Stash opens the second set in standard fare (though Trey starts it off key) before it launches into a melodic section from about the 5:00 mark to 11:30. Some really great interplay here with Page on the grand piano dancing around Trey's circuitous melodies. Around 12 minutes though things start to really pick up and Fish focuses his jazzy beat on a splash/crash symbol which lays down some crunchy texture. Mike picks up on the new textural groove and adds the synth (laser) effect to his bass. All four of them become more intertwined in a wall of sound effect, Trey ramps up the distortion a bit in here. 13:15, Mike switches back to his normal bass sound. Fish still wailing on the crash symbol incessantly - almost a jazzy hard metal sound. Page is still jazzily chording on the piano laying down a melodic base for Trey to wail on top of. 14:23 mark there's a return of sorts to the Stash theme and looks like it could be closing out here - all that's missing is the closing vocals (oh ah oh ah oh!). 14:55 though things dissolve and become more sparse. Fish lays off the crash. Short tight melody in here, stuttering notes from Page, Trey. By 15:00, Trey jumps on the wah pedal and it's clear this is going to a funk phase. This may be more of a Stash -> Jam from the way it jumped out of the Stash ending. Page noodles on the keyboards. Fish starts hammering out a syncopated snare beat with Trey steadily porn funkingly chording out a dance groove. 16:21 Mike turns on his Lovetone Meatball envelope filter pedal. This is seriously funky in here, yet dark and quiet. Fish is creating a circular drum pattern swirling around the whole set seemingly, from cowbell to woodblocks. Total texture fest at this point - Al Green just walked in. Then at 17:11 another change as Fish breaks into a standard 4/4 rock beat. Plenty of space to fill in this funk jam as well. Mike still dropping bombs with the Lovetone. Page on the clavinet working away steadily. Starts developing into a start/stop funk jam. Minimal funk slaughter at 18:37. Page switches over to organ and fills in nicely with Mike on the low end. 19:23 the jam opens up a bit and comes out of the stop/start mode. Trey moves away from the wah chording and starts noodling on top of Mike who's know slapping furiously with his normal bass tone. 20:12 steady groovy funk. Stop at 20:23. Stop at 20:33. Page back on organ with more stop and start funk. 20:52, Trey jumps back on to the wah pedal for funk chording supported by Page's funky hammond work. 21:22 Mike switches to his synth effect. Fish groans momentarily which signals (?) a smooth as funk transition into only the second ever performance of Ghost. Wow. If you're a fan of funk Phish and groove laden jams, do yourself a favor and seek this one out. The Ghost is also interesting as well with a demented swirling spiral jam that lasts only about 9 minutes before segueing into I Saw It Again. This my friends is one of the birthplaces of the Phish funk movement that will last for the next three years of their career.