Sweet and melodious. Jer sings it from the heart and the band is really tight.

Moody, mellow, then into an explosive but still sparse jam (all before the verse). Colossal Phil then blows your mind and speakers. Excellent.

Very uptempo and fun with some great solos. Good energy.

Surpirse not to see this here yet. Martin Fierro guests on sax and the short-lived horn section sounds great. A treat with historical importance.

Ending a first set that seems more '76 than '73 (slow grooves), this one finally gets off the leash and into a great jam.

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.