Jam Chart: Jams Seen by club848 (517 entries)
| Date | Song | City | Timing | Notes |
|---|---|---|---|---|
| 1994-07-01 | Philadelphia, PA | 9:42 | Some great Mike and Trey teaming following a short, near silent jam, with rhythmic, staccato plucking by both. Ferocious ending. | |
| 1994-07-01 | Philadelphia, PA | 12:28 | Two exploratory jam sections here. The second, beginning at about 10:35, is a great little "cool down" section. | |
| 1994-07-01 | Philadelphia, PA | 11:45 | Great Page on the organ (unusual for "Bowie"), and some crazy screaming from Trey and Fish. | |
| 1994-07-01 | Philadelphia, PA | 11:02 | Gripping, powerful jam with dissonant, off-key playing, serious tension, a "Voodoo Child" tease, and an explosive ending. | |
| 1994-07-01 | Philadelphia, PA | 13:06 | Cool, spacey beginning to the jam, great riffs from Trey, strong Fish, and a powerful finish with solid trilling = Great "Hood." | |
| 1994-12-28 | Philadelphia, PA | 17:08 | A wacky, semi-evil version moves quickly beyond the standard, beginning with a dark Page-led section, followed by a Fish-led vocal jam. After more exploratory play, the band breaks into a jam on "The Little Drummer Boy," before returning to "Weekapaug" to wrap up. | |
| 1995-06-24 | Philadelphia, PA | 10:00 | Straightforward, but for a song that is already predictably intense, this one raises that bar several notches. | |
| 1995-06-24 | Philadelphia, PA | 14:49 | Another very good Summer '95 version, loaded with tension and with a psychological edginess to it. | |
| 1995-06-24 | Philadelphia, PA | 24:42 | Simultaneously rocking and dark, with 3 distinct and excellent movements, and with a psychological edge like many top Summer '95 jams. | |
| 1995-06-24 | Philadelphia, PA | 14:43 | A really beautiful quiet section at first, then the power starts to build, but ever so gradually. False peak > Real peak ending. | |
| 1995-06-25 | Philadelphia, PA | 8:29 | > in from "Ya Mar." Exceptionally well-played straightforward version. Trey shreds. > to "Taste." | |
| 1995-06-25 | Philadelphia, PA | 13:42 | Awesome Page, and with a "Taps" tease by Trey. Suffice it to say that this is one HELL of a way to start a 2nd set. | |
| 1995-06-25 | Philadelphia, PA | 17:21 | The 1st jam features some Eastern sounding notes and scales and is relatively brief. The 2nd begins is an intense, pulsing and rocking mode. The jamming gradually settles down into quiet exploration, which then grows eerie, gains power and a pulse and -> "WDWDIITR." | |
| 1995-06-25 | Philadelphia, PA | 1:07 | A brief, intense Fish and Page led jam develops at the end of "HYHU" and -> to "Weekapaug Groove. | |
| 1995-06-25 | Philadelphia, PA | 10:07 | A strong, straightforward breakdown jam features solid play by Page and Mike. Teases of "Mainstreet" (Bob Seger) and "Dreaming" (Blondie) add extra mustard. | |
| 1995-11-25 | Hampton, VA | 8:03 | Set II opener. Stretched-out, multi-faceted psychedelic jam that includes "Mind Left Body"-like jamming from 2:47 - 3:21. Jam has an eerie, quiet, mid section, then regains power. Extremely dissonant. Transition to "Kung." | |
| 1995-11-25 | Hampton, VA | 11:30 | Following "Kung", which is performed like a hymn, "Mike's Song" takes the long journey home: A typically fierce version bending to break into an incredible "Rotation Jam" (like @SomethingsPhishy points out: If you didn't know better, it's tough, on tape, to realize the band swaps gear) which, ultimately, finds the four on Page's rig - this, before a seamless -> back into "Mike's." Fall Phish at its finest. | |
| 1995-11-25 | Hampton, VA | 13:23 | -> "Mike's". Debut finds the bandmates swapping gear before settling to play upon Page's rig before returning to "Mike's Song". | |
| 1995-11-25 | Hampton, VA | 5:15 | -> from the first "Rotation Jam," the musicians return to their instruments to complete the first segment of a momentous "Mike's Groove." | |
| 1995-12-01 | Hershey, PA | 20:16 | A driving and furied 1st jam leads off. The 2nd begins with a somewhat dark sentiment, buffeted by an intense rhythmic sense. The jam then quiets briefly, before regaining its propulsive high energy nature. At 15:00, Page takes the lead, adding '95-style funk, while Trey opts for the mini kit. At the end, Trey returns to guitar to lead a clean -> to "Weekapaug," the first ever "Mike's"/"Weekapaug" pairing. | |
| 1995-12-01 | Hershey, PA | 8:28 | -> from "Mike's Song" (1st time ever), and played in a different key than normal. Despite some issues with the key change, the jam contains a beautiful, melodic theme. | |
| 1995-12-09 | Albany, NY | 7:00 | Set II opener. Overshadowed by the huge "YEM" later in the set, this version is dark and twisted, an impressive and musical "wall" of sound, but is also very well played. | |
| 1995-12-09 | Albany, NY | 34:09 | An incredibly melodic and beautiful jam segment makes this among the finest and most adored YEMs in Phish history. Also a "silent jam" and Shaft quote. Vocal jam includes quotes from a talking Beavis and Butthead doll. (No B&D section.) | |
| 1995-12-15 | Philadelphia, PA | 8:49 | Very spacey jam segues into a creepy, Fish-driven groove with unintelligble, bizarre vocalizations from someone (?), as Page teases the "Pink Panther" theme a few times. "Odd" doesn't even begin to describe this. | |
| 1995-12-15 | Philadelphia, PA | 11:38 | A very good "Type I" jam breaks into some percussive, deep exploration at 8:30 and then -> to "Rotation Jam" (one of only 4 such performances during which the band members all switch instruments but continue playing). | |
| 1995-12-15 | Philadelphia, PA | 14:10 | Jam almost immediately breaks into an unusual groove. Not way out there, but uniquely excellent. | |
| 1996-08-14 | Hershey, PA | 4:47 | -> in from "Wilson." A very good, badass, dissonant and mildly funky jam emerges that grows spacey and > to "DwD." | |
| 1996-08-14 | Hershey, PA | 6:04 | Great -> into "Poor Heart." | |
| 1996-08-14 | Hershey, PA | 13:56 | With the Clifford Ball looming, the band throws down a version suitable for any festival. Fast and frenetic, the band channels some inner-Fall 1995 and plays powerfully and without reservation, racing through the composed section to jam with added verve and tenacity. A signature moment from summer tour's surprise show. | |
| 1996-08-14 | Hershey, PA | 15:14 | Jam gets nicely beyond "Jim," returns, then breaks into some percussive jamming with Trey on the mini kit. Unfinished with > to "YEM." | |
| 1996-08-14 | Hershey, PA | 19:20 | A must-hear ending to this version which is "type II" in part. | |
| 1996-10-17 | State College, PA | 12:20 | Guitar/vocal response by Trey. "DEG" -like jamming in Page's second solo by Page and Trey > klezmer and chanting. | |
| 1996-12-28 | Philadelphia, PA | 16:02 | Patience is a virtue, and this version is proof of that concept. The 1st jam is frankly below average by '96 standards, but the patient listener is rewarded by a 2nd jam that begins with some great rocking hose, and mellows to delicate Trey, Page and Mike interplay before -> to "Strange Design." | |
| 1996-12-28 | Philadelphia, PA | 16:03 | Page at the helm, as he leads the band first in funky breakdown jam, playing several of his toys including the Moog. Following a brief return to "Weekapaug," Page solos on piano in a manner akin to "Coil." | |
| 1996-12-29 | Philadelphia, PA | 17:03 | "YEM" -> to "Rotation Jam," an instrument-switching jam. | |
| 1996-12-29 | Philadelphia, PA | 4:54 | -> in from "YEM." This instrument-switching jam is performed during the "YEM" jam and > to "Sixteen Candles" with Mike on piano. | |
| 1996-12-29 | Philadelphia, PA | 2:03 | > in from "Rotation Jam." Mike sings and performs this 1950s pop hit solo on piano. > to the "YEM" vocal jam. | |
| 1996-12-29 | Philadelphia, PA | 3:28 | > in from "Sixteen Candles" for the "YEM" vocal jam. | |
| 1997-07-21 | Virginia Beach, VA | 21:51 | Brilliant, exploratory "Gin" that includes funk, "Drowned" jamming (9:25 - 11:55), syncopated, blues-infused rocking, and stops. At 18:30 with the others still playing, Trey addresses the audience, talking about new songs. | |
| 1997-07-21 | Virginia Beach, VA | 5:47 | Summer 97's brilliant Creature Double Feature. -> from "Wolfman's Brother," the intro features Trey's signature sound, before a more traditional "Magilla" takes shape. True to that summer's form, the version veers into more exploratory ground, with Trey trading solos with Page and lending a funky effect to Mike's playing. | |
| 1997-07-21 | Virginia Beach, VA | 8:15 | The solo section begins all the way down, allowing Trey to expertly switch between sparkling chord arpeggiations and soaring single note lines with supreme patience, before his cathartic, Leslie-affected chording brings it home. | |
| 1997-07-21 | Virginia Beach, VA | 7:10 | At 7:10, the jam veers into a nice funky groove. Then at 8:30 LeRoi Moore pipes in on the saxophone. He plays a tease from the "Theme To Woody Woodpecker" and then he and the band embark on a funky, jazzy exploration. Page switches keyboards several times and the jam grows weird, dissonant and chaotic towards the end. | |
| 1997-07-21 | Virginia Beach, VA | 12:33 | -> in from "Theme." The "Jam" leaves "Theme" and veers into a nice funky groove. Then at 8:30 LeRoi Moore pipes in on the saxophone. He plays a tease from the "Theme To Woody Woodpecker" and then he and the band embark on a funky, jazzy exploration. Page switches keyboards several times and the jam grows weird, dissonant and chaotic towards the end. | |
| 1997-07-21 | Virginia Beach, VA | 12:27 | Trey's playing includes some subtle and effective melodic variation. Meanwhile Page and Fish add really nice color and texture, transforming this lazy summertime version into one with a powerful sense of grandeur, reaching lofty heights in its strong conclusion. | |
| 1997-07-22 | Raleigh, NC | 9:53 | Played during a thunder and lightning storm of Biblical proportion that prematurely ended Set I, you can hear the thunder crackling in the background. Clearly the storm electrified the band, and if you are a Page fan, this is a must-hear, incredibly intense version. | |
| 1997-07-22 | Raleigh, NC | 19:56 | Multi-part, heavy duty funk jam -> "Mike's Song." | |
| 1997-07-22 | Raleigh, NC | 14:34 | This single jam version breaks into a thick soupy funk groove right off the bat, with lots of good variation. At 8:20, there's some shifting of instrumental sounds, but the basic grooves stays intact. Then at 10:45 the jam breaks into a new, completely different and exploratory section with a threatening, semi-evil tone. The abrubt switch back to "Mike's" is a bit forced, but all in all, that's trivial nit picking. | |
| 1997-07-23 | Atlanta, GA | 13:27 | Arguably the best "Type I" version ever. The jam proceeds through the customary progressions, then, just when your ear is expecting the final refrain, the band veers off into a fantastic, swinging, stylistically well-played extension. | |
| 1997-07-23 | Atlanta, GA | 9:31 | An excellent version which showcases the dynamic interplay between Trey and Page, while Fish and Mike keep the intricate rhythmic pattern steady throughout. Also has a fantastic peak and gradual settle. | |
| 1997-07-23 | Atlanta, GA | 13:10 | Straightforward, but so loaded with the funk that it could only belong to 1997. | |
| 1997-07-23 | Atlanta, GA | 12:11 | The band remains in a lockstep groove as Trey tears through this Phish staple. The jam threatens to break away but then returns for a rousing conclusion and shoots off fireworks to close the first set of a highly regarded show. H/T @Tweezingspaceranger | |
| 1997-07-23 | Atlanta, GA | 26:40 | Raging porno-funk that slides into a very mellow midi horn laden outro. [A multi-section masterpiece of funky '97 styles highlight this strong jam. Page skillfully deploys multiple keyboards, and the jam energy ebbs and flows repeatedly.] | |
| 1997-07-23 | Atlanta, GA | 17:53 | Unusually weird jam. Jeopardy theme tease. -> to "Rocky Mountain Way." (No B&D, no VJ.) | |
| 1997-07-23 | Atlanta, GA | 2:31 | -> from one of the summer's marked musical surprises, Lakewood's supercharged and super weird "You Enjoy Myself." "YEM" culminates not in the characteristic vocal jam, but rather, a dense passage of shoegazing noise. As if the band is channeling their inner-Europe, this outro finds Fish working his cymbals, and the band unexpectedly opts to jam "Rocky Mountain Way," last played in 1991. After laughing their way through a couple verses, a snappy, bluesy (albeit brief) jam emerges, before being ripped by -> into a rocking "CDT." | |
| 1997-08-10 | Noblesville, IN | 17:32 | Improvisational heavyweight version which breaks into a full jam on King Crimson's "Larks' Tongues In Aspic Part II" around 10:25. From there, it settles, then rebuilds into "SOAM" with a quick tempo and "Third Stone from the Sun" teasing. Released on Live Bait 12. | |
| 1997-08-10 | Noblesville, IN | 14:35 | Reaches a near-transcendent peak, and closes the first set in a brilliant fashion. Practically "HOSE." IT. | |
| 1997-08-10 | Noblesville, IN | 23:00 | Amazing jam that begins in heavy funk mode and transitions to a more quiet vibe before shifting into high gear with some serious rock and roll. The jam then breaks into some beautiful, peaceful and textured playing ("HOSE") before rebuilding into a powerful groove. -> into "GTBT." Must-hear. | |
| 1997-08-11 | Noblesville, IN | 16:25 | -> in from "Makisupa." Many of the later '90s versions are extended, but don't carry nearly the same punch as those from the '93 - '96 era. Not here though, this one is like getting teeth extracted, one by one and without novocaine: long and painful. | |
| 1997-08-11 | Noblesville, IN | 13:20 | The jam veers away from the normal structure several times, adding tension and anticipation when it returns to "Antelope." | |
| 1997-08-11 | Noblesville, IN | 9:08 | The band still toying with set placement, here, "Vultures" anchors the second set for the second time, and with great results. While a true appraisal will only coincide with the arrival of a crisper AUD (or SBD!), what IS clear is that Trey has grown comfortable playing within the "confines" of the composition's compact form, his soloing crisp and rich with both discordant and melodic variation, and really impressive phrasing. | |
| 1997-08-11 | Noblesville, IN | 27:17 | Weird jam segment and vocal close. (No B&D.) | |
| 1997-08-13 | Burgettstown, PA | 19:22 | The longest version to date starts off with a loose funk groove that develops into an air tight polyrhythmic groove which Trey eventually starts to solo on top off before fading out into "The Horse." | |
| 1997-08-13 | Burgettstown, PA | 14:59 | The song portion is played slower than normal. The beginning of the jam is vintage '97 funk, goes into some classic "crosseyed-esque jamming" before drifting into some spacier realms. | |
| 1997-08-13 | Burgettstown, PA | 6:10 | Christmas comes early to Star Lake when the full band delivers a "Little Drummer Boy" jam in the post "blat" section. | |
| 1997-08-13 | Burgettstown, PA | 9:05 | Incredible, straight-forward set-opener. What the jam might lack in terms of inventive improvisation (evinced earlier, and throughout Summer 1997's tour) is more than compensated for by way of tight, full-band play, and absolutely incendiary Trey, who puts on a clinic. | |
| 1997-08-13 | Burgettstown, PA | 11:35 | Big deep groove, with some sweet staccato patterning from Trey in the second jam. | |
| 1997-08-14 | Darien Center, NY | 13:31 | Gets beyond "Antelope" at several points, including brief major mode action (5:40 - 6:30), rhythmic variation, a brief settle, and good tension building before mounting a serious and dissonant peak. | |
| 1997-08-14 | Darien Center, NY | 8:52 | -> in from "Hood." An ambient jam starts as "Harry" ends, morphing into an exploratory funk-based one. > to "Forbin." | |
| 1997-08-16 | Limestone, ME | 10:34 | Great example of why '97 is such a pivotal year in Phistory. Here they stretch and expand the music everywhere possible without ever really getting beyond "CDT" proper. | |
| 1997-08-16 | Limestone, ME | 12:22 | The band covers a lot of varied musical territory in this "Type I" version that includes a "What's The Use" tease. | |
| 1997-08-16 | Limestone, ME | 16:39 | Mellow big bass funk groove, no climax. [A nice gradual transition from the heavy funk to more open, upbeat play, which grows dissonant before latching onto a great rocking, powerful and percussive groove.] | |
| 1997-08-16 | Limestone, ME | 18:50 | Awesome, improvisational version that gets well beyond standard "Wolfman's." At 8:50, the jam breaks out of funk mode and starts to explore, masterfully linking several sections with great, inspired music before -> to a cool "Simple." | |
| 1997-08-16 | Limestone, ME | 10:39 | -> in from a fantastic "Wolfman's Brother." A bit quirky, this mellow "Simple" jam includes a jam on the "Theme from the Odd Couple," turns bluesy, and -> to "My Soul." | |
| 1997-08-16 | Limestone, ME | 2:48 | A stand-alone jam, sort of spacey, sort of funky follows "My Soul" and -> to "Slave To The Traffic Light" | |
| 1997-08-16 | Limestone, ME | 12:28 | A kind of grunge-like jam develops, with additional vocal refrain at about 10:00. The jam then departs "Halley's" altogether and develops into a swirly, minor key, bluesy Fish and Mike led exploration. "On Your Way Down" tease leads directly to a -> to "Cities." | |
| 1997-08-16 | Limestone, ME | 13:30 | Another SUPER SLOW, funky version from '97. Segues out of "Halley's Comet." The tempo picks up at about 8:40, and the funk comes on even thicker. Gets more rocking and bluesy before -> to "Llama." | |
| 1997-08-16 | Limestone, ME | 6:44 | -> in from "Cities." Great Page and a nasty, growling and extended Trey section. -> to "Lawn Boy." | |
| 1997-08-16 | Limestone, ME | 15:48 | The boys really stretch the jam out on this one nicely, and the playing is excellent. They also tack on a nice extended ending (was played near the end of day 1 of the Great Went) before transitioning to "Funky Bitch." | |
| 1997-08-17 | Limestone, ME | 18:33 | Space Funk. "Cities"-like jam and "Simple" teases. | |
| 1997-08-17 | Limestone, ME | 10:47 | Powerhouse version from the Great Went. Riveting Page solo, skillful Trey solo, and spiraling crescendo finale. | |
| 1997-08-17 | Limestone, ME | 27:07 | A paramount, must-hear version that includes multiple stages of funk, rock, and space funk, and concludes with an incredible Mike and Trey duet which -> to an equally transcendent "Bathtub Gin." | |
| 1997-08-17 | Limestone, ME | 15:22 | -> in from a great "DwD." One of the most beloved Phish jams of all-time, and exhibit "A" for "Hose" jamming. The progression modulates to include a minor chord and combines with Trey's soaring lead play to produce a truly inspiring improvisation. Unfinished > "Uncle Pen". | |
| 1997-08-17 | Limestone, ME | 22:52 | Mike and Trey take time to paint, then come back and light the earth on fire. Last five minutes could conjure the dead into a dance competition. | |
| 1997-08-17 | Limestone, ME | 15:30 | Inspired by the first ever "Hood" glowstick war, Trey leads this fan favorite melodic jam to a thrilling peak. | |
| 1997-08-17 | Limestone, ME | 5:32 | Jammed out a bit, with an extended Trey solo and a sweet drawn out transition starting at about 4:18, which at first sounds like "Boogie On" (not played since 1988, or 969 shows), but instead -> to "NICU." | |
| 1997-08-17 | Limestone, ME | 9:45 | Page solo with others playing along > breaks into a funky jazzy jam > beautiful Page/Trey duet/jam joined by Mike and Fish -> Digital Delay Loop jam with "London Bridge Is Falling Down" teases -> "Mule" conclusion. | |
| 1997-08-17 | Limestone, ME | 3:50 | -> in from "SOAMule." The "DDL" Jam is just part of an incredibly improvisational "Mule." | |
| 1997-08-17 | Limestone, ME | 1:19 | -> in from "Digital Delay Loop" Jam to end this incredible "Mule." | |
| 1997-08-17 | Limestone, ME | 11:23 | Straightforward but extended, well played and hard rocking version closes Set III, Day 2 of the Great Went. | |
| 1997-11-21 | Hampton, VA | 16:58 | A dark and stormy groove with Fall '97's unique sound. Funk is the predominant style initially but the jam becomes more ambient and throbbing towards the end and taps into that same enveloping power found in the next night's "Halley's" jam. | |
| 1997-11-21 | Hampton, VA | 9:59 | Jam is well played but typical - then there is a long digital delay loop fade out instead of the usual closing chords. | |
| 1997-11-21 | Hampton, VA | 25:42 | > in from "Ghost." The band dexterously weaves together layers of hard rock, funk, and delicate, ambient space almost imperceptibly, as the transitions are so fluid. Difficult to break into easily defined sections or movements, it's more like a dynamically evolving life form. -> to "Slave To The Traffic Light." Simply must-hear. | |
| 1997-11-21 | Hampton, VA | 12:30 | -> in from a monster "Bag." '94 and '97: Great years for Phish and for "Slave." But the styles (for both) are very different. This "Slave," like many '97s, has a feeling of gradual building, rather than skyrocketing from valley to peak. | |
| 1997-11-22 | Hampton, VA | 16:32 | Single jam format, but there's a lot going on in this funk filled fan favorite. Patient but clearly directed, the band works the basic groove over and over, adding texture and accent, swelling and shrinking the energy. Around 12:00, the focus shifts to quieter musing and exploration, before finially slipping neatly into "Hydrogen." | |
| 1997-11-22 | Hampton, VA | 13:34 | A fan favorite show opens with a strong "Mike's Groove." "Weekapaug" begins with strong "Type I" jamming through 6:50, when it shifts to '97-style funk mode with a slightly dark tone. The funk ends with a "stop" and returns to "Weekapaug" in very good form. | |
| 1997-11-22 | Hampton, VA | 18:00 | This patient "Hood" has an extended and very gradual build. The peaking section in the final few minutes is quite glorious. | |
| 1997-11-22 | Hampton, VA | 24:13 | Starting off in a funky, mellow groove, the jam gradually grows legs and momentum with excellent contributions from all four. At about 18:00, the jam downshifts to a more quiet, pensive sentiment with occasional flashes of powerful bass and percussion. A must-hear classic. | |
| 1997-11-22 | Hampton, VA | 11:31 | Popular, widely circulated funky version. "BEK" teases. | |
| 1997-11-23 | Winston-Salem, NC | 10:23 | Great, tight playing by all. Page adds some unusual horn-like effects as well as some descending piano progressions towards the end. > to "Black-Eyed Katy." | |
| 1997-11-23 | Winston-Salem, NC | 10:56 | Extended, explosive jam. Vintage Fall '97 hard rock that reaches a screaming, full-band climax. Builds on the strong version from the night before. | |
| 1997-11-23 | Winston-Salem, NC | 10:21 | Excellent version which develops its own groove with a somewhat dark undertone. | |
| 1997-11-23 | Winston-Salem, NC | 17:04 | After a brief shift to major mode, the tension ratchets up noticeably. At 10:45, Mike and Fish break into a droning, repetitive groove which Trey and Page play over. This thunderous thrumming continues and -> to "NICU." | |
| 1997-11-23 | Winston-Salem, NC | 31:12 | Improvisational, hard-rocking "Gin." At 13:00, following a well-played, "Type I" section, the jam breaks into 13 minutes of blistering, intense arena-style rock, before mellowing into great '97-style low-key jamming. -> to "DwD." | |
| 1997-11-23 | Winston-Salem, NC | 10:30 | Some great, fire stoking playing by Trey as he brings this hot show to a fitting close. | |
| 1997-11-26 | Hartford, CT | 17:29 | Funk soars into some excellent, transcendent, arguably "hose" improv. | |
| 1997-11-26 | Hartford, CT | 12:11 | Funky jam has nice interplay between band members. Stacatto-ey at times with some "Manteca" teases. At 8:00 Mike starts a theme that they play around with for a couple minutes before Trey takes over with a solo that leads into My Soul. | |
| 1997-11-26 | Hartford, CT | 10:07 | An excellent version arriving midway through an excellent first set. Following a strong composed section, Page crafts an inspired passage, gently working a pleasant melody. Trey responds in kind, offering the perfect counter to Page's playing. While different from the typcially comedic "Mule-Duel," the combination here jells, creating an inspired rise to the conclusion. | |
| 1997-11-26 | Hartford, CT | 12:02 | Unbelievable playing by Trey and the others as the band builds to a HUGE peak and then drives up over another. 7/22/97 is (literally) electrifying; 8/3/97 is unusually improvisational. This version is just phenomenal, with masterful contributions by all band members. | |
| 1997-11-26 | Hartford, CT | 20:43 | This uniquely jammed out version maintains a heavy rock vibe for the duration and features multiple Trey solo sections. -> "2001". | |
| 1997-11-26 | Hartford, CT | 14:23 | First jam is stellar, highlighted by the 5:00-7:00 mark. Second jam goes "Super Bad" stop-start and your clothes will be shed on the ground. Segue into "Cities" is great. | |
| 1997-11-26 | Hartford, CT | 8:00 | Segues out of "2001." Nice mellow groove tacked onto the outro. -> to "Ya Mar." | |
| 1997-11-26 | Hartford, CT | 11:19 | > in from "PYITE." Soaring and shredding guitar playing by Trey. Stellar backing from the others. | |
| 1997-11-28 | Worcester, MA | 23:59 | Explosively funky, and extensive C&P teasing! (No B&D, no VJ.) | |
| 1997-11-28 | Worcester, MA | 9:40 | The little brother of 11/23/97. Funky beginning and a great, extended peak. | |
| 1997-11-28 | Worcester, MA | 12:47 | Although it sticks with the "Timber" theme throughout, this is an excellent, well-played version. High quality SBD available on the "Spreadsheet." | |
| 1997-11-28 | Worcester, MA | 12:18 | Like driving across a mountain range, this version takes you over the first peak, you drop down a bit, then back up again, and again up over the very top, before finally heading down for good on the other side. | |
| 1997-11-28 | Worcester, MA | 12:32 | Somewhat unusual mid second set placement, before a serious "Ghost." This one and 8/9/97 have a bit more of the traditional "Slave" dynamic, with a serious peak, rather than a gradual swelling like other '97s. | |
| 1997-11-28 | Worcester, MA | 18:39 | Raucous techno-funk with breakdown jam. [Strong funk through 9:45 when this one uncorks, quiets down to some cool low-key play, then rebuilds to a captivating and explosive finale and -> to "Johnny B. Goode."] | |
| 1997-11-29 | Worcester, MA | 6:32 | Slow and deliberate show-opener, featuring that signature Fall 1997 sound. Cool keys give way to soaring Trey. Fish drives great syncopation and full-band play. Great dynamics, as the sound is textured and nuanced, producing subtle and musical shifts in intensity. | |
| 1997-11-29 | Worcester, MA | 11:45 | No free-form improvisation like a big "Ghost" or "Tweezer," but within a self-imposed, rigorous construct, there is a hell of a lot of musical creativity going on in this characteristically '97-style stretched-out version. | |
| 1997-11-29 | Worcester, MA | 58:49 | Longest single Phish jam to date. Contains many different sections, and has been nicknamed the "Jim Symphony." Contains a thrilling "Weekapaug" jam. | |
| 1997-11-30 | Worcester, MA | 14:44 | Atypical version with a low-key funk groove tacked on the end in addition to the usual blues stylings. Unfinished. | |
| 1997-11-30 | Worcester, MA | 31:30 | Yin-Yang improvisational version. Following the expected funk, the jam breaks into 9+ minutes of lush, beautiful and delicate playing. But around 15:30, some dissonance creeps into the mix, and the boys then launch into an insane, heavy-metal "Pentagram Death Jam" with "Sanity" and "Esther" lyrics and CK5 dimming the arena lights. | |
| 1997-11-30 | Worcester, MA | 20:33 | Has a magnificent, melodic jam in it beginning about 13:10. Pure unadulterated hose at one point. Unfinished with a -> to an excellent "Free." | |
| 1997-11-30 | Worcester, MA | 10:36 | -> in from a monster "Stash." The only performance in Fall '97. In addition to an excellent, extended version, the band tacks on a nice 4 1/2 minute ambient jam to the back end of "Free." -> to "Piper." | |
| 1997-11-30 | Worcester, MA | 4:40 | > in from "Free." A nice ambient jam emerges on the back end of "Free" and -> to "Piper." | |
| 1997-12-02 | Philadelphia, PA | 20:41 | Exceptional single jam version which begins in funk/rock mode and grows increasingly powerful until 8:30, when the jam shifts into serious funk mode. After 12:00, the jam quiets to delicate, introspective play, before regaining its original juggernaut sense of power and -> to "Simple." This is entire Mike's Groove is must-hear material. | |
| 1997-12-02 | Philadelphia, PA | 9:45 | Features a Trey and Page duet. A gorgeous, must-hear version which -> to a must-hear "Dog Faced Boy" which -> to a must-hear "Ya Mar." | |
| 1997-12-02 | Philadelphia, PA | 5:36 | -> in from "Simple." A beautiful and inspiring "DFB" follows a gorgeous "Simple" jam, and is part of a HUGE "Mike's Groove." -> to "Ya Mar" as the great stuff keeps coming. | |
| 1997-12-02 | Philadelphia, PA | 14:00 | -> in from "Dog Faced Boy." Jam quickly moves away from conventional "Ya Mar" structure into a rhythmic, grooving foray with building intensity. "Crosseyed And Painless" tease," and a fantastic -> to "Weekapaug." | |
| 1997-12-02 | Philadelphia, PA | 15:29 | Thrilling, smooth -> in from "Ya Mar." This version completes a fantastic "Mike's Groove." "Weekapaug" starts off more slowly before coming up to speed, then dives into the thick funk. Swiftly after 6:00, the jam blasts off into an upbeat groove that keeps building, working the crowd into a frenzy by 10:00. A must-hear version. | |
| 1997-12-02 | Philadelphia, PA | 8:43 | Mellow - or offbeat - by "Zero" standards, the version, strangely musical, produces a fun and surprising "tripping up the steps" sensation. The band, clearly energized, performs at a much slower tempo, the song's customary forceful vibe created by shouting and Trey's deliberate, scuzzy soloing. | |
| 1997-12-03 | Philadelphia, PA | 16:35 | Funkalicious! Great up-tempo version that highlights the band's peaking cohesiveness and improvisational talent during the Fall 1997 run. | |
| 1997-12-03 | Philadelphia, PA | 9:39 | A badass "type II" (and dark) groove develops before dissolving into space, out of which 2001 begins. | |
| 1997-12-03 | Philadelphia, PA | 26:26 | Long intro with teases and a signal. A wonderfully upbeat, major mode movement develops and continues for about 5 1/2 minutes before cycling back to "Bowie." The rub: it takes 18 minutes to get to this departure from standard fare. Unfinished with a fantastic -> to "Possum." | |
| 1997-12-03 | Philadelphia, PA | 9:11 | > in from "Possum." An excellent Fall '97-style funk jam develops on the tail end of "Possum" and -> to "Prince Caspian." | |
| 1997-12-03 | Philadelphia, PA | 10:11 | -> out of a jammed out "Possum." Trey takes the lead here, providing inspired melodic content. > to "Frankenstein." | |
| 1997-12-09 | State College, PA | 11:58 | The single jam has a funky bent at first. After working through some typical terrain, the funk comes back, especially after 8:30 when the jam takes on a "BEK"-like vibe, accentuated by some nice stop/start action. | |
| 1997-12-09 | State College, PA | 29:32 | The jam that emerges begins subtly, then grows some legs as Fish and Mike kick the funk into gear before morphing back into a quiet, contemplative jam. Extremely improvisational version. Seamless segue sounds at first like a move to "Bowie" but becomes "Timber" instead. | |
| 1997-12-09 | State College, PA | 7:44 | Segue -> in from a 30 minute "Simple," this version restores the jam to its typical place of darkness, and has an almost '95 psychedelic feel to it, with Fish kicking the percussion into heavier action. | |
| 1997-12-11 | Rochester, NY | 19:54 | High octane jam flames out at 11:00 into an excellent Page and Mike led minimalist groove which -> to "Maze." There is also a -> "DwD" from "Ghost" later in this show to complete the earlier, unfinished version. | |
| 1997-12-11 | Rochester, NY | 15:01 | -> from DWD, the second in a trifecta of excellent Mazes from December 1997. Page delivers meaty play in the first half of the jam. The tension that follows builds primarily from the push and pull between the speed and adrenaline of the rhythm section led by Fish, and Trey's guitar lines which seem at times to lag and then race to keep up before the final photo finish. | |
| 1997-12-11 | Rochester, NY | 10:36 | Superlative even among the standouts. The best "Limbs" build to a peak that reaches the stratosphere, then gradually work back down to earth. Listen to this version for a prime example. | |
| 1997-12-11 | Rochester, NY | 21:17 | The jam keeps up a pretty good head of steam until about 12:00 when it settles into 9 minutes of high quality '97-style space funk/quiet bliss enhanced with delay effects. -> to "Roses Are Free." | |
| 1997-12-11 | Rochester, NY | 8:11 | Wild version that segues out of Roses Are Free. It's highly improvisational in that after about 3 mins of "normal" (so to speak) BBFCFM, a Sturm-und-Drang, plodding jam evolves and trudges along for a few minutes, and then the band drops out as Trey sustains a note, then a chord, and, well, nothing much happens for a minute or so, and then Trey counts-off and Ghost begins. | |
| 1997-12-11 | Rochester, NY | 16:26 | Blazing, rocking funk which -> to a "DwD" reprise. [A good, funky jam settles into some low-key grooving, then gradually develops a full head of steam, igniting into a blistering, raging eclipse which -> to "DwD Reprise."] | |
| 1997-12-12 | Albany, NY | 11:11 | The Chairman of the Boards leads the way, but Big Red is no slouch either. | |
| 1997-12-12 | Albany, NY | 15:46 | Another stellar fall 1997 version. | |
| 1997-12-12 | Albany, NY | 11:54 | "Saw It Again" rocks along in full power mode for a good 5 1/2 minutes before mellowing into '97-style ambient space and -> to a high quality "Piper." | |
| 1997-12-12 | Albany, NY | 18:57 | -> in from "Saw It Again." Very improvisational version that modulates back and forth between hard rocking bursts and quiet, pensive moments. Includes a "BOAF" tease and beautiful space before > into "Swept Away." | |
| 1997-12-12 | Albany, NY | 10:07 | -> in from "Swept Away > Steep." Straightforward until 10:07, when the band launches into a post closing chord, rocking, funky, and cerebral "Jam." Great Fall '97 improvisation here with a -> to "Izabella." | |
| 1997-12-12 | Albany, NY | 8:17 | -> in from "Prince Caspian." A rocking, funky and cerebral jam emerges at the conclusion of "Caspian." Great Fall '97 jamming with similarities to "Llama." -> to "Izabella." | |
| 1997-12-13 | Albany, NY | 18:24 | At about 8:30, the opening chords are replayed, and the band breaks into a funky, upbeat 10 minute jam of exceptional quality. Must hear. SBD recording "From The Archives" available. | |
| 1997-12-13 | Albany, NY | 10:29 | Clearly comfortable, the band works through the intro into an awesome "middle" section featuring, unsurprisingly, inspired and deft play from Trey. The song loses its shape to assume a different form, the jam cooling after the 5:30 mark to become decidedly - and pleasantly - spacey, before a spirited return to the song's closing refrain. | |
| 1997-12-13 | Albany, NY | 8:42 | Lots of funk in this very good version. Page leads the way with his clav and piano work. | |
| 1997-12-13 | Albany, NY | 9:37 | Excellent, adding an exclamation point to a multi-song "Mike's Groove." The jam dwindles into nothingness before -> "Catapult" and finishing strongly. | |
| 1997-12-13 | Albany, NY | 0:58 | -> in from "Weekapaug." "Catapult" is sandwiched amidst a strong "Weekapaug." -> back to "Weekapaug." | |
| 1997-12-13 | Albany, NY | 5:35 | -> in from "Catapult", with a "CYHMK" tease, to complete another strong '97 "Weekapaug." | |
| 1997-12-13 | Albany, NY | 17:44 | The jam drifts away from the typical "Hood" quiet section into an ambient sort of section at 8:45. At 12:15, an excellent, rocking, and non-"Hood" rhythm kicks in and continues until 13:40, when a huge traditional peak erupts. | |
| 1997-12-29 | New York, NY | 12:31 | Blistering, high octane version with nice concluding transition space and a > to "Fluffhead." | |
| 1997-12-29 | New York, NY | 15:55 | Straightforward but well played jam, followed by some downright filthy funk jamming in the "Rocco" section. | |
| 1997-12-29 | New York, NY | 22:00 | Fearsome but exploratory jam. Moments of quiet settle are repeatedly upended by intense funk rocking. This legitimate monster "Disease" finally gives up a little belligerence only to -> into a very strong "David Bowie." | |
| 1997-12-29 | New York, NY | 19:49 | Excellent and thrilling version with strong musicianship. Mode shift out of typical (but very well played) "Bowie" at 13:55 into a great groove which peaks and returns to "Bowie" by 17:00. | |
| 1997-12-29 | New York, NY | 2:38 | > in from a strong "Bowie". Fun version with two "I Can't Turn You Loose" jams, one at the onset of the jam and the other appearing after the last chorus. | |
| 1997-12-29 | New York, NY | 0:50 | -> from "Possum". The first "I Can't Turn You Loose" section pops up early in "Possum's" jam and then > back to "Possum". | |
| 1997-12-29 | New York, NY | 5:39 | The main "Possum" jamming occurs here and includes extended Page lead sections on organ and piano, before Trey gets his licks in later on. | |
| 1997-12-29 | New York, NY | 0:30 | Another round of "I Can't Turn You Loose" puts a cap on a solid "Possum". | |
| 1997-12-29 | New York, NY | 10:50 | Absolutely locked-in version with seamless interplay, breakdown solos by Trey, Page, and Mike, and "I Feel the Earth Move" teasing. One of the greats. | |
| 1997-12-30 | New York, NY | 9:52 | First performance in 920 shows, opens first set of a highly regarded show. Nice '97 style funk/rock groove follows the lyrical section. A very unhurried, patient feel to this one. -> to "Taste", and is reprised and finished in the 4-part funk-fest encore. | |
| 1997-12-30 | New York, NY | 10:23 | -> in from an historic "Sneakin' Sally." Strong version, but quite different from most of the Fall '97 versions. Here, Trey solos beautifully, but Page's role seems far more restrained. There is far less of a full band build towards the end than musical support for Trey's incredible soloing. To some ears, the best "Taste" ever. To others, it's too one dimensional. | |
| 1997-12-30 | New York, NY | 12:59 | Great version where Mike and Fish drive the jam into improvisational territory, including some "Manteca"-like jamming around 8:20, and the ending section dissolves in a quiet but tense manner. | |
| 1997-12-30 | New York, NY | 24:38 | Opening an incredible 2 1/4 hour-long Set II, the second monster "Bag" combines the same elements as the first - funk, rock, and delicate space, but in a completely different manner and configuration. Includes "Third Stone From The Sun" and "Psycho Killer" teases with a > to "McGrupp." A must-hear dynamo that belies a short description. | |
| 1997-12-30 | New York, NY | 9:33 | With Mike and Page out front early, Trey ultimately enters the fray, and he and Page break into an eerie, counterpoint-based duet of sorts, with Mike and Fish nearly absent from the mix. Mike and Fish finally jump back in, creating a tense, throbbing sentiment which gradually dissipates with no concluding section, and instead spills into an epic "Harpua." | |
| 1997-12-30 | New York, NY | 19:57 | With no final refrain, an atypically uptempo jam breaks into a rocking/bluesy groove at 16:45 and -> to "My Soul." | |
| 1997-12-30 | New York, NY | 4:58 | In from BEK ->, the second "Sneakin' Sally" of this fan favorite show functions as a funky reprisal of the major bust-out that opened the evening's festivities. Jumps right into a jammed-out show-closing > Frankenstein. | |
| 1997-12-30 | New York, NY | 10:40 | > in from "Sneakin' Sally." Part 4 of an incredible 4-song encore, and this "Frankenstein" is jammed-out, taboot! | |
| 1997-12-31 | New York, NY | 15:21 | Compared to Hampton, a snappier, more uptempo funk groove unfolds and intensifies in the later stages with brief rock flurries. | |
| 1997-12-31 | New York, NY | 14:00 | Yeah, this is a badass version alright, with a monster, Mike-led groove (it is after all, Mike's song). It's got funk, but not as much as some of the other '97s. And it's got power. At around 9:40, there's a stop, and then a 2nd jam of sorts begins, delicate bliss mode play that sets up well for the "Piper" that follows. | |
| 1997-12-31 | New York, NY | 17:56 | Among the longest "Weekapaugs" to date, this version provides a fitting capstone to 1997. After 14 minutes of balls-to-the-wall, but largely in-the-box jamming, Trey, then Mike, then Page -- and after some Trey banter -- Fish, take solos to send the crowd hurtling towards 1998 (and "2001"). | |
| 1997-12-31 | New York, NY | 17:22 | > in from "Tweezer." Despite its duration, at various points this version seems to lose its bearing, especially from 13:10 on. But it's well worth checking out. Includes a "Birdland" tease and is unfinished with a > to "Prince Caspian." | |
| 1997-12-31 | New York, NY | 8:57 | This is how to close a third set on NYE! Crazy-raw, rough playing by all! | |
| 1998-04-02 | Uniondale, NY | 8:00 | Island Tour opener. Mike's bass lines keep this funky jam fresh, while Page transitions from the clav to the organ and piano. Also includes a guitar breakdown. | |
| 1998-04-02 | Uniondale, NY | 19:24 | The jam almost immediately breaks into exploratory ground that is unusual for this period. Following an ending section without vocals, the jam at 13:10 breaks into a gorgeous ambient jam (first of '98) with "Frankie Says" quotes. | |
| 1998-04-02 | Uniondale, NY | 10:47 | Crazy set-closing version where Trey just keeps the jam going and going, and then he converses a bit with the audience during the conclusion. | |
| 1998-04-02 | Uniondale, NY | 9:19 | Debut has a crescendo-oriented jam that starts off relaxed and picks up punch. | |
| 1998-04-02 | Uniondale, NY | 12:39 | -> in from "Wolfman's Brother." A heavy funk groove breaks out following the lyrical section with some great Fishman percussion. Great collective playing as the jam progresses and segues -> into "Frankie Says." | |
| 1998-04-02 | Uniondale, NY | 18:34 | Exceptional, multi-section version. The jam breaks away from "Twist" at 6:30 into a serene and lush ambient soundscape. At 13:10, an effects-laden darkness overtakes and continues until a > to "Sleeping Monkey." | |
| 1998-04-03 | Uniondale, NY | 13:47 | Show opening "Mike's" has a funky, well played 1st jam with little touches of ambient sound. The 2nd jam kicks off with a dark and powerful tone that gradually mellows into quiet musing which warms in sentiment and -> "The Old Home Place." | |
| 1998-04-03 | Uniondale, NY | 16:26 | Arguably the funkiest "Weekapaug" ever, this one is essentially "Weekapaug -> Funk Jam -> Weekapaug." Teases of the song that would become "Mozambique," "C&P" (sung, not played!), "Nellie Kane," and "Brazil" are just gravy in this extraordinarily improvisational version of the Phish classic. | |
| 1998-04-03 | Uniondale, NY | 27:19 | An incredible jam emerges out of "Roses" proper, opening Set II in a historic and highly regarded show. The improvisational jam combines dark sentiments, ambient sounds, major mode playing, and groove-based action. Must-hear version which > to a strong "Piper." | |
| 1998-04-03 | Uniondale, NY | 16:14 | After a gorgeous building intro, this version is somewhat unique in that the jam follows the ending coda that was common in early versions of "Piper." The jam itself is restrained and contemplative, based somewhat on the ending coda. | |
| 1998-04-03 | Uniondale, NY | 6:54 | > in from "Piper." Sort of the icing in the cake which brings the incredible "Roses Are Free" > "Piper" jam to an upbeat and celebratory close, before launching into the comic "naked guy" madness which happens in the ensuing "Antelope." | |
| 1998-04-03 | Uniondale, NY | 14:16 | Fish says, "If you're gonna run up on the stage, just don't let Carini get you" in the intro. This prompts hilarious "Carini's gonna get you" harmonizing throughout the song. Intense straightforward version with Funky Mike in the "Rocco" section. | |
| 1998-04-04 | Providence, RI | 16:05 | Some wonderful space-funk evolves into stellar, full-band, magnificent improv. Another version I underrated in the 1990s. | |
| 1998-04-04 | Providence, RI | 10:55 | Mike doesn't get a lot of mention on this chart, but he is really rock solid here, underpinning the harmonic base off of which Trey and Page shine. Still, this version doesn't have quite the "extra mustard" of many '97 versions. | |
| 1998-04-04 | Providence, RI | 15:18 | Elongated and groovy version suggests several possible future jamming directions while never straying too far from "Birds" itself. | |
| 1998-04-04 | Providence, RI | 16:40 | Haunting intro and a grooving minimalist first jam. Trey pounces at the 9 minute mark and another Island Tour masterpiece is created. | |
| 1998-04-04 | Providence, RI | 11:59 | > in from "2001." About 4:38 into the conventional "Brother," this one departs into a great, funky jam. Way beyond the standard, it nonetheless builds in tension and dissonance as the jam progresses. Includes a brief "DEG" tease. After the song, the band played a brief "radio friendly" reprise. | |
| 1998-08-02 | Noblesville, IN | 7:26 | Funk groove that sticks close to the "Boogie on" theme and features great contributions from all band members, especially Fishman. | |
| 1998-08-02 | Noblesville, IN | 11:05 | "Manteca"-like jamming, lots of great Page on the B-3, and very strong Mike and Trey. Fun version with a > to "Ghost." | |
| 1998-08-02 | Noblesville, IN | 19:03 | Rock star Page driving the mothership into deep outer space. [Follows the typical format, but with great contributions by Page and Mike. Then after 14:30, the jam breaks into an excellent electro-rock groove wich gradually recedes.] | |
| 1998-08-03 | Noblesville, IN | 20:15 | A "Nancy" double shot, with "Halley's" -> "I Didn't Know." A Mike and Fish led funky, percussive jam initially springs out. From there, at least 3 distinct movements develop in a masterful, wide-ranging opus which includes "A Love Supreme" tease from Page. | |
| 1998-08-03 | Noblesville, IN | 10:26 | A somewhat abbreviated intro leads to a funky, creative jam segment that's longer than you'd guess from the song's timing. "Sunshine of Your Love"-like jamming by Trey towards the end (9:30). | |
| 1998-08-03 | Noblesville, IN | 16:43 | Funky super groove with a lot of "Manteca" teases. Very melodic Trey before an awesome "Manteca" ending. Page rage throughout. One of the strongest versions ever. | |
| 1998-08-03 | Noblesville, IN | 11:34 | Fantastic version that has it all: delicate, intricate playing, a quiet tempered section that builds to a glorious peak, and then an orchestrated downshift concluding with serene, ambient space. | |
| 1998-08-06 | Atlanta, GA | 15:39 | The jam moves beyond solid funk to a mellow, ambient groove that gradually develops some funky legs and > to "Talk." | |
| 1998-08-06 | Atlanta, GA | 9:52 | > in from "NICU." Another strong '98 version in which Page plays a noticeably strong role, but Trey's no slouch either. > to "The Mango Song." | |
| 1998-08-06 | Atlanta, GA | 19:12 | Funky but monotonous. "Running with the Devil" tease. (No B&D.) | |
| 1998-08-07 | Raleigh, NC | 13:53 | Although the single jam segment follows a fairly standard structure, this version is a great example of Trey taking the lead and directing the jam, with strong backing from Page. With swirling and shredding guitar play, the energy ebbs and flows, before culminating in a final ecstatic peak which hits the transitional D, E, and F# chords and > to "Simple." | |
| 1998-08-08 | Columbia, MD | 11:15 | A really great funky, but low key, jam emerges on the back end of "Sally." -> to "Guyute." | |
| 1998-08-08 | Columbia, MD | 11:54 | Trey in his full 1998 guitar mastery glory. A nice visit to Nastytown in the second jam as Mike is liquid beast. | |
| 1998-08-08 | Columbia, MD | 15:43 | Not your typically pumped up "Piper," this awesome jam, driven by Mike and Page, is spacious but has real legs. "Sparks"-like tease at about 14:30. A fan favorite. | |
| 1998-08-08 | Columbia, MD | 12:36 | Very strong Page/Trey interplay, some good variation by Trey, and uniquely '98 sound combine for a quality '98 "Hood." | |
| 1998-08-09 | Virginia Beach, VA | 9:19 | This very pretty and subdued version features notably strong playing from Trey and Page. | |
| 1998-08-09 | Virginia Beach, VA | 14:48 | Jam breaks at about 5:45 into a rhythmic, wavy, slightly funky groove. Gets more funky, and Trey, and then Page (on the B-3) tease "Electric Funeral" (Black Sabbath). At this point, the jam really rocks until the ending. | |
| 1998-08-09 | Virginia Beach, VA | 19:12 | Very strange version with no jam segment to speak of. (No B&D.) | |
| 1998-08-11 | Burgettstown, PA | 11:10 | "Type I" with extra mustard. Little sprinkles of improvisation all around on this solid version, including a great -> to the first "Time Loves A Hero" in 1,021 shows (last seen on 11/5/88). | |
| 1998-08-11 | Burgettstown, PA | 8:27 | A nicely stretched out version of a typical outro in this classic pairing of "Fee" > "Maze." | |
| 1998-08-11 | Burgettstown, PA | 15:26 | Obviously, Trey is playing the dissonance/tension card, but it's really Mike, Page and Fish in the background during Trey's solo who twist this extended version into the abyss. | |
| 1998-08-11 | Burgettstown, PA | 34:47 | An epic summertime odyssey of exploration, and among the best "Jims" ever. Loaded with improvisation and near-ambient sound, the opus closes with a "Maria" (West Side Story) tease and a triumphant return to "Jim." | |
| 1998-08-12 | Vernon, NY | 12:24 | After extending the normal outro, Trey brings back the bridge riff to usher in a calming, cyclical groove in vintage '98 style until -> "Slave". | |
| 1998-08-12 | Vernon, NY | 11:39 | -> in from "Ramble On." "Those Were The Days" and "Ramble On" teases. Page is great on the Fender-Rhodes before shifting back to piano with Trey leading a spirited finale that has a bit more gusto than most '97s. | |
| 1998-08-12 | Vernon, NY | 18:02 | Opening with a thick, soupy groove, this long single jam has several sections. The basic groove builds up until 7:15, when things settle down into more ambient/funky terrain. Around 12:00, led by Fish, the guys bring the big guns back out for a few minutes, before closing out with a grundge-like, repetive theme. | |
| 1998-08-12 | Vernon, NY | 13:52 | A bluesy jam emerges at 9:00 on the back end of the standard outro. An unusual version which > to "Rift." | |
| 1998-08-12 | Vernon, NY | 8:59 | The band rocked so hard in this mid-second-set version that they needed to cool down and segued promptly after it into "Sleeping Monkey." No joke. | |
| 1998-08-12 | Vernon, NY | 19:50 | "HYHU" and "Mission: Impossible" teases. "Who's Your Daddy?" VJ. (No B&D.) | |
| 1998-08-15 | Limestone, ME | 16:34 | Musically, 1998 falls somewhere between the crisp, hard rocking sound of the mid-90's and the subtle, layered grooves of 1999 and 2000. This excellent version provides glimpses of both. | |
| 1998-08-15 | Limestone, ME | 13:31 | "Manteca"-like jamming to start, then, slowly, a "Tweezer Reprise" jam develops, and once it peaks, it breaks down into a fun danceable jam with a nice segue into "Sanity". | |
| 1998-08-15 | Limestone, ME | 15:59 | Brief appearance by the MOOG. | |
| 1998-08-15 | Limestone, ME | 11:30 | 1998 was also a strong year for "Limb." This Lemonwheel version is a case in point with a '98 style diminuendo ending. | |
| 1998-08-15 | Limestone, ME | 7:56 | They just kill it to close the third set! | |
| 1998-08-16 | Limestone, ME | 15:25 | This extended jam is vintage '98 Phish sound, with technically astute, but patient playing, and with contributions by all band members. None of the frenetic, guitar dominated fury of '92 - '95. But also lacking any real improvisational elements. | |
| 1998-08-16 | Limestone, ME | 18:37 | Around 12:00, the jam breaks from the standard into 6 minutes of heavy funk-based jamming. > to "Piper." | |
| 1998-08-16 | Limestone, ME | 18:16 | Relaxing cerebral massage with glow sticks and a "Foxy Voodoo" outro. [The jam here is ripe with iconic and lush '98-style ambient grooving. The most purely ambient of all versions, the band later molded "Ghost" to match its musical focus.] | |
| 1998-08-16 | Limestone, ME | 18:17 | First jam is cohesive funkiness and a clinic on full brand improv. "Crosseyed" and "Super Bad" with Trey on fire throughout. One of the greats. | |
| 1998-08-16 | Limestone, ME | 7:57 | Unique ambient interlude ripe with feedback before BLAT BOOM and then continues after until > "Mango". | |
| 1998-08-16 | Limestone, ME | 7:22 | -> in from "Hood." A spacey jam follows "Harry" to accompany fireworks marking the conclusion of the Lemonwheel Festival. Fish plays the trombone for a portion of the jam, which -> to "Baby Elephant Walk" (last performed 12/1/92). | |
| 1998-11-15 | Murfreesboro, TN | 12:55 | Page solo > very quiet and pretty Page/Trey duet that is almost an ambient jam and is joined by Mike and Fish who add sound and energy. The jam grows quiet again > klezmer and finale. | |
| 1998-11-15 | Murfreesboro, TN | 9:25 | Awesome guitar, great rhythm/piano/guitar interplay, and steady, solid bass back-up playing. | |
| 1998-11-15 | Murfreesboro, TN | 9:27 | Has a superb, serene and delicate outro jam which @ucpete notes sounds similar to the ending of the "Waves" soundcheck from 5/26/11 (and he's right about this). | |
| 1998-11-18 | Greenville, SC | 16:18 | At 7:40, the jam leaves standard "Wolfman's" and moves into some great free-form improvisation that migrates from funky rhythmic playing to really beautiful, melodic and exultant music. The jam mellows gradually and -> to "Lizards." | |
| 1998-11-18 | Greenville, SC | 11:52 | Beginning with classic '98 ambience, there is ample delicate space early on. Yet Fish drives this jam to soaring, powerful heights, with Mike, Page and trilling Trey each masterfully responding to the rhythmic foundation. The final, well-coordinated push to the summit is epic. | |
| 1998-11-18 | Greenville, SC | 15:26 | An all around strong performance is particularly notable for a cool and different Fender-Rhodes solo by Page in Clod, solid Mike throughout, and a riveting and wild Arrival. Machine Gun Trey leads the charge, but in the style of 1998 rather 1990. Check this one out if you want to hear Phish blow the lid off an arena with a blistering closing. | |
| 1998-11-19 | Winston-Salem, NC | 17:56 | Soaring incandescent groove to old skool cow-funk culminating in full band screaming orgasm and a molten metal outro. [As a good dark groove gradually lightens and energizes, the jam takes an unexpected shift when Page hits the B-3, turning the expected peak into a dance party.] | |
| 1998-11-19 | Winston-Salem, NC | 12:19 | Alien intro that Mike destroys with a liquid nuclear bass second jam. Each member has a section where he really shines. | |
| 1998-11-19 | Winston-Salem, NC | 10:28 | "Manteca"-like grooving. 8 minutes in the jam slows down and leads to some weird noises, possibly involving a spaceship landing on stage. | |
| 1998-11-19 | Winston-Salem, NC | 22:29 | VJ features a guest appearance by Heloise Williams of the band viperHouse. | |
| 1998-11-20 | Hampton, VA | 14:06 | "Type I" intense jam that builds to a serious peak with great interplay by all four. Cycles down with no closing. > to "Piper." | |
| 1998-11-21 | Hampton, VA | 9:51 | Super Page solo followed by ever-so-delicate-and-nimble Trey. Fish rocks the build-up with some serious drumming. | |
| 1998-11-21 | Hampton, VA | 15:21 | The straightforward jam is galacticly beautiful. | |
| 1998-11-24 | New Haven, CT | 17:15 | Fall '98 had some truly awesome versions! | |
| 1998-11-24 | New Haven, CT | 13:33 | -> in from "Tweezer." Extended jam that grows dissonant and off-key and also incudes "Born On The Bayou" teases. | |
| 1998-11-27 | Worcester, MA | 10:34 | "I Dream Of Jeannie" theme tease in a well-played version that briefly breaks away into a new groove near the ending. | |
| 1998-11-27 | Worcester, MA | 15:46 | Staccato Trey, groovy, multi-keyboard Page, a little "Manteca"-like jamming from 8:55 - 9:25, and even some "Fly Famous Mockingbird"-like riffing from 10:30 - 11:10 provide solid content. Adding Trey's blistering, rapid-fire playing at the peak easily put this solid '98 on the chart. | |
| 1998-11-27 | Worcester, MA | 10:28 | Rearranged and redefined (see History), the band offers another strong version, at home in another strong first set. The band breaks again for more ambient play, moored by some serious Trey sustain which fades to cool into a swirling ambient pool. After passing through a passage of concerted "noise", Fish drives the band to a rocking conclusion. | |
| 1998-11-27 | Worcester, MA | 8:36 | An excellent straightforward version. Trey sounds like he's on a mission. | |
| 1998-11-27 | Worcester, MA | 3:33 | Great segue-oriented "CDT" launches and also includes multiple "Wipeout" teases. | |
| 1998-11-27 | Worcester, MA | 0:58 | -> in from "CDT." Brief jam on this English Beat tune before -> back to "CDT." | |
| 1998-11-27 | Worcester, MA | 4:10 | -> in from "Mirror In The Bathroom." The heart of the "CDT" jamming is in this section. | |
| 1998-11-27 | Worcester, MA | 1:53 | -> in from "CDT." A bluesy rendering of "Dog Log" -> back to "CDT." | |
| 1998-11-27 | Worcester, MA | 0:53 | -> in from "Dog Log." And back to "CDT" to wrap up this smoking hot version. > to "Sanity" for a nice cool down. | |
| 1998-11-27 | Worcester, MA | 3:33 | Short, low-key fade out jam tagged onto the end, which -> to "Mike's." | |
| 1998-11-27 | Worcester, MA | 6:49 | Fish begins the "H2" beat -> out of the post-"Mike's" fog, but the other members continue with a lengthy ambient intro before launching into the song fully, and then > to an epic "Weekapaug". | |
| 1998-11-27 | Worcester, MA | 7:52 | Stellar version begins with energetic "Type I" jamming and some excellent funk work before a -> to "Wipe Out." | |
| 1998-11-27 | Worcester, MA | 1:38 | -> in from a stellar "Weekapaug." "Wipe Out" makes its 2nd of three appearances in a thematic set, released on Live Phish Vol. 6. -> back to "Weekapaug." | |
| 1998-11-27 | Worcester, MA | 1:29 | -> from "Wipe Out" for a fast-paced finish to the conventional section of "Weekapaug." | |
| 1998-11-27 | Worcester, MA | 9:06 | > in from "Weekapaug." This "Weekapaug Reprise" starts out as a frenetic but typical jam, but quickly goes "Type II," relying heavily on effects to create a spacey groove. > "Antelope." | |
| 1998-11-28 | Worcester, MA | 8:44 | Unusually melodic and soulful soloing from Trey in the jam. | |
| 1998-11-28 | Worcester, MA | 11:04 | Solid Mike and Trey interplay during Trey's solo. Build-up is excellent and razor tight. | |
| 1998-11-28 | Worcester, MA | 9:38 | Much different than its '95 and '97 brethren, the jam in this version has that '98 swirly, ethereal tone, and Trey's guitar is far less shrill and dominant than in most earlier versions. Very well-played, especially by Page. | |
| 1998-11-28 | Worcester, MA | 9:39 | Page solo > Mike solo > Fish solo > Mike and Fish duet > conclusion without klezmer. | |
| 1998-11-29 | Worcester, MA | 11:00 | Very fine soloing by Trey and great interplay with Page on this solid, straightforward version. | |
| 1998-11-29 | Worcester, MA | 10:52 | Fierce version that ends with a very cool jam and masterful segue into "Catapult." | |
| 1998-11-29 | Worcester, MA | 20:40 | The jam swiftly breaks from the melodic and blissful standard to a high-power and dissonant one. | |
| 1998-11-29 | Worcester, MA | 3:36 | "Possum" -> "Wipeout" -> "Possum." 30 second "Wipeout" jam occurs at the beginning of the "Possum" jam. | |
| 1998-11-29 | Worcester, MA | 0:30 | -> in from "Possum." 30 second "Wipeout" jam occurs at the beginning of the "Possum" jam. -> back to "Possum." | |
| 1998-11-29 | Worcester, MA | 4:10 | -> in from "Wipeout" to return to the standard "Possum" jam. | |
| 1998-11-29 | Worcester, MA | 18:25 | A soaring, straightforward jam evolves into beautiful ambient space before before building into a rocking and funky groove. | |
| 1998-11-29 | Worcester, MA | 23:54 | FUNKASAURUS! (No B&D.) | |
| 1998-12-28 | New York, NY | 11:27 | Page has a magnificent solo, and then Trey waits for several measures before starting his solo. Very good band interplay during the build up. There is a cool little spacey cycle (just some long-held notes, to be fair) after the coda. | |
| 1998-12-28 | New York, NY | 15:58 | Multifaceted mind melter. Starts in typical brain-frying, hard-rocking mode, then paints an eerie, outer-space-like soundscape with chilling effects, and finally shifts into a rocking/bluesy groove. | |
| 1998-12-28 | New York, NY | 21:13 | An improvisational jam which goes through the customary progressions, then pushes on to some ambient jamming, more funk, creepy, effects-infused space, and finally space rage. | |
| 1998-12-29 | New York, NY | 11:02 | Page is the star, jumping around to various keyboards in this "Type I" but interesting and different space funk "SOAM." | |
| 1998-12-29 | New York, NY | 9:53 | Trey out in front instead of Mike. Swirling metallic jam that sounds more '99 or '00 than '98. > to "Limb By Limb." | |
| 1998-12-29 | New York, NY | 9:52 | Page in particular shines brightly (but also Trey) in this strong, full-powered version. Segues to a stellar "2001." | |
| 1998-12-29 | New York, NY | 17:24 | Possibly the best intro ever. This version has it all. Aliens, tractor beams, Trey flamethrowing, "C&P" teasing, Liquid Nitrogen Mike in the second jam. It all combines for 17 minutes of "2001" magic. | |
| 1998-12-29 | New York, NY | 23:39 | Dynamic, captivating version from start to finish. (No B&D.) | |
| 1998-12-30 | New York, NY | 14:56 | Huge holiday version features extended "Manteca"-like playing (9:00), before Trey drops into familiar riffing. Super Fish propels the version, with Trey seemingly picking up "Manteca" again, before the band enters a great, full-band, mini-groove. Fluid and direct jamming builds to a false peak which dips to rise into playing warm with sustain and powerful trilling, before, surprisingly, drawing to a close, sans tomming. | |
| 1998-12-30 | New York, NY | 20:59 | Improvisational and intense. Several sections in this far ranging jam foreshadow the swirling sounds and groove-based jamming that would dominate '99 - '00. Triumphant return to "DwD" to conclude with a > to "Piper." | |
| 1998-12-30 | New York, NY | 14:04 | Long serene intro. Trey's guitar is somewhat amped down from most '97 - '98 versions, and this restraint adds quality to the tone. Beautiful Trey/Page/Mike outro beginning at about 12:15 enhances the sentiment. | |
| 1998-12-30 | New York, NY | 12:50 | Full-band jam in place of traditional piano outro transforms Coil from predictable (if beautiful) set piece into surprising vehicle for textural improvisation. Unlike 5/8/93, this is not an unmotivated reentry by the rest of the band, but a smooth, natural progression: Rather than step back, the rest of the band just keeps playing. (Thanks @qushner for the lovely description). | |
| 1998-12-30 | New York, NY | 11:19 | Great intro with awesome Mike. The jam is basically a medley of "Wipeout" jams, with different little jams led by Fish, Mike, Page on the B-3, CK5, Trey, and Mike again. In the encore slot, this one sends the fans home happy. | |
| 1998-12-31 | New York, NY | 16:06 | The 1st jam is pretty chill and just grooves along with typical melodic lines. The 2nd jam kicks in at 7:35, and immediately drops into serene and melodic heartfelt playing. The band seems completely at ease, enjoying the warm and upbeat nature of the jamming. | |
| 1998-12-31 | New York, NY | 15:45 | Orgasmic "sleety" symphony which breaks down into throbbing B&D industrial metal that ratchets abruptly into "Ha Ha Ha." [The jam moves beyond the typical structure, breaking into gritty and pulsating play that bridges the ambient sound of '98 and sparser grooves of '99 and '00 quite well.] | |
| 1998-12-31 | New York, NY | 14:45 | Amazing -> "Cities." | |
| 1998-12-31 | New York, NY | 8:31 | Segues out of "Tweezer." Good funky version that gets eerie and spacey at the end before transitioning to "Velvet Sea." | |
| 1998-12-31 | New York, NY | 15:24 | Jam breaks away completely from "Antelope" at 6:30 into a nice, slighty dark foray. Returns to the standard by 8:00. | |
| 1998-12-31 | New York, NY | 18:31 | Follows "Auld Lang Syne" with the sounds of balloons popping on stage. The initially straightforward jam grows rocking and dissonant, then eventually calms to a quiet space. | |
| 1998-12-31 | New York, NY | 17:55 | An extended and very unique intro to 7:30. The delicate and spiraling jam foreshadows the sound and tone of '99. | |
| 1999-07-01 | Antioch, TN | 10:33 | Jerry Douglas on dobro. Very cool and different sort of "WB" that is well worth checking out. | |
| 1999-07-01 | Antioch, TN | 9:31 | Jerry Douglas on dobro, Ronnie McCoury on mandolin and Tim O'Brien on fiddle. A wonderful version. | |
| 1999-07-01 | Antioch, TN | 6:09 | Jerry Douglas on Dobro, Ronnie McCoury on mandolin, and Tim O'Brien on fiddle on this bluegrass version. Great short version! | |
| 1999-07-01 | Antioch, TN | 18:38 | As if playing to extinguish the pouring rain, Trey's "soloing" is incendiary, a sort of in-your-face jamming possibly unparalleled. The jam isn't totally absent nuance, however, and play cools to become a bit introspective before the band nimbly works towards the song's conclusion and > "Caspian." | |
| 1999-07-01 | Antioch, TN | 8:38 | Some really fine, unusually restrained but passionate soloing by Trey is followed by wonderful Page soloing without the usual noisy closing chords. Instead, Page's solo > to "YEM." | |
| 1999-07-01 | Antioch, TN | 27:40 | Phat and funky! Huge thunderstorm during this version. | |
| 1999-07-03 | Atlanta, GA | 10:08 | Funky groove, with nice interplay between Page and Trey. | |
| 1999-07-03 | Atlanta, GA | 10:43 | Enchanting. Page's solo features some unusual stylings and cool chord progressions. Trey's solo is a fairly simple, yet stunningly melodic, and includes a "Dueling Banjos" tease and playing vaguely reminiscent to "Faht". Different from the higher octane '97s, but definitely must-hear. | |
| 1999-07-03 | Atlanta, GA | 7:56 | Very melodic playing from Mike. Includes a nice theme from Trey midway through the jam. | |
| 1999-07-04 | Atlanta, GA | 12:12 | Mellow, easy going and stretched out version that gets away into a nice groove near the end. Very '99 sounding. | |
| 1999-07-04 | Atlanta, GA | 11:14 | -> in from a big "Ghost." Played at a slower tempo than usual, one is lulled into thinking the slowed pace will make for a weak ending. Wrong; this is an awesome version, and includes "What's The Use" and "Dark Star" teases. | |
| 1999-07-04 | Atlanta, GA | 7:56 | Debut. The spaciness of '99 compressed into one song. | |
| 1999-07-04 | Atlanta, GA | 8:48 | The solo starts in a metal chug but then pushes away at the boundaries, getting into some interesting rhythmic interplay, and sloppily-yet-joyfully landing on a descending Zeppelin-like riff preceding "Mike Christian". Lengthy, noisy, free jazz-like improvisation, with several false endings, arhythmic hits, and whammy pedal worship, before "BLAT BOOM". | |
| 1999-07-07 | Charlotte, NC | 12:03 | With a digital delay loop running in the background, Page and Fish crank up a nice rhythmic jam that grows very quiet in the final minutes before dissolving completely. | |
| 1999-07-07 | Charlotte, NC | 22:42 | Borg landing intro. A minimalist first jam and a second jam that floats in a syncopated orbit. A true mothership journey. | |
| 1999-07-07 | Charlotte, NC | 22:28 | MIIIIIIIIKE!!!!!!!! | |
| 1999-07-07 | Charlotte, NC | 11:17 | Blockbuster encore featuring a young Derek Trucks on slide guitar. No need to write more. | |
| 1999-07-08 | Virginia Beach, VA | 21:18 | The outro sticks to the "Fee" framework until 9 minutes when Fish picks up the beat, leading to an upbeat segment filled with the blissfull, atmospheric style of jamming that is so representative of the '99 sound. Eventually returns to Earth at 20 minutes and winds down to close. In the realm of "Fee" jams, this weasel reigns supreme. | |
| 1999-07-08 | Virginia Beach, VA | 0:00 | See Fee Jamming Chart. | |
| 1999-07-08 | Virginia Beach, VA | 18:31 | At first a wide-ranging and quality "BOAF" jam, this version then moves beyond, breaking into a "Days Between" jam, and an excellent and extended "If I Only Had A Brain" jam with strange lyrics from Mike and Trey. One of the best "Birds." | |
| 1999-07-08 | Virginia Beach, VA | 11:51 | Very easy going and relaxed feel to this version until the ending when the band cranks it up. | |
| 1999-07-08 | Virginia Beach, VA | 10:24 | This version ends akin to Coil, with each member of the band having left the stage until only Page was left, soloing. | |
| 1999-07-09 | Columbia, MD | 17:28 | Awesome, improvisational version which proves that "Mike's" doesn't have to have 2 jams to kick ass. Immediately breaking into a lilting, un-"Mike's"-like groove, the jam settles down, gets punchy, settles again, all with a sense that tension is loading. The release begins at 13:30, and by 14:30, a melodic hose-storm is unleashed, repleat with "Sweet Emotion" vocal quotes and jamming. | |
| 1999-07-10 | Camden, NJ | 7:12 | Another extended, high-octane shredder from the late 90s, "Wilson's" most consistently strong era, and sets the table for the monumental "CDT" that follows. | |
| 1999-07-10 | Camden, NJ | 14:10 | Fantastic version that treads along the periphery of "CDT" for several minutes before making a total departure at about 8:55. Morphs into a blissful, celebratory jam, then gradually fades into a rhythmic pulse. Includes a tease of "In Memory of Elizabeth Reed" and -> to "Roggae." | |
| 1999-07-10 | Camden, NJ | 7:46 | -> in from an awesome "CDT." Some cool strumming by Mike and really the first version to mix the jam up a little. | |
| 1999-07-10 | Camden, NJ | 5:58 | High octave and soaring soloing by Trey in this fantastic version. | |
| 1999-07-10 | Camden, NJ | 16:09 | Overlooked gem. A really nice, ethereal "Type I" "Gin" morphs into a great jam on "I'm A Man" (Spencer Davis Group). | |
| 1999-07-10 | Camden, NJ | 20:33 | Very groovy jam eventually segues into some intense, beautiful space. | |
| 1999-07-10 | Camden, NJ | 14:06 | At about 7:25, breaks from the mold into an up-tempo jam that recalls the excellent "CDT" jam from earlier in this show. Version then morphs into a punchy, funky groove which transitions, unfinished, into "When The Circus Comes." | |
| 1999-07-10 | Camden, NJ | 17:11 | Played at a slower tempo than earlier versions, the first several sections are far from spotless. The pace seems to normalize during Fluff's Travels, and then The Chase proves once again why it is perhaps the most difficult of all sections to perform cleanly. Despite some additional bobbles, all is forgiven, as this Arrival proves worth the wait. Whereas the typical Arrival lasts for roughly 2 minutes, this one basks in '99-style celebratory glory for over 4 minutes. | |
| 1999-07-12 | Mansfield, MA | 11:52 | The jam breaks into a nice rocking major mode groove from 8:00 - 10:00 before returning to "Twist." | |
| 1999-07-13 | Mansfield, MA | 14:34 | Following the final refrain, the band immediately shifts into minor mode and a moderately dark groove. Shifts back to major mode for a more upbeat ending and -> to "Roses." | |
| 1999-07-13 | Mansfield, MA | 15:24 | Excellent version which ebbs and flows, swells and recedes, with Trey seemingly drawing heavily from a "Blue Bayou"-like melody (11:30). Mike alights upon a grooving bass line, which induces relaxed soloing, before Trey abruptly peels away and the jam assumes a darker sentiment. > to "Carini." | |
| 1999-07-13 | Mansfield, MA | 21:18 | A funky, low-key, groove-based jam emerges around 8:40 on the heels of "Wolfman's" proper, and continues, growing ambient and spacey after 15:40. > to "Piper." | |
| 1999-07-15 | Holmdel, NJ | 9:46 | Great extended "Type I" version which demonstrates the song's potential as a straightforward jamming vehicle. Here, the jam moves beyond the typical Page/Trey interplay to a full-band swing with a relaxed beginning that builds in power to a soaring crescendo. | |
| 1999-07-15 | Holmdel, NJ | 23:58 | Killer jam segment! (Available on LiveBait Vol. 04) (No B&D.) | |
| 1999-07-15 | Holmdel, NJ | 20:42 | Coasts along in a low-key ambient groove, picks up energy and direction at about 16 minutes, and then returns to more of the same easygoing jamming until > to a very strong "SOAM." Longest version to date. | |
| 1999-07-15 | Holmdel, NJ | 10:30 | Epic, exploratory "SOAM" -> "Kung" -> "Jam." "SOAM" has excellent tempo shifts and dissonance before the -> to a wild "Kung," which leads to an incredible, multi-part groove-based jam (and which is really a return to "SOAM"). | |
| 1999-07-15 | Holmdel, NJ | 3:02 | Epic, exploratory "SOAM" -> "Kung" -> "Jam." "SOAM" has excellent tempo shifts and dissonance before the -> to a wild "Kung," which leads to an incredible, multi-part groove-based jam (and which is really a return to "SOAM"). | |
| 1999-07-15 | Holmdel, NJ | 16:59 | Epic, exploratory "SOAM" -> "Kung" -> "Jam." "SOAM" has excellent tempo shifts and dissonance before the -> to a wild "Kung," which leads to an incredible, multi-part groove-based jam (and which is really a return to "SOAM"). | |
| 1999-07-15 | Holmdel, NJ | 12:09 | Some raging Trey in this high energy, extended jam that never quite breaks free from "CDT," but rocks HARD, including an accelerated tempo towards the end. | |
| 1999-07-16 | Holmdel, NJ | 12:20 | A solid, mellow groove jam, with a fair amount of "Manteca"-like melodic playing from Trey. The energy level gradually builds, but the jam is generally pretty even sloped. Although there is a brief 2nd jam, it's little more than a quiet transition to "Hydrogen." | |
| 1999-07-16 | Holmdel, NJ | 10:36 | A nice funky breakdown groove with strong Mike and Page concludes with Trey teasing "2001" several times before returning to "Weekapaug" to wrap up. | |
| 1999-07-21 | Burgettstown, PA | 8:10 | Definitely among the better versions even if it's "just type I." | |
| 1999-07-21 | Burgettstown, PA | 12:37 | Extended, unhurried and skillful soloing by Trey. Only very gradually does the band notch up the intensity. | |
| 1999-07-21 | Burgettstown, PA | 12:53 | Once again, the band uses the instrumental space in "Mike's" to launch a groove-based jam. In this one, there's a nice ebb and flow of energy, with great Page B-3 action around 7:30. As the jam progresses, it gets increasingly incendiary, with good '99-style Trey shredding. | |
| 1999-07-21 | Burgettstown, PA | 16:08 | -> in from "Simple." A swirling transition jam meanders for bit, but after 8:00 it finds its full stride, and the result is gorgeous and lilting improvisational playing. -> to "Caspian." | |
| 1999-07-21 | Burgettstown, PA | 12:41 | Mike is strong and out in front, leading another extended, funky breakdown jam. Gradually, Trey and Page take the lead back, riding atop the groove as it returns to "Weekapaug" proper. | |
| 1999-07-25 | Noblesville, IN | 4:15 | The typically good natured "Makisupa" takes a comedic turn into "Happy Birthday" to celebrate CK5's birthday, replete with "rasta style" playing, a Mike bass solo, humor from Trey and Fish, and a CK5 light solo. | |
| 1999-07-25 | Noblesville, IN | 4:15 | "Happy Birthday" (first version since 9/30/91) to CK5 as the meat of a goofy "Makisupa" sandwich. | |
| 1999-07-25 | Noblesville, IN | 0:45 | "Makisupa" resumes to complete a fun filled birthday sandwich version in honor of CK5. | |
| 1999-07-25 | Noblesville, IN | 10:43 | Extended funk groove. Mike holds it down while Page and Trey play off each other very well. Returns to the "Boogie on" theme at 10 minutes. | |
| 1999-07-25 | Noblesville, IN | 19:08 | An excellent, upbeat and uplifting jam develops beyond "Birds" proper. The jam then gets dark and brooding before -> into "Walk Away." | |
| 1999-07-25 | Noblesville, IN | 16:26 | Viewed as a groove-based jam, there is a lot of improvisation going on including some great syncopated jamming (which occurs again in the excellent "Suzy" that follows). But compared to versions from 1994 and earlier, there is no radical departure from the basic song structure other than a brief settle. For this period however, it stands out. | |
| 1999-07-25 | Noblesville, IN | 10:05 | Awesome version that Includes a jam based on Stevie Wonder's "I Wish" and a syncopated jam built around Page. | |
| 1999-07-25 | Noblesville, IN | 8:40 | They can encore with this amazing version any time they want! Fantastic climax in the jam, and a short bonus outro-jam! | |
| 1999-07-26 | Noblesville, IN | 9:20 | Standard "Gumbo" jam breaks down into a nice ambient jam. Trey sets some loops with Page adding beautiful piano. Segues nicely into "NICU." | |
| 1999-07-26 | Noblesville, IN | 17:20 | The jam moves beyond the conventional structure at 9:00 into several sections of high quality improvisation. > to "Piper." | |
| 1999-07-26 | Noblesville, IN | 14:06 | Soaring, but essentially a straightforward version has an elongated concluding section with a > to "DwD." | |
| 1999-07-26 | Noblesville, IN | 5:49 | > in from "DwD." This spacey jam is dominated by heavy feedback from Trey. At the very end, Fish starts up the rhythm for "2001," but Mike takes control, leading the band with a -> to "SOAM." | |
| 1999-09-26 | New Orleans, LA | 7:09 | Guests Michael Ray (Trumpet) and Tim Green (Saxophone) propel a fun, unique take on Page's scripted instrumental. A cool interlude follows intense brass - a nice touch of Trey - before morn horns push the version to its strong conclusion. Fans of the jam should stick around for the rest of the first set, and 9/9/00's "CTB" > "Funky Bitch" similar, but different, combo. | |
| 1999-09-26 | New Orleans, LA | 11:50 | "Call To The Post" tease early in the jam. Although it stays mostly within typical "Birds" territory, this version begins in a more subdued manner, only gradually picking up energy before a blistering closing. | |
| 1999-09-28 | Pelham, AL | 8:54 | Swirling, funky and laid back jam in this "Sally." | |
| 1999-09-28 | Pelham, AL | 6:52 | The jam here starts out strongly and improves from there. "Rockstar" Trey is on display in this excellent version, taking advantage of multiple opportunities to add shredding color with his uniquely '99 style and tone. | |
| 1999-09-28 | Pelham, AL | 15:39 | Very beautiful ending to a strong jam that resembles 9/18/99 quite a bit but without the intensity. | |
| 1999-09-28 | Pelham, AL | 8:16 | This has an extended jam, as many in '99 do with whistling in the long jam segment. Some nice melodic playing from Mike, including a passage that sounds quite a bit like "Stir It Up" after the six minute mark. | |
| 1999-09-28 | Pelham, AL | 22:11 | Unusually upbeat "Sweet Home Alabama" VJ. (No B&D.) | |
| 1999-09-29 | Memphis, TN | 21:33 | Alice in Wonderland on DMT. This is "2001: A Space Odyssey". The first jam will send you to another galaxy, while the second jam will blow your brains out. An all time great. | |
| 1999-10-07 | Uniondale, NY | 6:54 | Wah-groove and clav early on and then Trey takes the lead while Page lays down layers on the organ. | |
| 1999-10-07 | Uniondale, NY | 12:05 | A cool and different single jam version, with Trey on the mini keyboard at first, while Page and Mike rock out. Trey jumps back on guitar around 6:30, laying down iconic and swirling '99 sounds. Things settle down, and the stretch after 10:00 features great ambient sound. | |
| 1999-10-07 | Uniondale, NY | 11:08 | Trey gradually joins in with Page's serene and contemplative solo, offering his uniquely '99 tone in contrast to Page's classic piano musings. Sounding as though it may end in an uncharacteristically subdued manner, Page and Trey instead drive the playing out for another brief circuit, before closing in a more spirited and customary manner. | |
| 1999-10-07 | Uniondale, NY | 11:10 | Similar to other versions from this period, but Trey shreds the ending part of the jam like a madman here. > to "Golgi." | |
| 1999-10-07 | Uniondale, NY | 11:36 | The jam drops into a rhythmic groove right off the bat. While never far from home base, it's a different and cool version and well worth checking out. | |
| 1999-10-08 | Uniondale, NY | 14:24 | A propulsive and swirling jam develops with nice Page and Trey teaming. Eventually settles down into a quieter, serene, and cohesive mood. | |
| 1999-10-08 | Uniondale, NY | 19:57 | Very long, spacey jam. Brief "Sand" tease. | |
| 1999-10-09 | Albany, NY | 23:01 | A drive up Saddle Road to the summit of Mauna Kea to watch the sun set and the sky explode with stars. [Classic '99-style "Ghost" jamming breaks into a serene and light groove that some hear as "My Left Toe," but it's not. Instead, it's just great Phish. -> to "Free."] | |
| 1999-10-09 | Albany, NY | 13:55 | Excellent version with strong playing. The jam hits usual peak indicating the song's finale - then at about 8:30 breaks into a low-key groove that works its way back to the "Limb" theme with a soaring peak. | |
| 1999-10-09 | Albany, NY | 20:08 | Killer intro that creates one of the most upbeat, grooviest dance parties Phish has ever thrown down. So much goodness. | |
| 1999-10-09 | Albany, NY | 11:50 | According to an unconfirmed story, Phish played this emotional encore to honor a fan tragically killed in a car accident on the way to the show. There are powerful moments prior to the jam and a somber sentiment at the beginning, which miraculously transforms to an uplifting, joyful celebration by the end. A truly gracious and heartfelt version whether or not the story is true. | |
| 1999-10-10 | Albany, NY | 10:01 | Cool version and another unmistakable "99". Trey's approach is notable, in that he opts for more direct and straightforward, fiery play, which, offset by Page, builds not so much to a peak, but a crazy sort of cacophony. This culminates in a grinding, shreddy sort of release. | |
| 1999-10-10 | Albany, NY | 17:14 | Some gorgeous major-key jamming in this one (from 9:00 - 11:15) and good staccato playing by Trey later in the jam. | |
| 1999-10-10 | Albany, NY | 7:33 | An ambient jam, uncharacteristically darkish in tone kicks off Set II and > to an excellent "You Enjoy Myself." | |
| 1999-10-10 | Albany, NY | 26:20 | TWO AWESOME JAM SEGMENTS!!!! (No B&D, no VJ.) | |
| 1999-12-10 | Philadelphia, PA | 14:15 | Extremely textural version that builds a "wall of sound." Doesn't do much IMO, but mileage varies. | |
| 1999-12-10 | Philadelphia, PA | 14:09 | Careful and patient, the front half of this jam features strong Rhodes and synth work from Page, to create a twinkly and spacey vibe. The band slowly accelerates this "Gotta Jibboo" to a smooth pinnacle, with multiple, very pleasant peaks; other "Jibboos" peak harder, but this one peaks cleaner and longer than its '99 peers. A true culmination of groove-based jam ideas from fall and winter '99. | |
| 1999-12-11 | Philadelphia, PA | 12:22 | Page Solo > Mike and Trey duet > full band jam that is really upbeat and rocking > conclusion. | |
| 1999-12-11 | Philadelphia, PA | 7:50 | An extra funky jam kicks off a great set. | |
| 1999-12-11 | Philadelphia, PA | 19:06 | Endurance run through the Nevada desert crests the ridge into the Groom Lake Basin to behold the arrival of the mothership. [-> in from "Sally." Strong, slow tempo straightforward version with great Mike blasts off into deep outer space after 13:00 and explores the universe before -> to "2001."] | |
| 1999-12-11 | Philadelphia, PA | 15:23 | Emerges from "Ghost" and becomes a Haunted Space Halloween. Incredibly slow pace. This groove is one for the ages. | |
| 1999-12-12 | Hartford, CT | 30:37 | If you're looking for a good groove-based jam coming out of "Drowned," this is a more dynamic, propulsive and multi-sectional option than Big Cypress. It's solid, not epic, but well worth checking out. | |
| 1999-12-13 | Providence, RI | 6:40 | Trey sits back while Page and Mike take the lead before ending the jam with some great lead work. | |
| 1999-12-13 | Providence, RI | 10:33 | Thick swampy groove. Descending chord pattern in the middle of the jam, but not MLB. | |
| 1999-12-13 | Providence, RI | 19:11 | High energy version with intense "Type I" jamming between verses. A propulsive, rhythmic jam follows. | |
| 1999-12-13 | Providence, RI | 22:45 | Trey's lead playing is thematic and anthemic in this great version which begins as a textural soundscape. "Gotta Jibboo" bassline tease. | |
| 1999-12-13 | Providence, RI | 9:36 | Another exceptional version with solid playing by all, but especially Machine Gun Trey who rips a glorious peak. | |
| 1999-12-15 | Washington, DC | 15:24 | Compared to most '99s, the jam here breaks earlier into a light, textured groove that intensifies as it returns to "DwD." | |
| 1999-12-15 | Washington, DC | 16:45 | A gentle straightforward jam transforms into a nice groove-based jam around 10:30 and eventually works back to "Gin." | |
| 1999-12-15 | Washington, DC | 16:11 | Jam starts in typical fashion, but then Trey hits the keyboards for an extended and very different version. | |
| 1999-12-16 | Raleigh, NC | 10:31 | Very patient and gradual build in the jam. | |
| 1999-12-16 | Raleigh, NC | 10:29 | Although this one takes awhile to get going and the "Spreadsheet" recording doesn't do it justice, Trey trills like his life depends on it in the spectacular peak of the jam. | |
| 1999-12-16 | Raleigh, NC | 22:30 | Initially, the jam revolves around a menacing, effects-laden groove. Trey then hops on the keys to inject some melody and later expands on those ideas on guitar before the jam builds to a screaming finale. | |
| 1999-12-16 | Raleigh, NC | 10:20 | Typically melodious and soaring "Wading" fare abounds in the solo section. As the closing vocals appear to signal the end, a ghostly ambient wash then creeps in and makes itself at home before moving > "Tweezer"". | |
| 1999-12-16 | Raleigh, NC | 21:52 | Melodic, "Slave"-like jam. | |
| 1999-12-17 | Hampton, VA | 10:47 | Decent jam that veers briefly away from the standard form. | |
| 1999-12-17 | Hampton, VA | 5:05 | A spacey, quiet jam with building energy and effects from Page spans the gap between "The Moma Dance" and "Bug." | |
| 1999-12-17 | Hampton, VA | 17:22 | Rooted in the improvisational millennial groove of '99, although perhaps more repetitive and even plodding at times, Fishman largely leads the jam until about 8 mins in, when Trey adds some space vamp. At 10 mins in, Mike changes course, and the jam takes on a menacing, heavy tone, continuing to build in intensity until a looped-out groove arises, and slow rolls its way to a thunderous conclusion. Not as wonderfully weird as 12/4/99, or as funky and fun as the 12/31 performance, but still an incredible three versions to end the century. | |
| 1999-12-18 | Hampton, VA | 22:47 | Very inspired jam segment! (No B&D.) | |
| 1999-12-18 | Hampton, VA | 17:34 | An average "2001" becomes great when a Frampton "Do You Feel Like We Do" jam takes over. Bob Mayonnaise on the keyboards ladies and gentlemen. | |
| 1999-12-18 | Hampton, VA | 16:20 | Ambient roar. | |
| 1999-12-30 | Big Cypress, FL | 10:07 | A wonderful compact jam that starts with some dark energy but soon enough taps into classic '99 sounds and soars into the stratosphere. Welcome to Big Cypress. | |
| 1999-12-30 | Big Cypress, FL | 11:15 | The wild Big Cypress version showcases some cool staccato playing (see also "Plinko") in the middle and an unusual jamming style, while still staying pretty close to the normal theme. | |
| 1999-12-30 | Big Cypress, FL | 6:44 | Though the band starts in a metal chug similar to other versions in the era, Mike is in a much more exploratory mood than normal, bringing the band briefly into a major key, and later initiating several interesting rhythmic exchanges. | |
| 1999-12-30 | Big Cypress, FL | 16:50 | A stunning, gorgeous jam. | |
| 1999-12-30 | Big Cypress, FL | 15:27 | "Immigrant Song" teasing early on sets the tone for this dark, angry wall of sound. A single jam segment, but it's heavy duty stuff, filled with spacey effects and a driving, seemingly accelerating Mike and Fish-led groove. | |
| 1999-12-31 | Big Cypress, FL | 9:23 | Great lead work from Trey and some nice fills from Fishman in this one from Big Cypress. | |
| 1999-12-31 | Big Cypress, FL | 20:01 | Multi-section, improvisational groove-based jam, including typically dark "SOAM" grooving, funky upbeat major mode jamming, and a -> to "Catapult." Vastly different from 7/15/99. | |
| 1999-12-31 | Big Cypress, FL | 1:17 | -> in from an excellent "SOAM." | |
| 1999-12-31 | Big Cypress, FL | 23:41 | Laid back but joyful millennial celebratory groove. This is feel good music. Unfinished with -> to "Llama." | |
| 1999-12-31 | Big Cypress, FL | 15:47 | A very different "Gin" begins with extended vocal jamming through 9:25, then shifts to an enchanting groove. | |
| 1999-12-31 | Big Cypress, FL | 13:15 | A tranquil ambient groove emerges with delay loops and an eerie Page solo on the Fender-Rhodes. -> to "Prince Caspian." | |
| 1999-12-31 | Big Cypress, FL | 30:23 | This wide-ranging, 30-minute monster from Cypress starts off in an excellent bluesy groove, before quieting down to a percussive, groovy, organ-led cowbell movement with anthemic riffing from Trey. The jam then coasts along at a low simmer, with very quiet, introspective playing and massive bass bombs, before exploding into an epic, earth-shattering firestorm of a conclusion at 26:00. | |
| 1999-12-31 | Big Cypress, FL | 22:22 | Crowd-assisted CHEESECAKE VJ. (No B&D.) | |
| 1999-12-31 | Big Cypress, FL | 20:14 | This is one of the center-piece jams of one of Phish's most storied and highly-lauded sets. This one quickly hits a slow groovier jam. With a good foundation set by Gordon and Fishman, Trey and Page have ample room to explore several gorgeous and melodic passages. | |
| 1999-12-31 | Big Cypress, FL | 26:16 | The masterpiece of the '99-'00 style "Sands" from the early morning at Big Cypress. A dark groove develops with all sorts of eerie effects added to the mix. Trey's lead work is scintillating and gives the jam an ominous feel as it builds to a devilish peak and then transitions to the hypnotic second movement replete with looped minimalist elements which continue into -> "Quadrophonic Toppling". A must-hear jam from the band's ambient era. | |
| 1999-12-31 | Big Cypress, FL | 10:11 | Debut begins with the deployment of Mike's Siket Disc vocal sample in the midst of the meditative, ambient jam which emerged from "Sand". Guitar and keyboard delay loops are eventually joined by a fuller arrangement but the volume never rises above a reverent hush. | |
| 1999-12-31 | Big Cypress, FL | 15:11 | The longest "Type I" version. If you like a slow, really stretched out "Slave," this one is for you. But the peak is nothing remarkable, in fact it sort of collapses under its own weight. | |
| 1999-12-31 | Big Cypress, FL | 20:01 | -> in from "Drowned." A patient, sparse, and well-textured groove-based jam. | |
| 1999-12-31 | Big Cypress, FL | 19:03 | New millennium Swamp Worm (it was played about 4:00 AM on 1/1/00) opens with all guns blazing before settling down with a Mike and Page led groove including "Bug" teases from Page. | |
| 1999-12-31 | Big Cypress, FL | 35:03 | Launches into phenomenally intense improv almost from the start as it embarks on an at-times-breathtaking journey. Eventually grows dissonant before briefly regaining its feel-good vibe. | |
| 1999-12-31 | Big Cypress, FL | 13:40 | 35th song in the second set is the infamous "Hood" fake out. Breakdown at 5:40 is sicknasty and Trey sounds as fresh as he did in 1983. Second jam features a reggae filth groove. | |
| 1999-12-31 | Big Cypress, FL | 8:44 | Closes out the Big Cypress festival with a short ambient outro. | |
| 2003-08-02 | Limestone, ME | 17:09 | Second song of the IT festival is a surprise jamming vehicle. Departs "Ya Mar" proper altogether at about 6:00 and launches into a fabulous, improvisational journey with several movements. Not quite brooding, it's no upbeat calypso party either. Great segue -> into "Runaway Jim." Only exploratory post-Hiatus version (so far). | |
| 2003-08-02 | Limestone, ME | 18:31 | An outstanding version for any era, the IT "Reba" towers above its peers from '03 - '04. Pulling away from typical "Reba" jamming at 8:45, the play breaks into warm-hearted major mode at 11:10 and continues for several minutes, before cleanly working its way back home to a spirited finale. | |
| 2003-08-02 | Limestone, ME | 13:54 | Some debate whether or not this jam goes beyond "Type I." Fishman keeps the rhythm in check throughout, but Trey explores a lot of directions in this quality jam. | |
| 2003-08-02 | Limestone, ME | 8:11 | Outro gets slightly removed from the norm and has a unique ending. | |
| 2003-08-02 | Limestone, ME | 11:12 | No sloppy playing in this solid, mostly straightforward 2.0 version. It does have a cool little settle before the final peak. | |
| 2003-08-02 | Limestone, ME | 22:22 | Improvisational version from the IT Festival includes a fair amount of haunting and chilling effects-laden playing from Trey and Page before -> "NICU." | |
| 2003-08-02 | Limestone, ME | 20:54 | While average at first, the jam eventually dissolves into 10 minutes of haunting, pulsing space that is highly improvisational. A soundscape more than music that, when combined with Kuroda's lights, must have been other worldly. | |
| 2003-08-02 | Limestone, ME | 0:00 | See Waves Jamming Chart. | |
| 2003-08-02 | Limestone, ME | 17:31 | Intense straightforward playing breaks into a punchy and 2.0-style funky jam at 10:00 that continues until a -> to "Seven Below." | |
| 2003-08-02 | Limestone, ME | 12:54 | For being relatively short, this one really covers a lot of ground! Not to mention, nifty segue out of "Rock and Roll" and into "Scents and Subtle Sounds." | |
| 2003-08-02 | Limestone, ME | 8:36 | -> in from "Seven Below." A nice straightforward version of "S&SS" is sandwiched between nice fat slices of "Seven Below." -> back to "Seven Below." | |
| 2003-08-02 | Limestone, ME | 5:25 | -> in from "Scents And Subtle Sounds." The intensity builds following the return to "Seven Below," then a great and lower intensity groove emerges that -> to "Spread It Round." | |
| 2003-08-03 | Limestone, ME | 24:05 | A masterful jam of improvisation from the IT festival. Departs from "CDT" and morphs into a rhythmic, scaled down pulsing groove. Returns briefly to "CDT" before more exploration. Concludes with an acelerated tempo. | |
| 2003-08-03 | Limestone, ME | 13:20 | The jam swiftly breaks away from the standard into a mildly dark, rocking and rhythmic groove, which the boys ride for nearly 6 minutes before swinging the ship for home waters. | |
| 2003-08-03 | Limestone, ME | 31:47 | Keep out of the reach of children...there is a sense that IT could happen at any moment. [Excellent, celebratory "Ghost" jamming through 19:00, when the jam grows dissonant, angry, and effects-laden, then resurfaces to a rocking section and winds down.] | |
| 2003-08-03 | Limestone, ME | 11:26 | Shorter than some of its 2.0 brethren, but no less powerful. | |
| 2003-08-03 | Limestone, ME | 22:29 | Strong version with a short VJ that segues into "Chariots of Fire." | |
| 2003-08-03 | Limestone, ME | 38:30 | Haunting, thrumming, mind blowing, and masterful. The band wastes little time departing from "46 Days" and descends into an underworld soundscape filled with all sorts of chilling effects, eerie sounds and more. After nearly 20 minutes of deep exploration, the band resurfaces with 15 minutes of (appropriately) low intensity, more musically oriented improvisation, and ultimately finishes off "46 Days" in the closing minutes. | |
| 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. | |
| 2010-07-02 | Charlotte, NC | 10:03 | Another strong 3.0 version. | |
| 2010-07-02 | Charlotte, NC | 22:19 | "Fuck Your Face" teases (Trey; Mike in B&D); "Moving in Stereo" tease (Trey): Vocal jam included portions of "Proud Mary" and "Get Back," along with "Dong Work for Yuda" and "Slow Ride" quotes. | |
| 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." | |
| 2011-06-15 | Alpharetta, GA | 7:45 | Strong group play during Page's riveting solo, followed by a nice handoff to Trey who leads the boys in an inspired build-up. | |
| 2011-06-15 | Alpharetta, GA | 6:40 | The band powers through this version with added verve and tenacity. Trey's intense playing is particularly on-point, the jam arriving at a bona fide peak before boiling over and cooling down. | |
| 2011-06-15 | Alpharetta, GA | 9:31 | The band does a nice job here of bringing the jam down nice and low, before raising it back up high at the end. | |
| 2011-06-15 | Alpharetta, GA | 9:23 | Clean and fast playing, gorgeous interplay from all band members, super clean and happy peak. Nice jazzy accidentals at the peak help with tension and release, especially when it hits the last and highest peak. Some light, airy, and rapid playing - more so than usual in 3.0 - from Trey in the peak. | |
| 2011-06-17 | Charlotte, NC | 13:13 | "A Love Supreme" tease is included in this outstanding version, which while subtle and spacey at times, is the "good" kind of musical space, requiring band-wide cohesion and coordinated improvisation. Segue to "Ghost." | |
| 2011-06-17 | Charlotte, NC | 11:47 | Pretty clean - and rather fast - playing through the composed section incites strong improvisation from Trey, who syncs up with Mike and Fish, who nicely modulate intensity. Great guitar - with Page painting bright fills - dominates a strong, patient, and highly musical build, with Trey trilling to a thrilling release. | |
| 2014-07-25 | Charlotte, NC | 9:37 | The jam has a more relaxed vibe than most. A bit of pitch shifting by Trey, which was an issue on 2014 versions. The ending segment is extended as well. | |
| 2014-07-25 | Charlotte, NC | 16:24 | Although Fish keeps the rhythm firmly tied to the basic "CDT" rhythm throughout, Trey and the others explore a lot of varied themes, sounds and motifs within this structure. | |
| 2015-08-14 | Raleigh, NC | 5:14 | Debut of the slow, funky Llama. See 6/29/16, 10/20/18, and 11/30/19 for other versions. | |
| 2015-08-14 | Raleigh, NC | 8:05 | Version features an atypical jam segment which modulates to major mode, giving the jam more of a feel good sense, and less the typically rocking style. | |
| 2015-08-14 | Raleigh, NC | 13:15 | Begins with some bouncy funk work and then builds into a rocking groove. Brief ambient interlude before a > to "Reba". | |
| 2015-08-14 | Raleigh, NC | 9:42 | Following some deft playing by Trey, the straightforward jam peaks, then drops into some nice "No Quarter" teasing followed by a brief, funky breakdown jam before heading home. | |
| 2016-10-14 | North Charleston, SC | 6:22 | The band pivots from the typical funk vamp and reaches a rocking conclusion led by Trey in this verison. | |
| 2016-10-21 | Alpharetta, GA | 7:32 | > from "AC/DC Bag," the band is quick to capitalize upon the vibe, and creates a soupy, "southern" groove. Page keeps everyone on point; Mike and Fish provide great break back beats; and Trey shows considerable patience and restraint, bending notes and shaping his tone, his soloing adding extra swagger to the strong, straightforward play which drives this version to a close. | |
| 2016-10-21 | Alpharetta, GA | 21:08 | Trey dominates early, powering the band through familiar ground and creating an "old school" vibe. From here, several distinct improvisational sections emerge, with strong contributions by everyone, including a masterful Marimba Lumina section a la Trey. | |
| 2016-10-21 | Alpharetta, GA | 8:35 | Airy and introspective, Mike and Fish create a space which Trey and Page fill with truly dynamic interplay. Great guitar drives this version to a strong conclusion. | |
| 2016-10-22 | Alpharetta, GA | 16:01 | The first "Simple" of Fall Tour picks up right where Dick's left off. The jam moves to dark but mellow space, and after some probing, Trey finds a magical riff that he just won't let go. By the 11 minute mark, his bandmates have all hopped the gravy train and the gearshift is set for Interstellar Overdrive. Fishman aptly suggests "Saw It Again" in the post-peak decompression, but Trey has other ideas (> "46 Days"). | |
| 2018-08-03 | Alpharetta, GA | 20:50 | Galaga and Zaxxon battle Space Invaders in the resplendent Echoes of an exploding Dark Star. [One may not need not a chamber to be haunted, but the best Ghosts - at least of late (and for sure: this is one of the best) - appear orchestral in nature. Fluid, nebulous, and wholly organic, deep brain-grooves give rise to a series of music images which, like paper dipped in water, slowly form to bloom, presenting a picture of exactly what this band is capable of, whatever the set, and whatever the year. (This, and the closing refrain is both chill and humorous.)] | |
| 2018-08-03 | Alpharetta, GA | 16:52 | Effect-heavy improv with layers of sounds eventually climbs, and builds, soaring to a blissful, thematic peak before grooving to an albeit brief return to the "Tweezer" theme. | |
| 2018-08-03 | Alpharetta, GA | 20:24 | After a stereotypically dark "Carini" jam, a happy groove quickly develops thanks to strong Trey-Mike interplay. An extended passage of very quiet and mellow jamming follows, eventually rising in energy roughly halfway through the jam as Trey goes whale call and Page switches focus to piano. The first intense peak washes over, coursing on the back of Fishman's ride and intense whale call. Three short minutes of peaking wind down to ambient space, only to be propelled straight back up thanks to Mike and Page directing the jam into a new key. A quiet-yet-plinko jam develops as the energy builds on Fish's polyrhythmic snare and cymbal work. Flirting with darkness for some time, the jam eventually yields to murk, grime, and effects-laden darkness before finally winding down to Trey-based loops and Page on the organ. | |
| 2018-08-04 | Alpharetta, GA | 9:55 | Another Alpharetta thriller. Clocking in at less than ten minutes, this version, like 8/3/14, arrives in waves, and features infectious energy and surprising improvisation. Trey repeatedly augments his tone and works his effects as the band explores several distinct shifts in rhythm and tempo. This builds to a celebratory rise and rousing conclusion. | |
| 2018-08-04 | Alpharetta, GA | 9:56 | Page delivers on his end and Trey suitably ups the ante, bringing the jam to a head with a strong tension-building solo. | |
| 2018-08-04 | Alpharetta, GA | 23:40 | Pivots out of the verses into a grimy jam that briefly picks up speed before devolving into envelope-filtered-Mike-led funk, then blossoms into a warm and relaxed jam full of delicate synths from Page and sympathetic Trey soloing. Things take an anthemic turn at Mike's urging, then appear to be coming to a close, but then gathers up energy once more and builds to a driving peak. But rather than close out, Fish and Page lead the way to another filthy and funky groove, with tinges of 2.0 jamming style, before dying out and > into "ASIHTOS". | |
| 2018-08-04 | Alpharetta, GA | 13:56 | Cool jam, with a longer than (lately) intro (or at least it feels that way). While not riffing "Manteca" in its customary phrasing and/or meter, the band toys with this sound for some time, before Page and Trey yield to Mike, who, in effect, propels the version, which cools and > into "Possum". | |
| 2018-08-05 | Alpharetta, GA | 11:53 | Just a great version, with the band coasting through the composed section, creating, as their effect, that old-school unison. Entering the jam, Trey's play is focused and deliberate, his tone rich and warm, soaring atop a bedrock beat and striking a wide array of notes - these colored by Page's fills (first electric, then acoustic) - as Mike and Fish push the version to its build, with along-the-way Trey playfully stepping to his mic and "sing-songing" before Fish toms the jam to a perfunctory peak. | |
| 2018-08-05 | Alpharetta, GA | 18:42 | Begins with a familiar swinging rhythm and Trey playing echoing, organ-like leads before switching to a heavy auto-wah tone. The next segment brings a shift to major and coalesces at 14 minutes when the jam begins its trajectory to a buoyant peak before briefly heading back to the song's riff with added "Reba" whistling/teasing. | |
| 2018-08-05 | Alpharetta, GA | 9:07 | A reminder of all the things that make "2001" great. No words (though some fun banter); incredible use of effects; and teases of "You Sexy Thing" and "Tweezer Reprise". The only version to ever close a show, this "2001" is among the best of this era. | |
| 2019-06-21 | Charlotte, NC | 18:39 | A number of recent versions (see: 7/25/18 and 10/20/18) demonstrate the band's renewed interest in one of their finest compositions. Given your preference (the spirited first "half" of early-90's "Runaway Foams," or the crazed, free-form improvisation found within something like Shoreline 1997's II-opening jam), the band delivers an exciting amount of content, befitting triumphant "Funiculi Funicula" teasing. The entire ride is worthy of attention, but, true to 2019's style, Phish squeezes out an incredible amount of interesting improvisation, so remain tuned in to the outro, which doesn't so much fade as hint at a "DDLJ" before > "SaSS." | |
| 2019-06-21 | Charlotte, NC | 10:06 | Wastes no time moving to a warm major key jam (with charming "If I Only Had A Brain" teases) that picks up speed and gets almost tropical at Page's urging, before shifting to some tasty rocking out and letting Mike really shine. A lot of meat packed into a smaller frame. | |
| 2019-06-21 | Charlotte, NC | 12:20 | > from "20 Years Later." After a normal start to the song, at 5:50 the band shifts to a quiet, minimalist jam for about a minute. At this point, Trey starts singing the words to "Have Mercy" over the jam and the rest of the band follows suit. "Have Mercy" is sung over the jam for a moment, and then more typical "Possum" play until the song is brought to a rousing conclusion. | |
| 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". | |
| 2022-04-20 | New York, NY | 18:41 | Opening a show for the third time in eight months, Trey/the band clearly feel comfortable with this rocking show setting the tone for the first set. There's an interesting contrast from the hard-rocking intensity of the song proper and the bliss that follows. After not playing for two months, the band is ready to jam. Trey leads with nimble playing throughout and the rest of the band follows suit in yet another solid Carini opener. | |
| 2022-04-20 | New York, NY | 12:13 | A strange design, this unfinished version features smooth, relaxed play from Trey (pre-vocals) and typically great Fish. While never quite abandoning the song, proper, Trey's impassioned play, notable for a wonderful array of effects, runs for some time before > for "Leaves." | |
| 2022-04-20 | New York, NY | 12:15 | Trey enters the fray with tight staccato picking which Mike counterpoints with a fat and funky tone. From there, the jam skirts around the edges of "Stash" proper with a playful swagger, all the while the music focused and suspenseful, until boiling over around 11:00 with Trey tearing it up and Fish really digging into his kit. A dank "Stash" indeed. | |
| 2022-04-20 | New York, NY | 22:48 | A botched composed section leads to what the band does best these days: extended improvisation and longform jamming. Departing the song proper, Trey, atop Fish's incendiary offbeat playing, eases into a melodic line (offset by fiery riffing) and accented by awesome Page on his concert G. A cool, almost stately jam emerges, with Trey shaping his tone to make of familiar territory something new. Mike and Fish add a lot of color before the jam regains intensity and finds its rugged way to the song's anthemic closing refrain. | |
| 2022-04-21 | New York, NY | 13:45 | Straightforward in structure, this version builds momentum by way of clever full band interplay. Trey makes his intentions known right away by shifting through multiple effects, toggling between lead playing and funk-oriented rhythm comping. The rest of the band follows suit, as the jam develops into a laid back, conversational groove session. This then patiently builds to the classic, spirited "Wolfman's" ending. | |
| 2022-04-21 | New York, NY | 16:29 | The jam begins with an upbeat tempo anchored by cool playing from Trey. Later, the tempo slows as Mike takes the lead with deft work on the bass. Just when you think the chunky notes of the song from Trey are leading to the end of the jam, the rest of the band isn't quite ready to let things go, which leads to a maelstrom of a peak, before finally returning to end the song. | |
| 2022-04-21 | New York, NY | 17:38 | Heads into low-key psychedelia-tinged jamming out of the song proper thanks to Trey's thick and goopy effects, then Page suggests major key and a pleasant groove emerges with Mike steadily holding down the fort. The jam gets more delicate and dreamy, even as Fish keeps his usual rock-solid tempo, then builds to a marvelous rock-out climax and a big-time peak thanks once again to Mike's efforts. -> into a great "Tweezer". | |
| 2022-04-21 | New York, NY | 14:03 | Although "average-lengthed" among all versions e'er performed, this gem-of-a-version shines, with the first few minutes of the jam featuring steady, intermittent, "Your Pet Cat"-esque chording and comping by Trey, and a melodically charming/glittering section during which Trey sustains a note for many measures (a modest peak) over excellent accompaniment (that's never dark), before the version concludes atypically with a single chord from Trey that is sustained into the first note > of "2001." | |
| 2022-04-21 | New York, NY | 4:42 | Trey loves MSG, a fact made clear here, when, in lieu of capping the set with a typical "Hood," he elects to floor the Garden, moving from zero to sixty in split seconds, bouncing around the room with typically rocking play (featuring a "Heartbreaker" tease) which, surprisingly, breaks for "Tweezer." | |
| 2022-04-21 | New York, NY | 1:56 | Your Pet "Tweezer" returns, buzzing, if not quite purring, for a few more minutes. | |
| 2022-04-21 | New York, NY | 2:42 | -> from "Tweezer" to cap a fun, inspired close to a set rearranged and redefined. | |
| 2022-04-22 | New York, NY | 10:15 | An extended take on the usual outro drifts into a hypnotic haze which Trey cuts through with melodic leads, buoyed by ample synthesizer and "Quadrophonic Toppling" quotes. | |
| 2022-04-22 | New York, NY | 21:28 | Effortless. Path of least resistance. Call it what you will, but few songs of late (and "SYSF" is a cool song, as is) offer more by way of "invitation" to pure, effortless jamming. Tune in around 9:15 for some sonic shimmer so lovely that "Happy Birthday" feels like a natural extension, a before and an after. From here Trey and Fish sync up, the improvisation seemingly calculated, or locked in - a sound, in times, reminiscent of the last big "Taste" explored in the Garden. An organism. Content to let it grow, Trey and Fish (listen to him splash away) team to work through incredibly introspective scattershot play that builds and builds, Page hammering on his piano, Mike in tow, before releasing sound arriving in a cool, whitewashed glow - an outro which, artfully tended, becomes the wonderful groundwork for a > into a magic "Light." | |
| 2022-04-22 | New York, NY | 16:11 | Drifts into some sweet major-key jamming before Fish goes calypso mode and the band hits on a really danceable groove. Trey then switches his playing to "anthemic" mode, and the band hits on a powerful "Roll With The Changes"-esque jam. Very powerful music. > into an equally fantastic "Fuego". | |
| 2022-04-22 | New York, NY | 15:49 | Charming in-song moment as Trey snickers over the "world's greatest dad" line (it was his daughter Bella's birthday). The song itself is shaky, but after some regularly strong "Fuego" jamming Trey starts laying on some very thick riffs as Mike maneuvers the jam into choppier waters, then the bottom drops out and an ambient, almost industrial jam emerges, with effects flying everywhere and Fishman thundering away 12/30/12 "Carini" style. > into "WTU?". | |
| 2022-04-22 | New York, NY | 12:59 | An extremely efficient jam that concisely hits on a lot of sweet mini-movements beginning with a bubbly major groove at 4:20. Later returns to minor tonality with an edge and Trey finds a nice descending theme. | |
| 2022-04-22 | New York, NY | 12:34 | Writer @waxbanks one said "Tweezer" is Phish's "Dark Star." Agree or disagree, he had a way with words. Agree or disagree, it's tough to argue that "Melt," of late, has assumed a musical form, like Dead jamming, tricky to articulate. Perhaps a moment more significant thematically than musically - kelp descended from above the band during the song, and fell to the stage after the song, and set, was over. Or: Another spacey foray absent tension and release, music interested in sonic exploration and waves of possibility. | |
| 2022-04-23 | New York, NY | 19:08 | Initially an upbeat jam that pleasantly bobs along until a switch is flipped around 13:30, launching into a segment of terrifying power and space-age effects -> "Egg in a Hole Jam" | |
| 2022-04-23 | New York, NY | 1:37 | "Simple's" incredible exploration gets a slight tweak and lands on the "Egg in a Hole Jam" and then -> back to "Simple". | |
| 2022-04-23 | New York, NY | 1:20 | -> Trey pulls out of the "Egg in a Hole Jam" with a deft return to the "Simple" riff for a triumphant conclusion to a mind-blowing segment. | |
| 2022-04-23 | New York, NY | 26:40 | Arguably "the" jam of this fun and quirky run, the version's quick, plucky tempo features, like an old-school "DWD," fire Trey and a lot of notes - a wonderfully wild array of ideas offset by melodic variation and extended trilling. Straightforward jamming breaks for perhaps the run's most interesting passage, with Trey expertly moving through myriad sounds while swapping deeply textured and patterned play with Mike. The finest in the nation sort of Phish you could listen to all day, improv wherein you can hear the -> into "Caspian" coming from leagues away. | |
| 2022-04-23 | New York, NY | 11:26 | Winds slowly and gently out of "Caspian" before revving up to its usual modern era tempo. Immediately moves into minor-key late night mode, then swerves into something more upbeat and bouncy, delves into an atypical "Dave's Energy Guide" tease that the band jams on for a little bit, then slows down into molasses-thick funkiness to close. Packs a lot of punch into eleven and a half minutes. |
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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