Slow, steady, melodic climb to a triumphant peak, and then an old school ending with a few twists.

What a difference an era makes. Or not. Mike surprises, early on, offering just a bit more. Pushing through a few sour notes, Trey, playing with his feet almost as much as his hands, lays into an impassioned solo, offset by, no surprise, on-point Fish. Of course Page is nearly front and center, and is right there to bring this Randall's Island play to a memorable close.

Those who believe in wormholes will shout "Timber" when they catch a chilling thrilling glimpse into a future haunted house during the early moments of this quarter speed heartbreaker that evolves into a twirling fountain of incandescent sparks passes through a cyclotron and emerges as a multi-dimensional space funk groove. [A strong, rocking "Ghost" includes jamming that is the likely genesis of "Timber," as well as an extended pulsing and electric outro jam that is well regarded by many.]

For the 2nd time in 2014, the band takes "Harry" for a ride into uncharted waters. This time, while Trey and Page alter the harmony away from the familiar, Fish keeps a steady hand on the rudder, eventually guiding the ship safely back to home port.

Rising from "Ghost's" super spacey >, Trey takes us higher still, his patient soloing inspired and emotive, complimented by Fish's shuffling, upbeat drumming. An early example of the song's potential all but fully realized.

A high intensity "Type I" jam breaks away at 9:45 into some low-key exploration. Page adds color as he switches keyboards, and Trey reignites the intensity with some moderate "hose." Finally, the jam gradually ramps down, closing with a return to "Gin."

The jam breaks at 8:00 into some funky stretching, but Trey quickly seizes on a great riff, which the band coalesces around. As the boys bring the jam up to celebration mode, there is some brief "Woo" jamming before it settles to quieter play with great Page.