Like most everything else from this show, this one is raucous and passionate, like all great NFAs.

The space in the final solo is indeed getting hot.

Lively version, Jerry was clearly engaged and having fun, even if his chops weren't at 100%. Love the enthusiastic vocals at the end.

Firey, trippy version that leads into a strong Wharf Rat. The vocal effects Bobby used on this tune in '87 sometimes sound hokey, but they work here.

Intense, focused version with lots of Phil bombs. Coming out of a strong The Other One. A combo that could sometime be a post-space snooze delivers.

Yes there are some vocal flubs and it's sloppy at times but overall this version is snappy and punchy and deserves a lot more attention!

An amazing version whose power seems to draw from both the gorgeous beauty of the quiet interludes as well as the fantastic and blood-pumping peaks. Flows out of an amazing Dark Star> Mind Left Body Jam. This sequence is why we listen to the Grateful Dead!

Stellar version out of a terrific Dark Star. Nothing feels rushed; the band takes its time climbing on board, but when Bob begins the familiar descending run of chords that define the MLB jam, we’ve got the band firing on all cylinders. This version features some astounding band interplay with shifting tempos and dynamics for about four minutes and it’s just sublime. Towards the end of the jam Jerry switches from slide playing to fingerpicking but the haunting effect remains ever-present. This MLB jam is not quite as spine-tingling as the definitive 6/28/74 version but it has to be in the top 5 or so ever. Just gorgeous and textbook 1973 Dead. This Dark Star> Mind Left Body Jam> Morning Dew is why we listen to the Grateful Dead!

Gorgeously patient and understated version, featuring tremendous group interplay leading into the first (and only) verse at about the twelve minute mark. The way Jerry’s guitar echoes his plaintive vocals during the verse sounds almost like a theremin and is particularly haunting. A strange bass-led jam follows the first verse - genuine weirdness for three minutes or so but it’s not a total freakout jam — that comes later. Out of the weirdness, Jerry begins some some mellow slide runs and we get our first hints of a Mind Left Body Jam. Nothing feels rushed, as the band takes its time climbing on board, but when Bob begins the familiar descending run of chords that define the MLB jam, we’ve got the band firing on all cylinders. This is a full-blown Mind Left Body Jam that features some astounding band interplay with shifting tempos and dynamics for about four minutes and it’s just sublime. Towards the end of the jam Jerry switches from slide playing to fingerpicking but the haunting effect remains ever-present. This MLB jam is not quite as spine-tingling as the definitive 6/28/74 version but it has to be in the top 5 or so ever. Just gorgeous and textbook 1973 Dead. After the Mind Left Body Jam concludes, things very quickly descend into the scary zone with a menacing freakout jam that gets your blood pressure up but doesn’t overstay its welcome. Instead it fades into benign, spare, spaciness until eventually transitioning seamlessly into a stunning Morning Dew. This Dark Star> Mind Left Body Jam> Morning Dew is why we listen to the Grateful Dead. Incidentally, the Dick’s Picks recording is wonderful, as it seems to captures more crowd noise and “hall ambience” than is typical for a Dick’s Picks release.

Fantastic exploratory interplay that highlights every band member in a long instrumental passage leading up to the fist (and only verse). A spacey interlude starting around the seven minute mark threatens to dissolve into discordance but never quite does. Instead Jerry charges ahead with some fast, lovely and melodic leads, and the band is clearly listening to each other. The way they tease and melt back into the Dark Star main theme in the lead up to the verse is a thing of absolute beauty. The verse is followed by a long Phil bass solo that highlights the clarity of the the Wall of Sound, but that also gets a little tedious. When Jerry comes back in with some shimmering lead work (which is complemented beautifully by Phil), it’s like manna from heaven — a sweet and unusual duet; and then before you know it Phil signals the familiar start of Eyes of the World, into which we are gently delivered after an understated but brilliant Dark Star that rewards repeat listens.