Jam Chart for the state of VA (123 entries)
| Date | Song | City | Timing | Notes |
|---|---|---|---|---|
| 1990-05-23 | Richmond, VA | 11:17 | Amusing opening (lyrical) section. | |
| 1991-02-20 | Richmond, VA | 11:09 | Listen to Fish HOWL. | |
| 1991-02-21 | Charlottesville, VA | 12:52 | Jam begins with heavy "Manteca"-like jamming, then grows extremely shrill and dissonant. | |
| 1991-07-24 | Charlottesville, VA | 17:04 | With the Giant Country Horns! "Wilson" teasing from Mike. | |
| 1991-07-24 | Charlottesville, VA | 8:03 | Different intro, different sort of jam. In other words, another solid '91 "Possum." | |
| 1992-03-25 | Charlottesville, VA | 9:05 | Nice swinging groove on this jam. "Call To The Post" tease by Page. | |
| 1992-03-25 | Charlottesville, VA | 11:31 | Yet again, Trey reigns supreme, locking in on another great theme. Totally in control, he deftly adds to this motif an array of surprising riffs, a sprinkling of sparkling notes, and the perfect blend of intensity. This strong playing bleeds into, and through, a soaring peak. | |
| 1992-03-25 | Charlottesville, VA | 17:01 | Mike funks up the house. -> to "Setting Sail" in the vocal jam. | |
| 1992-03-25 | Charlottesville, VA | 0:57 | -> in from "YEM." Fish sings the "Setting Sail" lyrics while the others continue the "YEM" vocal jam. | |
| 1992-07-15 | Charlottesville, VA | 8:45 | Awesome "Type I" version proves "SOAM" doesn't have to leave the song structure to be electrifying and riveting. | |
| 1992-07-15 | Charlottesville, VA | 11:09 | Awesome ripper of a jam with great tension and release, then tension and dissonance reloading. | |
| 1992-07-15 | Charlottesville, VA | 9:42 | Excellent straightforward "Stash" with great playing by Trey. | |
| 1992-07-15 | Charlottesville, VA | 12:12 | The jam begins in an exhilarating and surprisingly gentle and graceful manner for '92, but consistent with the year, Trey kicks into high gear and rips the ending. | |
| 1992-07-16 | Richmond, VA | 14:04 | "Blue Bayou" jam, followed by a nice swinging, blues tinged jam that sounds remarkably similar to "My Soul." Rages after that. | |
| 1992-07-16 | Richmond, VA | 8:03 | 1992 is a solid year for "Weekapaug." Just check out this excellent, improvisational version which includes a "Blue Bayou" tease/jam and lots of other good stuff. | |
| 1994-04-17 | Fairfax, VA | 6:25 | Great Trey solo in this show-opening version. | |
| 1994-04-17 | Fairfax, VA | 13:38 | Yet another exploratory April '94 "Bowie." This one has great Mike, exploratory rhythmic shifting, and a cool breakdown jam at 10:10. Dissonance builds towards the end. Really, an awesome version. | |
| 1994-04-17 | Fairfax, VA | 8:52 | Jam section includes some early funk followed by a settled section which rebuilds into a rocking jam that opens up some before returning to the "Wolfman's" theme. Nothing like the monster versions from 1997 on, but an important one for establishing the funk -> release/rock -> return to "Wolfman's" jam structure for future "Type I" versions. | |
| 1994-04-20 | Lexington, VA | 7:39 | Another strong, groove-oriented jam, which, primarily because of tape quality, provides a great look at Pageââ¬â¢s strong play. Trey, however, locks into a great riff, which Mike then echoes, as Fish, as usual, drives the version's frenetic pace. | |
| 1994-04-20 | Lexington, VA | 11:34 | The great thing about "Stash" from '93 - '94 is how fluidly the band weaves back on forth between familiar ground and exploratory territory. This intense and gripping version shifts back and forth several times. | |
| 1994-04-20 | Lexington, VA | 12:03 | A bit odd and quircky at times, but also very experimental and improvisational, and the jam closes with a raging peak. | |
| 1994-06-30 | Richmond, VA | 11:42 | High power, high intensity improvisational jam includes unusual Trey vocals near the end and a really cool ending. | |
| 1994-06-30 | Richmond, VA | 12:47 | Far-ranging jam that gets well beyond standard "Antelope." Incredibly intense but not chaotic. Great strumming by Trey in the peak section. | |
| 1994-10-08 | Fairfax, VA | 11:11 | This is what an "Antelope" on steroids sounds like. Pretty high up there in the Intensity Hall of Fame. | |
| 1994-10-08 | Fairfax, VA | 11:23 | A brief heavy-metal jam shortly after 5 minutes works its way into uncommonly funky terrain (for '94) before concluding in typical fashion. | |
| 1994-10-27 | Charlottesville, VA | 16:00 | Quite possibly the most dynamic, super-charged version ever performed, which also includes an All Fall Down signal during the "pause." Must-hear material. | |
| 1994-10-27 | Charlottesville, VA | 12:14 | Very rough in parts, but Trey hits on a pretty cool theme for a minute or two in the jam. | |
| 1994-10-27 | Charlottesville, VA | 4:56 | Magnificent, extended version as Trey leads the band to finish precisely at curfew. If you've not heard this, you haven't heard the SICKEST in Phish history. | |
| 1995-06-17 | Bristow, VA | 16:39 | 1995 was a very strong year for "Divided Sky." This show opening, sunset version is a case in point. | |
| 1995-06-17 | Bristow, VA | 16:39 | Great version that gets well beyond "Stash" into some serious dark exploration. Classic Summer '95 jamming. And a powerful ending to top it off. | |
| 1995-06-17 | Bristow, VA | 7:05 | "Heartbreaker" tease, "Johnny B. Goode" sandwich. Although it contains some spacey jamming, it eventually becomes ferocious, with unbelievable, magnificent energy. Purported "Montana" tease. | |
| 1995-06-17 | Bristow, VA | 2:33 | -> in from "Tweezer." The debut of "JBG" is sandwiched in this "Tweezer" jam. | |
| 1995-06-17 | Bristow, VA | 10:48 | -> in from "Johnny B. Goode" as this "Tweezer" continues and -> to "McGrupp." | |
| 1995-06-17 | Bristow, VA | 14:22 | Great summertime version includes some filthy, nasty Mike in the "Mr. Minor" section, Trey soloing by himself for several minutes, and a very powerful but non-shredding peak. | |
| 1995-11-25 | Hampton, VA | 8:03 | Set II opener. Stretched-out, multi-faceted psychedelic jam that includes "Mind Left Body"-like jamming from 2:47 - 3:21. Jam has an eerie, quiet, mid section, then regains power. Extremely dissonant. Transition to "Kung." | |
| 1995-11-25 | Hampton, VA | 11:30 | Following "Kung", which is performed like a hymn, "Mike's Song" takes the long journey home: A typically fierce version bending to break into an incredible "Rotation Jam" (like @SomethingsPhishy points out: If you didn't know better, it's tough, on tape, to realize the band swaps gear) which, ultimately, finds the four on Page's rig - this, before a seamless -> back into "Mike's." Fall Phish at its finest. | |
| 1995-11-25 | Hampton, VA | 13:23 | -> "Mike's". Debut finds the bandmates swapping gear before settling to play upon Page's rig before returning to "Mike's Song". | |
| 1995-11-25 | Hampton, VA | 5:15 | -> from the first "Rotation Jam," the musicians return to their instruments to complete the first segment of a momentous "Mike's Groove." | |
| 1997-07-21 | Virginia Beach, VA | 21:51 | Brilliant, exploratory "Gin" that includes funk, "Drowned" jamming (9:25 - 11:55), syncopated, blues-infused rocking, and stops. At 18:30 with the others still playing, Trey addresses the audience, talking about new songs. | |
| 1997-07-21 | Virginia Beach, VA | 5:47 | Summer 97's brilliant Creature Double Feature. -> from "Wolfman's Brother," the intro features Trey's signature sound, before a more traditional "Magilla" takes shape. True to that summer's form, the version veers into more exploratory ground, with Trey trading solos with Page and lending a funky effect to Mike's playing. | |
| 1997-07-21 | Virginia Beach, VA | 8:15 | The solo section begins all the way down, allowing Trey to expertly switch between sparkling chord arpeggiations and soaring single note lines with supreme patience, before his cathartic, Leslie-affected chording brings it home. | |
| 1997-07-21 | Virginia Beach, VA | 7:10 | At 7:10, the jam veers into a nice funky groove. Then at 8:30 LeRoi Moore pipes in on the saxophone. He plays a tease from the "Theme To Woody Woodpecker" and then he and the band embark on a funky, jazzy exploration. Page switches keyboards several times and the jam grows weird, dissonant and chaotic towards the end. | |
| 1997-07-21 | Virginia Beach, VA | 12:33 | -> in from "Theme." The "Jam" leaves "Theme" and veers into a nice funky groove. Then at 8:30 LeRoi Moore pipes in on the saxophone. He plays a tease from the "Theme To Woody Woodpecker" and then he and the band embark on a funky, jazzy exploration. Page switches keyboards several times and the jam grows weird, dissonant and chaotic towards the end. | |
| 1997-07-21 | Virginia Beach, VA | 12:27 | Trey's playing includes some subtle and effective melodic variation. Meanwhile Page and Fish add really nice color and texture, transforming this lazy summertime version into one with a powerful sense of grandeur, reaching lofty heights in its strong conclusion. | |
| 1997-11-21 | Hampton, VA | 16:58 | A dark and stormy groove with Fall '97's unique sound. Funk is the predominant style initially but the jam becomes more ambient and throbbing towards the end and taps into that same enveloping power found in the next night's "Halley's" jam. | |
| 1997-11-21 | Hampton, VA | 9:59 | Jam is well played but typical - then there is a long digital delay loop fade out instead of the usual closing chords. | |
| 1997-11-21 | Hampton, VA | 25:42 | > in from "Ghost." The band dexterously weaves together layers of hard rock, funk, and delicate, ambient space almost imperceptibly, as the transitions are so fluid. Difficult to break into easily defined sections or movements, it's more like a dynamically evolving life form. -> to "Slave To The Traffic Light." Simply must-hear. | |
| 1997-11-21 | Hampton, VA | 12:30 | -> in from a monster "Bag." '94 and '97: Great years for Phish and for "Slave." But the styles (for both) are very different. This "Slave," like many '97s, has a feeling of gradual building, rather than skyrocketing from valley to peak. | |
| 1997-11-22 | Hampton, VA | 16:32 | Single jam format, but there's a lot going on in this funk filled fan favorite. Patient but clearly directed, the band works the basic groove over and over, adding texture and accent, swelling and shrinking the energy. Around 12:00, the focus shifts to quieter musing and exploration, before finially slipping neatly into "Hydrogen." | |
| 1997-11-22 | Hampton, VA | 13:34 | A fan favorite show opens with a strong "Mike's Groove." "Weekapaug" begins with strong "Type I" jamming through 6:50, when it shifts to '97-style funk mode with a slightly dark tone. The funk ends with a "stop" and returns to "Weekapaug" in very good form. | |
| 1997-11-22 | Hampton, VA | 18:00 | This patient "Hood" has an extended and very gradual build. The peaking section in the final few minutes is quite glorious. | |
| 1997-11-22 | Hampton, VA | 24:13 | Starting off in a funky, mellow groove, the jam gradually grows legs and momentum with excellent contributions from all four. At about 18:00, the jam downshifts to a more quiet, pensive sentiment with occasional flashes of powerful bass and percussion. A must-hear classic. | |
| 1997-11-22 | Hampton, VA | 11:31 | Popular, widely circulated funky version. "BEK" teases. | |
| 1998-08-09 | Virginia Beach, VA | 9:19 | This very pretty and subdued version features notably strong playing from Trey and Page. | |
| 1998-08-09 | Virginia Beach, VA | 14:48 | Jam breaks at about 5:45 into a rhythmic, wavy, slightly funky groove. Gets more funky, and Trey, and then Page (on the B-3) tease "Electric Funeral" (Black Sabbath). At this point, the jam really rocks until the ending. | |
| 1998-08-09 | Virginia Beach, VA | 19:12 | Very strange version with no jam segment to speak of. (No B&D.) | |
| 1998-11-20 | Hampton, VA | 14:06 | "Type I" intense jam that builds to a serious peak with great interplay by all four. Cycles down with no closing. > to "Piper." | |
| 1998-11-21 | Hampton, VA | 9:51 | Super Page solo followed by ever-so-delicate-and-nimble Trey. Fish rocks the build-up with some serious drumming. | |
| 1998-11-21 | Hampton, VA | 15:21 | The straightforward jam is galacticly beautiful. | |
| 1999-07-08 | Virginia Beach, VA | 21:18 | The outro sticks to the "Fee" framework until 9 minutes when Fish picks up the beat, leading to an upbeat segment filled with the blissfull, atmospheric style of jamming that is so representative of the '99 sound. Eventually returns to Earth at 20 minutes and winds down to close. In the realm of "Fee" jams, this weasel reigns supreme. | |
| 1999-07-08 | Virginia Beach, VA | 0:00 | See Fee Jamming Chart. | |
| 1999-07-08 | Virginia Beach, VA | 18:31 | At first a wide-ranging and quality "BOAF" jam, this version then moves beyond, breaking into a "Days Between" jam, and an excellent and extended "If I Only Had A Brain" jam with strange lyrics from Mike and Trey. One of the best "Birds." | |
| 1999-07-08 | Virginia Beach, VA | 11:51 | Very easy going and relaxed feel to this version until the ending when the band cranks it up. | |
| 1999-07-08 | Virginia Beach, VA | 10:24 | This version ends akin to Coil, with each member of the band having left the stage until only Page was left, soloing. | |
| 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. | |
| 2003-01-02 | Hampton, VA | 14:18 | Leaving "CDT" behind, a multi-section, very upbeat and spirited jam takes hold which then grows quiet and contemplative before returning to "CDT" for a full power finish. | |
| 2003-01-02 | Hampton, VA | 16:25 | The jam starts in customary manner, then shifts to funk mode while sticking to "Gin," breaks into a funky and rocking groove, and finally returns to "Gin" in an extended and celebratory manner. | |
| 2003-01-02 | Hampton, VA | 11:25 | Good version, where the jam's rhythm is straightforward, but Trey and Page explore a little more territory and have excellent interplay. | |
| 2003-01-02 | Hampton, VA | 20:58 | Debut. Jam gradually settles down from high powered "46 Days"-style in to a subtle, Trey and Page led foray. Picking up rhythm and energy, there are "CYHMK" teases as the jam builds in intensity. Settles down at the ending with no return to "46 Days" proper. | |
| 2003-01-03 | Hampton, VA | 13:41 | This debut version set a high standard for the jamming potential of the song and exemplifies the uplifting and rocking playing heard in all subsequent performances. | |
| 2003-01-03 | Hampton, VA | 14:52 | Super solid version with a gradual transition out the funk phase that develops into a kick-ass celebratory blow out. | |
| 2003-01-03 | Hampton, VA | 7:04 | This version has a cool little jam, that is laid back and spacey. Trey provides some engaging noodling after the five minute mark. | |
| 2003-01-03 | Hampton, VA | 8:18 | In the encore slot, this excellent "Contact" features an extended, rocking and funky jam. | |
| 2003-01-04 | Hampton, VA | 9:25 | Outstanding version combines exceptional Trey soloing, strong Page/Trey back-and-forth, and excellent dynamics modulation driven by Fish and Mike. This one will make you weep with joy. | |
| 2003-01-04 | Hampton, VA | 12:05 | A really excellent Page section. Trey starts out tame, but by the end his guitar sounds like a jet engine or rocket ship cycling up for lift off. | |
| 2003-01-04 | Hampton, VA | 11:17 | Very improvisational version which makes a big move away from the standard at 3:45 and takes on an increasingly dark tone. Whether it's "Type I" or "Type II" is really irrellevant. It's a great and different version, well worth checking out, and includes an unusual transition to "What's The Use." | |
| 2004-08-09 | Hampton, VA | 19:00 | Breaks free and clear of "CDT" into a serene, very melodic, Trey and Page led foray. Starts to build in energy and pulse, then abruptly veers back to "CDT" at about 18:00. Must-hear, especially for any 2.0 doubters. | |
| 2004-08-09 | Hampton, VA | 21:06 | A thrilling, intense, Must-Hear version, right on the heels of one of the best versions of "Chalk Dust Torture" ever. No comparison with previous eras, this is uniquely 2.0-style jamming. -> to "Runaway Jim." | |
| 2004-08-09 | Hampton, VA | 17:34 | Aggressive, in-your-face "Type I" version. | |
| 2004-08-09 | Hampton, VA | 12:29 | A nice shift to major mode early on, then Trey, Page and Fish depart to extreme dissonance land. Not the prettiest, but it ain't straightforward. | |
| 2009-03-06 | Hampton, VA | 6:05 | Debut. | |
| 2009-03-07 | Hampton, VA | 8:43 | First "BOTT" of 3.0 sets a good precedent, although it would be surpassed by a number of subsequent versions (see below). Really, the band is playing "BOTT" better in 3.0 than previously, with the notable exception of 2/28/03. | |
| 2009-03-07 | Hampton, VA | 9:09 | Spacey, effects-laden jam with Page on synthesizer instead of piano. | |
| 2009-03-07 | Hampton, VA | 12:21 | Departs from standard "R&R" at about 8:30, in a delicate, melodic foray that sets up nicely for segue to "Limb By Limb." | |
| 2009-03-08 | Hampton, VA | 6:29 | Debut. Straightforward. | |
| 2009-03-08 | Hampton, VA | 22:17 | An unusually melodic, intricate and mesmerizing jam develops. While also improvisational, it's the grace and beauty of this version that distinguishes it as perhaps the highlight of the run of shows beginning the 3.0 era. | |
| 2009-03-08 | Hampton, VA | 8:53 | Some downright filthy and nasty "Type I" playing by Mike and Trey (2:50 - 5:45) settles, then breaks at 6:00 into some serene major mode playing before growing dissonant, spacey and -> to "2001." | |
| 2011-06-19 | Portsmouth, VA | 13:18 | The band put on an impressive display of focused group improvisation in this great funky jam, which also featured stop-start jamming and a short reprise of the jam before ending the song. > into "Sneakin' Sally." | |
| 2012-06-20 | Portsmouth, VA | 4:44 | An even better -> out of "Hood." One of the few highlights of the Portsmouth 2012 shows. | |
| 2013-10-18 | Hampton, VA | 11:42 | At 7:10, the jam breaks into a nice groove that turns 3.0-style ambient and subtle and > to "Free." | |
| 2013-10-18 | Hampton, VA | 9:18 | The jam builds to a peak, seemingly to conclude, then settles briefly before rebuilding to a second peak. | |
| 2013-10-18 | Hampton, VA | 16:06 | Fantastic, multi-section version in which Page is clearly the superstar, on the B-3 and teaming with Mike early, jumping to piano for some melodic "HOSE" with Trey, and downshifting to great funk action with Mike. | |
| 2013-10-19 | Hampton, VA | 10:53 | Features a surprising rhythm-based section with Trey joining in on drums and Mike playing his fight bell with drumsticks. Worth hearing for this journey "outside the box" alone. | |
| 2013-10-20 | Hampton, VA | 9:28 | The boys do a nice job of driving this "Train" up and over a serious peak, taking several blissful minutes in so doing. | |
| 2013-10-20 | Hampton, VA | 23:07 | Exceptional, diverse "type II" action, ending in a mellow, spacey haze. | |
| 2013-10-20 | Hampton, VA | 17:14 | > in from "Tweezer" as the second half in a pair of phenomenal jams. The usual funk-rock elements are present, but the jam gets taken to another level when it bleeds into an intense, psychedelic ambience. Fishman on Marimba Lumina. > to "Piper." | |
| 2013-10-20 | Hampton, VA | 8:10 | A breakdown truly worthy of the mothership. Mike yet again inspires greatness and Trey answers with some Echoplex love. Tip your bass player. | |
| 2014-07-29 | Portsmouth, VA | 13:26 | The jam has a brief major mode section, returns to the typical, then at 7:30 ventures into some good, semi-dissonant terrain which becomes more rocking before closing. | |
| 2014-07-29 | Portsmouth, VA | 17:47 | The jam has a really nice, low-key vibe, and in some ways is similar to a number of groove-based jams from '99 - '00. While covering much ground, the jam retains a relaxed sense. | |
| 2014-07-29 | Portsmouth, VA | 8:39 | Jam proceeds in standard fashion before breaking away and settling briefly. Then it regains energy, taking on a textured feel before dissipating. | |
| 2014-07-30 | Portsmouth, VA | 8:30 | Page immediately jumps to the clavinet, while Trey lays back, comping him nicely. Mike also helps to power this Page-led funk fest. | |
| 2014-07-30 | Portsmouth, VA | 18:28 | The jam breaks into a propulsive and somewhat dark groove at 9:00. This groove becomes more funk oriented as Page switches keyboards, then brightens in tone with some "Manteca"-like jamming near the end. | |
| 2014-07-30 | Portsmouth, VA | 10:05 | Following Trey's lead, breaks into an atypically funky jam at about 5 minutes and briefly intensifies before fading out and > to "Piper." "Fuego" tease. | |
| 2014-07-30 | Portsmouth, VA | 12:25 | The jam at first breaks into a rocking, percussive section with Page leading on the B-3. Then Trey grabs the reins briefly, before the jam settles and rebuilds, growing melodic at the end. | |
| 2014-07-30 | Portsmouth, VA | 9:10 | A very solid straightforward version with deft playing by Trey and great Page near the end. | |
| 2016-08-26 | Arrington, VA | 13:28 | That scene in The Right Stuff where the aboriginal shaman sends the cloud of fireflies to repair the heat shield on the Mercury capsule so John Glenn can safely re-enter Earth's atmosphere. It sounded like this. [In from "Fuego" ->, the Lockn' "Ghost" starts out with some staccato MuTron work from Trey and some wah-infused Clav' from Page, before Mike and Fish shove the jam into a bright, upbeat space that Trey fills and trills with sustained joy. After a bit of "WOO!" and a McGrupp fake-out, they slide right into -> "Gin."] | |
| 2016-08-26 | Arrington, VA | 14:26 | Mike and Fish quickly inject some spunk into this version, leading the band into a frisky groove which is contorted with loads of tension until finally pushing through to a glorious peaking section just before 11 minutes. At 12:45, a classic rock-derived outro kicks in, ultimately resulting in a > to "BDTNL". | |
| 2018-10-19 | Hampton, VA | 9:24 | Solid, straightforward version with varied jamming and a nice, Trey-led peaking section. Mike and Fish are noticeably strong. | |
| 2018-10-19 | Hampton, VA | 23:21 | Aggressively experimental "anti-bliss" jamming begins with angular grooves and then takes a rare deep dive into the abyss with plentiful space effects and "Shipwreck" quotes. Resurfaces > "Twist". | |
| 2018-10-20 | Hampton, VA | 10:06 | A nice, Page and Trey-led mini jam occurs during the first instrumental bridge. In the main jam segment, soothing, straightforward, and relaxed playing rapidly gives way to an inspired crescendo, with great Page and Fish. | |
| 2018-10-20 | Hampton, VA | 9:12 | Here we find "46 Days" at its most punishing in a jam that gets downright grisly as the tension mounts past 5:30 and builds to the first seismic peak. Not to be outdone, in the post-lyrics section Fish thrashes his kit for a bone-crunching finale. | |
| 2018-10-20 | Hampton, VA | 18:40 | Punchy from the start, this version cooks for several minutes before a major-key improvisation occurs, in which Trey hoses everyone down mellifluously. The jam then segues smoothly into a spacey, divinely-melodic interlude, and a patient, steady build transpires, eventually reaching a spectacular peak. The improv then dramatically melts down, but instead of concluding, the jam surprisingly shoots skyward to a second powerful-but-fleeting peak, before "Dirt" abruptly begins. | |
| 2018-10-21 | Hampton, VA | 8:49 | The entire band is locked in from the start on this version. While it may never stretch outside the confines of the song proper, the jam features tight playing all around. | |
| 2018-10-21 | Hampton, VA | 19:54 | A creeping late-night stroll accented by a descending progression and mysterious Trey soloing then smoothly transitions to bliss and ignites at minute 17 for a joyous, trill-filled peak before slamming back into "Simple" to end. | |
| 2018-10-21 | Hampton, VA | 9:18 | Mike and Page lead a funky, exploratory back-end jam. The energy builds when Trey jumps in, adding to the mix. Nice to hear this camel have a walk about. | |
| 2018-10-21 | Hampton, VA | 14:08 | The substantial post-lyrics jam visits places both light and dark and eventually settles into a jazzy minor zone with a vibe similar to "Timber Ho" and, in the last minute, "David Bowie", as it gathers steam and seems poised to explode but makes a good -> to "Rise/Come Together" instead. | |
| 2018-10-21 | Hampton, VA | 16:18 | The jam peels away from typical playing at around 5:45, shifting to some soft, warm grooving. Picking up energy, the familiar "bliss" jam feels imminent, but instead, the playing shifts to some darker, spacey, Mike-led punchy rock. The intensity builds to a peak, before grinding down. | |
| 2018-10-21 | Hampton, VA | 12:57 | Following a quality piano solo, Trey grabs the marsupial by the scruff of the neck, and proceeds to give it a serious workout. Like many versions from the early '90s, Trey explores a number of musical ideas and variation, all within the context of "Possum." Strong, straightforward jamming here. |
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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