The new SBD's are crystal clear, with everyone audible. Whoever that Billy guy is could sure play some goddamned drums. He's solid gold on this one.

Charged up and triumphant. The whole week of shows before Europe is killer. Thanks go to C. Miller for the great archive versions.

Key moment in transforming PITB into a cosmic monster. 9.5 minutes of gooey goodness here. C.Miller's version is the best. Dig in boys.

The outro might be the three most intensely energetic minutes of GD music ever. The first part rocks too. Why not here yet? This show is a goldmine.

Now I know a lot of you don't dig this song, but goddamn they pour it on for this one. Great Jerry filagree backing the passionate vox. Listen to the

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.