Sweet opener. This is about where in the year the immortal Country Dead takes off: 6 hour shows, three sets, NRPS, what a time. This one's a beauty.

The last DS>SS>11 ever, and doesn't disappoint. Sounds like they still had TC's celeste, even tho he'd already left. Perfect cannon shot, tight jam.

Deep levels of intimacy on the AUDs here, and Jer's voice and playing are just spectacular. Brilliant fresh playing from a historic transitional era.

Incomplete show, but a perfect artifact preserves the LL in all its sweaty greasy glory. Pig's on form, the band is in swampfunk mode. All good here.

Pig asks some couple to "do something nasty" and to come up on stage, then the band almost soulds like they're starting Purple Haze. Wild times.

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.