This is a lightening fast bowl of nose clams, played 100x the speed of hyperspace. Worth it just to hear how fast the boys ventured to take this on

Not the longest, by any stretch, but incredibly airy and beautiful for Bobby's B-day. Worth a listen for sure

Super interesting jam out of a surprising Truckin' > NFBM jam > Drums > Feeling Groovy jam. The first few min of keys/drum/bass after drums is $$$$

Seriously high octane. A very subtle St Stephen lick by Jerry in the closing jam

Booming peak jam, then a flawless segue back into TOO

Put me firmly in the LLR fan grouping. Bobby's emotive chaw and Jerry's peaky guitar are a serious draw for me. And while lyrically, the second verse is indefensibly bad, the first verse is actually quite nice and one that I always enjoy. This version has all of the goods - Bobby digging deep on emotional blast and Jerry railing home the song's gravity in his solo. Nice version

While many of the songs played in this show are unnecessarily glorified compared to equally as good, if not subjectively better versions of songs, the show and versions within are still cannon and for defensible reasons. It's a rock solid show cover-to-cover, with any-era level highlights of versions. Cases can easily be made for many other far less lauded shows as being as good, though this one emerged over time as legend. This Bertha though, my. GOD. To complement the previous comments, Jerry has rarely ever blazed such a fast and tight solo in the jam portion. I hadn't heard in a while and it took me by complete surprise how ferocious and nimbly he takes that one. Definitely a fantastic version and yes, Veneta is peak output. Not every version is best ever, but as a complete performance, this show is obviously really damn good

Super bouncy, precise version. Crisp

I credit the mere existence of this jam to the Billy the Kid, channeling his inner Art Blakey and refusing to let the end of Truckin' dissolve to natural conclusion. Bill kept the driving the splashy high hats, then Bobby caught wise with a clever rhythmic pattern, then Phil dove in with the foundational low end. To my ears, this is one of the most easily identifiable and exemplary jams that highlight just how much certain Dead jams could be classified as pure free-form jazz. The period before Spanish Jam could have been pouring out of Blue Note, rather than the Philly Spectrum. Bill takes home the MVP on this in a big way, but everyone makes incredible contributions on this all-timer version. Very grateful to finally have a polished SBD in the new Dave's release!

Agree with comments above. The mid/end "jam" is funky, unique, and hints strongly at the impending Samson. Def worth a spin