Sandwiched between a dreamy Dark Star. Not the definitive version perhaps, but it belongs in the discussion.

Can believe this one isn't already here! A beautiful version from one of the top five shows ever played.

Near flawless version from a near flawless tour. The whole band is locked in on the home stretch here, and keith is hammerin' away on those ivories..

Tight, inspired, rockin'. Best of the Euro '72 run. Give it some love, folks!

One knows from Jerry's opening vocals "cost a lot to win" sung with extra twang, that it's gonna be rockin' with that good county, funky vibe.

The first Dark star of 1973 is unleashed, and like all Dark Stars, it becomes its own unique beast with each unfolding second. The first four minutes finds the band in a consummate gel that allows each member to explore individual avenues, while never veering too far from the safety of the structure. Jerry begins tinkering for melodies like narrow paths leading to a vast forest of discovery. He delivers rousing, yet elegant notes that weave between the hesitant and authoritative, and a dreamy soundscape ensues. Phil intermittently drops jittery bass flourishes, while Billy throws in crescendoing cymbal rushes. Around the 4:30 mark, Jerry fluctuates his volume, creating a forlorn, weeping effect that cascades and shifts into a hushed segment that steadily glides for three and a half minutes. The sound takes on a gentle and mysterious character, and out of the mist Jerry sprinkles a light flurry of delicate notes that rise and then fizzle back into an abyss. Just before the 9-minute mark, Billy picks up the pace with pouncing thumps on the toms and hasty taps on the cymbals. Phil replies with jaunty bass plucking, Keith answers by dancing along the ivories, and Jerry emerges with signaling notes that tug the band into the changes leading to the verse. They pass through a fast-paced, bouncy little jam, teasing the theme before gradually re-entering it. Jerry sings the verse with robust, yet gentle vocal clarity before emitting a beautiful, yet harrowing “wah” sound that fades into the stratosphere… It’s as if time freezes in the moment. The sound is reduced to a trickle before Phil steps into the spotlight at the 15-minute mark to commence a bass solo that ensues for the next three and a half minutes. Phil takes his time, seemingly choosing his “thunderclaps” with care. His quadrophonic bass (“the Godfather”) had a separate signal for each string, and this segment really underscores the effect. One witness remembered: “Each string hit a different part of the hall.” (Listening with headphones gives the illusion that there are two bass players on stage, playing back and forth to each other in a playful call and response mode.) Phil’s playing runs the gamut of delicate, to jaunty, to funky, to rock tinged. At the 17:55 mark, the crowd becomes animated and claps in unison as they’re swept into the “Phil zone.” Jerry gently tiptoes into the mix at 18:22, playing sweet and emotive notes that carry a near lullaby spirit. Billy steps in to provide a light backing-beat, and the next minute provides one of the most unique and blissful hallmark Grateful Dead moments. This example encapsulates the best of what 1973 had to offer! One reviewer commented: “Whatever was going on in my life was always helped along by having this.” Taken as a whole, this Dark Star may not be deemed the best of the year, but it certainly can be called the prettiest. Listen and vote again.

This one reserves a soft spot in the heart of this reviewer. While I was not at this show (three years before my birth), it's importance in the Dead's catalog (and my personal collection) cannot be overemphasized. It's a well known fact among Heads that February of '73 stands as one of the most lauded and cherished in Grateful Dead history. What's more, of the stellar 15 shows they played in February, this one overall stands as the best of the bunch, the sound quality notwithstanding. While the purpose of this review is to not offer a song x song critique of the show, I feel obliged to mention the truly epic Dark Star->Eyes->China Doll segue. This triple thread, clocking in at just a hair shy of 45 minutes, stands as some of the most hauntingly beautiful music the band ever produced. I attended Blue Ridge School (a boarding school school situated in the Shenandoah valley, at the foot of the Blue Ridge Mountains of Virginia), that was something of a haven for prep school Deadheads from the early 1970's through the mid 1990's. This show was among the first two bootlegs I finally obtained (Maxell XL-II cassettes... remember those?) in 1992 (muddy, tenth-generation, but loved it anyway) and from then on my musical world changed forever. Soon thereafter, I was fortunate enough to catch 12 shows form '93-'95 in the east and mid-west (not their best years, but I took what I could get) until the chapter of the Grateful Dead with Jerry came to a close. Since then I have yet to venture to any live Dead carnation as I know it just wouldn't be the same for me, alas. But I have memories and a great many hours of prime Dead top listen to... In closing, I must reiterate the greatness of this show. Indeed, nostalgia plays a role in my love for it, but after 20+ years of having listened to thousands of hours of Grateful Dead music, the sounds they produced on the night of 2/15/73 can hardly be beat in my book. Something was particularly special in the air that day (kinda like 5/2/70 & 8/27/72). So be merry, love thy neighbor, and listen to the good ol' Grateful Dead!

I'll agree that there was something particularly special about February of '73. As for this "Cold Rain and Snow", it's blistering good in a hot, yet cold way. "There must have been some magic in that old silk hat they found." Frosty was built was this kind of snow, folks.

Five days after Harpur College, the boys bust out this stupendous version of Easy Wind. Although a crispy board of this stellar show is not available, (which is probably why this version was not posted here yet)the performance alone more than merits this to be one of those true, epic shows of 1970: a year when the boys reached a versatile zenith, a creative peak, and vocal apex. A must listen, folks!

Another stellar performance from one of the top five evenings the boys ever graced our ears with.