Jam Chart for the 1997 Summer U.S. Tour Tour (108 entries)
| Date | Song | City | Timing | Notes |
|---|---|---|---|---|
| 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. | |
| 1997-07-22 | Raleigh, NC | 9:53 | Played during a thunder and lightning storm of Biblical proportion that prematurely ended Set I, you can hear the thunder crackling in the background. Clearly the storm electrified the band, and if you are a Page fan, this is a must-hear, incredibly intense version. | |
| 1997-07-22 | Raleigh, NC | 19:56 | Multi-part, heavy duty funk jam -> "Mike's Song." | |
| 1997-07-22 | Raleigh, NC | 14:34 | This single jam version breaks into a thick soupy funk groove right off the bat, with lots of good variation. At 8:20, there's some shifting of instrumental sounds, but the basic grooves stays intact. Then at 10:45 the jam breaks into a new, completely different and exploratory section with a threatening, semi-evil tone. The abrubt switch back to "Mike's" is a bit forced, but all in all, that's trivial nit picking. | |
| 1997-07-23 | Atlanta, GA | 13:27 | Arguably the best "Type I" version ever. The jam proceeds through the customary progressions, then, just when your ear is expecting the final refrain, the band veers off into a fantastic, swinging, stylistically well-played extension. | |
| 1997-07-23 | Atlanta, GA | 9:31 | An excellent version which showcases the dynamic interplay between Trey and Page, while Fish and Mike keep the intricate rhythmic pattern steady throughout. Also has a fantastic peak and gradual settle. | |
| 1997-07-23 | Atlanta, GA | 13:10 | Straightforward, but so loaded with the funk that it could only belong to 1997. | |
| 1997-07-23 | Atlanta, GA | 12:11 | The band remains in a lockstep groove as Trey tears through this Phish staple. The jam threatens to break away but then returns for a rousing conclusion and shoots off fireworks to close the first set of a highly regarded show. H/T @Tweezingspaceranger | |
| 1997-07-23 | Atlanta, GA | 26:40 | Raging porno-funk that slides into a very mellow midi horn laden outro. [A multi-section masterpiece of funky '97 styles highlight this strong jam. Page skillfully deploys multiple keyboards, and the jam energy ebbs and flows repeatedly.] | |
| 1997-07-23 | Atlanta, GA | 17:53 | Unusually weird jam. Jeopardy theme tease. -> to "Rocky Mountain Way." (No B&D, no VJ.) | |
| 1997-07-23 | Atlanta, GA | 2:31 | -> from one of the summer's marked musical surprises, Lakewood's supercharged and super weird "You Enjoy Myself." "YEM" culminates not in the characteristic vocal jam, but rather, a dense passage of shoegazing noise. As if the band is channeling their inner-Europe, this outro finds Fish working his cymbals, and the band unexpectedly opts to jam "Rocky Mountain Way," last played in 1991. After laughing their way through a couple verses, a snappy, bluesy (albeit brief) jam emerges, before being ripped by -> into a rocking "CDT." | |
| 1997-07-25 | Dallas, TX | 15:09 | Lots of good funk, then the jam starts to uncork, but cycles back to more funk. Around 11:00, the jam breaks out into some great "C&P"-like jamming before settling and > to "Maze." | |
| 1997-07-25 | Dallas, TX | 12:24 | > in from "Wolfman's Brother." Frenzied chaos run amuck. | |
| 1997-07-25 | Dallas, TX | 21:48 | A classic "Type I" jam drops into funk mode for a good 6 minutes before returning to the "Gin" theme. -> to "Makisupa." | |
| 1997-07-25 | Dallas, TX | 8:39 | A strong jam emerges beginning at 6:20. It's bluesy at first and then moves to a gentle, down-tempo rock jam, typical of '97 Phish, beginning around 7:27. Nice -> "AC/DC Bag." | |
| 1997-07-25 | Dallas, TX | 11:16 | -> in from "Makisupa." Similar to 8/13/96. Intense, stretched-out version where the band just keeps it going and going. | |
| 1997-07-25 | Dallas, TX | 15:48 | Bob Gullotti on second drum set. The band really stretches this version out, then at about 9:45, the jam mellows into a rhythmic and bluesy groove that eventually hints back at "CDT" before -> to "Taste." | |
| 1997-07-25 | Dallas, TX | 10:59 | Joined by the late, great Bob Gullotti, this unique rendering (unsurprisingly) finds a percussive, pulsating groove, but just as the jam is about to peak with the traditional late-'90s "Taste" outro, it instead segues seamlessly into -> "Ya Mar." | |
| 1997-07-25 | Dallas, TX | 9:56 | Bob Gullotti on second drum set. -> in from "Taste." Big two-way drum solo. -> to "Ghost." | |
| 1997-07-26 | Austin, TX | 11:40 | In addition to hosting Bob Gullotti on a second drum set, the boys bust out the Funk towards the end of this version - an extremely rare style for a "Limb" jam. | |
| 1997-07-26 | Austin, TX | 16:42 | "Willie the Pimp" tease just before the segue into "Izabella." (No B&D, no VJ.) | |
| 1997-07-26 | Austin, TX | 16:47 | Bob Gullotti on a second drum set. Set II opener takes the typical "Timber" jam, extends it and cools it down a bit to a more mellow groove while maintaining a good rhythmic pulse. Never loses the dark "Timber" vibe. | |
| 1997-07-26 | Austin, TX | 12:38 | After an amazing start to the II, it becomes clear that Trey has little interest in the "Hood" he dialed up following a great "Bowie." Check out the show for more details, but in lieu of "thanking" Mr. Minor, Trey aborts the song and ->'s into "Free". The band unleashes, resulting in one of the finest performances since 95. The jam is marked by great improvisation "inside" the version, that sort of shimmering Summer 97 "funk" aided by guest percussionist Bob Gullotti, a musician perfect for this "Free" - or any other. | |
| 1997-07-29 | Phoenix, AZ | 13:30 | The first jammed out "Gumbo" features a funky jam with Trey laying it down on his wah pedal. The jam begins to get spacey while Trey starts high pitched noodling out of a which a 4 chord descending pattern (not MLB) develops, with some beautiful work by Page (which sadly doesn't last long). | |
| 1997-07-29 | Phoenix, AZ | 15:01 | Mellow "C&P"-like groove into Monster Funk ending in Went "Gin"-like jam. [A typically funky '97 version releases and then breaks into an excellent upbeat and hose-filled groove.] | |
| 1997-07-29 | Phoenix, AZ | 7:33 | Another rager to close the first set. | |
| 1997-07-29 | Phoenix, AZ | 20:31 | Awesome, extended, and uniquely remarkable version that departs into a low-key, melodic and exploratory groove that has moments of really beautiful, major mode jamming before working back into nasty old "Antelope." | |
| 1997-07-29 | Phoenix, AZ | 18:27 | Exploratory version with some variations on the "Twist" theme through 9:10, when the jam breaks away. After some brief engine grinding, a dark, dissonant section emerges, before eventually brightening and -> to "Taste." | |
| 1997-07-29 | Phoenix, AZ | 11:04 | -> in from "Twist." Pretty intense section towards the end of Trey's solo where the whole band is just hammering away. Great Mike on this one. | |
| 1997-07-30 | Ventura, CA | 10:05 | Brother to versions from 6/20/95, 7/30/03 and 7/16/13. Incredible improvisation packed into this 10 minute version. | |
| 1997-07-30 | Ventura, CA | 15:06 | Although largely straightforward, there is a nice shift to major mode at about 7:42, plus a very gradual build up to the peak. | |
| 1997-07-30 | Ventura, CA | 21:29 | Features an epic, mid-jam "Bowie" -> "Cities" -> "Bowie." And interspersed among a substantial amount of tight, well-played "Type I" jamming are several forays that get beyond "Bowie." | |
| 1997-07-30 | Ventura, CA | 5:21 | Fantastic -> in from "David Bowie" and -> back to "David Bowie." | |
| 1997-07-30 | Ventura, CA | 5:56 | -> in from "Cities" to conclude this heavy-duty "Bowie." | |
| 1997-07-31 | Mountain View, CA | 14:04 | First version since 6/20/88 that really breaks into a jam outside of typical "Ya Mar" structure. Not too far out there, but definitely a quality version. | |
| 1997-07-31 | Mountain View, CA | 11:39 | Band-wide cohesion on display here, as all four deftly contribute to this complex and well-played version. | |
| 1997-07-31 | Mountain View, CA | 28:58 | Magnificently intricate, spell-binding, hypnotic jam (with strange "Santa Claus Is Coming To Town" teases). (No B&D.) | |
| 1997-07-31 | Mountain View, CA | 23:16 | Multi-faceted improvisational version that includes funk, power jamming, quieter space, punchy, rhythmic funky stuff, and more space with a -> to "When The Circus Comes." | |
| 1997-07-31 | Mountain View, CA | 15:16 | The 1st jam begins in moderately funky mode and the power intensifies as it goes, but otherwise is straightforward. The 2nd jam starts in rock mode, then settles down to quieter, contemplative play. Finally, the power throttles up into a slightly dissonant and intense peak. | |
| 1997-08-02 | George, WA | 15:18 | Only played 4 times in 1997, Trey's restraint in this soaring, sunset version from the Gorge (released on Live Bait Vol. 4) allows the others to shine, and being that it's 1997, Mike surely does. | |
| 1997-08-02 | George, WA | 18:02 | Sure, you can characterize this as "Type I." But within that, you get 6 solid minutes of '97 funk and 6+ minutes of power-rocking release action before returning to "Wolfman's" to close. | |
| 1997-08-02 | George, WA | 16:34 | All kinds of good funk in this strong version that -> into "Tweezer," after which "DwD" arguably returns for a minute or two. | |
| 1997-08-02 | George, WA | 17:15 | Segues out of "Disease." Brief "DWD" tease near the end as well. Very laid-back, slow, funk-ish version. Weak at times, though. | |
| 1997-08-02 | George, WA | 17:42 | After Trey asks CK5 to kill the lights so fans can enjoy the Gorge starlight, a stunning and sublime jam ensues. | |
| 1997-08-03 | George, WA | 12:06 | > in from "Bathtub Gin." Very cool, exploratory Page solo. Trey's solo is enhanced by an echo-like effect. A bass and percussion rich build-up leads to a soaring finish. If you aren't on the edge of your seat when the final verse starts, your soul has gone missing! | |
| 1997-08-03 | George, WA | 8:17 | > "Dirt", the version demonstrates considerable growth over a short period of time. Page's fills fall like scales between Fish's off-kilter percussion, the jam itself a revelation. Trey's riffing and soloing is forceful, with each musician acutely attuned and playing "out" as if a means to somehow reign their sound "in". Impressive. | |
| 1997-08-03 | George, WA | 11:54 | A good, rocking and bluesy jam develops at 7:30 and continues until -> to "Jesus Just Left Chicago." | |
| 1997-08-03 | George, WA | 11:57 | -> in from "Twist." Great version from the Gorge with Page switching keyboards and a fiery ending to the jam. | |
| 1997-08-03 | George, WA | 11:37 | A very different version from 7/31/97, with more staccato playing by Trey, and minor key fills from Page at points. | |
| 1997-08-03 | George, WA | 13:00 | Jam begins in a great, bluesy groove with Page on the B-3 for a few minutes before he jumps to the piano. Trey is relaxed in his playing, gradually building this one up, but never loses the swinging feel. | |
| 1997-08-03 | George, WA | 14:47 | Beginning in 1997 and forever since, "Fluffhead" has suffered from some performance malaise. Whether due to lack of practice, fewer live performances, or other causes, the band's precision has declined. Yet this summer 1997 version is an anomaly, a nearly flawless rendering. Thank you Kevin Shapiro for releasing this version officially on Live Bait Vol. 17, because the audience recordings of this classic performance don't do justice to a truly exceptional, outlier version. | |
| 1997-08-03 | George, WA | 11:58 | Around 6:30, this version comes very close to breaking free of "Taste" altogether into free form improvisation. Fantastic peak and finale. | |
| 1997-08-06 | Maryland Heights, MO | 15:43 | Jam settles around 6:50 into some glorious melodic space, rebuilds around 10:00 with some nice blues licks, settles again, then morphs into a serious blues jam with a -> to "My Soul." | |
| 1997-08-06 | Maryland Heights, MO | 15:51 | Not way out there but has several sections that stretch beyond the typical structure, including a great "Makisupa" jam in the "Rocco" section with Page on theremin and Mike on a mini-drum. | |
| 1997-08-08 | Tinley Park, IL | 15:29 | Not a funk fest like most '97 "Gumbos." Trey-led soloing over a funky groove leads to a more rock and roll jam with a repetitive riff from Trey. | |
| 1997-08-08 | Tinley Park, IL | 10:27 | Weird, spacey, Trey-Mike-led jam. | |
| 1997-08-08 | Tinley Park, IL | 16:17 | Multifaceted jam that works through several funk sections, quickly lets loose to rock mode, then returns to more funk and more rocking before -> to "Free." | |
| 1997-08-08 | Tinley Park, IL | 9:25 | Great -> in from a very solid "Wolfman's Brother." The jam while similar to the post '95 - '96 jam is its own beast; very cool. | |
| 1997-08-08 | Tinley Park, IL | 11:08 | In addition to (typically '97) adept playing, this version also has a cool build to the big peak, starting at about 7:40. | |
| 1997-08-08 | Tinley Park, IL | 10:20 | Raging version that keeps rising from one peak to the next. | |
| 1997-08-09 | East Troy, WI | 9:52 | Very strong group interplay, between Trey and Page in particular, but also between Mike and Fish, gives this version a sound and dynamic almost like "Taste" or "Limb By Limb." | |
| 1997-08-09 | East Troy, WI | 15:26 | Big bass techno-funk. Fine segue into "Taste." [Funk -> release as expected, but the release is short before delving into more funk, then settling to some excellent, quiet introspective play which -> to "Taste."] | |
| 1997-08-09 | East Troy, WI | 10:03 | -> in from "Ghost." Powerful version in which the whole band keeps rocking full tilt throughout the slot where Trey customarily takes the lead. Fish is the hidden gem holding rhythm in check while Trey and Page frenetically spiral up and up the scales. | |
| 1997-08-09 | East Troy, WI | 15:21 | This super, Summer '97 version received recognition when released via Live Bait Vol. 11. Trey ignites a bouncy, infectious groove, which, in time, morphs into more metered jamming. Mike's playing is particularly strong, offset by great percussion, which bleeds into a heightened breakdown, the band working through an effects-laden passage. A stunning bit of improvisational majesty. | |
| 1997-08-09 | East Troy, WI | 11:58 | Unusual second set placement. Listen to this one back-to-back with 8/3/97. Both masterpieces. But very different performances. Here Page's solo is less adventurous, but finishes in a rousing manner. Trey deploys very different effects from the preceding version, with surgical precision. And of course, the build-up is epic. | |
| 1997-08-09 | East Troy, WI | 11:18 | Page > guitar and bass duet as a response > whole band in a cacophony of noise > pause > more noise > straight to final verse with no klezmer. | |
| 1997-08-09 | East Troy, WI | 13:24 | Such a graceful version. In 1997, the band was in no hurry to rush things. Here the patient building makes the eventual, huge peak that much sweeter. > to "Weekapaug." | |
| 1997-08-09 | East Troy, WI | 11:54 | -> in from "Slave," capping a nearly set-long "Mike's Groove." After a percussive start with hints of "CYHMK," Trey hoses down the crowd beginning at 3:30. The jam climaxes with "CYHMK" teases, and Trey bids good night while the music rolls on. | |
| 1997-08-10 | Noblesville, IN | 17:32 | Improvisational heavyweight version which breaks into a full jam on King Crimson's "Larks' Tongues In Aspic Part II" around 10:25. From there, it settles, then rebuilds into "SOAM" with a quick tempo and "Third Stone from the Sun" teasing. Released on Live Bait 12. | |
| 1997-08-10 | Noblesville, IN | 14:35 | Reaches a near-transcendent peak, and closes the first set in a brilliant fashion. Practically "HOSE." IT. | |
| 1997-08-10 | Noblesville, IN | 23:00 | Amazing jam that begins in heavy funk mode and transitions to a more quiet vibe before shifting into high gear with some serious rock and roll. The jam then breaks into some beautiful, peaceful and textured playing ("HOSE") before rebuilding into a powerful groove. -> into "GTBT." Must-hear. | |
| 1997-08-11 | Noblesville, IN | 16:25 | -> in from "Makisupa." Many of the later '90s versions are extended, but don't carry nearly the same punch as those from the '93 - '96 era. Not here though, this one is like getting teeth extracted, one by one and without novocaine: long and painful. | |
| 1997-08-11 | Noblesville, IN | 13:20 | The jam veers away from the normal structure several times, adding tension and anticipation when it returns to "Antelope." | |
| 1997-08-11 | Noblesville, IN | 9:08 | The band still toying with set placement, here, "Vultures" anchors the second set for the second time, and with great results. While a true appraisal will only coincide with the arrival of a crisper AUD (or SBD!), what IS clear is that Trey has grown comfortable playing within the "confines" of the composition's compact form, his soloing crisp and rich with both discordant and melodic variation, and really impressive phrasing. | |
| 1997-08-11 | Noblesville, IN | 27:17 | Weird jam segment and vocal close. (No B&D.) | |
| 1997-08-13 | Burgettstown, PA | 19:22 | The longest version to date starts off with a loose funk groove that develops into an air tight polyrhythmic groove which Trey eventually starts to solo on top off before fading out into "The Horse." | |
| 1997-08-13 | Burgettstown, PA | 14:59 | The song portion is played slower than normal. The beginning of the jam is vintage '97 funk, goes into some classic "crosseyed-esque jamming" before drifting into some spacier realms. | |
| 1997-08-13 | Burgettstown, PA | 6:10 | Christmas comes early to Star Lake when the full band delivers a "Little Drummer Boy" jam in the post "blat" section. | |
| 1997-08-13 | Burgettstown, PA | 9:05 | Incredible, straight-forward set-opener. What the jam might lack in terms of inventive improvisation (evinced earlier, and throughout Summer 1997's tour) is more than compensated for by way of tight, full-band play, and absolutely incendiary Trey, who puts on a clinic. | |
| 1997-08-13 | Burgettstown, PA | 11:35 | Big deep groove, with some sweet staccato patterning from Trey in the second jam. | |
| 1997-08-14 | Darien Center, NY | 13:31 | Gets beyond "Antelope" at several points, including brief major mode action (5:40 - 6:30), rhythmic variation, a brief settle, and good tension building before mounting a serious and dissonant peak. | |
| 1997-08-14 | Darien Center, NY | 8:52 | -> in from "Hood." An ambient jam starts as "Harry" ends, morphing into an exploratory funk-based one. > to "Forbin." | |
| 1997-08-16 | Limestone, ME | 10:34 | Great example of why '97 is such a pivotal year in Phistory. Here they stretch and expand the music everywhere possible without ever really getting beyond "CDT" proper. | |
| 1997-08-16 | Limestone, ME | 12:22 | The band covers a lot of varied musical territory in this "Type I" version that includes a "What's The Use" tease. | |
| 1997-08-16 | Limestone, ME | 16:39 | Mellow big bass funk groove, no climax. [A nice gradual transition from the heavy funk to more open, upbeat play, which grows dissonant before latching onto a great rocking, powerful and percussive groove.] | |
| 1997-08-16 | Limestone, ME | 18:50 | Awesome, improvisational version that gets well beyond standard "Wolfman's." At 8:50, the jam breaks out of funk mode and starts to explore, masterfully linking several sections with great, inspired music before -> to a cool "Simple." | |
| 1997-08-16 | Limestone, ME | 10:39 | -> in from a fantastic "Wolfman's Brother." A bit quirky, this mellow "Simple" jam includes a jam on the "Theme from the Odd Couple," turns bluesy, and -> to "My Soul." | |
| 1997-08-16 | Limestone, ME | 2:48 | A stand-alone jam, sort of spacey, sort of funky follows "My Soul" and -> to "Slave To The Traffic Light" | |
| 1997-08-16 | Limestone, ME | 12:28 | A kind of grunge-like jam develops, with additional vocal refrain at about 10:00. The jam then departs "Halley's" altogether and develops into a swirly, minor key, bluesy Fish and Mike led exploration. "On Your Way Down" tease leads directly to a -> to "Cities." | |
| 1997-08-16 | Limestone, ME | 13:30 | Another SUPER SLOW, funky version from '97. Segues out of "Halley's Comet." The tempo picks up at about 8:40, and the funk comes on even thicker. Gets more rocking and bluesy before -> to "Llama." | |
| 1997-08-16 | Limestone, ME | 6:44 | -> in from "Cities." Great Page and a nasty, growling and extended Trey section. -> to "Lawn Boy." | |
| 1997-08-16 | Limestone, ME | 15:48 | The boys really stretch the jam out on this one nicely, and the playing is excellent. They also tack on a nice extended ending (was played near the end of day 1 of the Great Went) before transitioning to "Funky Bitch." | |
| 1997-08-17 | Limestone, ME | 18:33 | Space Funk. "Cities"-like jam and "Simple" teases. | |
| 1997-08-17 | Limestone, ME | 10:47 | Powerhouse version from the Great Went. Riveting Page solo, skillful Trey solo, and spiraling crescendo finale. | |
| 1997-08-17 | Limestone, ME | 27:07 | A paramount, must-hear version that includes multiple stages of funk, rock, and space funk, and concludes with an incredible Mike and Trey duet which -> to an equally transcendent "Bathtub Gin." | |
| 1997-08-17 | Limestone, ME | 15:22 | -> in from a great "DwD." One of the most beloved Phish jams of all-time, and exhibit "A" for "Hose" jamming. The progression modulates to include a minor chord and combines with Trey's soaring lead play to produce a truly inspiring improvisation. Unfinished > "Uncle Pen". | |
| 1997-08-17 | Limestone, ME | 22:52 | Mike and Trey take time to paint, then come back and light the earth on fire. Last five minutes could conjure the dead into a dance competition. | |
| 1997-08-17 | Limestone, ME | 15:30 | Inspired by the first ever "Hood" glowstick war, Trey leads this fan favorite melodic jam to a thrilling peak. | |
| 1997-08-17 | Limestone, ME | 5:32 | Jammed out a bit, with an extended Trey solo and a sweet drawn out transition starting at about 4:18, which at first sounds like "Boogie On" (not played since 1988, or 969 shows), but instead -> to "NICU." | |
| 1997-08-17 | Limestone, ME | 9:45 | Page solo with others playing along > breaks into a funky jazzy jam > beautiful Page/Trey duet/jam joined by Mike and Fish -> Digital Delay Loop jam with "London Bridge Is Falling Down" teases -> "Mule" conclusion. | |
| 1997-08-17 | Limestone, ME | 3:50 | -> in from "SOAMule." The "DDL" Jam is just part of an incredibly improvisational "Mule." | |
| 1997-08-17 | Limestone, ME | 1:19 | -> in from "Digital Delay Loop" Jam to end this incredible "Mule." | |
| 1997-08-17 | Limestone, ME | 11:23 | Straightforward but extended, well played and hard rocking version closes Set III, Day 2 of the Great Went. |
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.
Phish.net
The Mockingbird Foundation