10/21/00 - Saturday, Gothic Theatre - Englewood, CO

https://archive.org/details/db2000-10-21.archive.shnf

Image: The interior of the Gothic Theatre from the soundboard (source: denver.org)

Review:

Above the Waves is a very short version, but it has always been one of my favorite standalones nonetheless. Every second of the jam is deliberate, each theme builds off the last, the whole thing is well-played, and the final peak is a monster. After this especially high octane version of Waves, Three Wishes slows everything down for a nice little breather. M.E.M.P.H.I.S. gets things going again. The first jam has always been one of my favorites, even though it isn’t anywhere near as exploratory as the past two versions. It is much more in the vein of the 1999 versions, in which Magner and Barber build ideas off of each other around a single unifying theme. Around 6:30 Magner begins to develop the captivating lines that carry the rest of the jam. Barber comes into the forefront around the 9 minute mark and the pair build the jam to a glorious peak around 10. I would put this M.E.M.P.H.I.S. on par with 10/30/99, easily. The outro jam is beautiful and mellow. Magner uses this looping digital synth that creates the perfect atmosphere, and Barber strums along with some bluesy riffs. The jam stays in this mellow territory the whole way through. Barber develops some very catchy riffs around the 18 minute mark (these are reminiscent of the 10/30/99 M.E.M.P.H.I.S. to me), and the jam does not peak so much as it crests a wave over the 20-21 minute mark. It fizzles out and settles into a Magellan intro with ease. The middle jam in Magellan is pretty standard (I think Barber teases something, but I don’t know what) but the main jam is drawn out and spacey. Very solid version, building to a very solid peak. The Home Again is a type one version, but it provides an excellent conclusion to the set. Barber murders the peak.

The Helicopters that opens set two is one of the greatest of all time. It is widely recognized as such, and here the hype is fully justified. It is the perfect example of taking a single theme and building on it for an entire jam, and yet it manages to stay fresh and inventive. It begins with a repetitive and vaguely melancholy keyboard line from Magner, while the other three provide some minimalist atmosphere. After a short, tense breakdown, Magner returns to this theme, layering on other ideas and pushing the jam forward. After another breakdown it reaches a kind of melancholy space, and Barber becomes more of a presence, repeating two very simple mournful riffs. The jam builds up, and just after 11 minute mark Magner announces his return to the forefront in an explosive way. The jam builds up to a triumphant peak from here, with some excellent Barber shredding leading up to it. The Unspoken Rhyme is probably the strongest version yet too, although that is far less monumental. It covers a few different themes but for the most part it stays within the box, taking a brief detour through more tense territory but mostly following along the path of a triumphant and delightful jungle jam. The Chemical Warfare Brigade is a standard version. Jigsaw Earth, the third of the tour, comes on the heels of two legendary versions. The first jam, between the chorus and first chase section, is still very perfunctory, but it is very energetic and continuing to develop. The jam after the chase immediately enters a tense groove. As the track changes, the jam builds to a spectacular Basis intro. Barber is on one in the buildup to Basis, as well as in the middle jam, which features a few inspired vocalizations from him. The middle jam is perfectly realized, building to a solid crescendo before settling back into the bass slaps. The jam out begins as an eerie minimal trance jam. Shortly after the track change the tempo begins to build rapidly, culminating in a thrilling Jigsaw chase. This is probably the strongest jam into the chase section yet. The jam out of the chase is pure bliss, very mellow trance. At the track change it becomes more direct and energetic, while still retaining the blissful character of the previous theme. It builds to a spectacular Basis ending. The band jams out of the GAYFM section for the first time. The jam settles into a weird sort of groove jam that kind of meanders before it builds up into the chase section. This is the only jam of this segment that did not immediately grab my attention. The Jigsaw “dub” jam is not as heavily dubbed out as some of the other versions of the song, but still retains that character. The jam culminates in a very solid Jigsaw ending. Kamaole Sands fills the encore slot, and begins standard enough, but when Magner comes in with the trance synths shy of the 6 minute mark it starts to get interesting. It builds to a strong ending, and is a strong Kamaole overall.

A monumental show, the strongest two sets since 10/14, and arguably of the whole tour. The first set is great but the second is an out of the park home run.

Highlights:

Helicopters

One of if not the strongest versions ever. Not as exploratory as the biggest 99 versions, but far more energetic and explosive.

Jigsaw > Basis (second)

A monolithic bliss trance theme that builds up to a gorgeous Basis peak.

Basis > Jigsaw (first)

Barely a hair beneath the Jigsaw > Basis peak, the first Basis > Jigsaw explores a tense trance theme that builds up to one of the strongest chase sections ever.

Jigsaw > Basis (first)

It’s basically a Basis intro as soon as the chase section ends, but it’s a great one. Barber’s playing before the Basis drop is thrilling.

M.E.M.P.H.I.S.

A monster 99 style M.E.MP.H.I.S. jam, not as exploratory as past versions but far more energetic.

Stray Observations:

I believe this is the first “club sandwich” (A > B >A > B > A) segment that the Biscuits have done.

—Mr. Zan