Having held "sing something Phil" banners, I always had a soft spot for BoR. This one is tightly played and powerfuly sung. Good stuff!

Hard rockin' version coming after a deliriously epic 2nd set suite. Crunchy and powerful.

A long, smooth outro allows for a little musical discussion whether it's going to TOO or Truckin'. Great stuff that must have stolen many faces.

This CC is so sweet and much longer than others of the era before signaling the >IKYR, with lots of room to stretch out and find the sound.

So smooth, so warm. 2nd song in the show, and they sound like its late 2nd set. Gem of a show, gem of a song.

Go to the Charlie Miller cleanup and you get a great deal more out of Bobby's brilliant work gearing up Jerry and Brent's extensive jam. Jerry has an endless supply of ideas, bringing it on like ten musicians in a high-steppin' conversation with themselves.

I always say that listening to a show's Truckin' is the best way to tell how switched on they were on any given night. A lot of Heads overlook it, but done right - and this one is a fully heady 'done right' - Truckin' is the anthemic 'We are the one-and-only Grateful Dead' head-turner that put people on the bus for good (or for ill!).

As much as I love this show and this song and the stripped down '74 one-drummer coherency, it does sound a bit in places like they were struggling to hear each other through the monitors. There's just enough delay and scramble to make it a bit looser than probably intended. I'm just picking nits, but by Scarlet (next song) they're much more in sync. It's Europe '74 so it's all good. So much love for this show.

Almost all of them? There's great energy, sure, and it's a famous show and movie we all love, but they sound disconnected from each other for about eight minutes before scrambling what might be the easiest lyrics in the whole repertoire. They do finally catch the groove, but then go into The Other One for 2.5 seconds before giving the Devils their due and letting Billy and Mickey loose. Sorry if this sounds snarky, but there are 100 better NFA's on this page.

So much to say again about this one, but really this melodic feedback transition into Sugar Mag hardly even counts as a 'meltdown'. It's a few moments of nerve-jangling tweaky bits at the end before it arrives in peace and beauty for a soft landing. Haven't you guys ever just taken a little bit too much, and passed through a hairy freak-out patch on your way back into the beautiful light? It's just like the lyrics describe: "reason tatters, the forces tear loose from the axis" and "mirror shatters in formless reflections of matter". The best DSs show us how to get into and back out of the hard part and this gives you just a wee taste rather than the whole deep dark dangerous shattering. I wouldn't change a note. If you want the really heavy dose of weirdness check this rarity out: http://bt.etree.org/details.php?id=550860