One of the definitive DS>SS>11 suites and it power rocks on its own. Young'uns: don't forget good '69...fear not and dive in!

Stretches further out than earlier ones, like the Birdsong before they seemed to find WR's deeper groove and go furthur with it. Result? Beeyootiful.

Saddle up heads, this is one of the nicest ones I know. Pre-Donna Jean, but the boys cover it with driving intensity and its nicely mixed for the era.

Nailed it. Part of the great April run that coalesces the '71 sound. Killing 1st set with manageable mix and saturation issues.

One of the tightest and best jams I've ever heard. Absolute magic. Goes straight into a killer Lovelight. This is an amazing show. Check it out.

Listening again (and again and again) to that gentle lilting jam, and I'm more convinced now that you could describe it as a long teasing intro into the TOO that they finally reach after drums. It isn't TOO in the power-acid rollercoaster cannon shot, but right around 07:30 Keith switches up the chord changes and the drums switch from 12/8 feel (regular triplets over the 4/4 of the main melody) into a clear 6/8 (the meter of TOO). Jerry picks it up right away and turns his flutter of a butterfly wing solo into a rock waltz. By 09:40 Phil and Bobby are pushing it into uncharted territory (it almost sounds like the stuff Joni Mitchell would do with Jaco Pastorius starting the same year) but somehow TOO is already in the air, gently, touched by that beautiful '76 understatement. It's only in the last few seconds before Drums that they spell it out completely. What beauty!

Soloing is brilliant, and the jam almost lifts off into the Dancing in the Streets territory of the era.

Wasn't too convinced at first by this one. It drags a bit during the first minutes, but then, oh lord, hold on tight because you're about to lose your face. Kicks up around 06:30 min in.

Real love here between Jerry and Keith. Different mixes to chose from, but I'm enjoying the Tetzeli Soundboard. Bobby's a bit lost, but otherwise great separation and a clear sound. Keith is clear and glorious.

Not a KSM. A very cool jam indeed, but doesn't have the melody, structure, meter, polyrhythms or form of KSM. There are arguably thematic riffs in common, but if I had to say, I'd say this is erroneously marked.