OMG!!! Unfinished Twist!!!!!!
Seriously, this show makes absolutely NO fucking sense.
Tweezer is loose as fuck with lots of playful Trey, but as such its a bit sloppy, but you can tell the band was in a great fucking mood; Trey's pedal-goof at the start of the jam was kinda funny, but I really dug the effect he did during the Ebeneezer evil part. Right away the jam gets deep and heavy, and Trey is letting Page take control with his piano. A lot of his licks make me think of the 7/8/00 Tweezer. But he also takes his time with some thoughtful melodic stuff midway through the jam. He takes his time climbing his way up the fretboard, and Fish compliments the tension really well. Page lays down heavy piano comping, and the turn-arounds start coming quicker and easier, and fucking once it gets going, Trey starts RAGING it!!!! Dissonant tension, and gnarly Trey trilling, and climbing releases!!! TENSION, PAYJORGAN EVIL!!!!! HOLY SHIT this is badass!!!!!! Wow!!! Crashing chord to end it, and a fucking cool sustain Pay Jorgan swelling outro....before something breaks on the organ? maybe? hmmm... but i LOVE the space when Page moves over to the other synth toy and Fish gets quiet and active with the rim-clicking and Mike gets it on with the Disease flange-envelope.
Carini was also host to a great jam, and was into a nice evil piano place when Trey begins Piper, which was fitting but could have been a touch smoother.
However, Piper is where it gets weird. Trey seemed to be lacking ideas, and so he goes over to Mike and presumably says "Twist", only to come back with some seriously fiery licks and helps lead the band into a heavy piano-based groove, and then we get some tasteful Pay Jorgan licks before Mike apparently began counting off Twist.
But TWIST!!!!!!! If faux is being sarcastic, then he's still on the money, because the last 3 minutes of this Twist is AWESOME. The jam is pretty good, standard fare for the most part; it does its job satisfactorily, but then ends up melting into this beautifully deep and dark goo-space, and ends with some truly splendid melodious chord arpeggiation by Trey. This was fucking GOOD, stuff that I want to actually listen to again.
And then the Ghost. Oh, this fucking confused Ghost. Trey forgets how to play the song, in place of Cities teases and some other song I can't remember (the lick that brings in the flubbed final verse). BUT THE JAMMING!!!!!!! Trey actually modulates into a pH-style of playing that reminds me of perhaps the Radio City Ghost, or something else....and Page lays out some tasteful Rhodes licks that Trey actually RESPONDS TO and builds together. And then Trey leads a powerful up-swing in energy, and another turn-around which Page fills in with a wonderful descending piano line, and Fish gets into the trance-house drum mode of the Radio City Ghost, only to have Trey fucking douche it with his fucking douchey fuck-tarding doucheness.
But then this Number Line is really off the hook...... the energy is fucking bonkers, and Trey actually is totally inspired with ideas up the ass, and ends up shredding the ending really well. I mean, the jam starts off pretty standardly, with Trey playing a number of "out" lines for tension, and Page being really active on the piano. Fish is unusually responsive to their playing, and propels the turn-arounds pretty judiciously. Trey is wicked active on the ascent, and builds it up to a big peak pretty quickly and smoothly. And Trey seems to be acutely aware of what he wants to do, and is able to match it, especially with Page's strong accompaniment. His playing is totally awesome in the last few minutes of the jam, tossing off wicked badass pentatonic rock licks with Page pounding on the piano pretty hard.
This Number Line jam is seriously fucking dirty-good, and when Pay Jorgan comes out to play at the end.... wooo-weee!!!! Absolutely monstrous!!!! Page's ad-lib harmonies for the ending chorus are really great too.