MN | 4:53 | First version with the honky-tonk, Page-solo coda. (They'd reworked the song before its 1994 debut.) | |
| 1994-06-16 | Minneapolis, MN | 11:21 | A belligerent, aggressive, volatile, and bad-ass jam. If you like the really sick versions of "Stash," you're in for a treat. | |
| 1994-06-16 | Minneapolis, MN | 12:39 | This is a super-charged, full-throttle version with strong playing by Page and Fish. | |
| 1994-06-16 | Minneapolis, MN | 9:31 | The first "Type II" version in which the jam almost immediately breaks away into a rhythmic and rocking groove before settling into some good quieter space. The jam regains some pulse and power before -> to "Contact." | |
| 1994-11-26 | Minneapolis, MN | 12:40 | Hard rocking version grows increasingly dissonant with several brief departures that stretch the bounds of "Possum" and a hot peak. | |
| 1994-11-26 | Minneapolis, MN | 10:33 | Page's solo is pretty amazing on its own, but especially when coupled with the dynamic interplay among the band during this section. Trey has a very quiet solo, and the build-up features great Trey/Fish teaming. | |
| 1994-11-26 | Minneapolis, MN | 36:30 | The Other One. All fans should be familiar with this version as well as Providence. Of the two, this one is more musically oriented. A downright masterpiece. | |
| 1994-11-26 | Minneapolis, MN | 10:08 | Version featured on A Live One. Like many of the stellar '94s, this "Slave" has a huge dynamic shift from the subtle, quiet, early part of the jam, to the soaring, high intensity peak. | |
| 1995-10-25 | St. Paul, MN | 16:43 | Trouble in the composed section is atoned for by way of a remarkable, multi-faceted jam. First, Mike and Trey team to create an extended passage of contemplative, exemplary play, with Fish and Page providing on-point fills. This soon builds into powerful and direct playing, with Trey's dynamic soloing offset by the others, in particular Mike (best experienced in SBD as part of Live Bait Vol. 12), before Trey goes off, incredible, shredding guitar not so much building as exploding, resulting in a memorable, fiery peak. | |
| 1995-10-25 | St. Paul, MN | 17:07 | A quick tempo, energetic 1st jam gets fired up, then takes a few more laps before breaking to the 2nd at 9:30. Dropping into a rhythmic groove, Mike and Page front while Trey goes mini kit. At 14:15, space takes over and gains a pulse and ominous sentiment, before -> to "Breathe Jam." The jam on this Pink Floyd classic provides fitting closure for another big '95 "Mike's." | |
| 1995-10-25 | St. Paul, MN | 3:50 | -> in from "Mike's Song." The jam on this Pink Floyd classic provides fitting closure for another big '95 "Mike's." | |
| 1996-11-13 | Minneapolis, MN | 6:35 | -> to an excellent, wide ranging "Jam" follows "Suzy" proper. At first a typically rhythmic '96 jam with Trey on the mini percussion set up and Page jumping around different keyboards, it morphs into an upbeat, driving jam, even adding a little psychedelic edge near the ending > to "Prince Caspian." | |
| 1996-11-13 | Minneapolis, MN | 11:30 | -> in from "Suzy Greenberg." Excellent, wide ranging jam follows "Suzy" proper. At first a typically rhythmic '96 jam with Trey on the mini percussion set up and Page jumping around different keyboards, it morphs into an upbeat, driving jam, even adding a little psychedelic edge near the ending > to "Prince Caspian." | |
| 1996-11-13 | Minneapolis, MN | 23:56 | Strong VJ. | |
| 1999-10-02 | Minneapolis, MN | 13:58 | The jam heads into swirly and spacey waters with the lush sounds of '99 before the "Good Lieutenant" (Trey) makes intros. | |
| 1999-10-02 | Minneapolis, MN | 21:58 | After rocking pretty intensely, this version mellows into a "Manteca"-like jam for a stretch that also sounds similar to the jam from "BOAF." Eventually devolves into space before > to "YEM." | |
| 2000-09-24 | Minneapolis, MN | 19:05 | The jam gets way beyond "Cities" into some very deep, quiet, and contemplative space. Regains some energy in the final four minutes and is must-hear for fans of groove-based jams. |
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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