Courtesy of user @lizardwithaz: Patience is the key to this Tweezer, as Trey immediately gets a siren echo going and a commanding Mike takes over a laid-back soundscape, and doesn't let up. Once the band finds a groove and the siren loops drop out, Trey finds his way fully into the jam and guides the band through a jam fit for a lazy summer day, finding a fun progression to return to over and over, eventually finding the way to a ping-pong jam, with Mike, Page, and Trey all swatting notes back and forth before an incredibly satisfying drop into another Mike-led groove, highlighted by a "Tweezer Reprise"-ish progression and some thrilling hose!

Enchanting. Page's solo features some unusual stylings and cool chord progressions. Trey's solo is a fairly simple, yet stunningly melodic, and includes a "Dueling Banjos" tease and playing vaguely reminiscent to "Faht". Different from the higher octane '97s, but definitely must-hear.

Arguably the best "Type I" version ever. The jam proceeds through the customary progressions, then, just when your ear is expecting the final refrain, the band veers off into a fantastic, swinging, stylistically well-played extension.

Raging porno-funk that slides into a very mellow midi horn laden outro. [A multi-section masterpiece of funky '97 styles highlight this strong jam. Page skillfully deploys multiple keyboards, and the jam energy ebbs and flows repeatedly.]

An excellent version which showcases the dynamic interplay between Trey and Page, while Fish and Mike keep the intricate rhythmic pattern steady throughout. Also has a fantastic peak and gradual settle.

"Bowie" picks up right where it left off in Providence, and summer '95 includes a number of spectacular, "Big" versions. This first one, while sticking to the "Bowie" theme longer than most, is exploratory both within that framework, and certainly once it gets beyond.

Psychological thriller that keeps you on the edge of your seat as the tension ratchets up. Unfinished with a -> to "IDK."

Segues in smoothly from Stash. This unusual version is played much slower than normal and carries real weight. The bizarre jam in the middle features Fishman on trombone and Mike on power drill.

Not the longest straightforward version, nor does it have the biggest peak. But Trey's playing is so spot on, just excellent.

Given that the "Heavy Things" after this version features a "Happy Birthday" tease, playing "Ocelot" wasn't the most overt "nod to Jer" on Jerry Garcia's birthday the summer Trey moonlighted at Fare Thee Well, but it is the most musically impressive. The word most associated with this version of the song is 'slinky'. In one more tribute to the Dead, the band takes almost three minutes before starting "Heavy Things."

Another great version which quickly departs the typical jam, shifts to major mode with serene and delicate play, and gradually builds power.

Great late show "Reba" arrives via a sharp -> from "BOTT." A tight composed section leads to a strong jam, with super guitar matched in equal measure by on-point, full-band play. Unsurprisingly, then - yet surprisingly! - Trey manages to squeeze "Reba's" post-jam whistling into the ensuing "Gin," with Page's outright teasing a musical exclamation point upon this historic "couplet."