Listen To The Music Play

Thanks for the follow up! Now I’m super curious to hear this

3/3 The second set's "Playing > Terrapin Station" evolves beautifully, with "dreamy and loose" Playing gliding into a "beautifully phrased Terrapin." "Wheel > The Other One" offers a "great contrast".

2/3 The first set highlights: "Sugaree" is played with "patience and a bit of extra grit." The "China Cat Sunflower > I Know You Rider" transition is "seamless, bright, and full of that road-weary optimism".

1/3 The 7/27/82 Red Rocks show kicked off a three-night run in solid form. The venue’s natural acoustics and sense of space enhance this "grounded, energetic performance". Listening Guide Link: www.gratefuldeadbook.com/post/this-we...

3/3 The real curiosity is the sequence: "U.S. Blues > Jam > Promised Land." The jam has a "slippery Truckin’ energy," making the landing in "Promised Land" "completely unexpected." Full of "spontaneity and experimentation".

2/3 The first set is full of character, with a tender "Mississippi Half-Step Uptown Toodeloo > It Must Have Been the Roses." "Playing in the Band" stretches out with that "classic ’74 touch"—"loose, confident, and filled with subtle twists".

1/3 The 7/27/74 Roanoke show has long felt like one of the "great mysteries"—more whispers than substance due to tape scarcity. What we have clocks in at 2.5 hours & leaves you "wanting more in the best way". Listening Guide Link: www.gratefuldeadbook.com/post/this-we...

3/3 The second set's "Jam > Wharf Rat" is "flat-out stunning." It's "collective improvisation at its finest," an "absolutely" "Jam Anthem performance." The transition into "Wharf Rat" feels "almost telepathic".

2/3 The first set is short but charming. "Bird Song" is "delicate and atmospheric," with Garcia weaving lines that seem to hover. "Tennessee Jed" follows with "swagger and swing," a "laid-back groove".

1/3 The 7/27/73 Watkins Glen soundcheck isn’t just a warm-up—it’s a "full-blown performance with its own gravity," standing tall alongside the main event. The circulating tape has become legendary. Listening Guide Link: www.gratefuldeadbook.com/post/this-we...

3/3 The Dylan set is a statement of "classic tunes, deep cuts, and surprises." "Baby Blue" features a "gorgeous solo from Jerry." This show embodies a "real sense of musical partnership".

2/3 The first set kicks off with a "buoyant Iko Iko." "Bird Song" stands out—"lush, contemplative, and full of expansive phrasing," feeling like the band is "listening just as much as playing".

1/3 The 7/26/87 Anaheim show wrapped up the Dylan & the Dead tour with "undeniable flair"—it’s probably my favorite from the run! Officially released on View From The Vault, Volume Four. Listening Guide Link: www.gratefuldeadbook.com/post/this-we...

3/3 The deepest stretch is "Dark Star > Comes a Time." "Dark Star" is "reflective and open-ended," and the segue into "Comes a Time" feels "seamless"—an "emotional pivot that lands with real weight".

2/3 The first set features an early "Mississippi Half-Step Uptown Toodeloo" and a "crisp and confident" "China Cat Sunflower > I Know You Rider." "Playing in the Band" closes the set with "exploratory intent".

1/3 The 7/26/72 Portland show is another "strong outing in a summer run that just kept on delivering." It's appreciated for its "breadth," featuring long sets, dynamic jams, and distinct '72 interplay. Listening Guide Link: www.gratefuldeadbook.com/post/this-we...

3/3 The centerpiece: "Dark Star Jam > Slipknot! Jam > Stella Blue." Hearing the "embryonic Slipknot! Jam is especially thrilling to hear, like the band stumbling onto something new in real time".

2/3 The first set has a "playful and biting" "Loose Lucy" and a standout "Black Throated Wind." "Let It Grow" comes alive, pushing into a "swirling jam with some real bite".

1/3 The 7/25/74 Chicago show was a "ghost show" for years but is now a "fascinating glimpse into a slightly off-center but rewarding night" in the heart of the Wall of Sound era. Listening Guide Link: www.gratefuldeadbook.com/post/this-we...

3/3 The second set's "Truckin’" sequence features a "beautifully weird and immersive 'Space' section"—"so unique and spontaneous," it stands out even among other ’72 deep dives. This show has a "raw, transparent energy".

2/3 The first set shines with "Sugaree" (Bobby anchoring the groove) and "Bird Song" (rich textures). "Black Throated Wind" is a clear Bobby showcase—he’s "fully dialed in" on vocals & guitar, giving it "real edge".

1/3 The 7/25/72 Portland show is one I always recommend to Bobby fans—his guitar work is "front and center" due to the mix, offering a rare focused listen into his rhythm. Listening Guide Link: www.gratefuldeadbook.com/post/this-we...

3/3 The Dylan set is something special. It features the only-ever "Shelter from the Storm" and Jerry's gorgeous pedal steel on "Baby Tonight." It's a "document of creative collaboration that actually works".

2/3 Highlights include a "Jam Anthem" version of "Cassidy," full of "swirling motion." The energy never dips after "Hell in a Bucket > Scarlet Begonias." "Playing in the Band" gets "wonderfully elastic".

1/3 The 7/24/87 Oakland show is the strongest night of the Dylan & the Dead tour. The chemistry "actually lands," with the band "unified, alert, and responsive" throughout. A rare collaborative gem. Listening Guide Link: www.gratefuldeadbook.com/post/this-we...

3/3 The second set moves in "unusual directions," with "Victim or the Crime" and a careful "Terrapin Station." "All Along the Watchtower" closes with "stormy catharsis." Brent "gave everything he had that night," and it shows.

2/3 The first set starts strong with "Cold Rain and Snow." It features Brent’s final performance of his song "Good Time Blues," a tune he "always threw himself into." The closing "Truckin’ > Jam > Smokestack Lightning" has "teeth".

1/3 The 7/23/90 Tinley Park show carries deep emotional weight: it was Brent Mydland’s final performance and the 10-year anniversary of Keith Godchaux’s passing. A bittersweet lens on a vital night. Listening Guide Link: www.gratefuldeadbook.com/post/this-we...

3/3 The second set kicks off with Brent "all over" "Samson and Delilah." Then, a flowing "Estimated Prophet > Eyes of the World" where Garcia’s playing "really opens up." "Gimme Some Lovin’" roars in with "punch and spirit".

2/3 The first set includes a "grounding" "Box of Rain" and "Loser" with "grit and restraint." Brent's "Far From Me" gave him a chance to "throw some attitude into the mix"—sadly, his last.