-> from "Scents". Another big version comes late but is far from perfunctory, signaling here a willingness not just to sustain but to push the improvisational conversation both horizontally and vertically, widening the vocabulary and drawing from a deep well of inspiration that eventually launches the jam into the stratosphere. Glorious.

Who needs lyrics? Not Trey, apparently. This remarkable "Seven Below" is the first instrumental version performed. The band makes up for forgetting to sing by producing a fun, fiery jam. For the completists, they return to the song in the second set to actually sing the song.

The spaced-out funk typical of "Tube" jams gets a bit more atmospheric and more densely textured here before shifting towards a brighter, major-key zone about halfway through. From here, a galloping, majestic jam takes off and builds to an inspired crescendo before shifting back to "Tube"'s composed section.

What begins as warm and inviting takes a turn for the weird and hypnotic, drawing the listener into a synth and pedal darkened depth accented by swirling loops and gritty riffs, and punctuated with punchy rhythmic interplay that gradually carves a path of ascent to a sweeping and triumphant peak.

An old-school "Gin" featuring a plethora of teases. The band's joy - Trey's especially - shines through once they get to the "Tequila" portion of the jam.

Though Trey hints early on that the answer to the question may be that there is "nobody home", there's actually plenty to discover in this wide ranging version that finds the band locking on to a handful of memorable progressions, moving seamlessly between sections, and soaring over peaks before accelerating through groove laden depths to deliver a sustained and fiercely rocking finale that eventually finds itself becoming suddenly "Crosseyed".

> from "WGTYM" a little extra bit of Belew early on from Trey sets this one off on a trajectory for greatness that never strays but delivers a relentless swagger and propulsive drive that, rather than leave one waiting, forces the listener to sit up, pay attention, and keep a tight grip. Listen for Mike's bass to get the vacuum treatment as the jam gets sinister and eventually fades.

Compact, direct, Fish-driven version not unlike early powerhouse "CDT's" by way of intensity. Play breaks just before the 5:00 minute mark to feature a bit by way of Trey, but this version is really all about the drums. And then a shift! Around 7:44, Page leans into his keys, ripping a hole in a static wall of sound, and the improv unravels, becoming a kaleidoscopic shoegaze soundscape.

"Sample" once again gets a bonus jam starting at 4:45 and builds up a head of feel-good steam before sliding back into the closing chords.

> from "Tube". Echoing the 8/3/18 "Carini", there's a full-on "Chest Fever" jam played soon after the song proper finishes. Even after winding back to the chorus of the song, Trey can't help but fall back into "Chest Fever" mode one more time. Truly unique version.

Another exploratory version pulsing with chaotic energy that retains strong forward momentum and a semblance of "Melt's" character thanks to Fish's percussive through line. A break in the storm appears with a shift to major around 8:00 but the jam soon splits open again and becomes even more frantic in the leadup to the usual closing.

-> from "Halley's", this version has a quicker beginning than most. This is a laid-back, feel-good first set jam. Introspective and then euphoric. Peak upon peak. (And stick around for the "Albuquerque" bustout afterwards!)