To me it is devoid of transcendent moments.I know a lot of you will disagree and I certainly don't mean to offend but to me it sounds like Jerry is jamming away waiting for inspiration to strike. They try to channel the magical Alligator -> Caution jam played on 2/28, and turn in a longer by more wayward version. Perhaps they start so strong it's impossible to go up, because from here I feel all they do is tread water. The Other One is also a gem with a never-ending jam to close out the Cryptical Envelopment portion, and DDHNM is never anything short of excellent.this one is no different. The Lovelight is very high energy throughout without the typical lulls, Jerry does some great playing early and even Pigpen's rap is fresh. The Eleven is great - period, end of sentence. he seems so inspired he chooses instead to play counterpoint, and it works to absolute perfection. Early on TC jumps in with some of his best playing I've heard and Jerry doesn't let him solo. There's a dazzling Dark Star opener with interplay between Jerry and TC that is just magical. I think this show easily starts out the strongest of the 4 night stand at the Fillmore but lacks the finishing punch of the prior two nights. but every time I return for a listen I wish desperately that someone would upload a version that combines these tracks together appropriately. Call it simply "The Other One" or whatever. Attentive heads can clearly hear these parts in sequence in the recording and there is simply no good reason to separate into 3 tracks. my brain trembles and explodes and leaves a smoking crater of my mind each time this happens.ĭuring this time period the band was clearly performing this ONE song "That's It For The Other One" as a suite - just as it had been released on their preceding album, comprised of 4 parts. WHY in Jerry's good name would tracks 6-8 be separated and labeled as "Cryptical Envelopment" / "The Other One" / "Cryptical Envelopment"?!!! It's an absolute scandal that these tracks are broken this way, especially when my browser likes to pause at the end of each track when it's in the background or minimized to my dock. Overall, the surprising star of this show actually turns out to be Tom Constanten who layers in some uncharacteristically tender and playful keyboard work throughout the performance. There are differing options about this in the comments of course, but I haven't found a better version for my ears. but the absolutely ripping version of TIFTOO seals the deal for me. Love Light / Doin that Rag are pretty much the only duds that kill the flow. This show contains an excellent run of songs in succession.
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