Who doesn’t love when Trey stretches the middle section, which he does here. Love those opening Solo notes, and he tends to revert to those tones during the build-up section at the end. This song could be played at every show, and I would not complain.

A great Free. Trey with some rocking solos in the jammy parts.

I love this Free The Martian Monster!!!!

"Tease and quote" is understating it, IMO - they simply *just start playing Martian Monster*, and then go right back into Free. They're close enough musically that it's not the hardest transition to make, but I think there's certainly enough there for Free -> Martian Monster -> Free, IMO. Just shouting into the void, don't mind me.

This is the best Free I have ever seen. Demonic and fully connected. Deserving of the yellow treatment!!

Thanks to @kipmat's valid point, the description of the duet is no longer referred to as "nice."

"Nice" doesn't do justice to the Mike/Trey duet. The jam starts out with Mike as usual, but Trey goes to that uncompressed low growl tone, clearly in a mood to match melodic wits with the Cactus. Between 6-7 minutes, Page and Fish play the main riff of the jam in stop-time, allowing Trey and Mike to tear up the frets! The main riff comes back in super tight, but then Page and Fish fade out, and for the next 1 1/2 minutes, it's a true improvisational duet. Unlike the jam out of DWD at the Great Went, this is just two musicians attempting a conversation with their instruments. The band returns to the closing jam riff at 9 minutes, and bring it home in style, with a guitar-noodle tag at the end.

This free never gets any attention. It's one of my favorite versions out there.

It's not type II and it's not 30 minutes long.

What it is, is a perfect example of what fall '99 was all about. Coming in the 2 slot of set one, you wouldn't expect such a perfect jam platform so early in the show, but that's exactly what this is.

As soon as the jam starts trey drops back to create a few background loops to set the atmosphere. Mike is out front right out of the gate. This free is a sign of Mike's genius. A patient, yet beautiful exercise in bass mastery. Showing off in a humble way. It's not over the top. It's just perfect.

This Free is quite possibly the best "laid-back" version. Trey doesn't do much except play a few chords in the funkadelic way he did back in the late '90's (you know, the guitar is playing with the wah-wah, or he's doing some cool scratching noises). But that doesn't much matter, because to be honest, the rest of the band isn't doing much either.

This is a good thing, don't get me wrong. I call this jam the "more with less" jam. It's great and the band is totally locked in the groove and with each other. Sometimes a great jam is the groove, and that's exactly what this one is; groove-jamming. Page and Jon shine in this one with excellent (and rare!) interplay between them, with Mike joining in with an excellent bass-riff.

If you're looking for a great, straight-forward jam that showcases the band's talent without "showboating" then this is it. This is my all-time favorite Free (up there with Brooklyn '04 and the experimental jam-fest of 11/22/95). This one showcases what the band was trying to (and did) accomplish in the Summer of '98.

Highly, highly, highly recommended. Listen now! (if you haven't already)