Well I see this has already been done, man I should've checked here first. Oh well.

GIN REVIEW:

All timings correspond with LP version.

:42-1:17 Page Fill 1

A little rhythm and a lot of power, but overall pretty standard

1:52-2:08 Page Fill 2

Pretty subdued actually…

2:44-3:00 Page Fill 3

Stylish playing around Rhapsody melody, very nice.

3:17 "Faucet"

Pretty clean take, some rhythmic caps on the end of the runs with muted strings.

4:01 "Singing with the Faucet"

Mike seems excited about…"Bathtub Gin!" On-key (for the most part) harmonizing with the guitar lines from Trey.

5:19 Jam segment

Immediately Trey starts a theme that he runs through and repeats in a higher tone. Slides down the neck and up with this beautiful motif, clearly he has an idea where this is going from the get go. Back and forth he goes with nice rhythm 5:45 starts sustain, 5:56 great sustain, 6:01 more sustain. Just nice and patient soloing with long sustaining clean notes. The band settles into a coasting pocket behind this that has all the signs of becoming a *soaring* jam.

6:29 Glorious little run from Trey here, 6:36 repeat, 6:45 so ridiculously melodic. Just point, counterpoint

6:58 It's trill time for some nice tension (rhythmic rather than melodic tension, we're still thoroughly in the light here)

7:10 Great Mike lines as Trey steps back melodically (still trilling) allowing Mike to step forward with gorgeous lines

7:38 Phase shifter effect, hazier sound to trey. Leslie phase shifter? Back and forth with the trills.

8:20 Release! and back to more trilling. Power peak chord at 8:37 and we are PICKING UP STEAM release 8:52 for sustain

9:07 up the neck sustain and release! 9:15 Page pounds out a counterpoint . 9:38 glorious note sustain from trey.

Just great, great jamming in here, coasting on the ride leading to that soaring feeling. This is still punctuated by peaks of sustain and trill, peaks of sustain, trill. But the sustain isn't quite a release because really the whole thing is just building. Trey speeds up the sustain/trill pattern and we are left with very quick trilling emphasizing rhythm while a note peaks out melodically, then more trilling then a different note. So the trill is really just added rhythm to an interweaving pattern where the melody is those notes that 'peak out' from behind the trilling. Sorry this is hard to describe…but you would instantly recognize this method of playing from Trey. The rest of the band is just providing a solid pocket of melodic base that promises HOSE TO COME.

10:11 High peaking from Trey

10:32 High notes from Mike in counterpoint
10:44 Beautiful Page run
10:15 1st BIG peak from Trey, proceeds to rock star just glorious stuff with a new harder edge.

11:20-11:35 great runs of sustain

11:46 power chord landing, serious trilling after.

12:22 new effect turned on, Page adding some effects as well, things cool down just a bit, tempo slowing as well.

12:53 wah chords by Trey, Mike handling some serious groove BUT with that glorious melody

13:18 clav added by Page

13:36 Mike getting really funky in here.

The whole transition from a soaring jam with amazing peaks to the more funky rhythm is handled incredibly gracefully, without anyone needing to drop out to re-gather themselves and hit the funk. It's just gradually that you notice we are in beat-land instead of teary-eyed hang gliding.

13:58 first rhythmic 'break' signaling new direction, repeated note by Mike 14:12-

We're settling into a new direction that is much more rhythmic, nice fills by Fish and envelope filter by Mike 14:50.

15:00 some whoo-ing from Fish who likes it.

15:12 just an incredible Mike 'solo' in here with some kind of effect I'm unfamiliar with.

15:38 Page on organ, Trey adding rocking fills

16:00 Mike with that weird effect and Trey rocking much more, Page adding organ swells...

16:30 repeating pattern from Trey with some GRIT to it, fish mixing the rhythm up much more, seriously sounding like this could come from '94 or something. A jam with fire and rock.

17:48 Trey peak with this dirty rocking fuzz effect, not just distortion something extra.

18:20 Some wah added to Trey's mix of effects sounding amazing, Page plays staccato 18:40

This is some serious Oye Como Va-ing type jamming sounding easily like it could come out of a fiery YEM. The difference here is that this somehow is found *after* the truly mesmerizing high-beauty passage that started out the Gin and yet fits together in a pattern of the tastes of melody then rock. If someone were to wonder how to achieve the best effect of emphasizing either, they could listen to this jam that has really three segments.

19:25 Trey killing it with wah's and palm-mutes WHOA

19:33 Repeating pattern of funky ass power chords from Trey minus the wah, Fish and Trey emphasizing the down beat

Well this is just non-stop freaking groove amazing jamming, but not at all laid-back, this is intense and powerful jamming but with the emphasis on rhythm. We are out of the rock-sounding harder edge and now are fully concentrating on rhythm.

21:00 Things cooling off a bit with a more low key feel, more soulful Trey going forward.

21:52 Page on the Rhodes, beat still fast but definitely more cooling-down sounding.

22:37 out of nowhere Trey makes the shift back to Gin with only minor shifting of gears by the rest of the band.

23:37 after extended outro, jam ends to the unbridled enthusiasm of the crowd!

I would have to say that this is just archetypal jamming of a) melody b) groove rock and c) rhythm--in that order. There are no passages of searching nor are there any awkward transitions into new styles of jamming. This mother was crafted to perfection and I have absolutely no complaints. This is one of those jams that there really isn't that much more positive that can be said about it other than simply hearing it for yourself. I've had to rely on just technical descriptions here more than anything about the soul of it because it defies words. The melodic soaring jam is my favorite section and one of my favorite passages of Phish ever.