Brent's playing goes far outside of the rhythmic structures the rest of the band is using to support him, shaking them out of their complacency.

Acceptable slide playing from Bobby. Nice extended organ solo, MIDI sax solo. Whole band playing blues choruses gives first set particular vibe.

Looser and hotter than its more famous brethren from the following night, but Garcia gets buried some in the mix.

To my ears, the Betty Boards usually have a fair amount of Keith. Come hear why.

Harmonies rough, and Jerry blows some lines. Aside from that, this version seems to morph from relaxed folk to quasi-disco in the solo, which has strong hints of the bridge material. It's like the music is playing the band in a literal sense, as if the material itself was dictating how it'd be played the rest of the tour.

Starts and ends extremely delicately, grows like a flower in the middle. Shatteringly beautiful version. Deserves more votes IMO.

Thirded. Also don't miss Phil, or Keith in the last verse. Another great '77 reading of this song!

That jam is killer stuff. Highlight of show far for me. Jerry is singing his heart out, and Phil booms even on the AUD. This could be a serious contender in a tour full of them.

I heard Moore's AUD, and I ove the extended crowd noise before “S > F.” “Scarlet” solo gets off the a slow start. Jerry doesn’t seem to know what effects/color he wants, or where he wants to go melodically. Things pick up (once he finds a workable position on the neck?), builds towards final verse. Donna a bit loud in the mix, but in tune and adding cool effect to full band movement into “Fire.” Kind of sounds like Jerry is just not as comfortable with these changes in the transition as he would be a couple of weeks later. Phil hits the bouncing octaves for “Fire” in what seems like the middle of a measure, creating some cool rhythmic interplay. Listen to Jerry’s upbeat hits and compare the sound with 5/17, where he’s basically doing the same thing with different effects on. During the main solo, Jerry’s tone isn’t as dialed as it would be in May, but he comes out swinging, riding the fantastic groove you know everyone else is throwing down. Jerry also flubs most of the final verse, but the outro material is solid. “Fire” far better than “Scarlet,” but still B(-) for the run. Also thought the transition into "Good Lovin'" wasn't particularly well done. YMMV.