Grateful Dead Archival Live Release Thread

Discussion in 'Music Corner' started by Al Gator, Feb 5, 2021.

  1. uzn007

    uzn007 Watcher of the Skis

    Location:
    Raleigh, N.C.
    Comes a Time is definitely a standout on this release. I love the first guitar solo and the out-jam gets very spacy, as you note, before "snapping" back into place. Very psychedelic.
     
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  2. frightwigwam

    frightwigwam Talented Amateur

    Location:
    Oregon
    This week I've listened to DiP 21 and an AUD and MTX versions of 1985-11-01. Although it has the typical vacuum-sealed soundboard mix, I actually prefer the Pick. Good instrument separation, sounds nice on the big speakers. I suppose that the date was chosen for its unusual setlist; however, the performance seems really sleepy. I find the next night in Richmond to be a much more energetic, engaging show, even if it doesn't look so hot on paper--and the Chappell matrix also sounds good. As I recall, the following gigs in Worcester, where Bill Walton took most of his Celtics teammates to a show, and Rochester and the Meadowlands were a high time, as well. Maybe Dave should take another crack at this tour.
     
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  3. uzn007

    uzn007 Watcher of the Skis

    Location:
    Raleigh, N.C.
    I prefer "dreamy."
     
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  4. frightwigwam

    frightwigwam Talented Amateur

    Location:
    Oregon
    I'd be more inclined to go with that if you were talking about '76.

    Not sure why, but the laid-back, languid '76 sound can be really charming; the June-July shows hit the spot on a hot day, and the last Pick felt just right as Summer turned to Fall. (DiP 20 would be stronger if they had just made Disc 1 a comp of first set highlights from 9/25, 27, and 28, and included the second set from the 27th along with the other two nights, but it's an enjoyable set.) Yet, although I've tried a number of times, and three times this week, 1985-11-01 never clicks for me. And then I put on 1985-11-02 this morning, and somehow that one works.
     
  5. Al Gator

    Al Gator You can call me Al Thread Starter

    Clickable Thread Guide

    List of releases

    By Release Date
    By Concert Date
    This week: 1968-02-23, 24 King's Beach (released 2001-06 on Dick's Picks 22)

    Next week: 1991-06-14 Washington DC (released 2001-06-08 on View from the Vault 2)
     
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  6. Crispy Rob

    Crispy Rob Cat Juggler

    Location:
    Oakland, CA
    Just a few more weeks and we'll be covering releases newer than 20 years old...

    Also, this seems a good time to note that I've been enjoying the thread and keeping up with listening to each week's choice, but haven't found time to post reviews. Keep up the good work, folks (and especially Al Gator)!
     
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  7. Al Gator

    Al Gator You can call me Al Thread Starter

    [​IMG]

    Dick's Picks Volume 22

    Recording date: February 23–24, 1968
    Recording location: Kings Beach Bowl, Kings Beach, CA
    Release date: June, 2001
    Recorded by: Dan Healy

    Disc 1
    February 23:
    1. "Viola Lee Blues" (Noah Lewis) – 19:16
    2. "It Hurts Me Too" (Elmore James) – 4:13
    3. "Dark Star" (Robert Hunter, Jerry Garcia, Mickey Hart, Bill Kreutzmann, Phil Lesh, Ron McKernan, Bob Weir) – 6:49>
    4. "China Cat Sunflower" (Hunter, Garcia) – 4:38>
    5. "The Eleven" (Hunter, Lesh) – 10:33>
    6. "Turn On Your Lovelight" (Deadric Malone, Joseph Scott) – 12:40
    7. "Born Cross-Eyed" (Weir) – 2:32>
    8. "Spanish Jam" (Grateful Dead) – 7:23
    Disc 2
    February 24:
    1. "Morning Dew" (Bonnie Dobson, Tim Rose) – 8:10
    2. "Good Morning Little Schoolgirl" (Sonny Boy Williamson) – 14:39
    3. "That's It For The Other One" (Garcia, Kreutzmann, Weir) – 8:13>
    4. "New Potato Caboose" (Bobby Petersen, Lesh) – 9:08
    5. "Alligator" (Hunter, McKernan, Lesh) – 3:45>
    6. "China Cat Sunflower" (Hunter, Garcia) – 4:14>
    7. "The Eleven" (Hunter, Lesh) – 7:17>
    8. "Alligator" (McKernan, Lesh) – 6:39>
    9. "Caution (Do Not Stop On Tracks)" (Grateful Dead) – 11:49>
    10. "Feedback (Grateful Dead) – 4:55
    If I remember correctly, this pick was a complete surprise. Not only were the shows previously uncirculated, but they were the earliest officially released concerts to that point. Even today there are very few releases from this era or earlier.

    The first show starts with a 19-minute version of Viola Lee Blues, showing the band jamming at their early best. Instead of the rave-up climaxes we’d get later in the song’s evolution, this is largely an extended guitar exhibition over the song’s unrelenting rhythm. There’s a section in the middle where all the instruments except the drums drop out - I’d guess they blew a fuse on stage with their volume. But they come back, and the song ends a few minutes later in a blast of feedback. It’s a fine illustration of how the band was learning to stretch out in new and interesting ways and a promising way to start the show.

    Hurts Me Too gives Pigpen a turn in the spotlight but it’s a little rough in places. Then we get Dark Star, sounding very fast to ears more used to later versions. But it’s easy to hear how the song is starting to expand and imagine where it’s going to go; Jerry’s tone is already exquisite. This leads into an early China Cat, very different from where the song would end up, much rougher and more distorted. The Eleven is a good choice to follow, and Lovelight is fun (it sounds as if there’s a patch in the middle to me).

    The show ends with a short Born Cross-Eyed, very rough, and an atonal Spanish Jam which starts in Feedback territory before moving to the more familiar themes. It’s a fine ending to this show.

    The second show kicks right into gear with a Morning Dew; in my opinion the song gains more power later in the band’s career, but it’s still an enjoyable version. A long Schoolgirl is one of the best these ears have heard, and while The Other One is still fairly short and Jerry’s vocals are almost inaudible, it’s a good early version. The following New Potato Caboose is very good.

    But the highlight of the whole release is the jamfest that starts with Alligator. It quickly leads into an early China Cat Sunflower, and then into The Eleven, a very well-developed version, clearly pointing the way to the band’s near future. The ending drum duet quickly finds its way back to Alligator, and a very intense Caution. The whole sequence ends in a crazed Feedback. This whole segment is classic primal Dead, and for me takes the release from being a curiosity to one that’s worth coming back to many times.

    The liner notes are very basic - just a fold-out insert with tracklist, a picture of the shows’ poster, and credits. Some details on the shows or recording history would have been welcome. The caveat emptor was stronger than usual this time around: This is NOT an audiophile recording; this old analog recording source exhibits many audio flaws. And they’re not wrong, as it’s not one of the best-sounding recordings from the series and the mix never feels quite right. But considering its age it sounds surprisingly good, certainly good enough to enjoy the music contained therein. Nevertheless, this one is for the dedicated collector (both because of the sound quality and the rougher nature of the music) rather than the casual fan.

    I believe the February 22 show also entered circulation about the time of this release, but the vocals were almost inaudible, rendering it unreleasable.
     
  8. dgwint

    dgwint Forum Resident

    I believe these shows were recorded on 4-tracks?
     
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  9. pbuzby

    pbuzby Senior Member

    Location:
    Chicago, IL, US
    I think so. These were recorded for Anthem (I think a bit of the closing "Feedback" made the album). For me it was one of the more exciting DPs after the first few as it was interesting to hear more Anthem-era shows, but I've still not given this one a close enough listen. Will rectify that soon.
     
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  10. lucan_g

    lucan_g Forum Resident

    My problem with DP 21 is that I very much like the setlist... Jerry heavy and quite different... but fall 85 is not the time for a Jerry heavy vocal fest. His voice was an unmitigated trainwreck at this point in time. Which for me, makes listening to this show rather frustrating and sad.
     
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  11. Crazy Otto

    Crazy Otto Voodoo all night long

    Location:
    Cologne, Germany
    Dick’s Picks 22: Lake Tahoe, 2/23 & 24/68

    The only other live material from ‘68 to be issued when this dropped could be found on Two From The Vault, one of my favorite releases; other than that, the year was a bit of a blind spot for me, making this a very enticing Pick.

    Notes & Highlights:
    • As the Caveat Emptor describes, this isn’t the best recording and doesn’t approach the quality of TFTV. That said, it’s eminently listenable once you get used to it; I certainly wouldn’t describe the sound as ‘bad’, especially considering some of the tapes I had kicking around in my collection back then.
    2/23:
    • The Viola Lee opener is fun, but kind of just stays on one level. Then there’s the dropout after 12 minutes in, which doesn’t sound intentional to me. It’s a good version, but not in the same stratosphere as 5/2/70.

    • There’s a very brisk and brief Dark Star, which is standard for early ‘68 and obviously not what it would turn into, even later on in the year. The first big surprise comes when a raw and feral China Cat charges out of it, followed by a chugging Eleven: this little sequence is a blistering example of what Primal Dead is all about.

    • I don’t think I’ve ever caught myself thinking “boy, this set sure could use a Born Cross-Eyed”, but cool to hear such an early Spanish Jam come out of it. I wasn’t aware they were doing it this early in their development...and knowing that, I’m also surprised they didn’t do it more until it re-emerged in the 70’s. I got curious with this revisit, and as usual, Light Into Ashes provides some excellent info on its origins and development.
    2/24:
    • IIRC, this was the first complete ‘68 Dew I’d heard; it’s suitably raw and uptempo and I always love it as a set-opener. This show also has my favorite Schoolgirl: they hit this riff just after 9 minutes in that I still haven’t heard in any other performance, making it more interesting than what can be found on other releases. Was that a common thing in other early versions?

    • The Other One kicks off the first big sequence; it’s brief but the Cryptical outro packs a good punch. As was typical for the time, New Potato Caboose follows it, an excellent and interesting jam vehicle that they discarded not long after for whatever reason. After a brief pause, we get a ripping sequence that starts with Aligator > China Cat. A smoking Eleven follows before coming back to an energetic but brief Aligator jam. Caution is a big highlight here, and is one of the more dynamic renditions I’ve heard; everyone is just killing it here. An all-time Feedback (portions were used on Anthem) wraps up this terrific set.
    This was an awesome release to get at the time, and it definitely still holds up. The sound could be better, but I’m of the opinion that these shows actually benefit from the character of the recording, given their raw and raucous nature -- not everything needs to be a pristine document. Essential Primal listening for sure.
     
  12. pbuzby

    pbuzby Senior Member

    Location:
    Chicago, IL, US
    Born Cross Eyed->Spanish Jam was also in the 2/14/68 broadcast which was the one early 1968 tape every collector had for a long time, but it was good to get a different version.
     
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  13. dgwint

    dgwint Forum Resident

    2/14/68, 8/23/68 & 8/24/68 were recorded on 8-tracks. All the winters dates in Jan & Feb were 4-track.
     
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  14. Willowman

    Willowman Senior Member

    Location:
    London, UK
    First post here, as I have been following the thread intently, but am a newcomer to the Dead. However, Dick’s Picks 22 is one release I do have.

    I find it an absolutely thrilling listen. Raw, visceral, not in any way polished. The transition from China Cat Sunflower to The Eleven gets me every time. Stunning.
     
  15. SJR

    SJR Big Boss Man

    My brief review, previously posted in The Grateful Thread

    Dick’s Picks #22 — Kings Beach Bowl, Kings Beach, Lake Tahoe, CA, 23-24/02/68.

    This Pick is a beast. A primal juggernaut; it is hair-raising, exciting and electrifying Dead. Right from the monstrous Viola Lee Blues through to Feedback, over the two dates; this is blistering, relentlessly frenetic and at times downright aggressive, heavy and howling psychedelic-acid-blues-rock. Hold on, as it’ll blow your head clean off! Tremendous.

    Wild stuff, man. “Trip and ski” . . .

    [​IMG]

    Kings Beach Bowl, Kings Beach, Lake Tahoe, CA, 23/02/68:
    • Viola Lee Blues, It Hurts Me Too, Dark Star > China Cat Sunflower > The Eleven > Turn On Your Love Light, Born Cross-Eyed > Spanish Jam.
    Kings Beach Bowl, Kings Beach, Lake Tahoe, CA, 24/02/68:
    • Morning Dew, Good Mornin’ Little School Girl, That’s It For The Other One > New Potato Caboose, Alligator > China Cat Sunflower > The Eleven > Alligator > Caution (Do Not Stop On Tracks) > Feedback.
     
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  16. pbuzby

    pbuzby Senior Member

    Location:
    Chicago, IL, US
    I listened to the first disc of DP22. 1968 is full of raw energy even if it can be a tightrope walk as for every brilliant moment there is often a ragged vocal or equipment failure around the corner. Highlight is Dark Star->China Cat->The Eleven->Lovelight. Unlike most later Dead eras, in 1968 they were playing mostly the same songs every night and after playing this sequence for a month or two they have it down, although they would later improve China Cat by raising the key of the verses to G and making it more comfortable for Garcia to sing. Born Cross Eyed->Spanish Jam isn't as good as the 2/14/68 performance but it's cool to have another version, one of the last Cross-Eyeds.
     
  17. GuitarStrangler

    GuitarStrangler Forum Resident

    Location:
    Slovenia, Europe
    Dick's Picks Vol. 22: Kings Beach Bowl, Kings Beach Lake Tahoe, CA 2/22-2/24/68

    Very interesting release, reaching way back to the early part of GD history. Imagine that legendary picture(s) of them performing on a Haight street on March 3rd 1968. This shows are just a good week ahead of that one. Some performances are rather raw though, and the sound is far from stellar.

    Highlight of disc one may be Viola Lee Blues, though for me at least, this one is not in the »one of the best ever« category. This embryonic Dark star is very charming, but that's about it: emphasis is on the word »embryonic« and this is not too exciting performance. China and Eleven both sound off. Vocals especially are very bad. Lovelight… well I can only take so many of them, and those average performances that preceded it don't help to set me in a Lovelight mood. Born Cross Eyed, again very raw, and very bad vocally. To wrap the first disc off, I am rarely fan of their »Spanish« Jams.

    Disc two though is much better! Dew is not too strong, neither too exciting. But then, as much I am not a big fan of GMLS (the best version for me is the studio one from the debut album), I really enjoy this one very much. Great blues soloing from Jerry. Great licks. And here comes the absolutely strongest portion of the whole release: Everything from TIFTOO all the way to the Feedback is pretty much killer and the reason this release is worth the attention.

    Early on, I got into the Dead largely because of their primal sound (Live/Dead and Two from the Vault shining brightly), so based on that, I should really dig this volume some more. But the thing is, I really need to be in the primal mood to enjoy all of this Pick. Still, much of the second disc is probably essential GD listening, especially if you're into primal era.

    Overall Rating: 3.5/5
     
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  18. notesofachord

    notesofachord Riding down the river in an old canoe

    Location:
    Mojave Desert
    Tahoe ‘68

    It’s a gas, man.

    Trip & Ski.
     
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  19. GuidedByJonO)))

    GuidedByJonO))) Forum Resident

    Location:
    Evanston
    Usually it's the opposite for me, I start to ski then I trip.

    [​IMG]
     
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  20. Flaming Torch

    Flaming Torch Forum Resident

    As a gumby not that knowledgeable about GD live recordings in the archives 1968 does seem a year where not a great number of performances were recorded or am I wrong in thinking that. I thought DP 22 was a great release although I have not played it in a while. For folk who missed this great series (Dicks Picks) I think I am correct in saying they are all available via nugs net as cd quality downloads.
     
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  21. pbuzby

    pbuzby Senior Member

    Location:
    Chicago, IL, US
    Yes, not a lot of 1968 recordings. From January to March they recorded several shows for Anthem but apparently they cut up a lot of the tapes working on that album. Then there were the Two From The Vault recordings in August, and other than that some Bear tapes here and there, I think.
     
  22. Spazros

    Spazros Forum Resident

    Location:
    Philadelphia, PA
    Dicks Pick 22. Tahoe '68

    I love everything about the music. Its driving, ominous, at times almost vicious and they crush. But wow is the sound on this terrible. Once the first Eleven hit, I couldn't get it out of my head. So much distortion and sibilance. I thought it was Mickey using brushes that caused the most "noise" but I have no idea what the cause was. Something was mic'd too hot (probably the drums) and I couldn't get it out of my head the rest of the way. It's fantastically primal and I will take it with me in the car today to see if I get less noise in there because I really want to enjoy the hell out of it rather than struggle through it. It's a problem. That's just me.
     
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  23. frightwigwam

    frightwigwam Talented Amateur

    Location:
    Oregon
    The sound on DiP 22 isn't multi-track quality, but I'd give it an A compared to soundboards from the era for bands not recorded by Bear or the Fillmore West/East crews. I mean, compare it to the Hendrix Hollywood Bowl show that was included in the Electric Ladyland 50th Anniversary set. Pretty good even compared to some official live albums in the '60s. And I'm one who feels like the slight grit just enhances this music, anyway. I love Jerry's Gibson tone on here, love the sound of the band. LOVE IT!

    The Dead progressed a lot from 1967 through early 1969 (and beyond), and I'd say that they were sharper even a few months after these dates, but I'm fascinated by just about anything they did along the line in that primal period. Like, the "Dark Star>Eleven" sequence really took off in the late Summer, as they really got into the music and attached "St. Stephen" to the trinity. But, an early "Dark Star" going into "China Cat>Eleven"? Hey, that's cool! Also one of the best "Viola Lee Blues" recordings before it. And pretty much everything from "Born Cross-Eyed>Spanish Jam" to the last wisps of "Feedback" just puts me in the zone.

    What other rock band was so dynamic on stage in 1968? Nobody. I've listened to everybody of note. None can hold a candle to them. Hendrix is in the running because he had a more impressive songbook at that point, and of course he's a great guitarist and compelling persona, but he wasn't as ambitious in his jamming or arrangements on stage. Some other acts tried to jam out, but frankly they didn't have the group mind, they didn't blesh, or have the skill to meet their ambition. The Dead were something special, even in early '68 form. There's nothing like a Primal Dead show.
     
  24. Al Gator

    Al Gator You can call me Al Thread Starter

    Clickable Thread Guide

    List of releases

    By Release Date
    By Concert Date
    This week: 1991-06-14 Washington DC (released 2001-06-08 on View from the Vault 2)

    Next week: 1989-10-16 East Rutherford (released 2001-09-25 on Nightfall of Diamonds)

    I think we're entering those mid-DP releases which aren't as widely known. But I'm going to keep going anyway, because I want to listen to everything!
     
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  25. Al Gator

    Al Gator You can call me Al Thread Starter

    [​IMG]

    View from the Vault, Volume 2

    Recording date: June 14, 1991
    Recording location: Robert F. Kennedy Stadium, Washington, DC
    Release date: June, 2001
    Recorded by: Dan Healy



    Disc 1
    Set 1:
    1. "Cold Rain & Snow" (trad., arr. Grateful Dead) – 7:00
    2. "Wang Dang Doodle" (Willie Dixon) – 6:39
    3. "Jack-a-Roe" (trad., arr. Grateful Dead) – 5:48
    4. "Big River" > (Johnny Cash) – 5:43
    5. "Maggie's Farm" (Bob Dylan) – 7:44
    6. Row Jimmy" (Robert Hunter, Jerry Garcia) – 11:04
    7. "Black-Throated Wind" (John Barlow, Bob Weir) – 7:19
    8. "Tennessee Jed" (Hunter, Garcia) – 7:49
    9. "The Music Never Stopped" (Barlow, Weir) – 8:55
    Disc 2
    Set 2:
    1. "Help On the Way" > (Hunter, Garcia) – 4:33
    2. "Slipknot!" > (Grateful Dead) – 8:30
    3. "Franklin's Tower" (Hunter, Garcia, Bill Kreutzmann) – 12:27
    4. "Estimated Prophet" > (Barlow, Weir) – 13:08
    5. "Dark Star" > (Hunter, Garcia, Mickey Hart, Kreutzmann, Phil Lesh, Ron McKernan, Weir) – 11:29
    6. "Drums" > (Hart, Kreutzmann) – 9:54
    7. "Space" > (Garcia, Lesh, Weir) – 6:26
    Disc 3
    1. "Stella Blue" > (Hunter, Garcia) – 13:10
    2. "Turn on Your Love Light" (Deadric Malone, Joseph Scott) – 9:13
    3. Encore: "It's All Over Now, Baby Blue" (Dylan) – 7:16
    4. Bonus tracks from July 12, 1990: "Victim or the Crime" > (Gerrit Graham, Weir) – 8:29
    5. "Foolish Heart" > (Hunter, Garcia) – 10:10
    6. "Dark Star" (Hunter, Garcia, Hart, Kreutzmann, Lesh, McKernan, Weir) – 24:58
    This release is a little hard to review in an unbiased way, for it contains the complete second Grateful Dead show that I saw, along with parts of my first show.

    I wonder if the opening Cold Rain & Snow is because of the previous year’s show at the same venue, where it poured during the first set. Anyway, the song barrels along, as does the following Wang Dang Doodle. Then we’re off to sea for a nice Jack-A-Roe, and to the country for a strong Big River.

    While there’s plenty of energy in the opening songs, Maggie’s Farm is where the set really comes alive. This infrequently-played Dylan song saw each band member take a turn at the vocals, and the whole band is playing with great enthusiasm; everybody’s contributing, the vocals all work, and the result is full of fire. The following Row Jimmy is lovely, with a long Jerry solo that includes some fine midi.

    Black-Throated Wind and Tennessee Jed keep the quality high (some fans think this is one of the best versions of the former), and the closing Music Never Stopped is fiery with an extended outro jam. This isn’t a set to skip over.

    The second set kicks straight into high gear with Help On the Way, complete with the hoped-for first-rate Jerry leads. Slipknot! is a winner - wide-ranging, angular at times, with every band member contributing; it’s certainly one of the best versions from the latter years and holds its own against any era. While it’s good, Franklin’s Tower isn’t at the same level at these tracks; nonetheless it’s a strong finish to this classic trilogy and features plenty of fine Jerry solos.

    A strong Estimated Prophet at times sounds laid-back, but explodes nicely where it should. A long and delicious ending jam leads into Dark Star, the second in a row at this venue. It proceeds quickly to the first (and only) verse. It never reaches the heights and depths of the best versions, but it’s a welcome rarity in 1991.

    The show's conclusion is short but sweet, with an emotional Stella Blue, a rave-up Lovelight, and a strong Baby Blue encore. The crowd certainly went home with smiles on this night.

    There’s filler from the same venue a year earlier with Brent on keyboards, and it’s better than the main show. It starts with a relentless, dark version of Victim or the Crime. When making these notes I was thinking that it’s very surprising that we’ve never seen a Pick from the summer of 1990 (although the first View from the Vault was from the tour), but Dave’s Picks 40 finally changes that oversight. The transition into Foolish Heart works very well; Jerry plays a stunning little solo at the beginning that’s the light after the previous darkness. That solo is so perfect and so exquisitely Jerry that I can’t imagine anybody else doing it. His vocals are rather croaky but they’re sung with conviction; a second nice solo in the middle is welcome, and if it wasn’t for a missed vocal line in the middle this would be a contender for best-ever version.

    After a nice outro they head straight into Dark Star, and you can hear the crowd explode. It meanders around the theme for several minutes, rolling along with Jerry serving up tasty licks and Brent some lively keys. It tilts a little a couple of times, and in a few spots Jerry uses midi in a very tasteful way. They're in no rush, and the result is truly great stuff. It’s amazing to realize that this is stadium music, played in front of 50,000 people.

    We eventually get to the first verse, and for a while it seems as if the song will continue as it has before. But instead it heads towards new territory, into one of the wildest and most chaotic jams of the Brent era. It’s hard to believe that they played this in a large stadium; I remember being absolutely stunned at the time. It’s a segment that I’ve grown to love even more over the years, and it’s a contender for best post-hiatus Dark Star (there are only a couple of others at this level IMO). You’d be sure it’s going to head into Drums, but they find their way back to the second verse. Then we’re back in more familiar, melodic territory for a few minutes before we get to Drums, and the disc ends.

    Sound quality would best be described as busy. Keyboards are mixed too high and at times Jerry is too low, and Bob’s guitar is overwhelming at times (not always a good sound with his buzz-saw tone). The filler has a much better mix and sound quality.

    The DVD includes the Box of Rain that opened the second set, and it’s lovely, making the set even better. The CD packaging is very basic, with a short essay on the oddness of Dead concerts in the nation’s capital. Since the video is from the screen feed, it’s got lots of dated graphics, especially during the spacey sections.

    As a show it’s stronger than the first View from the Vault, and it’s a good example of the 1991 seven-member band. It’s arguably a better show than either of the Giants shows that were released many years later, but the sound quality brings it down a notch. It was much more essential at the time of its release than it seems now.

    LOL moment - I didn't know as much about the band when I saw this show, and when they broke into Dark Star, I remember wondering - do they play this at every show?
     
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