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Background (Set: 2 of 2 – Song: 2 of 11 – Show Gap: 3)
In a show that didn’t have many highlights this “Ghost” stands out. Coming out of “Mike’s Song” few could have predicted our featured song. The transition is a bit rough but we get a “Ghost” high on quality.
Composed Section (7:47-10:51)
A slow rough start from “Mike’s Song” develops a laid back pace. Fish’s vocals are especially pronounced early on. There is a nice heavy dose of the clav leading into and during the solo section. It is better than average but extremely short.
An admirable lead-in and wait for it….Is that actually… A NAILED DROP!!!!
The pace feels a bit off after the drop, however the drop itself was great.
The bus is lost, someone let Mike drive (10:52-12:53)
The beginning of the jam is a convoluted mess with Mike as a bright spot in the darkness of the unconnectivity (LawnMemo has no idea if that is a word). Trey tries out a couple of riffs and Page is claving away, but I am left floating around trying to figure out what they’re actually trying to do here. Mike is moving back and forth while doing an incredible job of attempting to sync everyone up.
At the 12:00 mark, Mike starts to repeat a phrase and Trey begins to work nicely off of it. We have signs! We have signs! Everywhere the signs!
Page cools it down a bit and things are beginning to round out.
Taking shape, Mike’s Space Alligator shows up (12:54-15:29)
Two things happen right at 12:54. Page sprinkles the piano down from the heavens and Mike drops bass bombs from hell. Sickness. The crowd goes nuts. Mike is in full liquid mode and Trey’s tone compliments it perfectly. Fish is dialed in and Page works underneath. We have reached the good stuff.
A nice fill from Fish at 13:33 before he changes the beat at 13:41. Trey, Mike, and Page all begin to work off of each other. This jam has broken away from the mess it began with and has found a beautiful blissful groove. I want to hug you all right now.
At 14:14 Trey starts to solo and his tone is once again on point. This is great. At 14:38 Trey backs off just a touch and Mike reads the open hole perfectly. He ups the ante and goes full on space laser eating alligator.
I picture something like this
(I can’t believe that gif exists. I typed in space alligator expecting to find nothing, I love the internet)
Blissful Good Times (15:30-18:51)
Trey breaks off and lays down a lick that he loves to play. Things go next level from there. An underwhelming Page up until this point, finally finds his mark. Moving to the piano, his underlying melodies are incredible. Simply gorgeous. This section is upbeat and lighter than air while still having a booty behind it. How can you listen to this and not be happy? Even if your favorite band is Coldplay.
Mike breaks away from the liquid space alligator tone at 16:30 and moves nicely in line with the jam taking place in front of him. Fish drops some fills at 16:55 and this keeps the blissful light hearted jamming moving. The interplay is exquisite in this section with my ear constantly being blindsided with Page’s brilliance.
At 18:08 Page tries to set up Trey for the huge peak by quickly repeating a melody but Trey instead chooses to power solo and this is more of a drawn out peak.
The jam fizzles out at 18:52 and it sounds like they might bring the “Ghost” theme back. Instead “Prince Caspian” and then…”Number Line.” Rough combo.
Not the longest “Ghost” ever, clocking in at about 11 minutes. But it is one that has some substance. A nailed drop unfortunately doesn’t inspire the beginning of the jam, but once the band links up things get quite good. Highlighted by Mike’s killer space laser alligator section and a excellent blissful last couple minutes.