How on earth is this not known?!?! EPIC!!!!!

Following one of the most powerful versions of The Other One ever, this Drums is on par with the rest of the best show of 1979. The goods!

One of my absolute favorites! Top 5 easily! It’s so unique. The subtle multiple intros that Phil does, then there’s the beautiful tapestry they spin throughout the first section, where every member puts their very best instrumental foot forward, and I absolutely adore how they come back into part 2 with Phil getting super funky! A spectacular show and a really incredible version of The Other One!

I usually like Dew to end the set and just leave the crowd stunned lol, but this one, in the middle of the Playin > UJB sandwich, is absolutely mind blowing! Whenever I’m listening to the ending jam build, it always seems to conclude just as the energy is still ramping up. However, as we are very familiar with Cornell, that is one that keeps going and really leaves you pretty satisfied. The first time I heard this 11/17/73 version, i was expecting that jam to be over several times and they just keep digging their heels in deeper and deeper. I was in my car with it at max volume and Phil was rattling my teeth and my soul, as the whole band thrashes it, turn after turn they keep intensifying, until it seems they’re going to reach the zenith.... and then, instead of a final crashing crescendo, followed by, “I guess it doesn’t matter, anywaaaay...”, the entire band turns on a dime and immediately jumps back into the second part of Uncle John’s, jamming at breakneck speed! Whew! This one is, as are other 72-74 versions, a major powerhouse. Phil’s thunderous bass, Keith’s pounding piano, and Jerry lighting his frets on fire - This one is the most amazing version if you want max volume, epic, powerful, mind-blowing Morning Dew!

The opening Jack Straw > Bertha is absolutely on fire!!! I’d easily argue that it’s one of the hottest, most energetic opening combos of the 90s. Phil’s clanky green bass is off the hook as well. The Jack Straw is easily top 5 of the 90s. Maybe even the best. Then this Bertha is just exactly perfect. Jerry nails everything - the words, the leads, everything...he’s on. The whole band is on. Bruce is overly exuberant and plays the most inspired melodies possible. Energy galore. This Bertha should be ranked way higher. Give the Jack Straw > Bertha a good loud listen and tell me how it’s not higher than some of these other versions. I know the 90s isn’t on par overall with previous decades, however, there were plenty of shining moments throughout the years, even in the 1990s. And without a doubt, 8/16/91 is a gem of a show. Starting with that opening JS > Bertha, then a first set Dark Star?!?! The second set has the unique Scarlet > Victim > Fire! Bruce and Jerry work those transitions like magic. A very special show that doesn’t get nearly the recognition it deserves. Of course, 9/10/91 and 10/31/91 are fantastic. I’d also put 8/16/91, 2/21/91, and 12/28/91 with those as my top 5 of the year. I’d have to also put some others from fall 91 as honorable mentions.

I don't think this version gets nearly enough recognition as it should. It's the final tour of the Grateful Dead. The body of the song itself is on the darker side of Victim darkness. Nice Phil on the boomy aud version. But the jewel of this version is the jam in between Victim and Foolish. This is some of the best improvisation work from the band - period. The interplay between Jerry and the rest of the band is magical. The idea of "segueing" from one song to another has always been one of many unique aspects about the Grateful Dead. They pioneered what we now know as improvisational song transitioning. The way that Jerry dances on the line between Victim and Foolish, between dark and light, is truly inspired. That transitioning thing is in its rawest, purest form here. This is not your typical 1995 effort. Give it a good, loud, focused listen and hopefully you'll hear what I'm hearing! Also, the Foolish Heart is among the BOAT versions. KILLER jamming!

Beautiful!!! Also see 5/5/77