Gotta love a mid-set Hood, especially a mid-set Hood that wanders out into uncharted waters, and *especially* a mid-set Hood where Fish does that damn thing. A highlight of 8/21/15 II, one of those sets that'd get a lot more play if it didn't have to stand in a very, *very* long shadow.

More notable for what came afterwards than the actual jam itself (which is snappy and punchy, but not exceptional on its own), as out of the groove comes an absolutely killer segue into Heartbreaker, leading into one of 3.0's most fun sets, something along the line of 10/26/10 (if not quite as musically exceptional) or 8/17/11 (which is fun, make no mistake).

I actually prefer this version to Long Beach's as well, as there's a bit less fat and a bit more fluidity from straight-ahead rock to busy funkiness to the nifty Live and Let Die tease to an uplifting Page-led major-key finale. Definitely check this one out, as it's gotten much less play than it deserves.

I strongly disagree with whoever's decision it was to not list this Rock and Roll in yellow, if not greentext. Can we get a "re-check"? Easily in the top 5 moments of 3.0.

-Signed, a noob whose first show was 8/31/12

This still stands as a monumental jam, easily deserving a return of its original yellow highlight status. Each band member leaves an indelible stamp on this excursion. At the 9 minute mark, the funk starts to move towards bliss in such a fluid way. Mike drops a huge bomb around 11:30. The following section of floating bliss is gorgeous. The jam could have easily faded out at 12:50, but Page wasn't having any of that. Pulsing forward for a time, 14:20 brings us to the most beautiful portion of the entire jam. You can't tell me this is anything but top shelf Phish up until the 18 minute. 19:05, here's Page to lead yet another transition. Symphonic Phish is back in action! Mike and Trey send things on a more ominous path and by 21:28, we reach probably the most experimentally creative portion of the year so far. Fishman's drum work echoing Trey's scratching takes us back to late night at Superball. The Ghost that follows provides a huge cathartic release of energy that compliments this jam well. 5 stars!

I can't help but disagree with the author's sentiments. I think this is just as much of a masterpiece as Gorge 11 is, in its own way. I'm not always a huge fan of sporadic jamming but I think everything that it touches on is pure gold.

Mike's bass bombs that come out of the ether right before the segue into Meatstick give me chills every time

I hate that occasionally the "not just 3.0" qualifier has to be used for 3.0 jams and shows, but this is a jam that demands it - this is one of their greatest improvisations, and not just from 3.0. Dark, spooky jamming, as eerie as anything the band had ever whipped up in a soundcheck, and somehow perfectly ending with a truly great segue. An absolute masterpiece.

At about 11:55 in the song (on phishtracks.com) Trey signals with a long delay and the band morphs the improv section into a gorgeous type 2 exploration. Def Jam Chart worthy. Under rated and a definite hidden gem.

jamchart description needs to be changed

this rock and roll takes you on a journey from rock> ambient trance> and back. it perfectly represents what phish was trying to accomplish in '99. personally, my favorite song of the night

Agree with @sstevee00 on this one. This jam can get repetitive, but it's repetitive in a "funk dance party" sense (first 15 or so minutes), and then the band breaks into a multi-layer, subtle, 2 am, quiet-yet-gripping type jam that is a definite precursor to the sound of Fukuoka just 6 months later.

The upbeat jam near the end is a nice Confucian-like contrast to the aforementioned section. Phish has a way of being able to change the mood of a jam before you even realize what's happening, and I think this Rock n' Roll is a great example of that.

This description does a HUGE disservice to one of 12/31/99's biggest highlights. The "Type I" section is far from "repetitive" and the following beautiful, otherworldly soundscape they create following it is far from "dull".

We have the best of both worlds: an absolutely punishing, face-melting hard rock section complete with ska-like chords and enough cowbell to make Christopher Walken proud. The band then seamlessly transitions to an ethereal, hypnotic soundscape that transports you into a time warp that drops you off into a Japanese tea garden from another dimension. The "high quality" groove that follows slowly lands the musical space ship down to earth and is just the icing on the cake to this improvisational monolith.

Check this jam out, you will NOT be disappointed, especially if you wish Phish played every show like Fukuoka.