December 28, 2000

Simple Magner grooves characterize the first theme. The middle portion of the jam features excellent Barber/Magner interplay, and builds to a strong peak not always seen in Overture jams.

The jam stays close to blissful B&C territory for the first several minutes, stretching and spacing this theme out as far as it will go. It moves with eminent patience into an expansive space, and from here moves into a considerably more tense passage. The jam appears to be heading back into B&C bliss before a breakdown into a chaotic and bizarre theme immediately before the peak.

A stunning version, beginning with a strong, if standard, repetitive house theme. Before long, Magner introduces the acid synths to the theme, and what follows is a demented psychedelic carnival. A few minutes later, the jam begins to gradually build to its triumphant ending.

The first jam begins with very minimalist and spacey jamming. Magner soon begins to incorporate a high pitched droning synth effect, which characterizes the next few minutes of the jam. After a breakdown, the jam rebuilds into a far more sinister theme, with Magner tossing in some Gates of Hell lines shortly after. The band shifts back into Crickets territory for a triumphant build to the peak.