Jerry’s solo is off the walls crazy. A train going top speed and I promise that train won’t slow down! Great energy here overall.

As Jerry shouts, “You know he had to die.” BANG! A massive gunshot right on rhythm. Great reprise with great drum work from Billy and Mickey.

Jerry takes off and soars. Gets really heavy, and out there FAST. Experimental passages and new themes explored. This is what the Dead do best.

Billy and Mickey flowing in and out of the main TOO rhythms. They’re both putting each other to the test as they really get deep in this one.

“At this risk of being repetitious we’re going to do another song in the key of G.”-Bob Weir. This version is quite sweet. Patchy audio, great version

A lot of what I love about Europe 72 The Other Ones and Dark Stars is how many thematic jams there are within each version. For example this can go to wild, dark matter space that melts you down to the very atom, and then spring immediately back into a Caution jam, or a hyperspace acid country jazz fusion jam that shows the bands burning curiosity towards exploring new realms. There’s this familiarity and nostalgia of an era that I never experienced that I get from Europe 72 jams specifically that resonates with me and feels familiar to my subconscious. I always thought that in my past life, I was a Deadhead touring the country with these guys. I’m too young to have experienced the dead, but it’s moments like these that make me feel truly complete with the music. Spectacular El Paso sandwich, another moment where they summon a spellbound twister that takes the listener into a geometric cantina where you live out a cowboy’s surrealist daydream. I’ve made that comparison with 12/4/71 The Other One and 4/24/72 Dark Star. I love this music so much.

In this version they show their European audience why this rose to the top of the charts in Turlock California. Gets real spacey before the drums as they show hints of what spaces they will explore next in The Other One. This is a fiery, powerhouse of a Truckin’.

Like taking a ride on Halley’s Comet. Regal, and powerful in ways beyond explanation. The peak of this jam has Keith and Phil exploring some strange new realms as Jerry lays down some fiery colossal lines that decimates anything in its path. What a start to, in my opinion, the Dead’s best tour.

Jerry uses his guitar as a scythe to claim the souls of his audience, acting as the grim reaper with his terrifyingly powerful guitar playing. This you down decrepit corridors and even a walk through the graveyard. Horror dead at its finest. The sound of Frankenstein’s monster raging and destroying everything in its path. As heavy as Sabbath. 7:30 Phil and Jerry get into a serious discussion that’s worth every effort to hear.

71 had the best NFA>GDTRFL>NFA combos of their entire career. This is no exception, and arguably one of the most underrated. This has momentum all the way through, this train ain’t wanting for one. Powerful version that has some incredible guitar playing, and a stunning example of Billy’s freedom after Mickey’s departure. The ending jam is a blissful space that the band hold onto instead of going directly into the NFA reprise. A mellow and emotional Darkness jam ensues and we get to enjoy this stunning piece of art in action. I’m loving Phil’s bass work at the end as well. Don’t miss this one.