, attached to 2015-07-24

Review by ARigidDesignator

ARigidDesignator I'm just going to review the Reba, because I think it's the best jam from this show.

I'm not sure, but I'm inclined to think that the tempo on this one is just a tad faster than it has usually been for Reba in 3.0. In any case, the composed section starts out with a few minor flubs from Trey - the kind you only notice if you're really listening for them - then recovers nicely and remains mostly clean up to the jam. In particular, Trey almost nails the section between 4:58 and 6:10, which has given him a lot of grief, it seems, in this era. At 6:24, Page forgets to play a chord, which sounds odd, but reminds you that Page, too, is human. At 6:36 we're off. Trey noodles nicely and fluidly up until 7:52, when he plays a sour note, and then plays another at 7:58. However, he picks the momentum back up at 8:00 as Page moves to the Rhodes, and plays some more nice, fluid licks. Frankly, if you played me just this section of this Reba and didn't tell me the date, I'd be inclined to think it was a mid-'90s version. Anyway, at about 8:32 Page moves back to the piano to play some more substantial chords, as Fishman starts making more use of the cymbal, and we're headed to the peak. At 9:55, Fishman tries to go for the peak, but Trey wants more tension. No hurry to rush the peak on this one, as Trey continues to play fluid and vaguely tense licks throughout the eleventh minute, before the jam finally peaks at 11:19, then again at 11:30, then ends at 11:40. The whistling ending is flubbed to no end, as Page tries to go into the final chorus too early on the keyboard, but nobody sings, and then Trey attempts to save him by singing over the rest of them, but it doesn't work. They laugh it off, though, and end the song finely.

All in all, this an excellent Reba. The composed section is above-average, and the jam is excellent. Trey's playing in this jam is some of the most fluid I've heard in 3.0. There are no moments of searching, no aimless bent notes to kill time, no crutch licks. Trey is playing on themes all throughout, not licks; this is perhaps the most distinctive feature of his playing, and is beautiful when well-executed, as it is here. Now, it's no machine-gun guitar playing, but this is about as fluidly and creatively and quickly as I've heard Trey play in quite some time. The two peaks are huge, and well-deserved after a strong and patient jam.


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