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Jam Chart for shows in the city of Limestone, ME (54 entries)

Legend: Highly Recommended Attended JOTY
Info Date Song City Timing Notes
CDT (10:34)
1997-08-16 CDT 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.
Theme (12:22)
1997-08-16 Theme 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.
PYITE (12:08)
1997-08-16 PYITE Limestone, ME 12:08 Despite arriving in what Trey called a "bad set", this version's wah-funky intro was the most significantly augmented until "PYITE's" 2025 renaissance.
Ghost (16:39)
1997-08-16 Ghost 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.]
Wolfman's (18:50)
1997-08-16 Wolfman's 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."
Simple (10:39)
1997-08-16 Simple 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."
Jam (2:48)
1997-08-16 Jam Limestone, ME 2:48 A stand-alone jam, sort of spacey, sort of funky follows "My Soul" and -> to "Slave To The Traffic Light"
Halley's (12:28)
1997-08-16 Halley's 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."
Cities (13:30)
1997-08-16 Cities 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."
Llama (6:44)
1997-08-16 Llama Limestone, ME 6:44 -> in from "Cities." Great Page and a nasty, growling and extended Trey section. -> to "Lawn Boy."
LxL (15:48)
1997-08-16 LxL 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."
Tweezer (18:33)
1997-08-17 Tweezer Limestone, ME 18:33 Space Funk. "Cities"-like jam and "Simple" teases.
Taste (10:47)
1997-08-17 Taste Limestone, ME 10:47 Powerhouse version from the Great Went. Riveting Page solo, skillful Trey solo, and spiraling crescendo finale.
DwD (27:07)
1997-08-17 DwD 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."
Gin (15:22)
1997-08-17 Gin 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".
2001 (22:52)
1997-08-17 2001 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.
Hood (15:30)
1997-08-17 Hood Limestone, ME 15:30 Inspired by the first ever "Hood" glowstick war, Trey leads this fan favorite melodic jam to a thrilling peak.
Buffalo Bill (5:32)
1997-08-17 Buffalo Bill 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."
SOAMule (9:45)
1997-08-17 SOAMule 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 Digital Delay Loop Jam Limestone, ME 3:50 -> in from "SOAMule." The "DDL" Jam is just part of an incredibly improvisational "Mule."
SOAMule (1:19)
1997-08-17 SOAMule Limestone, ME 1:19 -> in from "Digital Delay Loop" Jam to end this incredible "Mule."
Caspian (11:23)
1997-08-17 Caspian Limestone, ME 11:23 Straightforward but extended, well played and hard rocking version closes Set III, Day 2 of the Great Went.
Divided (16:34)
1998-08-15 Divided 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.
Gumbo (13:31)
1998-08-15 Gumbo 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".
Tweezer (15:59)
1998-08-15 Tweezer Limestone, ME 15:59 Brief appearance by the MOOG.
LxL (11:30)
1998-08-15 LxL 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.
Loving Cup (7:56)
1998-08-15 Loving Cup Limestone, ME 7:56 They just kill it to close the third set!
Ambient Jam (51:55)
1998-08-15 Ambient Jam Limestone, ME 51:55 Beginning with a clear nod to "Music For Airports," The Lemonwheel's "Ambient Jam" moves in and out of menacing riffs and gorgeous fluidity over a bubbling rhythm section as the band navigates tipping their hat to a dear influence, while also letting their voice bleed through. Around 16min there's a full band breakdown into a dark, hypnotic groove where the Rhodes shimmers, Mike and Fish lock-in, and Trey guides them via minimalistic riffing, building over the next ten minutes to a massive peak around a shoegazey Trey riff. At 34:15 the band moves into a strutting and funky jam segment that has no resemblance to Eno but feels a part of the overall 97-00 sonic shift in the Phish world. Deconstructing this segment around 41:50, the band spends the final ten minutes of this thematic masterpiece in a haunting, dreamlike segment led by the chordal humming of Trey and Page, once again on the Rhodes. There's a "Rock A William" tease at 43:30 before Trey moves into a dawning theme wherein which it sounds as though the band is softly lulling itself to sleep. It then ends in the haziest and prettiest manner possible as Trey releases fireflies of notes fading like dying embers in a fire.
Possum (15:25)
1998-08-16 Possum 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.
DwD (18:37)
1998-08-16 DwD Limestone, ME 18:37 Around 12:00, the jam breaks from the standard into 6 minutes of heavy funk-based jamming. > to "Piper."
Ghost (18:16)
1998-08-16 Ghost 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.]
2001 (18:17)
1998-08-16 2001 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.
Wilson (7:57)
1998-08-16 Wilson Limestone, ME 7:57 Unique ambient interlude ripe with feedback before BLAT BOOM and then continues after until > "Mango".
Jam (7:22)
1998-08-16 Jam 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).
Ya Mar (17:09)
2003-08-02 Ya Mar 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).
Reba (18:31)
2003-08-02 Reba 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.
BOAF (13:54)
2003-08-02 BOAF 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.
Meatstick (8:11)
2003-08-02 Meatstick Limestone, ME 8:11 Outro gets slightly removed from the norm and has a unique ending.
LxL (11:12)
2003-08-02 LxL 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.
DwD (22:22)
2003-08-02 DwD 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."
Waves (20:54)
2003-08-02 Waves 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.
Jam (0:00)
2003-08-02 Jam Limestone, ME 0:00 See Waves Jamming Chart.
R&R (17:31)
2003-08-02 R&R 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."
Seven Below (12:54)
2003-08-02 Seven Below 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 Scents and Subtle Sounds 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."
Seven Below (5:25)
2003-08-02 Seven Below 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."
2003-08-02 Spread It 'Round Limestone, ME 8:49 Crazed, energetic and noisy jam. Is it a continuation of earlier play (the -> from "Seven Below" and that song's outro)? Is it "Spread It Round"? It's only been played twice, so comp this against the 7.15. Some might argue it's tougher to listen to than write about. Not we. Calling this a "wall of sound" is lazy. It's Fest Phish from the Finest in the Nation.
Tower Jam (59:23)
2003-08-02 Tower Jam Limestone, ME 59:23 Imagining the Air Traffic Control Tower at Loring Airforce Base slowly rumbling back to life in the middle of the night, Phish uses IT's "The Tower Jam" to project their pain and confusion during the 2.0 era onto a dying relic of a past age in conjunction to the new century we found ourselves in. From 9min of sonic madness, static electricity, and Tortoise-esque musical space, the band coalesces around a sultry and seedy riff that builds into the swampy blues of Summer 2003. Around 15:20 Page enters with a haunting and menacing synth, leading Trey to develop a riff that sounds akin to the music you'd hear as a solar system collapses in on itself. A battle emerges between the synth approach from Page and the shoegaze approach from Trey, as the band leans into the horror and conflict producing the kind of music Kubrick would've killed to use in a battlefield tracking shot. Through it all - the heavy distortion and off-kilter rhythms, the strutting ideas abandoned in favor of more chaos - there is always Page's regal Baby Grand. An instrument that rooted so many 2.0 jams in an organic space, it serves here to remind the listener of the modern/classical ghoulish battle at play during the era. Even when the band refuses to come up for air, the baroque melodies offered by Page give the slightest hint of important music being composed in real time that you must follow the thread of. The last ten min are spent exploring potential routes towards a peak as effervescence builds before the band pulls itself back into space, and the tower shuts off for the foreseeable future.
CDT (24:05)
2003-08-03 CDT 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.
Weekapaug (13:20)
2003-08-03 Weekapaug 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.
Ghost (31:47)
2003-08-03 Ghost 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 Pebbles and Marbles Limestone, ME 11:26 Shorter than some of its 2.0 brethren, but no less powerful.
YEM (22:29)
2003-08-03 YEM Limestone, ME 22:29 Strong version with a short VJ that segues into "Chariots of Fire."
46 Days (38:30)
2003-08-03 46 Days 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.
Jam chart versions are selected because of improvisational and other characteristics that distinguish these from typical versions of the song.


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