Keith's second show & he's all over this faster paced super fun honky tonk version!

This is really the best one I've heard--everyobody nails their parts/lyrics...great piano fills on the side (yay, Bruce!). Just exactly, etc.

Incredible. Check out Brent's fills during the epic post-lyrics outro. A must-listen top tier Althea w/bounce, power, & panache!

Apparently no one is aware that a fellow named Keith played in this band or this version would have 50 votes already. Needs to be heard!

Outside of 1977 this may be the best version I've heard. A+ vocals from Jerry, killer mid-solo; slightly faster tempo. Must hear. Gr8 Matrix!

^^^^I do agree there are elements of all that in that particular NFA from that show. (If that's what you're referring to and not this OO)...Do wish there was a better source...I'm not crazy about the AUD sources available for 12/19/78, although they're not terrible either.

Oh, does this one need more listens! So may great Jeds, but the special ones usually feature Jerry belting out the vocals and this Dawg delivers. Check out his "law come to get ya if you don't walk RIGHT!" line, and the rest is pretty hot too.

From my favorite show of 1974. Everything shines in this one & this FOTD is one of the littler lovely gems.

Here to bump this one for its uniqueness. Most Straws of upvote headiness are given such status for the lead-in to "Jack Straw from Wichita" and this one delivers, but it's what happens in the rest of the tune that really sets this one apart. There's a lot more musical innovation occurring in the sections between the climactic verse that make this a really outstanding version. Vocals are top notch, too. Very sweet rendition that deserves a climb on the ladder.

Gets my vote for greatest ever Donna transition section. Some will feel this immediately disqualifies it as a heady version, but I implore you to see beyond your Donna bias and realize what she's doing in this particular version: to scat and vamp and experiment with her voice without going overboard into the screech-filled warblings of early 70s PITB and GSET territory. Instead, Donna gets into the groove of the transition and really rides some instrumental-like vocal waves and it adds a whole new element and flavor to the song that most previous versions lack. So I'm upvoting this primarily b/c of Donna, but also it should be said that if a great SBD copy of this show existed, the rest of the band would deserve an A+ too! The AUD's not bad (CM after all), but the version's good enough that it aches for a clean SBD.