Keith stands out on this crystalline version. A stunning performance as the band is completely in synch with each other. Watch out for that solo too.

Lovely version with a really great Keith solo, Jerry’s solo right after is equally as moving. Don’t miss this one.

Played with a real sense of urgency. Bobby growls away as Jerry explores a new approach to his soloing. This is a scorcher.

Jerry plays away his sorrows on top of the rhythm devil’s swinging beats. Sweet as can be with some real magical energy here.

First ever in a China>Rider pairing. Makes for some wonderful music to start off this stellar show.

Possibly the scariest Spanish jam I've ever heard. Mystifying and mysterious, like entering a thick fog, and getting lost for eternity, stuck in limbo, as the wheel keeps turning and all you can do is observe the cycle continuing. Gets as passionate as a genuine Flamenco jam, while getting as deep as the Mariana Trench. This is a PROPER Spanish jam, Phil at the end deserves his gold star, getting heavier and heavier with each pluck of the string, as a matter of fact, this whole thing is heavier than a collapsed neutron star, and for 68? Truly revolutionary stuff.

Psychedelic bluegrass boogie at its best. Keith as an addition to the band really allowed Jerry to explore his ideas more cohesively. I don't think I've heard Keith and Phil more interlocked, quoting lines left and right as if they're learning to truly understand each other as musicians on the spot. Holy and divine, protected with a rosary and smells of incense, a spiritually powerful that goes into overdrive multiple times. Also check out that bit of miraculous feedback upon entering back into verse 2, like god wanting to chime in with the ones communicating with him. Beautiful stuff here.

Spooky version full of chaotic wiccan energy. Jerry takes us on a journey through different dimensions, with each note opening a portal to a place for Jerry to travel and discover. Mind expanding wouldn't even begin to describe how transcendental this version is, Jerry has this sheet of sound style that he developed in 1978 akin to John Coltrane and Ornette Coleman, specifically Mr.Coleman in this version that just completely blows me away. Inverting conventional ideas with ease. One of the best out there, and If I had my way, all Estimated recordings would be a half step up like audience recording here.

Really great transition out of one of my favorite 80s spaces, I usually prefer the spiraling 76 versions but this is too lovely not to mention, Jerry specifically has great energy and you can hear it in the vocals. I’ve been listening to the 80s more and more, and I realized that everyone has their own idea of what this entity called the Grateful Dead is, and which era defines them best, and while I certainly have my own ideas and opinions on which era encapsulates these guys(and girl) best, it’s great to open my mind up and appreciate the strengths of eras I may not have given much thought to in the first place. 82-83 rocks!! 81 has always been my favorite of the 80s and thats where I usually stop, but man When Jerry gets Tiger dialed in right, and Brent wailing away, rocking that B3 Hammond, and then tinkering all the settings just right on his Synth, we get some really progressive, and interesting moments that propels the music to new places. Keeping an open mind is what got me into this band in the first place, and I will be looking forward to digging into more eras that I haven’t gotten into yet.

One of the best post Europe China>Riders that my ears have ever had the pleasure of listening to. Listen to Bill attacking that snare drum as Bobby keeps everything chugging along through the transition. Jerry gets on his saddle and rides, galloping away into really beautiful, uncharted territories. Really, really great stuff.