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CHARTED · JAM

Phish track · Set 2 · #18

Slave to the Traffic Light

Name: Slave to the Traffic Light (1991-10-24) - Audio Analysis
Creator: Foul Domain

A 7-minute version from Crystal Ballroom, Hotel St. Michael in Prescott, AZ on 1991-10-24. Charted by the community.

DATE · 1991-10-24·SHOW · Crystal Ballroom, Hotel St. Michael·LENGTH · 7:27·PeakMachine Gun

68TRACK

OF 284 VERSIONS

#57

ALL-TIME · #4,818 · 87th percentile

TRACK · SCORED v3.2← LEADERBOARD

Slave to the Traffic Light

1991-10-24·Crystal Ballroom, Hotel St. Michael·Prescott, AZ

1991 FALL TOUR·Set 2·POS 19 / 197:27

68SCORE

COMPOSITE · RANK AMONG VERSIONS

v57 of 284

#57 OF 284 · SLAVE TO THE TRAFFIC LIGHT CATALOG

JAM IN · 3:37

0:007:27

DEEP ANALYSIS · LIBROSA v3.24 OF 24

PEAK AT5:34of 7:27

DYN dB13.3wide

ONSET/s2.6open

BPM92era 1.0

How this version scoredMETHODOLOGY →

10 COMPONENTS · ONE COMPOSITEv3.3

0%306090100%

Popularity11%

Consensus10%

Jam Chart12%

100

Recognition12%

Energy12%

Groove12%

Harmonic9%

Duration9%

Volatility8%

Review5%

100

WEIGHTED · 100/100OPEN METHODOLOGY →

Charted jamPHISH.NET →

PHISH.NET JAM CHART · CURATOR NOTE

In its final appearance for 2 years and 241 shows, "Slave" hints at its innate and powerful potential.

Beginning with Page leading on the keyboard, Fish and Mike bring the power up, while Trey's initially soaring play turns to powerful trilling, a perfect template from which the band would expand.

PEAKMACHINE GUN

From this showSet 2 · 13 SONGS

1991-10-24 · Crystal Ballroom, Hotel St. Michael

Prescott, AZ · 1991 FALL TOUR · SHOW SCORE 47

47SHOW

Set 2

II-1Mike's Song6:25 II-2I Am Hydrogen2:48 II-3Weekapaug Groove6:45 II-4The Lizards9:30 II-5Uncle Pen4:14 II-6Tube3:09 II-7Slave to the Traffic LightYOU ARE HERE7:27 II-8Dinner and a Movie3:29 II-9Bouncing Around the Room3:24 II-10Terrapin4:48 II-11Hold Your Head Up0:44 II-12Possum9:46 II-13Hold Your Head Up1:48 OPEN FULL SHOW PAGE→

Other versions284 OF · SONG PAGE →

SAME SONG · RANKEDSWIPE →

12.07.95Niagara Falls Convention CenterNiagara Falls · NY91 11.29.95Municipal AuditoriumNashville · TN91 12.05.97CSU Convocation CenterCleveland · OH88 11.14.97The "E" CenterWest Valley City · UT88 11.18.98BI-LO CenterGreenville · SC88

From this show3 TOP CUTS

SHOW STAND-OUTS · 1991-10-24SWIPE →

1·11David Bowie12:4578 2·17Tube3:0964 1·2Suzy Greenberg5:0456

SONG →/songs/slave-to-the-traffic-light SHOW →/shows/1991-10-24-crystal-ballroom-hotel-st-michael-prescott-az METHOD →/methodology

FOUL DOMAIN/tracks/8944 · v3.2

FOUL DOMAIN · INDEPENDENT · NOT AFFILIATED WITH PHISH

DISPLAY· TRACK SPECTRUMINPUT · TRACK_FEATURES.WAVEFORM

JAM IN · 3:37

0:001:523:445:357:27

JAM IN · 3:37PEAK · 5:35SAMPLE RATE 44.1 kHzSOURCE PHISH.IN

DEEP AUDIO ANALYSIS· LIBROSA CURVESENERGY · TEMPO · SPECTRUM

Radar · component scores0–100 normalized

Energy-8.9 dB

Loudness11.6 dB

Dynamic range13.3 dB

Rhythmic density2.57/sec

Brightness1546 Hz

Flatness0.004

Harmonic variance0.057

Feature curves · over time0 → 7:27

EnergyLoudness envelope, dB

0:003:447:27

Perceptual loudnessShort-term LUFS, psychoacoustically weighted

0:003:447:27

BrightnessSpectral centroid — where the weight of the sound sits

0:003:447:27

Rhythmic densityOnsets per second, log-scaled

0:003:447:27

Tempo89–185 bpm · avg 114

0:003:447:27

Spectral flatnessTonal → noisy. Low = pitched; high = wash

0:003:447:27

READOUT· COMPOSITE SCORE · COMPONENT BREAKDOWN87TH PERCENTILE

Popularity11%15

Consensus10%0

Jam Chart12%100

Recognition12%40

Energy12%78

Groove12%22

Harmonic9%0

Duration9%0

Volatility8%0

Review5%100

SCORE FORMULA · v3.3 · RECALIBRATED 2026-05-13OPEN METHODOLOGY →

INSTRUMENTATION· LIBROSA · v0.10.26 / 6 CHANNELS LIVE

LENGTH7:27standard

BPM92average

DYN dB13.3wide dynamics

RHYTHM2.6/smoderate

PEAK5:35at 75%

JAM IN3:37manual tag

PHISH.NET JAM CHART · CURATOR NOTE

PeakMachine Gun

In its final appearance for 2 years and 241 shows, "Slave" hints at its innate and powerful potential. Beginning with Page leading on the keyboard, Fish and Mike bring the power up, while Trey's initially soaring play turns to powerful trilling, a perfect template from which the band would expand.