Jesse Jarnow

#deadfreaksunite 1974

#deadfreaksunite 1974
show-by-show notes

Originally posted on Twitter on each show’s 40th anniversary and edited here for readability. All shows streamable via

[1972] [1973] [1974]

2/22/74 winterland: a long soundcheck spent working on 3 new songs, the retired ATTICS OF MY LIFE, & a proto-ESTIMATED PROPHET jam. show opens with the proper debut of U.S. BLUES, ex-WAVE THAT FLAG. nice & punchy, though band doesn’t seem quite done practicing it. the 1st IT MUST HAVE BEEN THE ROSES, the only GD tune credited solely to hunter, is an instant winner, though fast & a bit clunky. garcia plays fully articulated SLIPKNOT! inside PLAYING IN THE BAND, uncharacteristically forcing it discordantly into the jam. 1st SHIP OF FOOLS, a major new jerry tune, is likewise uptempo compared to future versions, but dramatic & funny & wonderful. not a lot of compelling jamming, the band’s overexcitement best encompassed by non-sequitur bass bombs in CHINA DOLL.

2/23/74 winterland: final HERE COMES SUNSHINE until the (shudder) ’90s revival. farewell big blissy jam, we hardly knew ye. ’74 model mellowness seems way less lethargic & more pleasing than the ’73 version, probably mostly due to the warm piano/rhodes mix. even-keeled LET IT GROW with sweet weird-swing by kretuzmann. subtle jerry/keith SLIPKNOT! counterpoint in OTHER ONE.

2/24/74 winterland: another U.S. BLUES opener, clearly the new anthem, more confident than its debut, now beaming & exuberant & goofy. great show all around, with vivid foregrounded piano/rhodes in CUMBERLAND BLUES, PLAYING IN THE BAND, WEATHER REPORT SUITE & more. 1st DARK STAR of ’74 starts & stops a few times before coalescing into a short, jaw-dropping coda & a long, drippy MORNING DEW.  1st IT’S ALL OVER NOW BABY BLUE since 9/72 & last ’til ’81. slightly uptempo, but graceful, unrushed, & nice. g’bye.

3/23/74 cow palace: hello, wall of sound! the 1st proper show for owsley’s legendary, crystalline PA. greetings, as well, to SCARLET BEGONIAS & CASSIDY, last major pre-hiatus debuts. SCARLET’s open-ended bounce is sloppy & irresistible. CASSIDY, released 2 years earlier on “ace,” has even more potential. a real shame they shelved it again ’til ’76. my fave weir song? final PLAYING IN THE BAND  > UNCLE JOHN’S BAND > MORNING DEW > UNCLE JOHN’S BAND > PLAYING IN THE BAND sequence, led by magical soft-edged garcia attack that could last forever. unexpected beatles-y counterpoint vocal on SHIP OF FOOLS’ final chorus, not articulated during 3 previous versions.

5/12/74 reno: the wall of sound hits the road. 3-set outdoor show amid crazy washoe zephyr winds that phil references. lulz whenever the dead use gazillion-watt WoS to play polka-boogies. appropriately surly lesh vocals on MEXICALI BLUES & everywhere. high-speed details & thrilling MIND LEFT BODY-like descent before the only lyric-mangled verse of quick-dissolving OTHER ONE, a fully developed MIND LEFT BODY jam & 2 more jerry ballads, though SHIP OF FOOLS is sly & perfect in early uptempo version.

5/14/74 missoula: 1st & only time the dead played montana. “sweet susie” returns to LOSER for 1st time since ’72. garcia sounds confused. bubbling SCARLET BEGONIAS jam, too short, kreutzmann pushing the band outside the structure. a pleasant landing into IT NUST HAVE BEEN THE ROSES. 27m DARK STAR features unparalleled space-swing, highwire JG/BK dazzle, stereo fuzz conversations, flexatone, & ample cosmic boredom. dense & unsettling CHINA DOLL with insane overloaded guitar solo amid a drippingly psychedelic soundboard mix. fratboy hits weir on head with plastic beer pitcher & weir responds appropriately with cheesiest ONE MORE SATURDAY NIGHT yet.

5/17/74 vancouver: debut of a new faster arrangement of LOOSE LUCY. still a throwaway, but now with refreshing bonus pep. weir’s MONEY MONEY, on the other hand, is unsafe at any speed. the worst dead tune not written by a keyboardist? IT MUST HAVE BEEN THE ROSES & SHIP OF FOOLS both slow down even more & get even better. played almost every night & rightly so. top notch PLAYING IN THE BAND & TRUCKIN’ > EYES OF THE WORLD > CHINA DOLL jams but, except for hard-driving EYES outro, nothing exceptional.

5/19/74 portland: big cheer for 3rd ever SCARLET BEGONIAS. does the crowd possibly know it or is it just instinctual 1st reaction? band makes a point of cutting off the SCARLET jam (why?!) & ending together crisply, an oddity by itself. thankfully, it won’t stick. 4 big garcia ballads, including beautiful 1st PEGGY-O of ’74 & a powerful CRYPTICAL-like WHARF RAT that keeps expanding as it spirals. fast, fun TRUCKIN’ unwinds into an unusual funk-slop MIND LEFT BODY, the closest kreutzmann ever got to breakbeats.

5/21/74 seattle: a monster show highlighted by a 46-minute PLAYING IN THE BAND, 3rd longest standalone jam in the band’s history. good omens: donna jean’s SCARLET BEGONIAS wail is kind of nice & low-key, karen dalton style. last of 3 MONEY MONEYs. fuck that song. no, really. it’s so hateful & un-deady. 1st set ends on unusual elegiac note with an unfussy CHINA DOLL. works really well. A+ PLAYING soars with bizarre internal logic, earns its brief space-outs & is bookended by some of the more brutal donna screams ever. the 23m EYES OF THE WORLD > WHARF RAT that follows might be seen as unnecessary by some. i am not among them.

5/25/74 santa barbara: one of my 1st killer soundboards (thanks, compuserve tape tree!) & my personal definitive CHINA CAT SUNFLOWER > I KNOW YOU RIDER segue. TRUCKIN’ bends swiftly from blooze boogie to fast zagging & drumless space where keith plays subtly sun ra-y monophonic synth & into the only ’74 LET IT GROW unattached to rest of WEATHER REPORT SUITE & capped by 3rd big WHARF RAT in 3 shows. also the show where a taper snuck in his deck by burying it in the stadium the night before.

6/8/74 oakland: a sun-stroked bill graham day on the green at oakland stadium w/ the beach boys, new riders, & commander cody opening. strong candidate for the all-time most of out-of-tune dead show, due to heat. for mucho excellent baseball banter, check @NotBobWeir. SCARLET BEGONIAS feels slightly off-kilter, with garcia unwinding a cool inverted version of the melody to signal the end of the jam. 40m PLAYING IN THE BAND > WHARF RAT > PLAYING IN THE BAND wanders early but goes molten. even keith steps up during A+ darting full-band improv.

6/16/74 des moines: 4 hours over 3 afternoon sets at the state fairgrounds. pictures show grand piano, but keith plays mostly rhodes. good fun throughout. SCARLET BEGONIAS is short but big. sounds like it could go anywhere. uncharacteristically clangy CHINA CAT SUNFLOWER > I KNOW YOU RIDER. bodacious EYES OF THE WORLD > BIG RIVER segue. refreshing to hear the band keep uptempo momentum instead of resolving into a ballad. weir & donna finally nail nifty beatles-y SHIP OF FOOLS outro harmony. 30m PLAYING IN THE BAND with chiming disassembly & abstruse zapping. keith uses fuzzed rhodes for garth hudson-style country-funk on ME & MY UNCLE. many-themed TRUCKIN’ capped by smooth MIND LEFT BODY as a confident bridge into sweeping WHARF RAT. weir loses his voice & doesn’t sing after the big jam. also refreshing.

6/18/74 louisville: a stone classic. rich sound, punchy bass, mucho piano, quiet dynamics. like my old tape, slightly sped up. PSA by weir: “you’re probably wondering why we called you all here tonight. the upshot of it is that one of you is a Venutian spy.” an all-time great EYES OF THE WORLD, crisp & roaring, godchaux taking the 1st solo & adding triumphant harmony to the 7/8 outro. 20m LET IT GROW sparkles into mutant swing & a 19m OTHER ONE, dissolution, odd pockets, & space-blooze prelude to STELLA BLUE. rare MORNING DEW encore. long & exquisite quiet valley before the final peak, filled with piano/guitar/bass droplets.

6/20/74 atlanta: debut of the weir/garcia guitar harmony intro to JACK STRAW. 1st TO LAY ME DOWN of the year. ineffable LSDC&W. more sweet godchaux piano throughout. especially breathtaking quiet filigrees on MUST HAVE BEEN THE ROSES. you were right, @jimmyjacktoth. EYES OF THE WORLD opens into a runaway garcia solo; an early version of SLIPKNOT, everyone else half-successfully figuring it out as they go. CHINA DOLL features the return of the awesome overloaded split-signal feedback guitar solo from the missoula version.

6/22/74 miami: super-fine 29m PLAYING IN THE BAND with shimmering jazz dance, soft-fuzz guitar, & sudden invention in the clouds of unknowing. comfortably far-out CHINA CAT SUNFLOWER with a half-baroque rhodes part. odd tempo disagreements on BERTHA, WHARF RAT, more.

6/23/74 miami: only dead version of chuck berry’s LET IT ROCK. started by phil, sung by jerry, outside garcia/weir rotation. fun but wut? the 1st setbreak SEASTONES duet between phil lesh (on quad bass) & ned lagin (on e-mu modular synth) zapping thru the wall of sound. 13m of disorienting & increasingly piercing full-body biomusic burble & scream around the jai-alai fronton. deadheads applaud politely. lagin plays rhodes on JAM > SHIP OF FOOLS & is fully present on a wordless 22m DARK STAR > SPANISH JAM, conversing with garcia & lesh. or this is the busiest godchaux playing ever? garcia deploys split-signal feedback-fuzz during SPANISH JAM & destroys.

6/26/74 providence: A+ mix of soundboard with jerry moore audience tape. dude in the crowd really wants people in front to sit down. frenetic LET IT GROW jam cooks for 4m & evaporates. SEASTONES is mostly gentle bio-voltage. heads seems receptive, even enthused. another abnormally long CHINA CAT SUNFLOWER, starting with a noodle-y prelude & a quizzical diversion before garcia starts to sing. big thumpin’ TRUCKIN’, but quad bass solo, OTHER ONE riffage, SPANISH JAM, other themes feel restless & disconnected.

6/28/74 boston garden: an old fave with setlist shenanigans & a fun, consistent up-ness; big jam is more scattered than i remembered. split-up SUGAR MAGNOLIA/SUNSHINE DAYDREAM bookends a set for 1st time. SCARLET BEGONIAS moves to 2nd set & nearly breaks free. short soundboard SEASTONES excerpt erupts from vivid oceanic static to screaming flares. crisp TO LAY ME DOWN; best since its revival 42m WEATHER REPORT SUITE > MIND LEFT BODY builds, hovers near DARK STAR with brilliant themes, fuzzy dead air & long build to U.S. BLUES. surly phil intros SHIP OF FOOLS: “a quiet, tender, meaningful, sympathetic, heavy-duty ballad in the key of b-flat.”

6/30/74 springfield, MA: superb PLAYING IN THE BAND > UNCLE JOHN’S BAND > PLAYING IN THE BAND delights with mondo keith, dime-turn transition, & thoughtful reprise. 2 more spots where almost all drop out but garcia, including a jerry/phil feedback-fuzz bridge into UNCLE JOHN’S BAND & 6m prelude to STELLA BLUE. most cogent SEASTONES yet courtesy of the 1st complete soundboard. seems like phil harshing the noise & ned bleeping more consonantly. nice l’il charge from U.S. BLUES > TRUCKIN’. killer EYES OF THE WORLD (again: keith!) with wild kreutzmann drumming during end break.

7/19/74 fresno: right-on 30m PLAYING IN THE BAND marked by straight jazz, dancing rhodes by birthday boy keith, flowing de- & reconstruction. annoyingly chatty audience-only tape of SEASTONES punctuated by friendliest taper ever. “are you taping this?” “absolutely!!” 1st HE’S GONE since february is long & shaky, with dixieland blues coda by garcia that is sweet & mournful but never takes off. LET IT GROW, peaks atop peaks, a brief space-canyon, glorious patient SPANISH JAM, full-flight EYES OF THE WORLD. enthralling.

7/21/74 hollywood bowl: generally sweet audience tape with another lazy summer MISSISSIPPI HALF-STEP > IT MUST HAVE BEEN THE ROSES & another talk-marred SEASTONES. 21m PLAYING IN THE BAND with brisk note-chasing & a mini-MIND LEFT BODY/NOBODY’S FAULT/SPANISH JAM collision to set up WHARF RAT.

7/25/74 chicago: just noticing that ROW JIMMY has gradually sped up since slow-ass ’73 versions, back to refreshing SUGAREE-ish lilt. a pleasant vocal-less DARK STAR. nothing jarring, just satisfying linked jams, harmony guitars, drum/keys break, proto-SLIPKNOT, more. JOHNNY B. GOODE has weir shouting like it’s already the ’80s. donna gets brassy on a new part of SHIP OF FOOLS. :( .

7/27/74 roanoke: besides conversational 25m PLAYING IN THE BAND & garcia forcing U.S. BLUES into uneventful 5m boogie jam, oddly improv-less show. weir sings 5 songs in the 2nd set, all covers, 4 from the ’50s. no ONE MORE SATURDAY NIGHT even though it was a saturday. thanks?

7/29/74 landover: rare DC area show. the hep place to be for swinging beltway liberals at the height of watergate, per reports. straight-ahead & great. many enthused whoops throughout U.S. BLUES. especially assertive IT MUST HAVE BEEN THE ROSES. missing SEASTONES. compact & articulate 49m HE’S GONE > TRUCKIN’ > NOBODY’S FAULT > OTHER ONE > SPANISH JAM > WHARF RAT & bonus PEGGY-O.

7/31/74 hartford: 3 sets, all cracking & on point. 1st SCARLET BEGONIAS show opener, purdy rhodes cascades, concise but far-reaching. extraordinarily animated & delightful garcia vocals throughout. 1st time he punches the line “let my eyes no LONGER see” in ROSES. 1st onstage acknowledgment of SEASTONES? “we’ll be for another set in a few moments,” sez jerry. “…& additional weirdness,” adds phil. 2nd full SEASTONES soundboard is the harshest phil/ned custy blastage yet. “get off the stage,” someone yells audibly. #noiselife. curling, primo 40m TRUCKIN’ > MIND LEFT BODY > SPANISH JAM > WHARF RAT. even ONE MORE SATURDAY NIGHT kinda glows a little.

8/4/74 philadelphia: fairly ripsnorting JACK STRAW thanks to strident phil vocals, a completely tasty solo, & over-saturated mix. 20m LET IT GROW churns, goes supernova, & reforms for a fast, weird 2 minutes before garcia slashes into WHARF RAT.

8/5/74 philly: sparkling soundboard. another golden MISSISSIPPI HALF-STEP > MUST HAVE BEEN THE ROSES. not a natural segue, but a nice pairing. nearly gentle SEASTONES, woman desperately screaming “jerrrrrrry!” on audience tape. last 3m is a burbling annihilation & denouement. big bouncing SCARLET BEGONIAS, 1st to break 10m. half-hour TRUCKIN’ thrills & opens up without resorting to jam motifs.

8/6/74 jersey city: summer tour finale ends an era: the last east coast show (& final U.S. jaunt) ’til mickey hart’s return in ’76. 2 big 1st set jams. jeweled 19m EYES OF THE WORLD with atypically mellifluous bass solo. weir PSA: “don’t climb on the fence, idiot!” PLAYING IN THE BAND bubbles into syncopated space-funk & a totally-like-WOW segue into a semi-off-kilter SCARLET BEGONIAS & on back to PLAYING. rare HE’S GONE prefaces a 31m TRUCKIN’ swerve through SPANISH JAM & only the 5th OTHER ONE of ’74, bookended by SUGAR MAGNOLIA/SUNSHINE DAYDREAM. U.S. BLUES’s “summertime done come & gone” refrain caps the tour & the epoch. see you in a month for europe ’74.

9/9/74 london: the wall of sound takes europe! 1st of 3 nights at alexandra palace starts hours late, earning ill-will from UK heads. 1 set, scant improv. ugly coked-up vibes, per mcnally’s bio. nice SCARLET BEGONIAS, though, with audible cheer for “grosvenor square” line. 16m TRUCKIN’ packs big & bigger thrills with aggressive OTHER ONE bass orbits but instead parachutes into WHARF RAT.

9/10/74 london: excellent 1st set garcia, including dramatic LOSER & nuanced PEGGY-O. LET IT GROW finds edge of space & pulls back. weir opens show with tepid AROUND & AROUND & hijacks early 2nd set with interminable & ultra-lame 16m NOT FADE AWAY. thankfully, 31m DARK STAR flashes between heaviness, confusion, & killer keith. serious post-verse meltdown into bass-crazed MORNING DEW.

9/11/74 london: good: SCARLET BEGONIAS getting longer & more intricate. bad: donna now wailing/whoaing/la-la’ing deeper into the jam. set 2 consists of 69m SEASTONES > EYES OF THE WORLD > WHARF RAT. probably my all-time most-played sequence, still rewarding & weird. garcia & kreutzmann join for deep, lysergic SEASTONES, jagged figures transforming to silver valleys, floating blurps, buddha-guitar. ned’s strident melodic piano dominates EYES, unrushed themes unfolding before a 10m SEASTONES reconstruction into WHARF RAT. lagin remembers garcia erupting into “a prolonged loud belly laugh” after the jam’s conclusion, totally audible on tape. bonus 3rd set. garcia/weir/donna master the counterpoint on final SHIP OF FOOLS chorus, setting up dramatic finish.

9/14/74 munich: weirdly off. SCARLET BEGONIAS has cool counterpoint & high-speed garcia but awkward grooves & rare sloppy ending. SEASTONES achieves a mellow vibration & builds to quad-fuzz detonation finale. germans sound way riled. PINBALL WIZARD comes on PA. last of 6 lovely MISSISSIPPI HALF-STEP / MUST HAVE BEEN THE ROSES pairings, always a nice oasis in a desert of bob weir cowboy songs. no big jam, though 16m TRUCKIN’ hits laser focus for last few minutes, resolving to uptempo MIND LEFT BODY descent into WHARF RAT. more quicksilver garcia during EYES OF THE WORLD encore, but not enough to save show. backstage, bad vibes.

9/18/74 dijon: smallest dead show in years, only a few hundred people. 1st set is ragged but even UNCLE JOHN’S BAND opener stretches casually. tiny french crowd even gets 1st FRIEND OF THE DEVIL since 12/72. jerry ballads aplenty & jam delights all over. both SEASTONES & 2nd set drums/bass break have lesh playing something like free jazz. EYES OF THE WORLD dips into a magical mood, wistful & quiet, lots of gorgeous lead bass & hints of SLIPKNOT; CHINA DOLL grows cool busy drum part. HE’S GONE burns into my new fave TRUCKIN’: 23m of fuego garcia, free DRUMZ, stereo bass, & a “CAUTION JAM” that’s something even better: 10m of shifting, sustained invention & cracking snare turnarounds, melting to SHIP OF FOOLS. thrilling, cohesive set.

9/20/74 paris: a shaggy night in the city of light. midtempo & loose FRIEND OF THE DEVIL. overheard on drum mic pre-BEAT IT DOWN THE LINE: “are you crazy? i can’t count that high, you dumb shit.” 14(?)-beat intro nearly collapses. bizarre SCARLET BEGONIAS gets quiet with slide guitar, off-mic donna la-la’s, off-key monophonic synth (ned?), subtle cowbell details. TRUCKIN’ fans out into squiggly space with neat results, eventually a long garcia/kreutzmann duet, & noise bass bridge into EYES OF THE WORLD. does EYES have bad mix or is it falling apart? unrelated(?), billy k. throws moped through a window.

9/21/74 paris: a sometimes brutal conclusion to 7-show europe ’74 tour & the last dead show outside of san francisco ’til 6/76. or it could be another weir-less mix that just feels off. solid EYES OF THE WORLD outro sounds ready for “blues for allah” sessions. full band on 11m SEASTONES, a fun & dense mess that loses steam. great shattering-glass blasts & a nice ned/keith piano duet, though. 18m PLAYING IN THE BAND stays low stakes with small lurvely garcia/lagin dialogues, dissolves into DRUMS, & screeches awkwardly into final chorus. kreutzmann starting to get into cowbell, including on ROW JIMMY break. maybe the ’80s weren’t only mickey’s fault?

10/16/74 winterland: 1st of 5 eventful “retirement” shows, longest all-time gig (4+ hours of music) & probably the furthest out. camera crew starts shooting “the GD movie.” last ME & BOBBY McGEE. always dug the way garcia bark-crooned the high part on the chorus. weir’s 27th birthday, but happy overbalance of jerry songs; back-to-back TENNESSEE JED & crackling CUMBERLAND BLUES both stretch subtly. 24m SEASTONES, ambient washes sound like (or possibly are?) nearby humans screaming; into dope 25m garcia/lesh/lagin/kreutzmann quartet. too much even for SF deadheads, who clap impatiently during last space-out &, disbelieving maybe, slow to cheer when WHARF RAT starts. and then: 36m WHARF RAT > EYES OF THE WORLD, each with an elliptical solo jerry break. on EYES, thick double keys by lagin & godchaux. and still 45m more: TRUCKIN’ mini-suite &, before encore, phil endearingly & atonally singing HAPPY BIRTHDAY to weir.

10/17/74 winterland: the last shows before mickey hart’s return, containing final streamlined 1-drummer versions of many faves. last RAMBLE ON ROSE ’til 9/76. goodbye phil vocals, goodbye subtlety on the bridge. rare FRIEND OF THE DEVIL sounding comfy. last kreutzmann-only OTHER ONE, forever the best jam for his inside-out gang-of-one free drumming. it really tied the room together. 30m OTHER ONE gets both verses, quick SPANISH JAM & MIND LEFT BODY (last ’til 12/83). last BK-only STELLA BLUE. :( .

10/18/74 winterland: final 1-drummer SUGAREE & PEGGY-O, spare & uncomplicated tunes served well by spare & uncomplicated drum parts. last WEATHER REPORT SUITE PRELUDE/PART 1. among my fave weir songs, sad & autumnal no matter the season. love garcia’s faux steel. last of 4 jams out of SEASTONES with ned lagin on keys. kreutzmann comes out swingin’, leading modal jazz dances that fold back into the last DARK STAR ’til 12/78. end of an era. quiet & lilting 1st half & post-verse jam that stays mostly inside, almost funky. nice bounce. and into patient MORNING DEW that goes supernova, last ’til 9/76. 3rd set seems unnecessary, but why not? g’bye billy-only SHIP OF FOOLS. an audience mic isn’t synced or this is worst-clapping crowd in dead history, often just totally unrelated to music.

10/19/74 winterland: almost too many comings/goings to note. final fast, crisp version of FRIEND OF THE DEVIL before ’76 slowdown. last LOOSE LUCY & BLACK THROATED WIND ’til 1990. final 1-drummer SCARLET BEGONIAS. sigh. randomly, 1st MAMA TRIED since 8/71. sloppy! rare BIG RAILROAD BLUES, fun bakersfield break in intro. final TOMORROW IS FOREVER (1st since 12/72), underrated garcia/donna C&W. so many songs go on ice: CHINA DOLL (until 5/77), UNCLE JOHN’S (12/76), RACE IS ON (10/80), DIRE WOLF (9/77), BLACK PETER (10/77). before vocals, TRUCKIN’ (9/77) veers into 1st legit CAUTION JAM since pig’s death (fire!), DRUMZ, & solo jerry space.

10/20/74 winterland: “the last one” before the dead’s break from the road, end of the 1st epoch. sweet typo on the ticket, even. as usual, bill graham both cheered & booed but nails intro: “as it should be on a sunday night in san francisco, the grateful dead.” weir garbles every single syllable of the 1st verse of MAMA TRIED, psychedelic in its own way. besides that, whole 1st set sparkles. lesh getting raspy, but BROKEDOWN PALACE (last ’til 5/77) is a stunner, final “american beauty” tune sung with its original harmonies. SEASTONES (last at a GD gig) starts with ned solo, making tangible bleep grids, moist & tonal. then phil & white noise washes arrive. garcia joins for last 15m of SEASTONES, adding subliminal melodic swells & noodles to lesh & lagin’s unsettling, sparse vibrations. mickey hart returns for last 2 sets, quietness refined since ’71 instantly swallowed by big busy beat. band’s balance audibly shifts. new possibilities in propulsive hippie fusion & deep messiness emerge in 61m 4-song PLAYING IN THE BAND sequence with lagin on aggressive 2nd keys. 1st GOOD LOVIN’ since pigpen’s death, led by weir, only dead cover with 3 lead singers at different times (garcia in ’66/’69, pig in ’69-’72). and it’s way blown-out, the dawn of a new era of rhythmic clusterfuck, drifting between locked-in brilliance & aimless textural float. last EYES OF THE WORLD with 7/8 ending break. SLIPKNOT! riff links into STELLA BLUE, now swollen with overbearing tom-tom fills. cutting in mid-solo, a jawdropping MISSISSIPPI HALF-STEP 2nd encore. perfect call with nearly every lyric apropos. it even reigns in hart. WE BID YOU GOODNIGHT to close it out, the last until 1978. dudes in crowd still shouting for ST. STEPHEN.