Supercharged Billy at the helm deconstructing and building layers of structure like a master architect. Some of his most inventive fills put to record

Notable for coming straight out of Cumberland and the alternate lyrics “And I Grabbed the Bottle, Grabbed Him in the Jaw” A cowboy classic.

Firing on all cylinders right out the gate. I'm certain Jerry's fretboard caught fire after that first solo. Impossible not to groove to.

Delicate. Like a last waltz of the cowboy and his love, with each lick from Jerry conveying the urgency of the story. Keith makes such an impact here.

Part of the beginning is cut off, but that doesn't stop this train from rolling on down the mines. Short and sweet.

The band catches a massive wave and rides it all the way through. You can hear a lot of early Allman Brothers influence on this one too. Billy is holding this one down and Jerry and Phill explore new realms so effortlessly. I wish I could hear Bobby a bit more, but other than that, we have an astounding Lovelight that’s full of infectious energy. There’s a lot of joy in this one, and you can’t help but to smile hearing a young and in form Pigpen absolutely tearing the house down.

If this doesn’t get you off your feet, you might have to see a doctor. I just want to dance all night long, might be one of my new favorite versions. That break around 1:12 is just absolutely divine. This show has me absolutely gobsmacked.

Pigpen showing why he was the frontman of the Dead for so long. This is a bluesman in full form. Powerful raunchy vocals with absolutely wonderful lead lines from Jerry, reminds me of what Fleetwood Mac would later do with Peter Green. What an era of music for the band, powerful music.

Thunderous heavy metal music from Jerry’s guitar. Psychedelic rock n roll at its absolute finest, this version sounds like it could be an outtake from Bob Dylan’s Highway 61 sessions. The little feedback wailing at the end gets me every time. Incredibly haunting.

An Atomic attack of the senses. At 4:25 you get to hear Jerry summoning a wailing spirit on the stage that haunts the music henceforth. A call and response between strings allows propels the band forward into a jam that can only be described as phantasmic, with Billy initiating a spiritual waltz into spectral realms. Jerry explores this realm, a takes a peak into places and ideas lost from time. Egyptian hieroglyphics, Norse Runes, and Wiccan magik envelope the mind as energy flows through the band so seamlessly. The cut is brutal, but you quickly find yourself in a territory of intrigue and disillusion. Smoke and dark clouds surround you as you spiral into the eye of the storm, with the faces of ones that once were staring right back at you, further spiraling down the path of madness and mania. A twister of ghastly psychedelic power obliterates the senses, and you soon find yourself in empty space. Smoking craters left on your mind, you let the band carry you away into a dream, where nothing, and everything reveals itself to you. A space that can be explored forever, and ever, and everything reveals itself in its truest form, a cosmic truth only discernible by you. We then get a jam that takes you through the borders of the universe, and has you observing everything that was, and everything that will be. Like a celestial body orbiting the lifetime of this universe. Imagine yourself standing in space, with the millions of stars laid out in front of you, as you walk through you realize you’re simply observing the universe outside of it, you are the observer and the one who experiences the universe with everything it has to offer. The universe experiencing itself. A feeling of bliss and peace wash over you as you get washed away back into a psychedelic spiral of colors back into the realm of the unknown and curiosity. Profound truth. This is The Other One, in all its glory.