Jam Chart: Jams Seen by LetEmFightItOut (368 entries)
| Date | Song | City | Timing | Notes |
|---|---|---|---|---|
| 2004-08-14 | Coventry, VT | 15:19 | Jam breaks from the standard at 11:00 into a mellow groove that builds energy and > to "Runaway Jim." | |
| 2004-08-14 | Coventry, VT | 12:23 | Very improvisational, "Type II" version with a -> to a very improvisational, "Type II" "Gotta Jibboo." | |
| 2004-08-14 | Coventry, VT | 15:23 | The yang to 4/16/04's yin. Tight playing for '04. Dark and grimy up front, but once it pushes through to the heavens this "Gotta Jibboo" is breathtaking. | |
| 2004-08-14 | Coventry, VT | 13:10 | Jam segment rages practically non-stop, and Tom Marshall assists with the "Rocco" lyrics. | |
| 2004-08-14 | Coventry, VT | 20:07 | Nimbly textured and surgically precise like the big '97 "Bags?" No. Highly improvisational, well played AND a great listen? Absolutely. This version is MUST-HEAR, like 11/21/97, 12/30/97 and 9/14/99. The Coventry "Bag" is full of "2.0-style jamming," is played very well overall, and it's highly listenable. -> to "46 Days." | |
| 2004-08-14 | Coventry, VT | 12:57 | Trey talks about writing "David Bowie" for 4 1/2 minutes before the song - well worth hearing. The jam itself is pretty decent with a nice little shift to major mode and an intense ending. | |
| 2004-08-14 | Coventry, VT | 16:36 | A decent jam develops which has an underlying Mike and Fish fueled groove that continues almost throughout. Trey at times uses a lot of distortion, and his seeming lack of direction gives the jam a disjointed feel. Great -> to "The Wedge." | |
| 2004-08-14 | Coventry, VT | 20:42 | While the composed section is far from spotless, the jam is very good and multi-dimensional, including a nice move to major mode followed by some great exploration. Unfinished with a > to "Free." | |
| 2004-08-14 | Coventry, VT | 9:54 | Some sweet Mike bass, then gets very quiet with just Mike and Trey playing, then Fish and Page jump back in. | |
| 2004-08-14 | Coventry, VT | 26:06 | Very raw in parts (at least Trey), but a serious piece of improvisation nonetheless. At the 7 minute mark, the band gets very quiet and almost stops. Trey plays solo for a stretch, and briefly addresses the crowd. Around 12:30, the other band mates rejoin in a very upbeat and rocking jam that accelerates into near fury by 21:30. | |
| 2004-08-15 | Coventry, VT | 13:46 | Extremely improvisational version which leaves "CDT" behind near the end and -> to "Possum." | |
| 2004-08-15 | Coventry, VT | 19:02 | Very unusual version. The first jam segment is strange, spacey, and Trey sounds off-key at times. Then there's a second jam following the closing riff (without vocal refrain) which has some interesting moments and is pretty soulful. | |
| 2004-08-15 | Coventry, VT | 31:04 | Skip the composed section (ugly) and go straight to the jam (released on Live Bait Vol. 5), which is excellent, extended and improvisational. The final 6 spacey minutes are a combination of sad, eerie and haunting, with a hint of optimism near the end. Unfinished with a -> to "Ghost." One of many great jams from the morass of Coventry. | |
| 2004-08-15 | Coventry, VT | 17:30 | Through a crack in the fabric of space-time a horde of flaming orange locusts cascaded down the fetid slope of manure, became a cyclone of debris, limbs, and offal in the muddy bowl then coalesced into a sheet of light which rapidly withdrew upslope back into the void of infinity. [-> in from a strong "SOAM." The jam breaks into an angry, rocking groove that grows dissonant, tension-filled, and includes Trey's eerie yelling and digi-guitar effects.] | |
| 2004-08-15 | Coventry, VT | 9:25 | Blistering, fierce, machine-gun Trey, akin at times to Hendrix at his best! | |
| 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." | |
| 2009-06-10 | Knoxville, TN | 8:11 | Powerful Page solo with a ragtime feel. Trey brings the volume way down at first before a big peak. Sounds like '93 - '94. | |
| 2009-06-10 | Knoxville, TN | 11:21 | This is a very well-played version with a full length "Waves" jam. 3 minute outro jam leads to transition to "ASIHTOS." | |
| 2009-06-10 | Knoxville, TN | 12:41 | Excellent full-band play featuring quiet, expansive and contemplative work from Trey, whose warm tone is complimented in great part by Page. Mike and Fish modify the beat, and the musicians dial the jam down to an all but erasure of sound. Mike and Trey team to rebuild momentum, before Trey summons a few chords and, shaping his sound, directs the band into a passage of measured and progressive space. | |
| 2009-10-30 | Indio, CA | 11:36 | Really no funk section at all. Instead, an upbeat rocker with super Page and great Mike triumphs, recedes, and morphs into eerie, effects-laden space for 3 minutes before > to a great (short) "Piper." | |
| 2009-10-30 | Indio, CA | 11:03 | One of the best (short) versions ever, certainly for "3.0." Several distinct movements in the jam and all band members contribute well. "She Saved My Soul"-like vocal jam towards the end. | |
| 2009-10-31 | Indio, CA | 7:23 | This version is FIERCE, what with horns and soulful backup vocals! | |
| 2009-10-31 | Indio, CA | 11:46 | Standard "BDTNL" concludes and the band breaks into an upbeat and rocking outro jam that > to "Fluffhead." | |
| 2009-10-31 | Indio, CA | 11:37 | Sharon Jones and Saundra Williams on backup vocals, and Dave Guy, David Smith, and Tony Jarvis on trumpet, trombone, and saxophone, respectively. Outstanding, stretched out (but otherwise straightforward) version. | |
| 2009-11-01 | Indio, CA | 3:20 | Acoustic version from Festival 8. | |
| 2009-11-01 | Indio, CA | 8:21 | Gorgeous acoustic version from Festival 8. | |
| 2009-11-01 | Indio, CA | 7:45 | Exceptionally strong playing from Trey in this roaring "Type I" version. | |
| 2009-11-01 | Indio, CA | 15:19 | A dissonant/loop jam loaded with spacey effects emerges from "Light" proper. Part of a great sandwich with "Mike's" and "Slave." | |
| 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."] | |
| 2010-06-26 | Columbia, MD | 17:35 | A delicate, slightly spacey jam emerges from the standard and gradually builds in power and intensity. Then Mike and Trey shift direction, leading a nice "Moby Dick" jam at the end which mellows and > to "Free." | |
| 2010-06-27 | Columbia, MD | 10:00 | Extended outro and a -> to "Saw it Again." | |
| 2010-06-27 | Columbia, MD | 8:17 | -> from from an extended "Meatstick". This version starts normally until around 3:45, when the music descends into a swirling and dense concoction. Prominent contributions from all four musicians adds to the atmosphere while the band never stops chanting the song's title, until finally relenting and then -> to "Piper". | |
| 2010-06-27 | Columbia, MD | 16:37 | -> from a menacing "Saw It Again", with a quote from Trey taboot. The jam remains unrelenting with subtle shifts, the flow ebbing but driven, thanks largely to Fish's exhaustive drumming. A short detour occurs from 9:25-10:45, but doesn't fully settle until around 12:00. Play grooves along until it goes plinko, then works its way to brief space before > "Ghost". | |
| 2010-07-03 | Alpharetta, GA | 8:52 | > in from "R&R." Band breaks away from typical fare at about 6:00 into a quiet but pulsing and rhythmic jam that transitions nicely into "Tweezer." | |
| 2010-07-03 | Alpharetta, GA | 13:12 | Reaches a pretty good peak and segues beautifully into "Slave." | |
| 2010-07-04 | Alpharetta, GA | 4:49 | > in from "Harpua." This song rocks and kicks ass! > back to "Harpua." | |
| 2010-08-14 | East Troy, WI | 9:19 | Very popular version with fans. Great staccato playing from Trey early in the jam. | |
| 2010-08-14 | East Troy, WI | 6:08 | Notable more for the remarkable and semi-famous -> out of "DwD" than anything else. | |
| 2010-10-16 | North Charleston, SC | 15:01 | Opening a killer 2nd set in Charleston, this one is a straight-up rocker! After a blazing jam, they hit another vocal refrain before dipping into a spacier jam. Then they build back into another vocal refrain, after which they make a move for a funkier jam before hitting one final spacier passage. | |
| 2010-10-16 | North Charleston, SC | 8:20 | Excellent high energy version with a few outstanding minutes from Page in the second jam. | |
| 2010-10-29 | Atlantic City, NJ | 8:49 | All four team up in the well-played, extended jam that gets somewhat spacey at the very end. | |
| 2010-10-29 | Atlantic City, NJ | 13:11 | > out of "Punch You in the Eye." Another strong version with a dynamic groove and tension-filled playing from Trey. Also includes an upbeat, "type 2" outro jam that seems to hint at "Cool it Down" and a -> into "Carini." | |
| 2010-10-29 | Atlantic City, NJ | 15:44 | Despite more frequent rotation from 2009 - 2012, this song continues to challenge the band from a precision perspective. In this strong modern version, Fluff's Travels and The Chase are largely free of mistakes, but then the band hits a few bumps in Who Do? We Do! Clod is solid, with call and response action between Page and Trey, followed by nice Fish and Mike support during Page's solo. Ending this second set with emphasis, Arrival is extended compared to most versions, showing a spirited, enthused band, with strong playing by Trey and Fish, taking a couple of extra victory laps. | |
| 2010-10-30 | Atlantic City, NJ | 5:39 | "CDT" -> "Whole Lotta Love" > "CDT" from the Zeppelin fest. | |
| 2010-10-30 | Atlantic City, NJ | 1:14 | -> in from "CDT." Brief jam, part of Led Zeppelin oriented thematic set. -> back to "CDT." | |
| 2010-10-30 | Atlantic City, NJ | 1:37 | -> in from "Whole Lotta Love." Returns to "CDT" to conclude. | |
| 2010-10-30 | Atlantic City, NJ | 10:13 | A nice vocal jam is followed by some great "Manteca"-like jamming played in a funky, staccato and rhythmic style. The jam never builds to the typical release, but retains a rhythmic focus and -> to "Undermind." | |
| 2010-10-30 | Atlantic City, NJ | 7:49 | -> from a notable "Wolfman's Brother." Cohesive, full-band effort in this solid "Type I" version. > to "Bathtub Gin." | |
| 2010-10-30 | Atlantic City, NJ | 10:24 | Want to know what Mike Gordon can do in the 3.0 era? Look no further than the second jam in this Cactus masterpiece. This is a dancing beast. A top 3.0 version. | |
| 2010-10-30 | Atlantic City, NJ | 12:07 | A couple of brief major mode departures lend some melodic variation and grace to this one. | |
| 2010-10-31 | Atlantic City, NJ | 13:28 | Features an unusually melodic, major mode groove that builds beautifully before returning to the norm with great tension. | |
| 2010-10-31 | Atlantic City, NJ | 7:56 | Looney vocalizations preceding "BLAT BOOM" lead to an extra-large, type 1.5 version, in which the band quickly hooks into a thematic blues rock riff. They collectively toy around with the riff, pushing the idea into a soupy mire, before dipping into a mystical Halloween outro where Trey recapitulates the blues rock riff over lush organ drones. | |
| 2010-10-31 | Atlantic City, NJ | 9:17 | With horn and percussion accompaniment. Fantastic version. The percussion and horns are added in a particularly complementary arrangement that makes this one a real standout. | |
| 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." | |
| 2011-01-01 | New York, NY | 14:54 | An inspired, full power yet nimbly executed version. Like a great "Slave" or "Hood," you can really hear Trey and the band pour their hearts into this one. | |
| 2011-01-01 | New York, NY | 11:34 | Glorious version that, while not departing particularly far from the typical "Simple" structure, does have a unique closing coda-like structure that almost sounds like a new song. Rave reviews from fans. | |
| 2011-01-01 | New York, NY | 8:16 | > from "Sally," a version so chill you just might believe Trey did, indeed, get up from the sofa after rolling himself a blunt. Fish's kick-drum "solo" bleeds into hushed, atmospheric play, the four swapping scattershot sounds and eerie effects before a pure and patient -> into "Bowie." | |
| 2011-05-27 | Bethel, NY | 7:04 | Following a super -> from "Wolfman's Brother", Trey wastes no time choosing his line, and powers the band through an incredibly strong and spirited version. | |
| 2011-05-27 | Bethel, NY | 12:48 | A real hybrid that combines suave major mode playing with the expected minor rock. | |
| 2011-05-27 | Bethel, NY | 9:14 | Great version with building energy and nice back and forth between Page and Trey. | |
| 2011-05-27 | Bethel, NY | 9:03 | Staccato jamming gives way to a "Type II" slowed down, effects-laden outro and > into "Waves". | |
| 2011-05-27 | Bethel, NY | 13:51 | Fantastic playing by Trey in the jam proper. Beautiful, lush and serene outro jam. In many ways the polar opposite of the haunting outro from "IT." Transitions to a solid "Prince Caspian." | |
| 2011-05-27 | Bethel, NY | 7:33 | > in from a great version of "Waves." Although shorter, this version suggests the band's willingness to take the jam segment in new and different directions, with subtle and cohesive playing. > to "C&P." | |
| 2011-05-28 | Bethel, NY | 8:58 | Nice little extended outro with a good Trey-led peak. | |
| 2011-05-28 | Bethel, NY | 12:03 | Percussion driven, exploratory version that manages to cover a lot of ground in a relatively short time. | |
| 2011-05-28 | Bethel, NY | 11:47 | "Gin" -> "Manteca" > "Gin." The "Gin" sections, although largely straightforward, include improvisational playing by Trey. "Manteca" includes "Golden Age" jamming, with fans thus dubbing this version the "GoldenGinTeca." | |
| 2011-05-28 | Bethel, NY | 1:44 | -> in from "Gin." The jamming just before and during this "Manteca" includes teases of "Golden Age," causing fans to dub this version the "GoldenGinTeca." > back to "Gin." | |
| 2011-05-28 | Bethel, NY | 0:59 | > in from "Manteca" to end this fine version. | |
| 2011-05-28 | Bethel, NY | 12:10 | The band incorporates a lot of "DEG" teasing/jamming into the standard format. The mood shifts back and forth from bright to dark several times, with "DEG"-like playing at various times throughout, before returning to "BDTNL." A very cool version. | |
| 2011-05-28 | Bethel, NY | 7:35 | An energetic, funky jam emerges at around 5:30 after some chanting on "House." This is a fun, well-played version. | |
| 2011-05-28 | Bethel, NY | 12:38 | This "Hood" has a really nice jam that sounds similar to "Faht" at times. Returns to "Hood" to close. | |
| 2011-06-04 | Cuyahoga Falls, OH | 8:25 | Page shines from start to finish. | |
| 2011-06-04 | Cuyahoga Falls, OH | 10:21 | The jam includes a number of tempo downshifts, grinding things to a near stop, including during the ending lyrics. | |
| 2011-06-04 | Cuyahoga Falls, OH | 8:09 | Debut. A pleasant, relaxed Trey solo. | |
| 2011-06-04 | Cuyahoga Falls, OH | 13:03 | Following the vocal jam, the band breaks into a funky groove with a very 2011 sound to it (a bit of the staccato or "plinko" funk, somewhat similar to the 12/28/11 "Cities") that eventually gets "Manteca"-esque before dissolving into a spacey jam. > to "Harry Hood," a highly acclaimed combo among fans. | |
| 2011-06-10 | Camden, NJ | 14:28 | There are a few spots here and there in The Curtain and the beginning of With that seem a bit off. Nonetheless, Trey soloing in With seems particularly inspired, and Mike is also noticeably strong. The jam reaches a fairly intense peak, before expectedly settling to conclude. | |
| 2011-06-10 | Camden, NJ | 6:40 | Trey's wonderful, pretty, and soulful soloing, accompanied by Mike's on-point, cascading runs, work to create a truly notable version. Per netter @jerryguscia, Trey quickly shifts towards a bit of jamming featuring some rhythmic, low-key strumming, play which breaks to become dark and funky improvisation before dissolving into those hazy waves of sound typical for the era. | |
| 2011-06-12 | Columbia, MD | 8:02 | Patient segue out of "Wolfman's Brother." Mike drops one of his ground-shaking bombs at 4:10. Great playing from Trey and Page in the outro jam before the > into "Gumbo." | |
| 2011-06-12 | Columbia, MD | 10:11 | Very soulful Trey solo, and an extended ending. | |
| 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." | |
| 2011-07-01 | Watkins Glen, NY | 9:25 | Powerful, extended jam segment with the crowd singing the melody line together with the band at the end. | |
| 2011-07-01 | Watkins Glen, NY | 11:45 | Basically "Type I," but there is some fantastic Page/Trey/Mike interplay mid-jam before Trey leads a full-throttle ending. | |
| 2011-07-01 | Watkins Glen, NY | 3:25 | Sort of an evil sounding jam with occasional laughing by Fish and Trey opens Set II and > to "C&P." | |
| 2011-07-01 | Watkins Glen, NY | 14:20 | A straightforward but delicately played "Simple" fades away, leading to 6 minutes of '99-esque space. | |
| 2011-07-02 | Watkins Glen, NY | 9:31 | Strong vocals and snappy playing by Mike in the composed section give way to a great Page-led jam. Backed by the band, and with some inspired contributions from Trey, a nice little "McGrupp" jam emerges, which rises and swirls into the customary closing. | |
| 2011-07-02 | Watkins Glen, NY | 13:07 | Staccato funk jam before delays/effects creep in, foreshadowing the "Storage Jam" to come later in the night. > to "Prince Caspian." | |
| 2011-07-02 | Watkins Glen, NY | 11:09 | Unusually staccato-esque, repetitive jam, with some "elephant-like" noises from Trey thrown in. | |
| 2011-07-03 | Watkins Glen, NY | 7:31 | The whole band is much looser than normal when they break into the solo, sounding more like a prodding "Carini" jam than "Wilson". Mike is especially eager to push the band into new harmonic (and inharmonic) territories, and the other members accept his challenge with expertly-tuned ears, adeptly following his unpredictable turns on the bass, and delivering a "Wilson" unlike any other version before or after. > to an equally inspired "Mound". | |
| 2011-07-03 | Watkins Glen, NY | 8:01 | Great version which includes an unusual straightforward outro jam. | |
| 2011-07-03 | Watkins Glen, NY | 10:15 | Stunning exploratory "Type II" version. The jam departs "ASIHTOS" at 4:00 and arrives in a desert haze where the band proceeds to lose itself in a mirage-filled dream, wandering deliriously until emerging in heavenly bliss at 7:00. Led by Mike, this serene music patiently morphs into ambient space, and gradually fades to silence with no return to "ASIHTOS." | |
| 2011-07-03 | Watkins Glen, NY | 16:07 | Great Trey and Mike from the jump, the jamming soulful and melodic. Awesome Page accents characteristically strong Fish, as the jam morphs into extended "Dave's Energy Guide" teasing. The band then crafts an atypical, and totally welcome groove. A pretty powerful build seems to break convention, with the whistling section dissolving into goofy antics which bleed into the noise informing the > into "David Bowie." | |
| 2011-07-03 | Watkins Glen, NY | 9:32 | Strong, effects-laden playing that pushes a psychedelic edge to match the dark heaviness in the song's lyrics. Firm and confident playing leads to a satisfying peak; a prototypical type I "No Quarter." Fans of this version should also check out 8/17/11. | |
| 2011-09-02 | Commerce City, CO | 10:30 | Great segue out of "Simple." Page shines early on, then Trey takes over and delivers a ferocious solo. Must hear. | |
| 2011-09-02 | Commerce City, CO | 9:58 | Trey sustains a single note for 1:08. Debatable whether or not this effort "works," but it's certainly unusual and worth checking out. Decide for yourself! | |
| 2011-09-03 | Commerce City, CO | 11:37 | Great growly playing by Trey at first, some 3.0 funk from Page, before a spirited, high power build up to conclude. | |
| 2011-09-03 | Commerce City, CO | 14:30 | "Green-Eyed Lady" teases in the intro composed section by Page, and Fish teases the "Golden Age" drum line in what is a magnificently melodic jam that is quite stunning in parts. Brief hints of "Lovelight" and "Jessica." It's excellent from the very start of the jam, too. Must. Fucking. Hear. | |
| 2011-09-03 | Commerce City, CO | 11:03 | A smoking "Type I" version that keeps on rocking after the final lyrics and concludes with a spacey outro jam that > to "2001." | |
| 2011-09-04 | Commerce City, CO | 8:35 | Like other strong recent versions, has the energy building jam much like "Possum" does. Version also includes a "Sneakin' Sally" tease and has a unique ending. | |
| 2011-09-04 | Commerce City, CO | 13:47 | A nicely played "Type I" jam shifts to a funky breakdown jam at 8:40, then works back to "Gin" with a strong peak. | |
| 2011-09-04 | Commerce City, CO | 8:40 | Great version with some atypical jamming, loaded with tension. Strays from the typical jam several times and returns. | |
| 2011-09-04 | Commerce City, CO | 11:55 | Another excellent version for any era, some hear a tease (but not musical quote) of "Roadrunner" (Modern Lovers) in it. Others just hear siiiiiick jamming. | |
| 2011-09-04 | Commerce City, CO | 7:59 | > in from an inspired "Hood." A high powered, joyfully played jam continues the "feel good" from "Hood." > to "Ghost." | |
| 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." | |
| 2012-06-23 | Burgettstown, PA | 11:04 | Most improvisational version in 12+ years that includes an extended Mule Duel with Page on theremin at one point. | |
| 2012-06-23 | Burgettstown, PA | 9:21 | The typical jam breaks into a short dreamy, lightly pulsing abstraction, before settling into extended transition space and > to "Light." | |
| 2012-06-23 | Burgettstown, PA | 10:20 | Nice plinko-style funk breakdown, a second little Mike/Page breakdown, then more improvisational play before an unsual conclusion which -> to "Seven Below." | |
| 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. | |
| 2013-07-13 | Columbia, MD | 10:58 | Jam includes a nice modulation to major mode, and the boys bring it home well for a safe landing after the plane wreck at SPAC. Alas, Trey over-deploys the pitch shifter; otherwise a solid "SOAM." | |
| 2013-07-13 | Columbia, MD | 12:30 | This "Hood" is a very good one, with a strong building jam, great peak and good interplay by the band. | |
| 2013-07-13 | Columbia, MD | 8:38 | Much more of a rocking outro jam than the standard with solid Trey who develops a great riff. | |
| 2013-07-14 | Columbia, MD | 13:42 | Great, multi-section "Stash." Jam breaks to major mode (6:36) and returns. Then it grows funky and percussive (8:52), shifts again to major mode while staying funky (10:12), and then makes it way back to familiar territory. | |
| 2013-07-14 | Columbia, MD | 11:01 | Page solo > very nice Trey/Mike duet > then Fish busts out a new toy, the Marimba Lumina > klezmer > falsetto singing by Mike > conclusion. | |
| 2013-07-14 | Columbia, MD | 7:43 | Nice "old school" little rocking jam with Page on the B-3. It's been 10 years, really more like 17, or going back to 1996, since the band last played one of these rocking little jams, which add great flavor to an otherwise fully composed piece. | |
| 2013-07-14 | Columbia, MD | 12:16 | An amazing show of improvisation. Trey stays away from the whammy predominantly and the band engages in a stop/start jam that harkens back to the hey-hole-jams of the early 90's. Infectiously fun, and truly unlike any other version to date. | |
| 2013-07-14 | Columbia, MD | 21:18 | Although the jam is strong, there is no real peak...but at least Trey plays his guitar instead of his pitch shifter! | |
| 2013-07-19 | Chicago, IL | 7:59 | Very well played straightforward version with great Trey and Trey/Page interplay. Lacks the big '97/'98 peak, but still solid. | |
| 2013-07-20 | Chicago, IL | 10:16 | The Chairman of the Boards takes command on the B-3 in this propulsive and rocking version which packs a lot in 10 min. | |
| 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. | |
| 2013-10-31 | Atlantic City, NJ | 10:05 | Excellent short "Stash" with mounting tension. Like a '93 or '94 version! | |
| 2013-10-31 | Atlantic City, NJ | 6:12 | Debut of the song leads off the "musical costume from the future" set at this Halloween show. | |
| 2013-10-31 | Atlantic City, NJ | 10:47 | Debut. First version hints at future jamming potential for "Fuego." | |
| 2013-10-31 | Atlantic City, NJ | 6:34 | Debut with "Abe Vigoda" and the Abe Vigoda Dancers. | |
| 2013-10-31 | Atlantic City, NJ | 6:23 | Phish debut includes Page nicely jumping around from the Fender-Rhodes to the B-3 to the piano, and a rock driven jam from Trey. | |
| 2013-10-31 | Atlantic City, NJ | 18:41 | Serious heavyweight version kicks off with rhythmic and swirling playing. The jam brightens for a stretch, then IT builds and builds as the "HOSE" is turned on. Finally the jam recedes delicately as the spigot is turned to "off." | |
| 2013-11-01 | Atlantic City, NJ | 11:04 | A quality "old school" version with a lot of good "Type I" variation in the jamming, building up to an intense peak. | |
| 2013-11-01 | Atlantic City, NJ | 21:02 | The jam breaks away at 6:15, growing melodic and upbeat. Mike adds some great bass effects before a euphoric groove emerges. Then a fun "Under Pressure" jam develops, followed by beautiful low-key jamming. | |
| 2013-11-01 | Atlantic City, NJ | 8:11 | Another fun, funky version with "Kush" and "Bush" chanting, lots of weirdness, and a few genuinely musically impressive passages interspersed here and there. | |
| 2013-11-01 | Atlantic City, NJ | 5:42 | > from "Meatstick". There's some extra funky mustard on this one and it also includes alternate lyrics referencing bush and kush, as well as a tease of the "Theme from the Rockford Files." Ends with a > to "The Wedge". | |
| 2013-11-01 | Atlantic City, NJ | 11:06 | A solid and funkified breakdown jam follows a good vocal jam and includes Trey banter near the ending. | |
| 2013-11-02 | Atlantic City, NJ | 13:58 | As a standard "Theme" jam draws to a close, it morphs into a jam on the "Theme From Shaft" with amusing banter from Trey and Fish. Some good funky jamming follows the banter before returning to "Theme" to end. | |
| 2013-11-02 | Atlantic City, NJ | 16:18 | The jam breaks into a good percussive and rocking groove, then it lightens and brightens, re-energizes, and -> to "Piper." | |
| 2013-11-02 | Atlantic City, NJ | 7:36 | A delicate and beautifully played version with a dreamy quality to it, but which also builds to a powerful peak. > to "Waves." | |
| 2013-11-02 | Atlantic City, NJ | 15:22 | Very repetitive, melodic, spirited, funky jam... check. this. OUT! | |
| 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. | |
| 2014-07-03 | Saratoga Springs, NY | 14:34 | The typical "Type I" "Gin" jam continues through 10:30, then the chording and harmonics shift into quasi "Type II" jamming (quasi because Fish never really breaks the rhythm until this "Gin" grows spacey and transitional). > to an improvisational "LxL." | |
| 2014-07-03 | Saratoga Springs, NY | 12:55 | Improvisational version which begins to peel away from the standard as Trey and Page play unusual chords and harmonies to the base "LxL" rhythm, then makes a clean "Type II" break into a rhythmic, pulsing and somewhat dark jam. > to an impressive "Winterqueen." | |
| 2014-07-04 | Saratoga Springs, NY | 13:06 | Precise, delicate, and moving, very pretty play informs subdued jamming, featuring notable full-band interaction. Trey deftly shapes his tone, and the version becomes somewhat hypnotic and enchanting, with the musicians responding one to another before driving the jam to an expansive, emphatic peak. | |
| 2014-07-04 | Saratoga Springs, NY | 19:31 | The first improvisational "Fuego" works away from the song structure gradually, making a full break by 11:30 into some very nice, light and fluttery interplay. The intensity builds to a crescendo before smoothly sliding into "DwD." | |
| 2014-07-05 | Saratoga Springs, NY | 10:56 | The jam breaks into the now predictable major mode section in a quieter and relaxed manner, which then builds energy and power and -> to "Waves." | |
| 2014-07-05 | Saratoga Springs, NY | 13:22 | "Piper" is restored to some form of its former self, including an intro (short), bridge (short), and some good "Type I" jamming before breaking into "Type II" ground with nice rhythmic-based playing with strong Page, followed by a short Trey-led "hose" section. | |
| 2014-07-05 | Saratoga Springs, NY | 21:01 | Lots of Mike in the groovy jam segment (though there's no 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! | |
| 2015-01-01 | Miami, FL | 9:56 | A plus outro with more varied guitar and organ riffing from Trey and Page that pulses into > "Winterqueen". | |
| 2015-01-01 | Miami, FL | 7:47 | Nice chord strumming and other melodic variation by Trey in a fiery and crescendo-oriented jam. | |
| 2015-01-02 | Miami, FL | 10:06 | Similar to 8/6/10 and many of the '00 versions, in which the jam is really more about a groove than it is Trey rehashing the basic "Mike's" jam melody for the 400 and umpteenth time. Both Mike and Fish play with ferocious intensity in this solid version. | |
| 2015-01-02 | Miami, FL | 9:50 | At 5:40, the jam breaks into dark, funky groove with Page working the B-3. Great teaming by all four as each adds color to a solid version. | |
| 2015-01-02 | Miami, FL | 16:31 | Very atypical jam section with Trey on Marimba Lumina and Mike on guitar, and fierce work from Page and Fish. | |
| 2015-01-03 | Miami, FL | 15:29 | An inspired jam which features strong soloing by Trey, great teaming with Page, and very solid Fish, whose fills and creative accents gradually power up as the jam intensity rises. | |
| 2015-01-03 | Miami, FL | 25:46 | The band makes a breathtaking, powerful statement with this improvisational and multi-section juggernaut. The now common 3.0 "Hose" style is enhanced by a swinging vibe and serious power rocking, bookended by great percussive funk. | |
| 2015-01-03 | Miami, FL | 9:51 | -> in from "Light". A minute-long vocal jam pushes into a more upbeat, rocking section led by Trey and Fish, before settling in murkier waters that lead to > Sand. | |
| 2015-08-16 | Columbia, MD | 10:43 | "Stash" is an old fashioned tension/dissonance -> release type song. Trey's frequent use of the off beat to begin his melodic runs keeps it interesting, nicely building tension up to the final release. | |
| 2015-08-16 | Columbia, MD | 12:46 | Sure there's a nice major mode shift, but to only mention that is to sell this solid Bowie short. There are several brief pauses, a Zappa-like technique which throws off the rhythm momentarily and keeps it interesting. Also a nice intro and good tension building. Minor flubs here and there are forgiven. | |
| 2015-08-21 | Watkins Glen, NY | 11:08 | The Magnaball-opening "Simple" wastes no time in getting the festivities underway. After some standard jamming in the typical chord progression, the band opts not to resolve to F and instead stays in B-flat, churning out a fuzzy, pulsating groove led by the rhythm section. | |
| 2015-08-21 | Watkins Glen, NY | 22:50 | Exceptional version including diverse jam segments. Hard-edged rocking, murky funk, and melodic "hose" all feature in this top-shelf "Gin". | |
| 2015-08-21 | Watkins Glen, NY | 18:15 | Yet another "CDT" boasting a post-refrain jam, and yet again does Phish deliver the goods. The jam starts off sparsely and rebuilds to a low-key, part melodic, part hard-edged passage with a "WTU?" tease before > Ghost. | |
| 2015-08-21 | Watkins Glen, NY | 11:45 | Doubles down on the Mann version with two separate rock-oriented jams, occasionally hinting at the climax of "CYHMK." Returns to the "NMINML" ending twice, then dissolves into an ambient fog and -> neatly into "Slave." | |
| 2015-08-22 | Watkins Glen, NY | 10:57 | With an exception or two (11/30/94, 8/11/04), "Antelope" always begins and ends the same way. What's in between separates the great from the typical. This version nicely strays from the ranch from 4:50 - 6:15, and includes a nasty, gnarly and tension-loaded push to the peak. | |
| 2015-08-22 | Watkins Glen, NY | 14:15 | The jam moves beyond the rocking norm to some dark probing, before gradually shifting to serene and introspective exploration. After swelling to a modest peak, the jam -> to "BDTNL." | |
| 2015-08-22 | Watkins Glen, NY | 17:39 | Fierce, punchy version that soars from the get-go, with Trey employing killer effects. The jam then plateaus, and then launches into melodic, major key mode for a while before dissolving into Caspian. | |
| 2015-08-22 | Watkins Glen, NY | 16:10 | The jam that emerges from this "Caspian" at around 6:00 is superb and must-hear Phish. Whether you think of this as a "Tweezer" or "Caspian" jam is a pedestrian concern; just enjoy this band kicking asses in its 33rd year!! | |
| 2015-08-22 | Watkins Glen, NY | 16:01 | At the 7:45 mark, Trey's chording shifts this top-notch "Blaze On" from straight ahead bopping to deep melodic exploration for five minutes, when suddenly the band flips a switch and begins a psychedelic horror show filled with off-kilter intervals and eerie effects that last until the jam somehow careens swiftly into (and leaves explosive residue on) -> "Possum". | |
| 2015-08-22 | Watkins Glen, NY | 7:22 | Another strong and typically funky "Cities" -> "Mind Left Body Jam" sandwich. | |
| 2015-08-22 | Watkins Glen, NY | 0:58 | -> in from "Cities." Last heard in 1998, 17 years earlier, this throwback recalls great moments throughout the band's history. | |
| 2015-08-22 | Watkins Glen, NY | 0:57 | > in from "Mind Left Body Jam." Concluding section sets up a nice transition to a solid "Light." | |
| 2015-08-22 | Watkins Glen, NY | 15:57 | Particularly delicate playing from Trey in the first jam which is broken off by Fish in thunderous fashion. Second jam features calypso rhythms reminiscent of the Augusta version. | |
| 2015-08-23 | Watkins Glen, NY | 9:30 | Trey's comping during Page's solo really adds good tension, then his shortish but intense solo puts this version in the "win" category. | |
| 2015-08-23 | Watkins Glen, NY | 12:21 | Some good and varied playing, in addition to a warming modulation to major mode provide the differentiation that make this version well worth checking out. | |
| 2015-08-23 | Watkins Glen, NY | 8:32 | Although the first half of this version is played in a now predictable manner, the second half breaks orbit and heads into the Exosphere, nearly achieving true outer space exploration. Trey's heavy use of effects play a decisive role, as the band seems more intent on jamming this "Martian Monster" than focusing on funk or comic relief. This strong version eventually drones-out, and slides neatly into "DWD." | |
| 2015-08-23 | Watkins Glen, NY | 5:26 | -> in from "Scents & Subtle Sounds." Dies away to a near hush at the 2 minute mark, then wonderfully explodes back to life. The Kent '94 "Hood" version of "WTU?," and proof that you really can teach an old dog new tricks. | |
| 2015-08-23 | Watkins Glen, NY | 7:45 | Though short, this "Twist" isn't lacking in creativity. As @n00b100 points out, the jam almost immediately pulls itself apart, leads to a Trey-Mike duet of sorts, and moves into a Chilling Thrilling Drive-In space that swings into a "My Soul"-esque take on the main riff, before a heavy metal theme morphs into "Immigrant Song" for a moment and segues -> Weekapaug. | |
| 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." | |
| 2016-01-01 | New York, NY | 11:15 | Includes an additional segment of solid Type I jamming and teases of "Stash", "STFTFP", and "HMPAY". | |
| 2016-01-01 | New York, NY | 17:41 | Trey thankfully abandons the typically atonal, dissonant "Type I" jam in favor of a more melodic and rock-oriented approach. Then Mike leads some solidly mellow grooving, before Fish steps it up into more rhythmic, percussive play. Trey hints at a peaking bliss finale, but instead sticks to the Fish plan. There is adept use of key modulation throughout this "Light." | |
| 2016-01-15 | Riviera Maya, Quintana Roo, Mexico | 12:12 | Strong peaking action in the first jam and then some growly, staccato funk in the second segment, which ultimately -> into "Ghost" stupendously. | |
| 2016-01-16 | Riviera Maya, Quintana Roo, Mexico | 13:18 | After a stretch of perfunctory versions, "Cities" has now gone four for its last four. A laid back tropical vibe yields to a stormy, foreboding jam, before the sun peeks through the clouds and the -> Light grows brighter. | |
| 2016-01-16 | Riviera Maya, Quintana Roo, Mexico | 14:18 | The early part of the jam includes great interplay and soloing by Trey. The gradual, but deliberate and well executed peak reminds us that a strong but plain ol' "Harry" is pretty spectacular in his own right. | |
| 2016-01-17 | Riviera Maya, Quintana Roo, Mexico | 8:30 | One of the few recent renditions of "Moma" that (fittingly) sails to new seas. There's some especially spry, melodic playing in the opening segment that gives way to a punchy, funky jam led by the rhythm section (with Mike Meatballs) in support of Trey's adept use of his MuTron *and* Echoplex and Page's expert use of his clav. Unfinished and -> "Saw It Again." | |
| 2016-01-17 | Riviera Maya, Quintana Roo, Mexico | 19:12 | A very solid version in which the jam initially breaks away into some dark and low intensity playing. The mood brightens, then Page starts playing samples from "Shipwreck." After several minutes, the guys abandon ship, ending the jam on a high point with jubilant, celebratory playing. | |
| 2016-01-17 | Riviera Maya, Quintana Roo, Mexico | 9:36 | Compared to the preceding two jam chart versions, this one reveals a third and new approach to "Roggae," as this one breaks into a swinging, blues-infused jam, accentuated by some guitar effects, but less than in Dick's '15. Strong Mike and Fish help bring this excellent version to a powerful peak. | |
| 2016-01-17 | Riviera Maya, Quintana Roo, Mexico | 15:05 | The initial jamming is less rocking than most, but what it lacks in intensity, it makes up for with more melodic variation and synced-up playing. The latter part of the jam takes on a genuinely chilling tone with "Shipwreck" quotes, eerie effects, and power drill all thrown into the mix, as if to accompany the arrival of a ghostly ship on the horizon. > to "Farmhouse". | |
| 2016-01-17 | Riviera Maya, Quintana Roo, Mexico | 10:29 | A great version in which the Page and Mike stick mostly to the primary beat, while Trey adds off-beat color. As the intensity builds, Trey jumps mostly to the primary beat, providing power and grace. | |
| 2016-07-09 | Hartford, CT | 8:36 | A strong version which features contemplative, quiet, and delicate playing, unusual for "BDTNL." Ultimately, this warm, restrained playing gives way to a traditional shredding and trilling peak. | |
| 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". | |
| 2016-10-16 | Jacksonville, FL | 18:17 | After rolling through solid in-bounds territory, the jam fractures into several sections, including "Woo"-like stop/start play, some nice upbeat playing with a swinging vibe, and a return to more rocking action with "C&P" vocal quotes, before settling to percussive transition space. | |
| 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." | |
| 2017-01-13 | Riviera Maya, Quintana Roo, Mexico | 12:36 | Although it follows a familiar trajectory, this strong version luxuriates in the funk, before flipping the switch and peaking in celebratory good form. Trey really brings it on quite nicely. | |
| 2017-01-13 | Riviera Maya, Quintana Roo, Mexico | 19:53 | After settling into some quieter musing, the jam takes on a percussive sense, and proceeds to build to a Trey-led, rocking peak. Gradually settling down, the jam transitions to a strong "Caspian." | |
| 2017-01-13 | Riviera Maya, Quintana Roo, Mexico | 9:37 | > from a superb "Fuego". Trey's trilling grows nasty and dissonant at times, and Page hops on the clavinet to help lead the band into a dark and low-key groove. Fish does some fine work throughout. | |
| 2017-01-13 | Riviera Maya, Quintana Roo, Mexico | 9:53 | Floating in on the waves of a powerful "Prince Caspian" -> and staying in G, the echoing "Twist" intro leads to a tropical and topical "Tequila" jam before sliding seamlessly into "Seven Below." | |
| 2017-01-13 | Riviera Maya, Quintana Roo, Mexico | 11:17 | Awesome, melodic play from Trey, and we're only 2:40 in. The jam continues to impress, with Trey in total control, his precise, cerebral work matched by Mike, who also takes some seriously strong runs. Fish, of course, is great. There's super synth from Page. And Trey (7:00) introduces an incredibly cool theme, which the band shapes to its seemingly logical conclusion, ending a dulcet "suite" before > for "Golgi Apparatus." | |
| 2017-01-14 | Riviera Maya, Quintana Roo, Mexico | 12:49 | Super first set closer, which, in no small measure, soaks up the spirit of "IT's" (8/3/2003) rhythmic, pulsing soul. Breaking from "CDT" around 5:20, the jam melts into a focused passage of metrical rhythm, before brightening considerably, with all four musicians contributing equally. Trey's spirited solo, rich with sustain and effect, is complimented by great play from Page, before the version returns to "CDT" proper. | |
| 2017-01-14 | Riviera Maya, Quintana Roo, Mexico | 11:34 | This version's outro is much more musically productive than the typical and includes a "C&P" tease from Trey. | |
| 2017-01-14 | Riviera Maya, Quintana Roo, Mexico | 10:14 | The "Prince of Music" neglects a verse but shrugs the flub and sets forth to shape one of the finest versions to date. The jam quickly assumes a quiet, delicate form, informed by great play from Mike. Trey's playing is patient and melodic, colored by customarily great fills from Page. The version skips along atop Fish's steady beat, with Trey building intensity via means of measured sustain and perfectly-placed notes, before working the surrounding space to a resounding peak. | |
| 2017-01-14 | Riviera Maya, Quintana Roo, Mexico | 15:15 | After a strong composed section, the band crosses the bridge confident and assured, entering a jam anchored by great play from Mike and Fish. Trey adds much by way of layered texture and nuanced grace, before straight-forward soloing, colored with great fills from Page, builds into a passage of percussive and echo-altered sound. A cool > introduces yet another white-hot "Light." | |
| 2017-01-14 | Riviera Maya, Quintana Roo, Mexico | 15:41 | The typical "Light" jam takes goes mildly dissonant, before shifting to some funk/rock action. This percussive section, with excellent playing led by Fish and Page, moves further and further away from "Light" proper, before eventually settling into a solid cool-down jam in the final few minutes. | |
| 2017-07-29 | New York, NY | 9:10 | Longest "Wilson" since their reunion, Phish has fun and throws down a version featuring two distinct jams, one truly bizarre "Blatt! Boom!" vocalization, and a spacey > into "STFTFP." | |
| 2017-07-29 | New York, NY | 8:25 | A really great version, with a easy-going, lilting, and generally upbeat instrumental jam section. | |
| 2017-07-29 | New York, NY | 8:27 | Although somewhat brief, a cool little jam develops where Trey typically solos, and here, Trey and Page incorporate some interesting spacey effects, signature sounds from the historic Baker's Dozen run. | |
| 2017-07-29 | New York, NY | 4:30 | Unusual, up-tempo version, reflects the studio recording, but with a twist: Page's "synthesized" solo. Accompanied by beautiful play from Trey, Page creates a warm wave ethereal and gorgeous, before once again teaming up with Trey, going acoustic, and working through the conclusion with a spirited flourish. | |
| 2017-07-29 | New York, NY | 23:20 | Fish's dynamic drumming drives the jam early while the band probes for a hookup until a more defined, upbeat segment forms 13 minutes in. The next big shift occurs around minute 18 when Trey fires off some echoing chords and Page whips out the synthesizer as the jam heats up and climaxes strongly with Trey back in the lead. > to "Twenty Years Later". | |
| 2017-07-29 | New York, NY | 16:05 | Departing from the traditional jam, excellent Trey/Page interaction swirls atop dark, minimalist bass and percussion. Trey's well-placed and sustained "There is a Mountain" teasing functions almost as a cue, with the band transitioning from a dark, mysterious majesty, to "Hood's" characteristic build and euphoric release. | |
| 2017-08-04 | New York, NY | 16:34 | Moves quickly into a sprightly upbeat zone with sharp playing from Trey and Page giving the ivories a good workout. The band shifts to a new gear and builds to a squealing fireball peak, replete with a "NMINML" tease. Downshifts into a casual, almost tropical groove (helped by Mike's relaxed basslines and Fish's metronomic work), a groove reminiscent of some 2.0 jams. > into a superb "Caspian". | |
| 2017-08-04 | New York, NY | 10:06 | Blistering version > from an experimental "SaSS." Trey wastes no time finding his line - a huge blast of sustain ripped from the vocal refrain - and, accompanied by pounding Page, simply lays waste to any idea of melodic variation. Incendiary soloing seems to arrive from some other place before Page moves to his keys, Trey fades, and "Caspian" sinks into an eerie sort of abyss. Dark effects and "EIIRP" quotes float to color the surface space before the band breaks for "Fluffhead." | |
| 2017-08-05 | New York, NY | 12:23 | Some mildly meandering jamming at the beginning occurs as the band seeks a direction, but patience pays off as they eventually all lock into the groove and build energy together. This delivers a decent piano and whale call-dominated peak as the band continues to feed off the audience's energy. | |
| 2017-08-05 | New York, NY | 10:50 | > from "Alaska," serious, introspective play stands out amidst a series of standout moments. "Plasma," at its finest, often evokes early "Timber" jams, with impassioned improvisation by Fish and Trey. There's much of that on display, here, before Trey, deep in a liquid pocket, rides a watery blast of sustain, the band in tow, working the jam to crest and deliver a sunshine of feeling. | |
| 2017-08-05 | New York, NY | 20:40 | After YEARS of sustained lobbying by site users for its chart induction, it's time to have your doughnut, and eat it, too. Twelve shows in, it was just a matter of time before the band delivered a centerpiece "Ghost," and, following a smoking set-closing "Plasma," the band wastes no time, taking the stage and bathing the arena with a smooth sort of "pastiche," a accumulation of BD sounds that manifests around sixteen minutes in when Trey fires a series of notes (which Page traces in a sort of descending pattern) before Phish enters one of its most august moments. | |
| 2017-08-06 | New York, NY | 10:49 | Impressive debut. While colored with shades of Straus, the version remains true to Vida Blue through Page's vocal delivery. Trey then leads the band on a wonderful odyssey, swapping ideas with Page, who alternates between slinky synth and pointed acoustic, the duo driving the version to a rousing conclusion. | |
| 2017-08-06 | New York, NY | 25:28 | A multifaceted capstone, assuredly anchoring the final show of the historic Baker's Dozen run. Luxuriating in each movement, the playing morphs from dark, electro-funk, to brighter, swinging, groovy fun, and then to appropriately celebratory hose. The final winding down is a fitting glaze for this big doughnut. | |
| 2017-08-06 | New York, NY | 24:01 | Fiery jam segment with Trey really tearing it up. Mike teases "Izabella" during B&D, leading to a very cool full-band tease. The vocal jam includes quotes of songs previously played during the Baker's Dozen. | |
| 2017-09-01 | Commerce City, CO | 13:29 | Strong soloing finds Trey augmenting his tone, before crunchy soloing peels apart in favor of deft delay atop a soft bed of effects. Page then runs point, with Fish's cool, patterned drumming eventually giving way to a passage of swirling calm. Intensity builds via strong and spacey full-band play, featuring notable bass. Trey breaks free and works the version to a peak and the song's closing refrain. | |
| 2017-09-01 | Commerce City, CO | 9:20 | Fluid jam, with Trey running through an airy, lilting line, his play accented by colorful fills from Page. After shaping his tone and working the version to a peak, Trey > for a fresh "Free", further toying with his effects, and working his Korg Kaoss Pad a bit like an instrument. Cool combo. | |
| 2017-09-01 | Commerce City, CO | 10:00 | Breaking directly to work through a wacky passage echo-rich and colored with wild effects, Trey eventually picks up a bright, spirited line, and leads the band through fun and impassioned major-mode play. An unusual period of quiet and contemplative calm follows, which slowly gives rise to a return of the song proper. | |
| 2017-09-01 | Commerce City, CO | 23:46 | Awash in 2017's signature synth and Trey's latest effects, an example, here, of space down to a science. As Page explores his keyboards, Trey sheds the guitar and uses a new device to create a hushed, astral plane. Back on guitar, Trey guides the musicians, who together shape a celebratory peak. | |
| 2017-09-01 | Commerce City, CO | 21:20 | Typically stormy, tense playing gradually mellows to some spacey grooving. Picking up a warmer vibe, the intensity slowly builds to a rocking, but not bliss-filled peak, with strong Mike and Fish. The energy eventually dissipates to percussive transitional space. | |
| 2017-09-02 | Commerce City, CO | 13:32 | After running through familiar ground, the jam gets rocking, then gradually settles down into some lower intensity grooving, including some nice Page/Trey interplay. Lacking a peak or other point of punctuation, the jam seemingly winds down over several minutes. | |
| 2017-09-02 | Commerce City, CO | 11:56 | A nice jam, which is really driven by an uptempo, percussive, Fish and Mike led groove. Trey and Page add color and effects, including some spacey synth, before turning the corner and coming home for a solid finishing peak. | |
| 2017-09-03 | Commerce City, CO | 10:03 | Breaking quickly for instrumental playing, the jam gets down and dirty, with spacey Trey and Page effects, layered over a solid bass and drum foundation. Although it never strays too far from home, this one is no typical stroll in the park. | |
| 2017-09-03 | Commerce City, CO | 20:50 | The jam is propelled atop minor mode loops into deep space, before touching down on a new world. The hatch swings open, and for a brief moment the scene is serene. Suddenly, the jam is transported at warp speed into the deep unknown, where electromagnetic thunder echoes from the Modulus, the Voyager opens transient portals through space-time, and the Languedoc transmits patterns into the spectral void in search of signs of life. Alas, we're surrounded only by the beeps of industrial robots as darkness sets in. But the >"Light" grows brighter... | |
| 2017-09-03 | Commerce City, CO | 12:03 | > from "2001", the version smacks of 1991. Approaching the jam quite differently, Trey's solo is awesome and strange, dissonant and improvisational. Melodic play and playful teasing gives way to a sound off-kilter, which slowly swells to inform a steady block of tension. This, then, builds to burst in classic "Possum" fashion. | |
| 2018-08-11 | Columbia, MD | 9:46 | Surprise jam from a strong stand, "Party Time" offers what has been so cool with regard to 2018, and, generally, of late: A little "jamlet." Emerging from what might ordinarily bring the song to a close, extended, if not quite protracted jamming, is filled with "YST" teasing and inspired Trey soloing atop Fish's pounding beat. Trey steps upon a pedal to flip a switch, and a strong solo ensues. | |
| 2018-08-11 | Columbia, MD | 10:59 | While not flawless, certainly one of the era's finest. Mike's salsa-riffing (around 7:00) seems to inspire Trey, whose minor-key jamming creates a "Spanish Jam" vibe, while, interestingly, evoking 4/26/96's "David Bowie" - particularly the version's "Caravan" jamming (around 9:20) - both of which assume similar melodic lines. | |
| 2018-08-12 | Columbia, MD | 6:57 | Fun, inspired version. Trey runs through a few solos - each featuring a distinct tone - before the band builds a nifty little pocket of spooky sound (awesome Mike, matched by Trey) which builds to break down. | |
| 2018-08-12 | Columbia, MD | 11:21 | This groovy first-set pairing with "Tweezer" doesn't stray too far away from the usual upbeat "Gin" jam, but features some wonderful rhythmic games from Fish and builds to a pretty sweet peak. | |
| 2018-08-12 | Columbia, MD | 9:44 | A forceful version that quickly enters an extended segment of semi-dissonant play, sounding more like something from '93-'94 than the modern era, and then returns to "CDT" with the band wringing every last drop of tension out of the jam. | |
| 2018-08-12 | Columbia, MD | 13:27 | Propulsive, "percussive" play propels the jam early, before Trey shapes his tone to solo more directly. Trey then lays back and Page controls the narrative, with super Mike and Fish coloring a groove which lets the children boogie. Trey takes a second solo, his feel-good play dissolving into some of Page's synthetic "space". > "Twist". | |
| 2018-08-12 | Columbia, MD | 12:21 | The type I portion of the jam is enhanced by watery Leslie vibrations, which paves the way in short order for a brief bliss passage. This in turn pushes for a slightly darker, minor-key effects-laden jam that seamlessly -> back to a "Tweezer Reprise" jam. | |
| 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". | |
| 2019-06-22 | Columbia, MD | 8:38 | A smooth modulation to major around 4:30 paves the way for the band to ride a wave of feel-good vibes to a clean peak with Trey's ringing leads out front. | |
| 2019-06-22 | Columbia, MD | 10:51 | Features an unusual shift to upbeat major play at 5:45 and ventures further afield with some "Wider"-esque reggae grooving before returning home. | |
| 2019-06-22 | Columbia, MD | 10:12 | Playful and plucky first-set play hearkens back to the "day," with Trey seamlessly blending "Blister In The Sun" into a fiery version which probably doesn't, but may, hint at "China Cat Sunflower" before the song's closing vocal refrain. > "The Horse." | |
| 2019-06-22 | Columbia, MD | 8:03 | While the jam section begins typically, Trey's confidence seems to grow as he proceeds, with fancy finger work and cohesive play leading to a rousing conclusion. | |
| 2019-06-23 | Columbia, MD | 8:29 | > from "It's Ice." Mike has strong play from the start and Trey's play is airy and bouncy, as usual. Page mirrors Trey in a complementary fashion and Fish's delicate, driving drums keep the jam going. Strong play from the entire band in this version. | |
| 2019-06-23 | Columbia, MD | 14:40 | Pivots to a light and airy major key jam, upon which Trey steps into the spotlight and delivers some powerful and emotive soloing. Comes to a powerful close and > into an equally good "Everything's Right". | |
| 2019-06-23 | Columbia, MD | 12:25 | First improvisational version wastes no time delving into a dark swampy zone with Page's synths leading the way, Mike going to the envelope filter to add some extra filthiness. Fish picks up the pace and Trey moves to a nice low-key groove with some "Weekapaug"-y tones, with some "Crosseyed" quotes for funsies. The band gooses some woos, then finds a nice -> into "Twist". | |
| 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". | |
| 2021-08-13 | Atlantic City, NJ | 13:14 | Makes a pretty sweet move to major key bliss before Trey switches on his fancy pedals and does some pretty nifty soloing and the band heads back to "Blaze On" proper. A more concentrated dose of the diffuse improvisation of the 8/6/21 "Blaze On". | |
| 2021-08-13 | Atlantic City, NJ | 22:10 | Soulful, soaring soloing by Trey with fierce accompaniment, this second-set-opening version arguably stays "Type I" but still delivers. Oh, if every 20 min version could pay off like this. | |
| 2021-08-13 | Atlantic City, NJ | 13:45 | At around 7:45, the jam peels away from the typical "Gin" jam and shifts into a rolling, swinging groove. The music builds to an effects-infused peak before winding down into transition space. | |
| 2021-08-14 | Atlantic City, NJ | 15:54 | While staying somewhat close to typical "Drowned" jamming, the music explores those bounds widely until 10:30, when there is a distinctive shift to new terrain. The jam becomes pulsing and percussive before finally settling to quiet transition space. | |
| 2021-08-15 | Atlantic City, NJ | 14:06 | Adventurous first-set jam loosens up after 8 minutes with Trey's throaty tone engaged and then soon heads for warm and delicate waters. | |
| 2021-08-15 | Atlantic City, NJ | 19:28 | Deploying the echoplex and envelope filter during the WUDMTF segment, Trey seemed to signal that this would be an atypically strong version, and it proved to be: he melodically soared during the jam segment, with excellent accompaniment from Fish, Mike and Page. | |
| 2021-08-15 | Atlantic City, NJ | 15:14 | Mike's inventive playing combined with some heavy effects from Trey kick this jam off. It doesn't take long for all four members to jell and lock in. Trey hearkens back to days of old with some longer, sustained notes which lead to a laid-back, beachy jam perfect for the setting of the show. By the 12:00 mark, the tempo picks back up for a Page-led, synth-heavy party. > "Set Your Soul Free." | |
| 2021-08-15 | Atlantic City, NJ | 10:54 | Yet another modern era jam whose length tells you nothing about its quality. Trey's goopy effects, Page on electric piano, Mike doing work, Fish switching out of his usual "Piper" beat into something heavier and more powerful - it all comes together in wickedly downbeat fashion. A hidden gem from the Summer tour, and the neat -> into a reprise of "Carini" is the icing on the cake. | |
| 2021-10-30 | Las Vegas, NV | 8:26 | The opening song of the "animals" show, a surprisingly insistent low-key groove reminiscent of "BOAF" emerges out of the song proper, driven by Page's piano work. Trey then briefly moves the band into major key territory, before the jam grows hazier and more effects-laden, and then neatly moves back into "The Dogs". | |
| 2021-10-30 | Las Vegas, NV | 11:06 | First: Listen to the aud. Second: Inspired, given the evening's theme, the band is game. More so than most of late, the band dallies a bit, seeing "Lope" as playful as is ought to be, with all sorts of (and you don't even need to watch) smiling band intraplay. Page is of course crashing in on his keys; Mike is hammering from the start; and Fish is Phish (or close); but this version dominates because Trey attacks. No set-closure, we're early on here, and Trey makes that clear. When he works his effects before reaching for that peak, tune in. And keep listening - because it's false. And then we're in ..... | |
| 2021-10-30 | Las Vegas, NV | 11:01 | The normally upbeat song/jam goes contemplative. The rest of the band creates a texture for Trey to solo over. All four members coalesce around 10:00 for a neat groove, which eventually fizzles out and > into "Guyute". | |
| 2021-10-30 | Las Vegas, NV | 5:56 | Strong version that really comes to a head with Trey wringing some gnarly notes from his guitar in the peak. | |
| 2021-10-30 | Las Vegas, NV | 15:16 | "YPC" gets its legs fully stretched out for the first time. As this song can, it sounds not unlike a "Tube" jam. This version is replete with great playing from Page on his synth. Around 9:15, Trey leads the band into new territory. His play is deliberate, Mike and Fish push the jam underneath him. Page wails on his keys alongside. The jam reaches a frenzied peak around 13:45 and then goes back into the song proper and then > "Runaway Jim". | |
| 2021-10-30 | Las Vegas, NV | 10:56 | > from "YPC," the play here, while not extraordinarily out of bounds, is expertly placed, showcasing yet another of 2021's strengths - song placement. As if effortless, the band moves through a spirited, languid "Jim," blissfully light of effects and rife with tonal shifts and pure musicianship. Each musician - riding Fish's bend-but-don't-break wave contributes. That said: Trey fans. Tune in. His tone and his play is remarkable, and listen as he brightens (Page following) to > "Piper." Excellence. | |
| 2021-10-31 | Las Vegas, NV | 26:30 | "Ghost" gets its almost-always-spot on Halloween night and it does not disappoint. At 10:30, the band locks in after searching around. Fish's play drives the jam and Trey's soloing leads the way. The upbeat jam slows considerably at 14:00, with the ensuing play sounding reminiscent of a "BASOS" jam. From that, emerges a murky, effects-laden jam. Mike's bass playing towards the end is a highlight in the longest version of the song since the IT Festival. | |
| 2021-10-31 | Las Vegas, NV | 12:30 | Trey's favorite delay signals this version will break the mold, and a fully-formed, feel-good jam quickly emerges. A bit of the 2021 "Sci-Fi Soldier" sound creeps in before the final lyrics and becomes more pronounced in the outro until > "Free". | |
| 2021-10-31 | Las Vegas, NV | 12:02 | Quite the version in that it keeps the intricacy and speed of the traditional "Bowie" jam but in a major tonality and then swerves back to wrap in normal fashion. | |
| 2021-10-31 | Las Vegas, NV | 12:25 | Religions could be founded around the eternal question, "shall thy lumpy head be happy or angry this evening?" This gracious offering promptly responds with fleet-footed and upbeat major key jamming that shows adept and confident peak building. A massive wash of heavenly synth tones blasts from the PA at the 8 minute mark; this pleases his lumpiness, who then gets angry at its departure and turns for darker pastures. After the many moods of the great drum tech is expressed, -> "Lonely Trip." | |
| 2021-10-31 | Las Vegas, NV | 14:16 | Deep in the third set of the Halloween show, the band still has enough creative juice for one more killer jam, as Fish kicks up the tempo and Page does some fine electric piano work, before a slower and more contemplative jam emerges. Fish picks the pace back up and the band enters anthemic mode, Trey's funky new filter adding extra spice, then things get darker and nastier almost out of nowhere with a stomping and powerful jam. -> into "Death Don't Hurt Very Long" out of the muck. | |
| 2022-02-24 | Cancun, Quintana Roo, Mexico | 7:57 | Improvisational from its first measure, this atypical version keeps to "type I" jamming but is infused with a - seemingly contradictory - tight yet loose spirit, a vibrantly vivacious vibe. | |
| 2022-02-24 | Cancun, Quintana Roo, Mexico | 21:35 | It's no wonder that a version that explores a variety of fantastic universes includes soaring improv heavily teasing "Lizards" for a spell. | |
| 2022-02-25 | Cancun, Quintana Roo, Mexico | 14:25 | Page shining through before song proper is even over with extra effects and punchy playing. the laid back jam slowly decreases in tempo and is replete with nifty licks from Trey and neat synth work by Trey. It eventually dissolves into a segue so smooth you won't see it coming -> "S.A.N.T.O.S." | |
| 2022-02-25 | Cancun, Quintana Roo, Mexico | 25:01 | After a pretty intense run-through of a typical "Disease" jam, the play downshifts around 9:30, showcasing subtle band interplay and dynamics shifts, ultimately finding a closing theme in the latter stages and > "BDTNL". | |
| 2022-02-25 | Cancun, Quintana Roo, Mexico | 20:00 | This full-band jam takes a couple different turns before a dream-like last five minutes featuring some delicate, ethereal play. Interplay between Trey and Page on the piano takes center stage before the jam comes to a growling end. | |
| 2022-02-25 | Cancun, Quintana Roo, Mexico | 11:55 | Capping a strong set, this historic version, the first "ASITHOS" to close a show, works well in this important role. Dark, swirling, and effects-laden jamming, wholly dominated by Trey, builds to a series of powerful peaks, Page's accents sublime, the play bright-white, Slave-Like and running, running, and running, leaving all feeling good. | |
| 2022-02-26 | Cancun, Quintana Roo, Mexico | 13:06 | Pivots smoothly into a nice warm Page-driven upbeat jam, with some really lovely trilling from Trey, then picks up the pace at Fish's urging and hits an anthemic zone before a surprising -> into a very good "Your Pet Cat". | |
| 2022-02-26 | Cancun, Quintana Roo, Mexico | 9:38 | -> out of "Twist". Continuing "YPC"'s unexpected run as a jam vehicle, this baby turns into a real Page synthesizer showcase, briefly delving into The Weirdness before Trey's solos bring us back to "YPC" proper. | |
| 2022-02-26 | Cancun, Quintana Roo, Mexico | 22:43 | Like a cross between a breeze and the space between stars, the jam, a smooth and total sound, breaks free all but immediately and becomes a true show-stopper. Trey, atop Fish's scattershot (off)beat, both creates and occupies space - it feels like it, but he never stops playing - the resulting improv remarkable in its restraint, notable for its ingenuity, and startlingly refreshing. Terrific play from all four creates a sound (driven space, as opposed to ambience; give "ER" a spin, for instance) that will likely stand out from this excellent run. A bit by way of customary play dissolves as the band > for "Cavern." | |
| 2022-02-26 | Cancun, Quintana Roo, Mexico | 21:35 | Massive version features a jam that sounds an awful lot like "Under Pressure." As the jam moves along, all the toys get brought out and effects are used aplenty. Fish remains the backbone, as soundscapes are explored. > into a bluesy, must-hear "Simple." | |
| 2022-02-26 | Cancun, Quintana Roo, Mexico | 12:57 | At 7:30 a sweet, easy-going bluesy groove takes hold (think "Spooky") and brings the jam to a close -> "SaSS". Not a style often seen, but wonderfully employed here. | |
| 2022-02-26 | Cancun, Quintana Roo, Mexico | 16:59 | A sneaky -> into the intro out of a really good "Simple". Trey guns the engines and starts cranking out some filth as Fishman goes absolutely ham behind him, and the band hits a pretty good peak, then Trey switches to chords and they enter "Manteca"-adjacent territory. The improv grows darker-tinged and more late-night energy, but Fish never relents in his percussive assault, giving the jam's second half a real interesting flavor. Damn good stuff, sir. | |
| 2022-02-26 | Cancun, Quintana Roo, Mexico | 14:31 | > from "SaSS." Swinging jam with Fish keeping the tempo up throughout. Setting must be accounted for as this seems like the perfect jam for an evening on the beach. It eventually segues quite nicely -> "Waste." | |
| 2022-02-27 | Cancun, Quintana Roo, Mexico | 12:35 | Almost immediately pivots into a spacious and warm groove, thanks to Trey and Page melding nicely while Fish does some fancy rhythmic work and Mike holds down the fort. Pivots into something darker and harder at Trey's urging, then neatly resolves back into "46 Days". | |
| 2022-02-27 | Cancun, Quintana Roo, Mexico | 18:10 | No need for the band to clear their collective mind, for they have the modern Melt formula internalized. Mike's Floydian play controls much of this version's narrative, improvisation that, "illuminated" by Fish, pushes and probes to pass through a heart of musical darkness. Repeated listening is rewarding as all four musicians weave patterns of sound ,creating a complex tapestry that, despite this effort, is all but ineffable. Wonderfully, if not miraculously, Trey, his growly tone demented, picks his way through the shoreline's shoegaze sound, leading the band to "Melt's" closing refrain, before, of all things, "Suzy." Wild. | |
| 2022-02-27 | Cancun, Quintana Roo, Mexico | 9:43 | > from "ER's" excellent, groovy, outro, typically solid play ensues. Trey shifts completely, powering his way through an extended rock-n-roll solo, with the band banging and thrashing behind him. Welcome effects help to cool the incendiary play, the song, in set, a sort of fire-bridge, the band picking up where they left off when entering the psychedelic template that is "BASOS I." | |
| 2022-02-27 | Cancun, Quintana Roo, Mexico | 11:22 | Proves once again to be a perfect match for the seaside environs with a jam that grows more spacious and then sucks the listener into a powerful maelstrom of synth waves, crashing percussion, and magnetic lead guitar. | |
| 2022-02-27 | Cancun, Quintana Roo, Mexico | 19:37 | A non-stop rollicking groove delivered with an assured confidence, as Mike and Fish set a good pace and Page and Trey fill in all the gaps with tasty detail, then takes a darker turn for the last few minutes before > "Lonely Trip". | |
| 2022-02-27 | Cancun, Quintana Roo, Mexico | 14:39 | Like so many modern versions, this one deviates from the traditional structure but does so with great focus and direction in a suspenseful minor jam. Grows in power until 12 minutes when the band adroitly swerves back to good old "Hood" to conclude. |
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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