|2003-02-14||Fee||Inglewood, CA||10:54||Outro evolves into a beautiful calypso style jam that grows more abstract with delay effects. -> into "Taste."|
|2003-02-14||Taste||Inglewood, CA||10:26||-> in from "Fee." Cool, somewhat mellow, and very different solo by Trey. But the band brings the heat back at the finish.|
|2003-02-14||Gin||Inglewood, CA||18:41||2.0-style HOSE. The jam sticks close to standard for a while, then breaks away into a fantastic, euphoric groove.|
|2003-02-14||WotC||Inglewood, CA||23:13||Despite its duration, most of the jam section is essentially "Type I" with some interesting instrumentation. At about 18:00, the jam finally breaks free of "WOTC" into a nice low-key section that -> to "Carini."|
|2003-02-14||Bag||Inglewood, CA||11:33||A very quiet, calm, yet strangely percussive jam in this strong version with a -> to "Prince Caspian."|
|2014-10-24||It's Ice||Inglewood, CA||8:47||Like the Portsmouth "It's Ice", Page hops on the clavinet out of the gate, but this time Trey chips in some wah-scratching and Echoplex to this funky jam before sticking the landing.|
|2014-10-24||Gin||Inglewood, CA||12:50||This fun version starts with teases of "Low Rider" and "Long Tall Glasses" before accelerating into an energized "Type I" jam.|
|2014-10-24||DwD||Inglewood, CA||16:24||After extended and very pleasant "Type I" jamming, Mike and Trey drive the play down into some murky and atonal depths. Then this diseased ship gloriously resurfaces to a magnificent conclusion.|
|2014-10-24||Hood||Inglewood, CA||14:14||Amidst of sea of exploratory '14 versions, this fine one is a welcome reminder that the plain old "Hood" jam, when well executed as it is here, is pretty damn good stuff. Fish and Page are key in bringing up the energy and adding great color to the jam.|
|2015-07-25||LxL||Inglewood, CA||7:47||A nice version which begins with a fun "Follow The Yellow Brick Road" tease, then gradually builds up to a solid peak.|
|2015-07-25||NMINML||Inglewood, CA||12:29||Trey makes a dive into minor-key Fall '97-esque territory, then the jam takes on a menacing vibe not unlike "Psycho Killer" before a > into "Carini."|
|2015-07-25||Roggae||Inglewood, CA||9:30||Trey, Page, and Mike weave in, out, and around each other harmoniously throughout this entire breathtaking jam, while Fish holds down the fort and leads them to a glorious peak. > "BDTNL" for CK5's birthday.|
|2015-07-25||YEM||Inglewood, CA||20:42||Gimmicky version where Trey and Mike spooned eachother while playing each other's instruments. (see http://www.youtube.com/watch?v=5mK05T5cYdE). A phun time was had by some.|
|2016-07-22||SOAMule||Inglewood, CA||10:31||Perhaps beset with tech troubles throughout this show, nonetheless the "Mule" is entertaining fun, with a Page solo > Trey and Fish Marimba Lumina "Duel" > klezmer > weird Mike chanting > conclusion.|
|2018-07-27||Simple||Inglewood, CA||10:36||Gets beyond standard "Simple" in a hurry, first taking on a more rocking vibe and then traversing a groove producing themes reminiscent of the Island Tour Roses before spacing out and > "Ghost".|
|2018-07-28||Timber Ho||Inglewood, CA||7:31||One of the best versions in some time. > from "Suzy Greenberg," Trey, around the three-thirty mark, works a warm and melodic "Mountain Jam" tease, his play effortless and breezy - a perfect take given his tone. Page sounds grand on his concert G, and Fish's propulsive beat, offset with perfect fills, whips the version through powerhouse play, with Mike anchoring a jam which bends, but doesn't quite break. Trey drops those epic "Timber" licks and the song concludes properly -> some sonic soul shaking vamping.|
|2018-07-28||KDF||Inglewood, CA||10:56||Flirts with major-key play early on, reverts back to minor with Trey employing an organ-like tone, and then breaks into some immensely upbeat jamming until the final chorus.|
|2018-07-28||Fuego||Inglewood, CA||17:39||One of those "Writing about music is like dancing about architecture" versions, but here goes: A strong composed section cools and, wonderfully, in lieu of working through pleasant, but familiar space, Trey seems to toy with "The Little Drummer Boy" (11:02), a line which leads through a passage(s) of concerted, cerebral, full-band play. The jam becomes stately, and "Coil"-esque in nature. But this is no outro. More great soloing follows as Trey works the music to a perfectly balanced peak.|
|2018-07-28||Soul Planet||Inglewood, CA||16:12||Breaks out with some brief funk and quickly evolves into a warmer groove with Page and Trey trading lead duties before guitar takes over as the jam gallops to a peak and dissolves into "Wingsuit".|
|2021-10-24||YEM||Inglewood, CA||23:57||While Trey isn't perfect in the opening composed section, the BMGS, WUDMTF, and tramps sections are good, but the jam is awe-inspiring, with distinct sections. It begins in traditional YEM jam segment fashion, smooth and funky, but with more swing than usual. And when Trey begins soloing using the envelope filter, it builds to a sweet-yet-modest peak before mellifluously mellowing into a groove, an interlude that coasts along wondrously for several minutes before COOKING! You can't not dance in the concluding few mins of the jam, which segues masterfully into a SIIIIICK Mike and Fish, Bass and Drums, section before the vocal jam begins, and the VJ is delightfully short and segues into Moma Dance. MORE YEMS LIKE THIS PLEASE. (And yes Mike repeatedly teases the "Things That Make You Go Hmm" bass line in the first section of the jam, but we don't note him teasing that in the setlists, since he began doing it regularly in YEM in summer 1998.)|
|2021-10-24||Moma||Inglewood, CA||10:28||Page moves to the Wurlitzer roughly 7 minutes in and this signals the band to mellow out. Effects dominate guitar and bass while Fishman contributes wood block hits leading to deeply introspective space. An airy shift to bliss key is accentuated by Mike's use of the Eventide H9000 rack harmonizer. -> "Simple."|
|2021-10-24||Tweezer||Inglewood, CA||5:05||It's not every day that Tweezer features a full-blown jam on another song, so this version gets charted simply for its uniqueness, segueing into "L.A. Woman" only about eight measures after the start of the jam segment (don't miss the tease of "Walk This Way" at the end of the composed opening section too).|
|2021-10-24||L.A. Woman||Inglewood, CA||8:04||Lyrics begin -> from "Tweezer" and the performance initially retains some of that jam's character with the song proper more fully emerging later. After a "Tweezer" tease, the jamming opens up again and ultimately segues to -> "S.A.N.T.O.S.".|
|2021-10-24||Say It To Me S.A.N.T.O.S.||Inglewood, CA||11:46||-> in from "L.A. Woman". Showing up as the meat of a "Tweezerfest," the longest version of the song to date turns from a raucous "S.A.N.T.O.S." jam into what, if you close your eyes and imagine hard enough, The Doors might have sounded like if they'd given being a jamband a try in the late 1960s. This eventually leads to heavy "L.A. Woman" teases. -> into "What's the Use?".|
|2021-10-24||Tweezer||Inglewood, CA||7:21||This version (which completes formation of this set's Tweezer "sandwich") begins the way any other version would though launches quickly into a jam that grooves along for a few minutes, jazziliciously yet with some melodic loops, before dissolving into a mellifluous haze, a serene code from which Birds erupts.|
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