Going on the assumption that the 1/23 & 1/27 dates are the same show, and that Road Trips 2-2 adds the first set, then overall a decent show. The rest of the Spanish Jam is correctly labeled (on 1/27) but the official release is mislabeled all the way back to the tapes at the venue.

It's known that the show opened with Lovelight, so the setlist would likely be:

Lovelight
Viola Lee
BiODtL-17
It Hurts Me Too
Dark Star>China Cat>The Eleven
/
Cryptical/Other One>Clementine>New Potato Caboose>Born Cross-Eyed>Spanish Jam>Spanish Frag(miller.97344)

The part from Other One through Spanish Jam is average '68 (with a pretty good Spanish Jam) but I prefer the parts on Road Trips, being above-average '68, particularly the Dark Star>China>Eleven sequence.

So, rating the three parts as a show: C+
(a bit above average for '68).

Highlights:
Beat it On Down the Line-17
Dark Star
China Cat Sunflower

Chopped olive sandwiches, roses and wine
Cold ripe persimmons, my sweet Clementine

There's a chill in the meadow, of bottomless time
I go on, I go on, I cannot fill my cup
There's a hole in the bottom, the spring has dried up

I run through the forests of linear time
Chop through the branches and cut through the vines

I'll be back in a moment, though it may take me years
In the lava rock canyons corroded with fears
Of corruptible bodies and grief beyond tears

I'll go on till I hear the sweet voices behind
That I've left for the comfort of cold Clementine

Raw early energy

This show is not quite as strong as the night before, but it is still a keeper. The recording is very good, but the tape shows more signs of wear. While the mix is better than the night before, it is still not even. All in all, well worth the listen!

I can't remember when, but I once heard Grace Slick introduce White Rabbit, the encore at a Starship show, by saying, "It's time for phoney Spanish music." She used the phrase "phoney Spanish music" more than once, even singing it as the band started to play the song.

Three stars for the Starship, five for the Dead.

I think there's definitely a convincing argument that the end of this spanish jam is captured in the one song recording we have labeled 1/27. They seem to go together, though there is a gap. But more than just that song, I think that there's an even better argument to say that both this show and the one labeled the 22nd were in fact played one the 26th & 27th, as there's evidence that those were the only days the Dead played Eagles Auditorium in early '68. Deadlists seems quite convincing that this show and the 22nd are mislabeled. And Deadbase doesn't even have a record of 1/23 being a show at all, but it does show similar songs between the 22nd and the 26th, and I'm convinced that this pairing of shows has just been continuously mislabeled, but is in fact the pairing of the 26th & 27th for which there aren't full show recordings.
So, using Deadbase and Deadlists I feel that I've gotten enough evidence at least for myself to label this show the 27th, and the show from the 22nd should be the 26th. We may never know with no doubt, but it seems like that's the way it is.
For the show itself, I can't say enough about '68. I can't say I'm quite an expert of the Dead's total repertoire (I've only been hitting the archive and starting my Dead education for about a year) but '68 is always on fire, and this early stuff is as close as we can get to '67, for which very few recordings exist.
This is primal Dead at its best, raw psychadelia coursing through them, coming from a distant star and using these talented musicians as its outlet. The Dead certainly continue to get better and more expert at their instruments and their style later on in their career, more polished, but this is raw psychadelic energy that represents what all of us (at least I do)wish we could've experienced by living in the '60s. Can't go wrong with '68.

Forever Grateful for the love, music, and energy the Dead will always represent.


EDIT: About the other one lyrics, deadlists gives pretty comprehensive details about which lyrics are used when, and while I'm not positive when exactly they started using the Cowboy Neal lyrics, it was before he died (Feb 4), as deadlists attributes the last date using one of (so there must have been a least a few) the early lyrics, and it does say Cowboy Neal, to 02/02/68, before Neal was dead. And I recall hearing this said in other earlier versions too, but I have seen evidence that there were at least a version, or possibly two, of the early lyrics that don't use Cowboy Neal.
The biggest difference in the lyrics is the first verse. I suggest visiting deadlists.com and looking at 2/2, as it says what those lyrics were. Also view 11/11/67 if you'd like, as it evidences use of Cowboy Neal in the lyrics then, as well.

While on the topic of dating this: I was under the assumption that the "Cowboy Neal" lyrics were included after Cassady's death in February of '68. However, this show in January has these lyrics. Confusing. No superlative is grand enough to describe the 68 shows.

The "Spanish Jam" is so named in reference to it's genesis in Miles Davis' "Sketches of Spain". And I read in Relix a few years back a Cippolina quote that he liked the jam so much that he integrated it into the QMS repetoire, which would account for that. As far as the "White Rabbit" resemblance goes, I see your point, especially regarding the regal cadence that provides the platform for the melodic part of the jam...but that can be traced back to Miles too, so maybe they were BOTH influenced from Sketches of Spain? Who knows, but that answers your question regarding the name, anyway.

Otherwise, I'll give this show five stars, disregarding the brutal lapses, because the snippets we have are just so damned powerful. Primal and electrifying.

This thing everybody keeps calling "Spanish Jam"...OK, WHY is it called that? I guess it could be sort of Andalucian or something, like bull-fighting music, but it really resembles Middle-eastern music more than anything else. Country Joe & the Fish did the same thing this year--called it "Eastern Jam", which is closer. QMS put it in everything they did for years. All because Grace had done "White Rabbit" with two bands already! It's THE SAME TUNE, folks! It's the Dead playing freakin' "White Rabbit" as an instrumental without the bridge and crescendo. It occurs to me that "White Rabbit" probably had the same effect on the Scene as "Dark Star" had on Deadheads later: people wanted to hear it all the time, and all the bands had people in them. I can just see Garcia at a Jefferson Airplane set, yelling, "Gracieeeeeeee! White Rabbiiiiiiiiiiiiiit!"

Another perfect psychedelic song suite from 68, made extra incredible by the rare and gorgeous Clementine.

Another copy of this show is posted as 2/2/68 with an argument that this date is actually incorrect:

http://www.archive.org/details/gd1968-02-02.sbd.jools.20299.sbeok.shnf

Whatever the date, this is a stunning piece of music.

this gorgeously intricate and jazz-infused version easily gives 2/2/68 a run for its money...check it out!!

Oh my, what an amazing snipet of one hell of a tour. "the Quick and the Dead" winter tour up the coast. I love this early version of the Other One with alternate second verse lyrics! The Clementine jam is so smooth and jazzy and the New Potato Caboose here is probably one of the best of '68. I love when the Dead really worked on their three part harmony vocals between Jerry, Phil, and Bobby. They create such a strong vocal sound that was lost after '72 and I'm not sure why. I think Phil or the band didn't like his voice but I love that high range yell he does! Great backing harmony that was always on pitch, just not a professional singing voice. So this show has the band at their best, playing tight psychedelic music. I also love when Billy and Mickey do their military esque in synch drumming! I remember listening to Anthem of the Sun for my first time on E and just marching along to their ratta-tap-tap beat! Check this show out for great 60's Dead!

Great sound, great recording, great mix! Thanks Charlie Miller!

This isn't a review as much as it is an affirmation of why I listen to the Grateful Dead. Mind Blowing. The Boys' bring it to the show every night in 1968.
I can't emphasis enough how truly great this show is. Five stars, and then some.

Peace.

Phil is still a bit low in the mix, and sadly the Spanish Jam is cut, but who's complaining?

More incredible music from a break-through tour for the band. Cryptical/Other One just keeps getting better and this slower, shuffled Clementine is so jazzy and sublime. Upgraded source makes thia a top ten show for '68. (99 pts)

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#############__Smokin"_Hot 1968 GRATEFUL DEAD Show.

5 Stars for the mix
5 Stars for the recording
5 Stars for the performance
5 Stars for the "most excellent" Charlie Miller Transfer.

I highly recommend adding this show to your 1968 GRATEFUL DEAD collection. Wonderful performances from the album, "ANTHEM OF THE SUN".

Charlie Miller does it again. Click on his name and collect all his GRATEFUL DEAD Shows, he has impeccable taste.

Remember to also click on the "Deadlists Project" and collect the posters and ticket stubs that sometimes appear for each show.

I love hearing these classic 1968 shows of the GRATEFUL DEAD. Wonderful tone, sound and color to the audio.

"Clementine" is a real treat, 6/8 jam. Reminds me of the Allman Brothers.

Eat, Drink, Be Merry, and Listen to the GRATEFUL DEAD.

Thanks for the Love.