The sources may be less than desired, but it's listenable, and the playing is as good as any May '70 (and it's kind of crazy that we have two AUD sources for a '70). It's a 23-song show, known for being the only complete performance of Workingman's (plus two from upcoming American Beauty). It also has a unique Love Light with several jam themes. A few songs in the first set are in their longest versions (and with a record 31-beat BioDtL). Uneven shows are a characteristic of '70, but long sets provide more opportunities for a few strong highlights

First Set. "Garcia looks like Phil Spector." WTF?! Then "wood organic Grateful Dead." WTF? The beginning of the acoustic set's first, Dough Knees, is cut. Rider is sslowwww and very long. The audience seems to recognize Friend of the Devil, yet it was brand new. There's a glitch in the first verse, and the mics apparently glitched as well (but the playing is getting better). After average versions, they are excited to present Candyman, their newest. It's played straightforward, but curated. Tight de sweet. Someone yells out for "rock music!" (don't forget, people that had bought the new Live/Dead LP were baffled by the sound & songs – throughout this tour confused people left before the electric set and told their friends that the Dead had turned country). The still-new Cumberland is a joy-of-discovery version. Conversely, Speedway is nearly vampy, and Black Peter skeletal (see what I did?). Even finishing with a slow, bland Uncle John's, it's still an entertaining set.

Second Set. Now they are ready to open the throttle. Good Lovin' is strong. Though the sound here is poor, Cold Rain & Snow has crazy-good playing. After 5 mins, Easy Wind starts unwinding and then it totally goes off-leash. Insane. Mickey calls for the beats on Beat it on Down the Line-31, "What's a good number?" Immediately, shouts of "Alligator! The Eleven!". Jer chides "He didn't mean that kind of number!". Funny. The next big one is a fine TifTOO. The end Crypto is a tempest that would please Prospero. The rest is average '70. The beginning of Casey Jones is cut. King Bee is sort of flat, like it almost doesn't gel. There's a Frozen Logger tuning, but it's mostly missing. Not Fade doesn't really catch, but Jer is ready for this Love Light. Check out the jam @2min>4min. Unfortunately the sound qual dips again for the first half and the pitch repeatedly wobbles fast and slow. At 17 :45 there's a St. Stephen jam, and at 19 :50 a Darkness jam [1st major appearance; Jer played it backing Jeff Air in '69 and had tested it in Alligator in '68]. At 21 :30 Bobby and the drummers start a tentative Alligator but Jer does not follow, loosely reprising Darkness. At 23 :45 Bobby starts a China Cat jam. Honestly there isn't good flow in this LL, but it's a must-hear-once.

1st Set:  C+
2nd Set: B-
Overall = 3¼ stars

Highlights:
Candyman – straightforward but curated
Cumberland Blues – discovery version
Cold Rain & Snow – unusually piquant
Easy Wind – off leash
That's it for the Other One – especially the rear Crypto

SOURCES: The sirmick_32276 improves/repairs this precious AUD and you can hear more instruments on this source. The first set is a little slow and needs +1% pitch correction. The second set needs -1% from Easy Wind through Casey Jones. Love Light has wild pitch fluctuations, needing -1% 4:36>4:44, 9:30>23:25, 27:53>28:40 & 29:00>31:19. It needs -2% 4:44>9:30, 28:40>29:00 & 31:19>end. The 141093_aud_weiner has a little more highs but is more distant, the crowd is noisier, and it has larger, various pitch needs.

All three sets, all four plus hours of this show are a delight. The audience master is listenable, a good enough job for the era. The Lovelight features an extended passage of uniquely fluid jamming that includes a St. Stephen jam (17:15-19:15), a Darkness Darkness jam (20:00 - 21:00) and a China Cat jam (23:55 - 25:20). Standouts include Candyman, New Speedway, Uncle John, All I Ever Wanted, Lodi, Sawmill, Good Lovin, Easy Wind, and the last 80 minutes of the show, from Cryptical through Lovelight.

Why is 5/6/70 a SBD but 5/7/70 is an AUD?

The beginning of May was such a VITAL time in the NATIONWIDE student strikes that led up to the shootings in KENT state the half=hearted, aborted attempt to break Bobby Seale out of jail in New haven etc. The Panthers had planned to use the crowds that were exhorted to come to New Haven, Yale etc as a backdrop to facilitate the escape. Getting lost in the crowds etc Keep in mind this nationwide student strike was organized decades before the digital, social media age. Its hard to imagine how this technology would have affected the student movement, anti-war movement at this time.

In New Haven a guy was running around saying 'we just took a 'bite out of the Whale ,' or something to that effect. He was reffering to the bombing of the 'whale'(sp?) building that had just occurred.

Most people now dont have a clue of the student, political, anti-war atmosphere at the time. But these weeks in May of 70 before and after Kent State were the peak after the Chicago 'days of Rage' at the democratic convention in 68. People now who are even peripherally aware of this period in history still dont understand the REAL seriousness, tenseness of the times. Note: From the republican,(far right) end of the spectrum, G. Gordon Liddy writes that his view was that the country was in a 'civil war.' He uses this as some sort of excuse to explain HIS illegal, conspiratorial activities.

Bottom Line: The audience tapes from this period(weslyan etc) are interesting documents of the time if not prime Grateful Dead listening material. It is a shame though that more sounboard tapes dont exist as these shows were also an important period in the history of the band as well as the nation

NOTE: I think New Riders suck. However, everything else on this tape (i.e. the Dead) is excellent, and the recording is not at all bad for the era.

Why is The Other One split up into four separate tracks?

Why can't we hear it the way they played it?

It's cool to be able to hear the entire nights events as an AUD. Over all a solid show. But in terms of repeated listening not a strong candidate.

chsid, the moment you refer to is caught on this recording. Not exactly how you remember it, but hey. Wish I could have been there so I'd have my own flawed memories to recount.

Nice show. Acoustic set is super long. Audience in high spirits throughout.

Aud recording is tolerable with some EQ. There's some pretty obtrusive chatting on-mike at points, but it's not all the time. If you categorically can't stand auds then don't bother. If you're OK with auds and are looking for hot performances this is definitely worth acquiring.

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Thirty nine years ago today the GRATEFUL DEAD were playin' at MIT, where were you?

I couldn't be there in 70' but I made it today.

SirMick has improved this audience recording. I think it's worth the download. Thank you SirMick.

The GRATEFUL DEAD perform an incredible show at MIT. They obviously loved playing MIT and the kids at MIT loved the GRATEFUL DEAD.

I recommend adding this show to your 1970 Audience recordings of the GRATEFUL DEAD.

The IA recommends users of Windows XP view this web-page with RealPlayer. RealPlayer is a free media player you can download at www.realplayer.com.

For easy streaming or downloading use RealPlayer. Click the VBR M3U link to open the songs in the Playlist. If your Playlist is not open, open it by clicking the Playlist icon at the lower right hand corner of RealPlayer. Once the songs are in the Playlist, double click the song to play it, then click the record button at the lower left hand corner of Realplayer to record it. When the red line reaches the other end click the stop button to download the song. Your song is in the RealPlayer Downloads folder. Repeat these steps for each song.

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

Thanks for the LOVE from 1970.

Thank you for resuscitating a great memory. The clean up from the old tape is just terrific.

I remember coming to this show. It was like a high school sock hop in the gym, stage just a foot or two higher than everyody dancing on the floor. Went from about 8:30 to about 3:30 in the morning. As relaxed and as nice a show as I'll ever see.

A friend I went with that night was dying to hear The Eleven. At one point between songs, Garcia asked if anyone had a number (another JG double entendre, in retrospect), so my frined yelss out, "Yeah, Eleven!" JG turns to him and says: "Thats not a number,' and as you can see, didn't play it!

Thanx taper person and SirMick. Not a bad sounding audience for the era. A definite must listen and if you do not include the Lovelight medley in your collection you are nuts. The New Riders disc sounds a bit hissier and less clear in general. Real laid back and entirely enjoyable acoustic set. I am opening my radio show this week with Easy Wind and NFA>Lovelight. Peace.

the whole show is good, lovelight especially. at over half an hour it's one of the longest lovelights i've heard. there's a great china cat teaser about 3/4 of the way through. sound quality is pretty good for its time.