Personally, this is my favorite jam of MagnaBall. The patience exuded by Trey as he guides the band through a blissful journey of quiet, intense musical exploration continues to leave me amazed. There are few examples from 3.0 of Trey letting a jam "breathe" so fully - every note means something here, and they're all practically therapeutic. In the final segment, Trey finds a riff that he can finally kick the volume up on, and as he repeats it for the 4th time, he plays a (i think) minor third harmonic with confident aggression enough to signal the band to reel it in. What a fuckin' night.

As is often the case, I really agree with @CreatureoftheNight's analysis. You could argue that this is 2015's most underrated jam, as it's a) a really nice piece of business, b) came after an equally superb 46 Days on 8/15, and c) was immediately proceeded by one of the most famous 1-2 punches ever (don't think I need to bother qualifying that at this point).

This version contains some of my favorite music of the entire summer. The Magnaball version follows the same path as many recent versions, beginning in minor mode and slowly shifting from around 6:50-7:40 to major key bliss. From here on out, heaven is in full view. 8:37 brings a What's The Use quote and warm tones from Trey. Chordal play at 9:30 is familiar territory, but a tenderness from all musicians is extra special. The crowd was silent and completely transfixed on the stage. At 10:45, Page quotes Very Long Fuse on the Rhodes and gradually, the intensity builds. A few cries for Trey brings this one to a close in the last couple minutes. This jam is all about the journey, not needing a raucous peak because the true conclusion comes later in the set. I feel that if this version didn't come on the heels of MPP and before the huge Tweezpien, it would have garnered highly recommended status from the keepers of the jamming charts. I absolutely love it!