Very inspired playing. Jazzy swing from the rhythm devils, Lesh is barreling down the low end, and Jerry dancing the leads to a powerful conclusion

This one takes a bit before the boys get their footing, but once they do, LOOK OUT. Choice peak in this throbber

SCREAMING start to the show. Boys attack like rabid dogs. Great Brent solo in here. Welcome to Red Rocks!

This one opens up nicely, and continually unfolds, into a seamless segue into PITB reprise

They are playing in Birmingham, the song mentions Birmingham, mass crowd hysteria ensues. Hot version though, so justifiable

Very spacey, with circular, swirling jamming. Jerry, Phil, and the Rhythm Devils hard at work in this weaving, dream-like version. This has always been one of my favorite Dick's Picks - having a nice revisit with it. Segue into UJB is flawless.

Jerry's pleading vocals, his slow, patient leads, Bobby's trill fills, and the incredible, inventive segue (God, listen to Phil and Jerry gather the troops...) into Playing Reprise make this one incredibly special.

Say what you like about this show, how there is inherent bias and nastagia dialing back to the first time each and everyone of us heard it - this piece of music on its own, regardless of context, is simply brilliant. The patience, contour, outcry of despair transformed into redemption - this version distinctively captures the essence of the intent of the song, and demonstrates the emotional depth of all the boys can accomplish and elicit in listeners. I've listen to this version in the hundreds (ish +) number of times and I always recalled Jerry's magnificent leads, Keith's delicate fills, Lesh bombarding the highly emotional passages, but on the past few listens I finally heard Bobby's work, his supportive rhythmic fanning on the final peak. I was awestruck. After infinite listens, this version still leaves me learning more and finding more reasons to cherish it. Deserved of all the praise it gets

Sweet serenade of siren songs, this is the goodies...! Jerry's vocals are achingly emotive and the culminating peak is dawn at the top of a mountain. Man, this one is a sacred rendition.

This one gets bluesy and dirty, percussive, and gritty fast. I hear NFA and even New Minglewood-type jamming in the meat of this quesadilla. The real shining moment is the full band reuniting in the final minutes to congregate in a moment of pure, peaked beauty, then dropping back into St Stephen theme.