Bob's lyric phrasing on this version is unique. He sings it in a way so different than any I've heard before & it's inventive & super-fun. Must hear!

Best of the 80's or 90's, hands down. Picture perfect rendition: Vocals, jam fills, & finish.

Short but raging. Look beyond the length & enjoy for the fire within. Jerry attacks this from the get-go & it's awesome.

Anybody else hear a very distinctive riff of Steely Dan's "Black Friday" in the intro?

Just listen & you will believe. End jam before SSDD is a tidal wave of sound & power & beauty. A true must hear.

^^^^ Heady_V... What you say here about Cornell is all true, and undoubtedly some Heads like to appear too cool for school by dissing it. In terms of introducing someone to the Dead for the first time there are some versions from Cornell I would not hesitate to use, starting with the Scarlet>Fire for an example of how very in the pocket they (and especially Phil) could be. That said, there are legitimate gripes to be made about Cornell in regards to "best ofs" (which this site is chiefly about) that should not be dismissed as Heads being purposefully contrarian. What drives me a little batty is, for example, the uber high rankings for a song like "Brown Eyed Women" from Cornell, which, objectively speaking, can ONLY be because the version has 5/8/77 in front of it and people are just clicking it to the front because of that date. I refuse to let that go unchallenged. As I said on that entry page, it's a fine version. There's nothing wrong with it. But there's nothing that stands out about it, either, and there ARE so many others that objectively have more punch, are better sung, contain better jamming by Jerry, and are simply put, better. And yet there it is as #1 just because it has the mythical Cornell attached to it. That's what I object to--I am happy to have the "best " Scar>Fire argument in relation to Cornell, best "Morning dew", etc., because ultimately even tho' I don't think the Cornell versions are THE best I would never denigrate anyone who thinks so because they are so undeniably good, so elite and upper echelon, that it makes perfect sense to have them in that discussion. But there are a lot of other versions that get the "Cornell bump" that do not deserve it, and it overshadows many other better versions that people may not seek out, thinking that because of the high ranking and votes for 5/8/77, those lower ladder versions couldn't possibly be better than Cornell. But many of them are.

Last Dead show I ever saw. Great time at Highgate & the set list is ta die for, although listening back there are the usual late stage flaws to be found. Still, up-voting this for sentimental reasons and because the revived versions of Speedway are actually a lot better than the initial incarnations from 1970 that are just painful to listen to (awkward harmonies and band members stepping all over each other; no one sure whether to sing the "one way or another" line after the verse or not....seriously, those versions are almost uniformly ugly compared to ones like this).

Can't believe I hadn't voted for this yet. new listening to the DP blew my socks off and may have this one getting into my top 3 favorite all time (with 10/29/77 & 6/4/78) due to the unique Garcia soloing that sounds more stretched out than others (I don't mean length of the jam leading into final verse, but the way Garcia lets his solo drive that jam into more of a weaving exploration than the usual power chord jamming we come to expect). It's not "spacey" weaving, it's supercharged for sure, almost like a '77-ish version of late 60's jamming on a tune like the 11). This is just a fantastic version that could be way higher on the ladder.

So it's heady why exactly? (Final time played doesn't cut it)

As noted this whole show is given the Rodney Dangerfield for no good reason. Strong '77 NFA here and it's true that the MNS from this show gets deep into "best of" territory.