Outro evolves into a beautiful calypso style jam that grows more abstract with delay effects. -> into "Taste."

2.0-style HOSE. The jam sticks close to standard for a while, then breaks away into a fantastic, euphoric groove.

-> in from "Fee." Cool, somewhat mellow, and very different solo by Trey. But the band brings the heat back at the finish.

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.)

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."

-> 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?".

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).

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.

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.".

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.

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".

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.