|1993-03-17||Runaway Jim||Hollywood, CA||8:02||Dazzling, swirling play from Trey as the jam becomes subdued and assumes an almost "Weekapaug" vibe. Fish remains relentless, and he rocks and rolls the band through a wild rise which finds Trey zipping through simply incredible runs.|
|1993-03-17||Weekapaug||Hollywood, CA||10:41||Fun and exploratory jam includes a solid breakdown section with jams/teases of "Heartbreaker" and "Lively Up Yourself."|
|1993-03-18||Bowie||Hollywood, CA||14:30||> in from "I Didn't Know." A good one with some "DEG"-like jamming to add to the dissonance factor. Machine Gun Trey in serious heavy action towards the end.|
|1993-03-18||My Friend||Hollywood, CA||7:42||Following the final refrain, the band launches into an evil sounding "Little Drummer Boy" jam, singing "my friend, my friend he's got a knife" to the "Drummer Boy" melody.|
|1993-03-18||SOAMelt||Hollywood, CA||10:16||Although the jam is basically "Type I," it includes teasing/jamming on the Bee Gees' "Staying Alive" throughout, some "Little Drummer Boy" teases near the end, and is very well played with good Trey shredding.|
|1993-03-18||YEM||Hollywood, CA||23:40||Trey shreds throughout the jam of this quintessential 1993 version. And you aren't the only person to hear "Terri" and "Tickle" in this wild vocal jam.|
|2013-08-05||SOAMule||Hollywood, CA||9:21||Page solo > Fish playing Mike's bass with mallets > whole band drum solos > klezmer > chanting by Mike and conclusion.|
|2013-08-05||Hood||Hollywood, CA||22:32||Ground-breaking version that ushers in a new era of exploratory "Hoods." After some typical play, the jam turns rocking and percussive, including some "Woo" jamming. Things settle and the play becomes introspective and probing. Turning upbeat but with tension, the jam takes a final deep breath and returns to "Hood."|
|2023-04-21||DwD||Hollywood, CA||21:50||In lieu of lead-pointed playing, Trey sets the initial tone by tossing out spacious chords and arpeggiations. Page synths and hazy Trey delay paint the scene before a slightly dissonant transition space develops. The band then dials up the grime to deliver a sludge-y, stomping minor key rock-out. Ample time is spent in the murk before fading out > "Mercury."|
|2023-04-22||SOAMelt||Hollywood, CA||13:35||Beginning with the now familiar seam splitting descent, what erupts from the glowing core is a white hot fountain of liquid play from Trey. Fed from a shimmering reservoir of Page's piano and synths and driven to a boil by Mike and Fish, Trey's trills sustain jets of phosphorescent sound that cascade and decay before returning to "Melt" once again.|
|2023-04-22||CDT||Hollywood, CA||22:58||Propulsive play out of the gate settles into a spirited melodic space. The space expands as the band moves into dreamier territory, albeit with an unrelenting foundation courtesy of Fishman. A brief switch to minor key occurs with an infectious riff from Trey, before moving back towards major key. A high-powered touch-the-sky crescendo follows before settling into a brief funky groove that executes a nifty -> "Twist."|
|2023-04-22||Sneakin' Sally||Hollywood, CA||10:25||> from "2001". Eschewing the vocal jam, Sally gets the extended treatment for the first time in years. Mike's play shines through from the beginning as he leads the groove-based jam. The tempo gradually picks up, before > "Back on the Train".|
|2023-04-23||Cities||Hollywood, CA||18:48||This first set delight comes out the gate with swingin' swagger. Trey locks the band into Bmin to escape the confines of "Cities" proper and the band develops an incredibly cohesive, melodic, effect-drenched boogie down. After the 12 minute mark, the music takes a hazy, cinematic turn towards patient psychedelia. This then develops into a gorgeous, technicolor dreamscape that crescendos towards anthemic territory before > "Tube."|
|2023-04-23||Mr. Completely||Hollywood, CA||18:18||Another huge version of the once rare song in the catalog. Plucky playing from Trey around 9:30 changes the jam's trajectory. The searching, grimy jam sounds like the background to a noir detective show at times. The tempo gets kicked up towards the end, before eventually > "A Song I Heard the Ocean Sing".|
|2023-04-23||ASIHTOS||Hollywood, CA||9:32||> from "Mr. Completely" comes a completely unhinged jam that immediately dives headfirst into an unrelenting, grinding, grimy groove, and in the blink of an eye flows back -> into "Mr. C". Heavy.|
|2023-04-23||Mr. Completely||Hollywood, CA||0:55||-> from "A Song I Heard the Ocean Sing" to close out the "Mr C" > "ASIHTOS" -> "Mr C" sandwich.|
|2023-04-23||Wolfman's||Hollywood, CA||13:56||A thumping, relentless version marked by Mike's new bass. Trey plays with loops and gives Mike a run for his money with bass effects of his own before leading things in a more melodic direction over a soft bed of Page's keys and driven, as always, by the "brother" himself. The jam eventually cools and fades, unfinished, on a curl of ambience that breaks for "Ruby Waves".|
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