Absolute madness. Pigpen takes the Hammond for an extended stroll, and Jerry ends up on an acoustic before it's over.

You got to admit that that sweet, sweet jelly's so good

Acoustic guitar gunslingers.

Another piece of awesome slightly obscured by being a 1970 audience recording.

The benediction at the end of this night's religious experience.

It's the difference between Hunter and Barlow, writ large. Hunter always knows what to leave out - what to make ethereal or unanswered within a song. Barlow heads straight for face value terminology. You may be in the minority, but there was a time I thought of this tune as the 'Streetcat Orgy Song' AKA 'Time to stand in line at the restrooms'. Same thing, tho - I don't begrudge anybody their enjoyment of a good Bobby Lunge, and LLR could accomplish it on a good night.

Jerry maintains a dreamy, liquid calmness here - just casting out musical ripples. Blissful Tighten Up jam, massive amounts of the organ throughout...this one is worth seeking out.

This is from the KSAN half of the KSAN/KQED simulcast dual-stereo experiments, a side effect of which is that both Phil's vocal mic and bass are so ripe in the mix that you'd think his amp was sitting in your lap. At somewhere after 5 minutes, Phil tickled my soul. (if you're listening on Archive, click 'check other copies' - the last option is a marked improvement)

fun 1/2 hour Pig romp, with the band taking pitstops with St. Stephen, Darkness jam, and a face-melting run thru China Cat. It's an audience, but it's listenable - the repeated 'OH!' exclamations as the jams drop and rattle the crowd's brainpans is worth the price of admission alone, but the guy accompanying Pig with a whistle as Lovelight returns from the jams earns the audience participation award.

It's a 1970 audience tape, so you kind of have to want to listen to it to enjoy it, but this one rewards you for doing so. At about 8 minutes or so, Spaceyness morphs into a sad song 78 played at 33 rpms - it's like a slowed down ghost of Wharf Rat that just appears out of nowhere. This is followed by some xylophone/glockenspiel type thing leading the band into territory that is just as dreamy, yet with more structure underpinning it. Wave after wave, some DS themed, some that could have been an intro to Me and My Uncle, but nothing visiting familiar era-themes - this is all off the cuff amazingness. If you can get down with an audience tape, take this trip. There are cuts in both ends at the vocals, but considering a 16 year old recorded this, it's a pretty good mono 1970 recording.