A quick and driven entrance into the Help featuring Brent and Phil filling elusively and Jerry nailing it; Very intricate Knot; Infectious Franklins.

A roaring Minglewood; Check Weir's good slide solo, Garcia's ripping solo; Some fat Phil and some Gospel Brent.

Poignant yet not somber, slow but not dragging; Mellow serene and emotive; Very strong full band interplay.

Headiness such as this excluded? THIS S>F is downright profound. Perhaps due to the passing of Parish's wife and daughter, Garcia adds some dark vibes

Saloon distant gambling vibe dark and killer

The setting is developed, the mood is set, and like a wandering guy down on his luck, Garcia with a dark vocal performance, seems to capture August West with emotion and presence. The vocals keep steadily balanced with atmospheric instrumentals, a melancholy somber walk through a parallel world made real by the strong performance here at the Filmore.

This ain't so far behind the "classic" on top, what they get in this is a controlled, focused, and pinpoint rendition where Weir and Garcia keep a close watch on each others movements, allowing Lesh to keep a steady yet always wavering slinky tone that won't let them slip at any moment. Weir provides a solo that doesn't bend the mind but allows a contemplative moment, where a certain tactical rhythm is developed where Garcia can step in, and with this foundation built and made so firm, it is the only feasible possibility that Garcia could easily give a performance upon the steady backing, Lesh allows enough room for an individual surface area for each musician to separate themselves into their interweaving lines, Garcia's solo thus is an exercise in coherence, you can feel the pulse of the rhythm that drives the solo deeper and deeper, allowing the peak to continue its move towards the climax, but keeps getting pushed back and back, until it finally has so much pent up energy, that the most crucial coherent section of the solo, is ready to be thrown into motion, it can only be said, that the finale of the solo was inevitably going to find its way into the depths of the realm of a controlled, concise, and expanding musical synergetic world, in which only few musicians and bands have the capability of tapping into once created.

This one cuts deep. A country twang, sounding so utterly authentic that I can't possibly give a nod to any other. The vocals are so poignant it hurts. Provides a real moment of contemplative purity. The pedal steel sounded so good on this song, that any version without it to my ears is automatically lacking a certain component of authenticity. Its a lonely feeling created by this but its a real powerful one too. An example of the true eclectic range of sounds made possible by Jerry Garcia's experience in multiple forms of American music, from NRPS to his bluegrass past, he really did have that real good foundation in running up a poignantly gratifying performance on a song like this.

Violaleeguitars, welcome, and great first post. Jerry was feeling some heavy vibes here. I second your comments, surprised this hadn't been posted earlier. Keith also plays some really great stuff, especially during the jam section, which complements Garica well. Some of the hottest soloing i've heard from this song-- ever.