March 13, 1999

The Magner-dominated acid jazz jam begins to break down around the ten minute mark into ambient weirdness. Barber takes over and links up with Magner in the final minutes for an excellent conclusion.

The first jam is excellent in true winter 1999 fashion. Magner immediately crafts an evocative atmosphere and Barber patiently chugs along until he begins to develop the jam's signature riff around 3:45. Like all the great M.E.M.P.H.I.S. jams of the era, the two work together to build the jam and push it forward. The theme is distinctly recognizable, and evocative of some far-east exotic land. The second jam has two distinct phases. The first is a traditional M.E.M.P.H.I.S. outro, with haunting Magner synths (think 8/26/00 Trooper haunting). The jam plods along until around 15:30 when, after a steady breakdown, it begins to rapidly find focus and pick up the pace. The jam is pretty clearly a Shem-Rah intro fairly early on, but it doesn't show its hand until after a frantic buildup to a chaotic uncomposed peak. The first true M.E.M.P.H.I.S. outro jam since 2/19/99, and every bit as strong as that version.

Simply spectacular. Very spacey with extreme patience, and great communication between Magner and Barber. Magner utilizes this repetitive echoing synth line that ebbs and flows like the waves in the sea, and Barber's soulful riff is the perfect complement. Barber's playing in the ending is excellent.

A mellow dub jam with very "soundy" Magner effects dominating the sound profile. Barber builds it to an unconventional crescendo and Sammy quickly kicks up the tempo for the transition into Dribble.

While this isn't quite a "happy Dribble," Magner's use of the flute patch gives it some definite island vibes. Barber hangs with extreme patience in a very tasteful pocket, and around 8:30 begins to develop a fantastic theme. Sammy returns to the Dribble hits just shy of ten minutes, and Barber slays the ending.