Great cadence to this one and some cool reverb effects lend a trippy mesmerizing feel to this fine entry from the Fox. Get the CM SBD source.

Segues perfectly out of MAMU and rolls along beautifully til Jerry goes ballistic on the last solo. Must hear.

Nice early stand alone with a long intro. You can hear the transition from the old intro to the more familiar pickings of later versions.

Not really a darkness jam but more of a dark star jam than what it's listed as (PITB) leads into Wharf Rat & is beyond beautiful.

The boys really "throw a mess" on this one, making the carrier dome sound like a down and dirty old time saloon. Slinky sick stuff

^^^^Sounds like a cut to me; hope it's not. Didn't listen to other available versions to see if it could be. Doesn't ruin it but if it is a cut instead of Phil's channel conking out I'd like to hear a restored or patched version.

^^^^Excellent observation. Jerry indeed does land some "extra punches" if you will to bridge the too-sudden turn into fire. Without him drawing things out a bit the transition would have been awkward instead of sublime.

You want free-form jazz that would make Coltrane smile? It's here. You want acid-jazz that would elicit a nod, if not a smile, from Miles? You got it. You want to hear a ridiculously undeservedly low-rated (2 when I tuned in) gem from 1972 that probably got buried only because you can't swing a dead cat without hitting an awesome PITB in '72? You're a click away. I can see why Cuca came back to comment more than once...this needs to carried up the ladder, folks.

Well, the NY Times agrees with me, for whatever that's worth. Last paragraph from the review of "Long, Strange Trip": "These are quibbles, the sort of nits Deadheads pick while arguing over the band’s best performances. Senator Al Franken is on hand to enthuse about his favorite version of “Althea”: Nassau Coliseum, May 16, 1980. Right tour, wrong show, Senator: Try San Diego, July 1." Spoiler alert: He's not too far off. Nassau is probably a smidge better, but the difference, as Cosmo Kramer would say, is negligible.

Right out of the gate this amazing version turns on the psychedelic jets and sets the path for a grossly underrated but rewardingly rich Playin' for those willing to seek it out. Check out the reverb wah-wah even as Bob sings the very first line. You don't usually get this far into color sound swirl territory until after the first two verses and the meat of the jam but here they launch straight away. It's all brilliant after that because hey, it's '72, a year that was this song's coming out party and the only thing lacking is a superior recording, although the one I heard isn't bad. Keith is high in the mix as noted by others but I think this is a supremely good thing, because he was a major reason this song was so good in '72. I've kind of resigned myself to these lower ranked versions staying so but those willing to give it a chance will be very happy they did. Up it if you agree.