Down with Disease
, comment by ThomasFunkyEdison
One of my favorite versions. Different than the 97 funk rockers, this one offers a completely different take on the classic. I guess it helps that I was a few doses deep during this show...don't ya love when that happens?
One of my favorite versions. Different than the 97 funk rockers, this one offers a completely different take on the classic. I guess it helps that I was a few doses deep during this show...don't ya love when that happens?
, comment by itsice88
Nice to see this jam get the "Highly Recommended" treatment. It definitely deserves it.
Nice to see this jam get the "Highly Recommended" treatment. It definitely deserves it.
, comment by TheEmperorJoker
The word that comes to mind after 100 listens is TRIUMPHANT. The return to the DWD riff is gd triumphant.
The word that comes to mind after 100 listens is TRIUMPHANT. The return to the DWD riff is gd triumphant.
, comment by n00b100
Trey does love his returns to the DWD theme, as that riff is just too darn cool to leave alone (see 2/16/03, 12/11/97, 2/17/97, and so on), but to me this is somehow the most dramatic of them all. I think part of it is because he organically hits upon it, almost like a segue - he's playing a riff, then a more familiar riff, and suddenly it's DWD - and part of it is because of Page's refusal to drop into the DWD key even after the rest of the band has hit their usual marks, lending it an added tension most DWD reprises don't have. The rest of the jam is quite good, too, from that nifty chord sequence at the 9:00 mark to the amping up of energy before the reprise itself, but that final minute is what really pushes this bad boy over the top. 12/29/13 II will grow in reputation over the years, and this is the main reason why.
Trey does love his returns to the DWD theme, as that riff is just too darn cool to leave alone (see 2/16/03, 12/11/97, 2/17/97, and so on), but to me this is somehow the most dramatic of them all. I think part of it is because he organically hits upon it, almost like a segue - he's playing a riff, then a more familiar riff, and suddenly it's DWD - and part of it is because of Page's refusal to drop into the DWD key even after the rest of the band has hit their usual marks, lending it an added tension most DWD reprises don't have. The rest of the jam is quite good, too, from that nifty chord sequence at the 9:00 mark to the amping up of energy before the reprise itself, but that final minute is what really pushes this bad boy over the top. 12/29/13 II will grow in reputation over the years, and this is the main reason why.
, comment by CameToPlay
This is probably my favorite jam of 2013. Lots of space and separation and foreshadowing. Cerebral and almost linear. Not a lot of meandering, but never feels rushed. Sinks down into the abyss and then has nowhere to go but back up. Brilliant moment when Mike signals the end jam and Trey and Fish are all over it at the same time. And the triumphant return at the end is full of creativity and precision by Trey. Sounds simple, but isn't. Just efficient. Fine way to wrap up 2013.
This is probably my favorite jam of 2013. Lots of space and separation and foreshadowing. Cerebral and almost linear. Not a lot of meandering, but never feels rushed. Sinks down into the abyss and then has nowhere to go but back up. Brilliant moment when Mike signals the end jam and Trey and Fish are all over it at the same time. And the triumphant return at the end is full of creativity and precision by Trey. Sounds simple, but isn't. Just efficient. Fine way to wrap up 2013.
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