This review is for the YEM and the YEM only.

Before we get to the jam, I just want to mention that the tone used in Mike's solo is great and I don't remember hearing anything else like it.

So the main jam starts at 9:20 (we're going with the timings on LP 14) and it's pretty normal for the first part. Trey hits this sweet riff about 10 minutes in and starts getting things kicking. After that Trey starts to quietly solo as some start/stop jamming happens. Around 11:50 the jam goes into more of a blues state then funk. Release happens at 12:20 and it is pretty sweet. Jam speeds up at 13 minutes as Trey plays some rocking riffs.Trey and Page are feeding off of each others energy as they create an amazing peak.

At 15 minutes the jam starts to quiet down and at this point they are really grooving with Page in front. Blues starts back up again at 16 minutes. Jam starts to quiet at 17 minutes as Trey moves to the mini kit and Page turns on my favorite keyboard tone in the history of Phish. Loops start to come in at 18 minutes as they peak as hard as this setup will allow.

Eventually the loops consume this jam whole. Weird ass jam at 20 minutes. 21 minutes and the jam morphs into an ambient space. Really like Fish's work during the transition. Page here is beautiful as the rest of the band compliments it. Trey's noodling at 23:30 really adds a lot to this section. At around 24:10 you can hear Mike start up a riff.

What follows next is indescribable. It's just too weird to explain with words. The book really did get its ass kicked. The next 4 minutes are complete maniacal.

At 28:40 they drop into space again except it's more sinister this time. Trey goes to the mini kit and starts building a groove. The groove gets realized at 30 minutes as Page takes a solo. At 31 minutes Trey is back at the guitar and immediately starts wrecking shit. Trey gets to take a quiet solo until they go into the vocal jam.

All you need to know is that this VJ is easily my favorite one I've ever heard.

And that's the YEM.